text:
16TH ISTANBUL BIENNIAL
PERMANENT WORKS
PUBLIC & LEARNING PROGRAMMES
PRODUCTION AND RESEARCH PROGRAMME
ISTANBUL FILM FESTIVAL
ISTANBUL MUSIC FESTIVAL
ISTANBUL JAZZ FESTIVAL
ISTANBUL DESIGN BIENNIAL
ISTANBUL THEATRE FESTIVAL
Yuji Agematsu
Born in Kanagawa, lives in New York
Yuji Agematsu (b. 1956, Kanagawa, Japan) lives and works in New York. Agematsu studied with Tokio Hasegawa, a member of the band Taj Mahal Travellers, and the jazz drummer and choreographer Milford Graves. He has had solo exhibitions at Miguel Abreu Gallery, New York (2019, 2017); Lulu, Mexico City (2019); the Power Station, Dallas (2018); Artspeak, Vancouver (2014). In 2014, Agematsu had a large scale exhibition at Yale Union, Portland, OR, which was accompanied by the monograph ZIP: 01–01–14...12–31–14. He was included in the 57th Carnegie International, Pittsburgh (2018); and was previously shown in Speak Lokal, Kunsthalle Zurich, Switzerland (2017); Serialities, Hauser & Wirth, New York (2017); The Keeper, New Museum, New York (2016); and Looking Back, The 7th White Columns Annual, New York (2013). Agematsu has performed at the Swiss Institute, New York (2018); Artists Space, New York (2017); and as part of the solo presentation Walk on A, B, C, Whitney Museum of American Art (2016).
Deniz Aktaş
Born in Diyarbakır, lives in Diyarbakır
Aktaş (b. 1987, Diyarbakır, Turkey) lives and works in Diyarbakır. He completed his BFA in painting in Marmara University and MFA in Yeditepe University. In his drawings, Aktaş delves into urban memory traumas through carefully depicted images that bear the marks of urban transformation, forced evictions, demolishment and traces of social conflict. Aktaş participated in Cité Internationale des Arts, Paris, artist residency programme (2016). Before his first solo exhibition No Man's Land at artSümer, Istanbul (2018), he participated in duo/group shows Impossible Space, Kasa Gallery, Istanbul (2017); Poser Son Temps, On-Off Site, Paris (2017); Wider den Grautönen, Pasinger Fabrik Gmbh, Munich (2016); Open Space, Pilot, Istanbul (2016) and Mythologies, 3rd Mardin Biennial (2015) among others.
Özlem Altın
Born in Goch, lives in Berlin
Özlem Altın (b. 1977, Goch, Germany) lives and works in Berlin. Altın draws from a vast collection of found imagery, replicas and prints originating from books, magazines or the Internet, and contextualizes them into dense collages and complex installations. Abolishing any hierarchies within the source material and juxtaposing it with her own distinct paintings and photographs, she develops a highly associative visual semantic that discloses inner states and external restraints of the human existence. Recent solo exhibitions include Lens, Merano Arte, Meran (2019); Processing, Camera Austria, Graz (2017); Untitled (Touch or Melancholy), Lentos, Linz (2016). Group exhibitions include Part of the Labyrinth, Göteburg International Biennial for Contemporary Art, Gothenburg (2019); We don't need another hero, 10th Berlin Biennale (2018); Beyond Words, 4th Mardin Biennial (2018).
Jonathas de Andrade
Born in Maceió, lives in Recife
Jonathas de (b. 1982, Maceió, Brazil) lives and works in Recife. He uses photography, installation and video to traverse collective memory and history, making use of strategies that shuffle fiction and reality. Jonathas collects and catalogues architecture, images, texts, life stories and recomposes a personal narrative of the past. Past solo museum exhibitions include Museu de Arte de São Paulo (2016-17); The Power Plant, Toronto (2017); New Museum, New York (2017); and MCA Chicago (2019). Group exhibitions include 32nd Bienal de São Paulo (2016); Unfinished Conversations: New Work from the Collection, The Museum of Modern Art, New York (2017); and Padiglione d'Arte Contemporanea, Milan (2018).
Born in Utiel, passed away in Valencia
José Iranzo Almonacid, also known as Anzo (b. 1931, Utiel, Spain; d. 2006, Valencia, Spain) was a painter, designer and sculptor. Anzo is considered one of the most outstanding Spanish artists of the 20th century. Founding member of the Valencia branch of Estampa Popular, Anzo attended the School of Arts and Crafts in Valencia and the School of Architecture of Barcelona before. After joining the Nueva Generación group in the late 1960s, his work became known in Madrid. He was awarded with countless distinctions, including the Generalitat de Valencia Visual Arts Prize which he received in 2003. Recent solo exhibitions include Anzo. Isolation (1967-1985), Institut Valencià d'Art Modern, Valencia (2017); Anzo. Tribute, Muro Gallery, Valencia (2014); Aislamientos, Valle Ortí Gallery, Valencia (2010). Most recent groups exhibitions include Art Collectives in Valencia under the Francoism, Valencian Institute of Modern Art, Valencia (2015); America, America, Valencian Institute of Modern Art, Valencia (2012); Behind the wall there is sun, Museum of Contemporary Art of Alicante (2011).
Pia Arke
Born in Greenland, passed away in Denmark
Pia Arke (b. 1958, Ittoqqortoormiit, Greenland, d. 2007, Copenhagen, Denmark) was a Danish Greenlandic visual and performance artist, writer and photographer. She is remembered for her self-portraits, landscape photographs of Greenland and for her paintings and writings which strive to present the complex ethnic and cultural relationships between Denmark and Greenland. In the late 1980's Arke began to exhibit her paintings. In 1988, the artist developed her own life-size pin-hole camera (camera obscura) which she hand-built, to photograph the landscapes of Greenland that she had known as a child. Her exhibitions and accompanying explanations encouraged Denmark to reexamine the colonial history of Greenland. Arke is now recognized as one of the Nordic region's most important postcolonial critics and players as a result of the artistic research which she practiced for two decades.
Korakrit Arunanondchai
Born in Bangkok, lives in New York and Bangkok
Korakrit Arunanondchai (b. 1986, Bangkok, Thailand) lives and works in New York and Bangkok. As a visual artist, filmmaker, and storyteller he employs his versatile practice to tell stories embedded in cultural transplantation and hybridity. His body of work merges fiction with poetry and offers synesthetic experiences engaged in a multitude of subjects primarily based on lives of family, friends, and colleagues as much as local myths. In early 2018, Arunanondchai co-founded Ghost Foundation, a non-profit organization aimed to support a video and performance art series in Thailand entitled "GHOST". He curated its inaugural series, Ghost:2561, in Bangkok, Thailand.
Ozan Atalan
Born in Gelibolu, lives in İzmir
Ozan Atalan (b. 1985, Gelibolu, Turkey) lives in İzmir and Istanbul. His multimedia installations create alternative fields of perception in order to question human's relationship with itself and the world by taking alienation as base for such relationship. He focuses on presenting speculative experiences in which the physical and the digital co-exist, that are realistic enough not to disconnect from reality, but far enough from reality in order to be able to criticize it. AnthropoScene, State University of New York, Cortland (2016); The Dark Sides, The Michael Sickler Gallery, Syracuse University Shaffer Art Building, Syracuse, (2014); Chosen Reality K2 Contemporary Art Center, İzmir (2013) are among his recent solo exhibitions. Atalan's works have also been exhibited in international venues such as the 5th International Moscow Biennale for Young Art, Moscow (2016); PØST, Los Angeles (2016); Rogue Space Chelsea, New York (2016).
Born in Oban, lives in London and Mull
Charles Avery (b. 1973, Oban, UK) lives and works in London and Mull. Since 2004, Avery has dedicated himself to the invention of an imaginary island, new corners of which he continues to chart through drawings, sculptures, texts, ephemera and (more rarely) 16mm animations and live incursions into our own world. As Avery has said, the Island – with its fantastical flora and fauna, its eccentric cosmology and customs – is 'a place that helps me to think.' Selected solo exhibitions include The Gates of Onomatopoeia, Ingleby Gallery, Edinburgh (2019); These Waters, GRIMM, New York (2017); Study #15: Charles Avery, David Roberts Art Foundation, London (2017) What's the matter with Idealism?, Gemeentemuseum, The Hague (2015). Selected group exhibitions include Pluriverse, La Panacée, Montpellier (2017); GLASSTRESS, Palazzo Franchetti, 57th Venice Biennale (2017); Art Night, Whitechapel Gallery, London (2017). Avery represented Scotland at the 52nd Venice Biennale in 2007.
Radcliffe Bailey
Born in New Jersey, lives in Georgia
Radcliffe Bailey (b. 1968, New Jersey, USA) lives and works in Georgia. He incorporates found objects and photographs into textured compositions that address race, ancestry, migration, and collective memory, linking diasporic histories with potential futures. Solo exhibitions include Travelogue, Jack Shainman Gallery, The School, New York (2018); Radcliffe Bailey: Recent Works, Contemporary Arts Center, New Orleans (2015); and Memory as Medicine, High Museum of Art, Atlanta (2011-12). Bailey's work is in the collections of the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington, D.C.; the Art Institute of Chicago, Illinois; among others.
Rebecca Belmore
Born in Upsala, lives in Toronto
Rebecca Belmore (b. 1960, Upsala, Canada) is based in Toronto, Canada. Rooted in the political and social realities of Indigenous communities, Belmore's works make evocative connections between bodies, land and language. Recent solo exhibitions include Facing the Monumental, Art Gallery of Ontario, Toronto (2018); At Pelican Falls, Platform Centre for Photographic and Digital Art, Winnipeg (2017); Somewhere Else, Oboro, Montreal (2015). Group exhibitions include, LandMarks/Repères, various National Parks across Canada (2017); documenta 14, Athens and Kassel (2017); Venice Biennale (2005).
Born in Zagreb, lives in New York
Dora Budor (b. 1984, Zagreb, Croatia) lives and works in New York. Using installation and sculpture, Budor's work inhabits cinematic ecosystems and protean architectural environments. Her works are constructed as complex systems, in which each element exists in interdependency with the other. Selected solo exhibitions include I am Gong, Kunsthalle Basel, Basel (2019); Benedick, or Else, 80WSE, New York (2018) and Spring, Swiss Institute of Contemporary Art, New York (2015). Her work has been part of Baltic Triennial 13, Contemporary Art Centre, Vilnius (2018); Dreamlands: Immersive Cinema and Art, 1905–2016, Whitney Museum of American Art, New York (2016); and Inhuman, Fridericianum, Kassel (2015).
Johannes Büttner
Born in Frankfurt am Main, lives in Amsterdam
Johannes Büttner (b. 1985, Frankfurt am Main, Germany) is working in the tradition of performance and social organisation. He explores the generalised precarity of our age: whether through considerations of energy, urbanity, new agism, esotericism or global and political crises. The relationship between human and mechanised labour is a recurring motif throughout his installations and performances, and serves as a starting point for the creation of his own narratives. He participated in exhibitions at the Palais de Tokyo in Paris (2018), at La Panacée in Montpellier (2018) and at Basis in Frankfurt am Main (2017). In 2018, he had solo exhibitions at Kunstraum C28 in Hanover and at Simultanhalle in Cologne. He showed performances at the Stedelijk Museum (2017), the De Appel Art Center (2017) and the Art Weekend (2017) in Amsterdam.
En Man Chang
Born in Taitung, lives in Taipei
En Man Chang (b. 1967, Taitung, Taiwan) lives and works in Taipei. As the artist's identity inspires her to embark on a journey across the island, she also expands to the whole picture of the community or the world, and explores how art can transform. Recent solo exhibitions include As Heavy as a Feather, Taiwan Academy, Los Angeles (2017); Centre A, Vancouver (2016); Snail Paradise, Open Contemporary Art Center, Taipei (2013). Group exhibitions include National Taiwan Museum of Fine Arts, Taichung (2018), Taipei Cultural Center, New York (2018).
Monster Chetwynd
Born in London, lives in Glasgow
Monster Chetwynd (b. 1973, London, UK) lives and works in Glasgow. Known for her bric-a-brac style performance pieces, featuring handmade costumes, props and sets, Chetwynd describes her work as 'impatiently made', often re-using cheap materials that are easy to process and to use by the many performers she invites to participate, emphasizing the notion of collective development that informs much of the artist's work. Recent solo exhibitions include De Pont, Tilburg (2019); Villa Arson, Nice (2019); Winter Commission, Tate Britain, London (2018); The Owl with the Laser Eyes, Fondazione Sandretto Re Rebaudengo, Turin (2018); Uptight upright, upside down, Centre for Contemporary Arts, Glasgow (2018); and Camshafts in the Rain, Bonner Kunstverein, Bonn (2016).
Norman Daly
Born in Pittsburgh, passed away in New York
Norman Daly (b. 1911, Pittburgh; d. 2008, New York) received his fine art training in the United States and France. Daly taught painting and drawing in the Department of Art at Cornell for 57 years (1943-1999), 24 of them as an emeritus professor. His career as a painter, with regular exhibits in New York, and acquisitions of his work by museums, flourished in the 1940s and 1950s. In the 1960s he turned to sculpture, concentrating on assemblages and carved marble bas-reliefs. This work led to his conception of a complex 'imaginary' civilization, the manifold productions of which constituted ultimately a multi-media installation. The Civilization of Llhuros was a monumental creation and the first and still pre-eminent presentation of archaeological art. This work was exhibited widely in the United States and Germany in 1972-1975, and was sampled for a small-scale review exhibition at the Herbert F. Johnson Museum of Art, Cornell University, in 2004. It was also part of the exhibition Pluriverse at La Panacée, Montpellier (2017-2018).
Mariechen Danz
Born in Dublin, lives in Berlin
Mariechen Danz (b. 1980, Dublin, Ireland) lives and works in Berlin, Germany. In her sculptures, installations and performances, Danz calls into question the expressive capabilities and incapabilities of language, the legibility and hierarchy of signs, and the primacy of Western conceptions of reason. The human body functions as the primary place of investigation for Danz's work – the body as metaphor, as origin and remains. Group exhibitions include Haus der Kunst, Munich (2018); Venice Biennale (2017) and Centre Pompidou, Paris (2016). Solo shows include Wentrup, Berlin (2018); Centre d'art Neuchâtel (2014) and GAK Gesellschaft für Aktuelle Kunst, Bremen (2012).
Elmas Deniz
Born in Bergama, lives in Istanbul
Elmas Deniz (b. 1981, Bergama, Turkey), lives and works in Istanbul. Deniz's works investigate the intersections and points of entanglement between economics and nature. Deniz focuses on the capitalism-led deterioration of nature, human-nature relationship, the idea of nature throughout history, and ecological concerns. Her selected solo exhibitions: A Year Without a Summer, PILOT, Istanbul (2018); Seeing the Black Panther, PILOT, Istanbul (2014) and Elmas, Maçka Art Gallery, Istanbul (2012). Her selected group exhibitions are Nature in Art, MOCAK, Poland (2019); VIDEO FOREVER, Musée de la Chasse et de la Nature, Paris (2016); SALTWATER: A Theory of Thought Forms, 14th Istanbul Biennial (2015).
David Douard
Born in Perpignan, lives in Paris
David Douard (b. 1983, Perpignan, France), lives and works in Paris. Language is the very basis of Douard's work. The texts and poems he collects on the Internet are manipulated and transformed in order to become a vital flow, feeding into his sculptures. His work has been shown in multiple international institutions such as KURA. c/o Fonderia Artistica Battaglia, Milan (2018); Palais de Tokyo, Paris (2014 and 2018); Musée d'Art moderne de la Ville de Paris (2015 and 2017); Kunstverein Braunschweig, Braunschweig (2016); Fridericianum, Kassel (2015); Sculpture Center, New York (2014); Astrup Fearnley Museet, Oslo (2014); Fondation d'entreprise Ricard, Paris (2012). Douard participated in several biennials: 12th Biennale de Lyon, France (2013); Taipei Biennial, Taïwan (2014); Asia Culture Center-Gwangju Biennale, South Korea (2018).
Evru/Zush
Born and lives in Barcelona
Alberto Porta (b. 1946, Barcelona, Spain) who assumes the pseudonym of Zush, and then Evru, creates in his paintings and drawings, a particular universe of codes with his own alphabet, anthem, flag, passports or currency. Solo exhibitions has been featured in Duo Lun MoMA, Shanghai (2007); Today Art Museum, Beijing (2007); NUS Museum, Singapore (2006); Museum of Contemporary Art Barcelona (2001); and Museum Reina Sofia – MNCARS, Madrid (2000). He took part in Documenta VI, Kassel (1977) and in the exhibition Les Magiciens de la Terre, Centre Pompidou, Paris (1989). His work is part of the permanent collections of many museums around the world.
Feral Atlas Collective
Feral Atlas brings together scientists, humanists and artists to offer field-based observations from the More-than-Human Anthropocene. Developed in association with AURA (Aarhus University Research on the Anthropocene) and James Cook University, Australia, the project is curated for exhibition by visual anthropologists, Jennifer Deger (b. 1962, Sydney Australia) and Victoria Baskin Coffey (b. 1985, Newcastle, Australia), together with architect, Feifei Zhou (b. 1992, Jiangsu, China) and anthropologist, Anna Tsing (b. 1952, San Francisco, USA), author of the The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (2017).
Simon Fujiwara
Born in London, lives in Berlin
Simon Fujiwara (b. 1982, London, UK) often investigates dominant cultural forms such as tourist attractions, famous icons, historic narratives and mass media imagery at times even collaborating with the advertising and entertainment industries to produce his works. Through a process he calls 'hyper engagement' his work creates a portrait of a media generation, compelling and at times disturbing. Recent solo exhibitions include Hope House, Kunsthaus Bregenz (2018); Revolution, Lafayette Anticipations, Paris (2018); The Humanizer, Irish Museum of Modern Art, Dublin (2017). Group exhibitions include Guggenheim Museum, New York (2015); Centre Pompidou, Paris (2018) and the MoMA Tokyo (2019).
Ernst Haeckel
Born in Potsdam, passed away in Jena
Ernst Haeckel (b. 1834, Potsdam, Prussia, d. 1919, Jena, Germany) was a German naturalist, zoologist, evolutionist, philosopher and artist who was a strong proponent of Darwinism. He discovered, described and named thousands of new species, mapped a genealogical tree relating all life forms, and coined many terms in biology. Trained as a physician, he practiced medicine for a short time. He then travelled to Italy where he painted and considered becoming a professional artist. In 1859, heavily influenced by Charles Darwin's On the Origin of Species, Haeckel returned to academic studies. He became an associate professor of zoology in 1862 and he remained at the university until 1909. The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures, collected in his Art Forms of Nature.
Pakui Hardware
Born in Klaipėda and Vilnius, live in Berlin and Vilnius
Pakui Hardware was formed by Neringa Černiauskaitė (b. 1984, Klaipėda, Lithuania) and Ugnius Gelguda (b. 1977, Vilnius, Lithuania) in 2014. Through sculptural bricolages, installational environments and performative lectures, the duo's work explores how technology is shaping current economy and the physical reality itself, including the human body. Recent solo exhibitions include Underbelly, Museum der Bildenden Künste Leipzig, Leipzig (2019); Extrakorporal, Bielefelder Kunstverein (2018); Vanilla Eyes, MUMOK, Vienna (2016). Group exhibitions include MAXXI, Rome (2018); Musée d'Orsay, Paris (2018); Kunsthalle Basel, Basel (2017).
Eloise Hawser
Born and lives in London
Eloise Hawser (b. 1985, London, UK) lives and works in London. With her practice spanning sculpture, film, and installation, Hawser meticulously extracts those bodily and emotional resonances in otherwise impersonal artifices, objects, and infrastructure. Her works can be found in several institutional collections, such as the Tate Britain. Her solo and two-person exhibitions include Lives on Wire, ICA, London, (2015); Hawser/Hofer, MUMOK, Vienna (2016); Sol Lewitt and Eloise Hawser, Vistamare, Pescara (2016); as well as the major exhibition By the deep, by the mark, Somerset House, London (2018). Some of her notable group exhibitions comprise The History of Nothing, White Cube, London (2016); The Weight of Data, Tate Britain, London (2015); Surround Audience Triennial, New Museum, New York (2015); Emotional Supply Chains, Zabludowicz Collection, London (2016).
Marguerite Humeau
Born in Cholet, lives in London
Marguerite Humeau (b. 1986, Cholet, France) lives and works in London, UK. Humeau's work stages the crossing of great distances in time and space, transitions between animal and mineral, and encounters between personal desires and natural forces. Humeau weaves factual events into speculative narratives, therefore enabling unknown, invisible, extinct forms of life to erupt in grandiose splendour. Solo exhibitions have been held at New Museum, New York (2018); Tate Britain, London (2017); Haus Konstruktiv, Zurich (2017); Schinkel Pavillon, Berlin (2017); Nottingham Contemporary (2016) and Palais de Tokyo, Paris (2016). Her work has been featured in numerous group exhibitions, including the High Line, New York (2017); Château de Versailles, Paris (2017); Kunsthal Charlottenborg, Copenhagen (2017); FRAC Midi-Pyrénées, Toulouse (2017); Serpentine Gallery, London (2014) and Victoria and Albert Museum, Sculpture Gallery, London (2014).
Suzanne Husky
Born in Bazas, lives in San Francisco
Suzanne Husky (b. 1975, Bazas, France) is based in San Francisco, USA and Bazas, France. Trained in horticulture, permaculture and herbalism, Husky is a multimedia artist whose work addresses people's relationships to the natural environment. The works revisits cultural representations, informed by ethnobotany and plant knowledge. She's a founder of the artistic duo Le Nouveau Ministère de l'Agriculture (The New Department of Agriculture) that creates subversive art work on agribusiness and agtech. Husky has shown in Bay Area Now 5 at YBCA, San Francisco, the De Young Museum, Southern Exposure, Out of the Box Biennale, Switzerland; The Headlands Center for the Arts.
Born in Chicago, lives in New York
Rashid Johnson (b. 1977, Chicago, USA) is based in New York. Johnson employs a wide range of media to explore themes of art history, individual and shared cultural identities, personal narratives, literature, philosophy, materiality, and critical history. His work is known for its narrative embedding of a pointed range of everyday materials and objects, often associated with his childhood and frequently referencing collective aspects of African American intellectual history and cultural identity. Recent solo exhibitions include The Rainbow Sign, David Kordansky Gallery, Los Angeles (2018); Rashid Johnson. Hail We Now Sing Joy, Milwaukee Art Museum, Milwaukee and Kemper Museum of Contemporary Art, Kansas City (2017); Rashid Johnson. Within Our Gates, Garage Museum of Contemporary Art, Moscow (2016); and Fly Away, Hauser & Wirth, New York (2016).
Sanam Khatibi
Born in Tehran, lives in Brussels
Sanam Khatibi (b. 1979, Tehran, Iran) lives in Brussels. Her works deal with animality, and our primal impulses and the core of her practice interrogates our relationship to power structures. She questions our relation to excess, loss of control, bestiality, domination and submission. She plays with ambivalence to juxtapose dualities such as animal versus human, past versus present, and cruelty versus seduction. Her work consists of paintings, embroideries, tapestries, sculptures and installations. Recent solo exhibitions include De ta salive qui mord, BPS22, Charleroi (2019); The Murders of the Green River, rodolphe janssen, Brussels (2019); No church in the wild, The Cabin, Los Angeles (2017). Group exhibitions include Salon de peinture, M HKA, Museum of Contemporary Art Antwerp, Antwerp (2019); Nightfall, Mendes Wood DM, Brussels (2019); Mademoiselle, Centre Régional d'Art Contemporaine Occitaine, Sète (2018).
Eva Kot'átková
Born and lives in Prague
Eva Koťátková (b. 1982, Prague, Czech Republic) lives and works in Prague. Her work addresses the social, institutional and physical structures of everyday life: the rules and restrictions which shape how we think, learn, move, behave and create. She often focuses on the situation of groups or individuals that are from various reasons excluded, discriminated, silenced. In her ongoing series Theatre of Speaking Objects she tries to find alternative ways of expression for those who are not able to communicate and integrate in the standard way. She is a co-founder of a platform Institute of Anxiety that sees anxiety as a result of social, political, economical and ecological forces. She realized solo exhibitions held at Pirelli Hangar Bicocca, Milan (2018), 21er Haus, Vienna (2017); Musem Haus Esthers, Krefeld; Maccarone and ISCP, New York (2016). She also participated in Sonsbeek16, Arnheim (2016); New Museum's Triennial (2015) and 55th Venice Biennale (2013).
Agnieszka Kurant
Born in Łódź, lives in New York
Agnieszka Kurant (b. 1978, Łódź, Poland) is based in New York. Kurant explores how complex social and economic systems can operate in ways that confuse distinctions between fiction and reality or nature and culture. Probing collective intelligence, AI and crowdsourcing, her works, often behaving like living organisms, investigate the evolution of culture and labor under cognitive capitalism. Solo exhibitions and projects include The End of Signature, Guggenheim Museum, New York (2015); Exformation, Sculpture Center, New York (2013); and Assembly Line, CCA, Tel Aviv (2017). Group shows include Milano Triennale (2019); Guggenheim Bilbao (2017); Palais de Tokyo, Paris (2014); Witte de With, Rotterdam (2011).
Born in New York, lives in New York
Glenn Ligon (b. 1960, New York, USA) lives and works New York. Since the 1980s, Ligon has pursued an incisive exploration of American history, literature, and society across bodies of work that build on modern and conceptual art. Solo exhibitions include Des Parisiens Noirs, Musée d'Orsay, France (2019); and Glenn Ligon: America, Whitney Museum of American Art (2011). Curatorial projects include Blue Black, Pulitzer Arts Foundation, St. Louis (2017); and Glenn Ligon: Encounters and Collisions, Nottingham Contemporary and Tate Liverpool (2015). Major international exhibitions include the Venice Biennale (2015 and 1997), Berlin Biennal (2014), Istanbul Biennial (2011), and Documenta XI (2002).
Armin Linke
Born in Milan, lives in Berlin
Armin Linke (b. 1966, Milan, Italy) lives and works in Berlin, Germany. As a photographer and filmmaker, he explores the question of how humanity uses technologies and knowledge to transform the surface of the earth and adapt it to its needs. Recent solo exhibitions include Carceri d'invenzione, XXII Triennale di Milano, Milan (2019); Prospecting Ocean, CNR-ISMAR, Venice (2018); The Appearance of That Which Cannot be Seen, ZKM Karlsruhe, PAC Milano, Forum Ludwig Aachen, Centre de la photographie Genève (2015-2017). Recent group exhibitions include Kunstmuseum Stuttgart (2019); Haus der Kulturen der Welt, Berlin (2019); Disappearing Legacies: The World as Forest, Halle/Saale, Berlin, Hamburg (2017-2018).
Tala Madani
Born in Tehran, lives in Los Angeles
Tala Madani (b. 1981, Tehran, Iran) lives in Los Angeles. She makes paintings and animations whose indelible images bring together wide-ranging modes of critique, prompting reflection on gender, political authority, and questions of who and what gets represented in art. She has been the subject of solo exhibitions at a number of museums worldwide, including Portikus, Frankfurt, Germany (2019); La Panacée, Montpellier, France (2017); MIT List Visual Arts Center, Cambridge, Massachusetts (2016); Contemporary Art Museum, St. Louis (2016); and Centro Andaluz de Arte Contemporáneo, Seville, Spain (2014). Her work forms part of the permanent collections of institutions that include Moderna Museet, Stockholm and Malmö, Sweden; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Serralves Foundation, Porto; Stedelijk Museum, Amsterdam; Tate Modern, London; and Whitney Museum of American Art, New York.
Jared Madere
Born in New York, lives in Los Angeles
Jared Madere (b. 1986, New York, USA) is an artist and opera composer based in Los Angeles. Amongst his solo shows are The Dark Side of Liberty, Liberty, Londra (2017) and Jared Madere, Whitney Museum of American Art, New York (2015); group exhibitions include Crash Test, La Panacée, Montpellier (2018); Fly Into The Sun, The Watermill Center, New York (2017); DOOM: SURFACE Controle, Le Magasin, Grenoble (2014). Amongst his curatorial projects are Bed-Stuy Love Affair and Mother Culture Los Angeles.
Turiya Magadlela
Born and lives in Johannesburg
Turiya Magadlela (b. 1978, Johannesburg, South Africa) is based in Johannesburg. Her practice has been shaped by the city, by the people, politics, violence and passions within it, and she translates her experiences into her fabric-based works. Magadlela selects commonly-found fabric, including pantyhose and overalls from prisons, and stretches them over canvas, creating abstract compositions through the manipulation of the textiles. Since being awarded the FNB Art Prize in 2015, she has participated in numerous solo and group exhibitions both locally and internationally, including Blackness in Abstraction, Pace Gallery (2016) and Blue Black, curated by Glenn Ligon, Pulitzer Arts Foundation (2017).
Claudia Martínez Garay
Born in Ayacucho, lives in Amsterdam
Claudia Martínez Garay (b. 1983, Ayacucho, Peru) lives and works in Amsterdam. Her work deals with the socio-political memory and history of Peru and its relationship with un/official visual archives such as propaganda, iconography and popular imagery from which she speculates and questions the past within her installations and videos. Recent solo exhibitions include ¡Kachkaniraqkun! / ¡Somos aún! / ¡We are, still!, Nova Section, Art Basel Miami (2018); I WILL OUTLIVE YOU. Grimm Gallery, New York (2018). Groups exhibitions include Taming Y/Our Passion, Aichi Triennial, Japan (2019); 12th Shanghai Biennale, Proregress—Art in an Age of Historical Ambivalence, Power Station of Art, Shanghai (2018); 4th New Museum Triennial, Songs for Sabotage, New Museum, New York (2018).
Born in Austria, lives and works in London and Vienna
Ursula Mayer's (b. 1970, Ried im Innkreis, Austria) practice spans a range of media, including film, video and sculpture. Her films are crystalline circuits of images, composed of signs borrowed from architecture, fashion, literature, politics, mythology, geology and science. Through her poetic treatment of film Mayer interweaves myth, biopolitics and the semiotics of cinema to visualise and ruminate upon future posthuman ontology. Her solo exhibitions include Atom Spirit, Salzburger Kunstverein (2017); To What I Might Become, Moderna Museet Malmoe, Sweden (2015); But We Loved Her, 21er Haus, Vienna (2013). Recently her works have been included in Be Fragile! Be Brave!, Center for Contemporary Arts, Estonia (2017); SeMA Biennale, Mediacity Seoul, South Korea (2016); and The New Human, Moderna Musseet, Stockholm (2016). Mayer is the 2014 recipient of the prestigious Derek Jarman Award for experimental film and the Otto Mauer Prize in 2007.
Melvin Moti
Born and lives in Rotterdam
Melvin Moti (b. 1977, Rotterdam, the Netherlands) is based in Rotterdam, the Netherlands. In recent years Moti's work has explored the realm of sensory perception (especially as a result of sensory deprivation), reduction as an artistic approach (especially in empty museums) and non-production (doing nothing, saying nothing and thinking nothing) as a form of creative output. Recent solo exhibitions include Cosmism, Art Sonje (2017); Spectral Spectrum, Hermitage, Amsterdam (2015); Cluster Illusion, Mori Art Museum, Tokyo (2014). Recent group exhibitions include I See That I See What You Don't See, XXII Triennale di Milano (2019); ART Fahrenheit 451: Sailing into the sea of oblivion, Yokohama Triennale (2014) and The Encyclopedic Palace, 55th Venice Biennale (2013).
Güneş Terkol & Güçlü Öztekin
Güçlü Öztekin
Born in Eskişehir, lives in Istanbul
Güçlü Öztekin (b. 1978, Eskişehir, Turkey) lives and works in Istanbul. Öztekin is known for his large-scale works created with materials such as styrofoam and craft paper. He uses materials that are within his reach as an act of recycling. Öztekin is a member of Ha Za Vu Zu, an artist collective founded in 2005 and also plays for the avangarde music group GuGuOu. His most recent solo exhibitions are Topsy-Turvy! Selpakla Gorili Bitirdim, Dirimart, İstanbul (2017); Şe Şe Pa Pa... Sometimes You Need to Cry to Fish, Rampa, Istanbul (2015); Everything's Tickling Each Other, Krinzinger Projekte, Vienna (2012). Together with Ha Za Vu Zu, he took part in various group exhibitions, during which he enacted performances and showed his works, including 10th Lyon Biennial (2009); Bovisa Triennial, Milan (2008); 10th Istanbul Biennial (2007).
Güneş Terkol
Born in Ankara, lives in Istanbul
Güneş Terkol (b. 1981, Ankara, Turkey) lives and works in Istanbul. Terkol takes inspiration from her immediate surroundings, collects materials and stories which she weaves into her sewing pieces, videos, sketches, and musical compositions. She is also a member of Ha Za Vu Zu artist collective and GuGuOu music group. Recent solo exhibitions include She wasn't there and she couldn't believe her ears, Galeri Nev Ankara (2019), Home is my Heart, Krank Art Gallery, Istanbul (2017), The Holographic Record, NON Gallery, Istanbul (2014), Dreams on the River, Organhause, Chongqing, China (2011). Selected group exhibitions include The Mahalla Festival, Malta (2018); Art Night, London, (2017); Flâneuses, French Institute, Istanbul (2017); Interceza Viva, 32nd Bienal de São Paulo (2016); Passion, Joy, Fury, MAXXI, Roma (2016); 10th Gwangju Biennale, South Korea (2014); Better Homes, Sculpture Center, New York (2013).
Thiago Rocha Pitta
Born in Tiradentes, lives in Petropolis and São Paulo
Thiago Rocha Pitta (b. 1980, Tiradentes, Brazil) is based in Petropolis and São Paulo. His temporal and sensitive body of work depicts interventions with the environment. Through watercolors, photographs, sculpture, and video, Rocha Pitta focuses on small yet emotive elements of the natural world that are simultaneously ominous and melancholy. Driven by a preoccupation with the passage of time, particularly in natural settings, Rocha Pitta often manipulates the pace of his work, confronting his viewer with quiet, curious introspection and an open-ended sense of longing. He has held solo exhibitions at Galeria Millan, São Paulo (2018); Boesky Gallery, New York (2017); Gluck50 Gallery, Milan (2013); among others. In 2012, Rocha Pitta was selected to participate in the 30th Bienal de São Paolo with his installation A iminencia das poeticas. His work has been incorporated into public collections including the Museum of Modern Art, New York; Maison Européenne de la Photographie, Paris; Hara Museum, Tokyo; the ThyssenKrupp, Vienna; and the Museu de Arte Moderna de São Paulo, São Paulo.
Glauco Rodrigues
Born in Bage, passed away in Rio de Janeiro
Glauco Rodrigues (b. 1929, Bage, Brazil; d. 2004, Rio de Janeiro, Brazil) began painting in 1945 as an autodidact. After a brief period of training in Bage, he received a scholarship to attend the National Fine Arts School in Rio de Janeiro however he did not attend classes. Between 1951 and 1954 he founded and participated in several engraving collectives, where his aim was to express the rural character and traditions of southern Brazil, an objective that defined his practice. In 1958 he moved to Rio de Janeiro where he worked as a graphic designer, an illustrator and later as the director of the highbrow Senhor magazine. In the late 1950s, his works approached abstraction. In the early 1960s he returned to figuration and produced works under the impact of pop art, dealing with humor with national themes such as the Indian image, carnival, football, tropical nature and Brazilian history.
Mika Rottenberg
Born in Argentina, lives in New York
Mika Rottenberg (b. 1976, Buenos Aires, Argentina) is devoted to a rigorous practice that combines film, architectural installation, and sculpture to explore ideas of labor and the production of value in our contemporary hyper-capitalist world. Using traditions of both cinema and sculpture, she seeks out locations around the world where specific systems of production and commerce are in place, such as a pearl factory in China, and a Calexico border town. Through the editing process, and with footage from sets built in her studio, Rottenberg connects seemingly disparate places and things to create elaborate and subversive visual narratives. By weaving fact and fiction together, she highlights the inherent beauty and absurdity of our contemporary existence. Recent solo exhibitions include New Museum (2019), Museo d'Arte di Bologna (2019), Goldsmiths Centre for Contemporary Art (2018), Kunsthaus Bregenz (2018), Bass Museum of Art (2017), and Palais de Tokyo (2016).
Max Hooper Schneider
Born and lives in Los Angeles
Max Hooper Schneider (b. 1982, Los Angeles, USA) lives and works in Los Angeles, California. Hooper Schneider's work develops and explores the aesthetics of succession through the creation of worlds that materialize and dramatize nature in diverse ways and suggests a worldview that strives to dislocate humans from their assumed position of centrality and superiority as knowers and actors in the world. Recent solo exhbitions include Tryouts for the Human Race, Jenny's, Los Angeles (2018); Nature Theater of Violent Succession, High Art, Paris (2015); and a forthcoming exhibition at the Hammer Museum in September 2019. Group exhibitions include the 13th Baltic Triennial, Lithuania (2017); The High Line, New York (2017); La Panacée, Montpellier, France (2017) and the Mongolia Land Art Biennial (2014, 2012).
Born in Rome, lives in Rome and Milan
Luigi Serafini (b. 1949, Rome, Italy) has worked as an architect, ceramist, glazier, painter, sculptor, designer, set designer and writer. He is mostly known for his acclaimed book, which has reached today its eleventh edition, Codex Seraphinianus (1981), an illustrated encyclopaedia of an imaginary world described with a constructed writing. He also published Pulcinellopaedia (1984) and Storie Naturali (2009). He was part of the Memphis Group (1981) in Milan. He helped Federico Fellini in his last movie La Voce della Luna (1988). He designed scenes and costumes for Teatro alla Scala and Piccolo Teatro. In 2003 he made a big installation at the Naples' subway. He has been a visiting artist at the Banff Centre, Canada, and at McLuhan Institute of Toronto. He has exhibited at Palazzo Grassi, Venice (1981); Hayden Gallery, MIT, Cambridge (1983); Mudima Foundation, Milan (1998); XII Quadriennale of Rome (1999); Galleria Nazionale d'Arte Moderna, Rome (2001); Padiglione d'Arte Contemporanea, Milan (2007); Val Bregalia, Switzzerland (2007) and the 54th Venice Biennale (2011).
Paul Sietsema
Paul Sietsema (b. 1968, Los Angeles, USA) lives and work in Los Angeles. His films, paintings and drawings address the production, consumption, and proliferation of cultural objects. Sietsema's practice reflects his interest in the possibility of an artwork to mediate information or meaning through an engagement with the aesthetic languages of a specific time period be it historical or contemporary. Solo exhibitions have been organized by the Wexner Center for the Arts in Columbus, Ohio (2013); the Museum of Contemporary Art Chicago (2013); the Kunsthalle Basel (2012); the Museo Nacional Centro de Art Reina Sofia, Madrid (2009). His work has been included in Question the Wall Itself, Walker Art Center, Minneapolis (2017); A Slow Succession with Many Interruptions, San Francisco Museum of Modern Art (2016); and Drawing: The Bottom Line, S.M.A.K., Ghent (2015).
Ylva Snöfrid
Born in Umeå, lives in Athens and Stockholm
Ylva Snöfrid (b. 1974, Umeå, Sweden) is based in Athens, Greece, and Stockholm, Sweden. Earlier Ylva lived in what seemed to be the real world, while Snöfrid lived behind the mirrors, in the so-called mirror world, (a world which is often described as less than real). Snöfrid has been there since Ylva's childhood, acting as her mirror twin. Later, she became a part of Ylva's 'art' ('art' as per what 'artists' do). For many years, Ylva brought Snöfrid into the world through rituals and ceremonies, through objects and publications, again and again and again… Until they were finally fused into one – Ylva Snöfrid. This happened 2017, through an 8 hour long Transmutation Ritual, Ylva and Snöfrid's Transmutation Ritual with Mirrored Spring, Snöfrid et les contre espaces, the Oracle and Tondo, in Retour sur Mulholland Drive, at La Panacée, Montpellier.
Simon Starling
Born in Epsom, lives in Copenhagen
Simon Starling (b. 1967, Epsom, England) is based in Copenhagen, Denmark. Since emerging from the Glasgow art scene in the early 1990s, Simon Starling has established himself as one of the leading artists of his generation, working in a wide variety of media (film, installation, photography) to interrogate the histories of art and design, scientific discoveries, and global economic and ecological issues, among other subjects. The recipient of the 2005 Turner Prize, his recent solo exhibitions include A l'ombre du pin tordu, MRAC, Sérignan (2017); Simon Starling, Nottingham Contemporary (2016); El Eco (In collaboration with Pilar Pellicer and Yasuo Miichi), Museo Experimental el Eco, Mexico City (2015); Metamorphology, Museum of Contemporary Art Chicago (2014). Group exhibitions include 12th Shanghai Biennale (2018), Centre Pompidou Metz (2017), Castello di Rivoli, Turin (2017).
Jennifer Tee
Born in Arnhem, lives in Amsterdam
Jennifer Tee (b. 1973, Arnhem, the Netherlands) lives and works in Amsterdam, the Netherlands. The objects Tee creates could be seen as material representations of the journey of the soul. Questioning the relationship between spirit and matter, she works to give form to the intangible through material experimentation and performative gestures. Recent solo exhibitions include Let It Come Down, Bonner Kunstverein, Bonn (2017-2018); Let It Come Down, Camden Arts Centre, London (2017); Structures of Recollections and Perseverance, Kunstraum, London (2017); Tulip Palepai, navigating the River of the World, Rijksmuseum, Amsterdam (2017). Group exhibitions include São Paulo Biennial, São Paulo (2018); What People Do for Money, Manifesta 11, Zurich (2016).
Hale Tenger
Born in Izmir, lives in Istanbul
Hale Tenger (b. 1960, Izmir, Turkey) lives and works in Istanbul. Tenger's artistic practice addresses socio-political issues while focusing on the experience of the viewer. Based on the coalescence of sensations such as texture, form, colour and sound, her narrative setups create sensory and cognitive spaces. Amongst her solo shows are Under, Alserkal Avenue, Dubai (2018); We didn't go inside; we were always on the inside/We didn't go outside; we were always on the outside, Protocinema, New York (2015); Swinging on the Stars, Galeri Nev Istanbul (2013); and group exhibitions include Silence, Cappadox, Cappadocia (2018); 57th Venice Biennale, (2017); Cher(e)s Ami(e)s, Centre Pompidou, Paris, (2016).
Suzanne Treister
Suzanne Treister (b. 1958, London, UK) is based in London and France. Since 1988 she has made works about video games, virtual reality and avatars. In recent projects, HEXEN 2.0, HFT The Gardener and SURVIVOR (F) her ongoing focus is the relationship between new technologies, society, alternative belief systems and the potential futures of humanity. Recent solo exhibitions include CAPC, Bordeaux (2018); HFT The Gardener, P.P.O.W., New York (2016); THE REAL TRUTH, A WORLD'S FAIR, Raven Row, London (2012). Group exhibitions include CCCB, Barcelona (2019), Busan Biennale, South Korea (2018), HKW, Berlin (2017).
Piotr Uklański
Born in Warsaw, lives in New York and Warsaw
Piotr Uklański (b. 1968, Warsaw, Poland) has constructed a diverse body of work that exploits as many types of media (sculpture, photography, collage, performance, and film) as it promiscuously absorbs cultural references. Uklański's work often draws polemical reactions since the artist does not shy away from potentially controversial subjects. Recent solo exhibition include Polska, The National Museum in Krakow (2018); Fatal Attraction: Piotr Uklański Photographs, The Metropolitan Museum of Art, New York (2015); Fatal Attraction: Piotr Uklański Selects from the Met Collection, The Metropolitan Museum of Art, New York (2015). Recent group exhibitions include A Woman Looking at Men Looking at Women, Muzeum Susch, Susch (2018); Shouting: Poland! Independence 1918, National Museum, Warsaw (2018); Learning from Athens, documenta14, Neue Gallery, Kassel, and EMST-National Museum of Contemporary Art, Athens (2017).
Ambera Wellmann
Born in Lunenburg, lives in Berlin
Ambera Wellmann (b. 1982, Lunenburg, Canada) is based in Berlin, Germany. In Wellmann's recent paintings, pop cultural, pornographic and art historical references commingle in vibrant, often perverse human spaces. With figures poised between action and passivity, Wellmann's works examine the dynamics between eroticism, politics and power through a shifting set of spatial relationships and fluid materiality. Recent solo exhibitions include In medias res, Lulu, Mexico City (2019); Forthcoming, MoCO Montpellier, France (2019); and (Wo)man and Beast in the Round of Their Need, Projet Pangee, Montreal (2018). Group exhibitions include MoMA Warsaw, Poland (2019); Australian Centre for Contemporary Art, Melbourne (2019).
Born in Seoul, lives in Berlin and Seoul
Haegue Yang (b. 1971, Seoul, South Korea) lives and works in Berlin and Seoul. Interweaving political narratives with materiality and ornamentation, Yang often uses industrially produced items and labor-intensive handicraft techniques to create installations that are conceptually complex and sensually immersive. Recent solo exhibitions include Tightrope Walking and Its Wordless Shadow, Triennale di Milano (2018), ETA 1994–2018, Museum Ludwig, Cologne (2018), and Lingering Nous, Centre Pompidou, Paris (2016). Her work has been included in numerous group exhibitions internationally, including the 21st Biennale of Sydney (2018), dOCUMENTA (13), Kassel (2012), and the 53rd Venice Biennale (2009).
Müge Yılmaz
Born in Istanbul, lives in Amsterdam
Müge Yılmaz, (b. 1985, Istanbul, Turkey) lives and works in Amsterdam, the Netherlands. Her research presents speculative narratives about the future through photography, performance and installation. Recent exhibitions include Loops, De APPEL, Amsterdam (2018); Meeting the Universe Halfway, Kunst im Tunnel, Düsseldorf (2018); Performatik17, Brussels (2017); Night Eyes, M HKA, Antwerp (2017); and Why Not Ask Again?, 11th Shanghai Biennial (2016). She has been a resident artist at Asia Culture Center (2016) and is alumna of Rijksakademie van Beeldende Kunsten (2013-2014) in Amsterdam.
Phillip Zach
Born in Cottbus, lives in Los Angeles
Phillip Zach (b. 1984, in Cottbus, Germany) is based in Los Angeles, USA. Experimenting with notions of image, sculpture and installation, Zach employs a diverse range of materials and formats. In exploring frictions between evolving material realities and mental spaces, his work challenges assumptions about the lived human experience. Recent solo exhibitions include Freedman Fitzpatrick, Paris (2019); Der Wurm als Wille und Vorstellung [Worm as Will and Representation], Freedman Fitzpatrick, Los Angeles (2017); Shade Shifters, Koppe Astner, Glasgow (2015). Group exhibitions include La Panaceé, Montpellier (2018); Kunsthalle Mainz (2017); CAC Vilnius (2017); The Depart Foundation, Los Angeles (2017); Luma Foundation, Zurich (2016); Dortmunder Kunstverein (2016).
Andrea Zittel
Born in Escondido, lives in Joshua Tree, California
Andrea Zittel (b. 1965, Escondido, CA, USA) has used her day-to-day life to develop and test prototypes for living structures and situations. In 2000 she moved to Joshua Tree where she founded A-Z West, a testing grounds for her life-practice. Her work has been featured in numerous solo exhibitions including Lay of My Land, Magasin 3, Stockholm (2011); Critical Space, New Museum, New York (2006); and Small Liberties, Whitney Museum at Altria, New York (2006); among others. Group exhibitions include Venice Biennale (1995); Documenta X, Kassel (1997); and Whitney Biennial, New York (2004, 1995).
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There is an increasing prevalence of ASD diagnoses, which calls for more research on the caregivers. This study's goal was to explore primary and secondary sources to identify themes of potential research within this topic. This study analyzed the existing literature and archival data to create seven themes: parental stress, stress-inducing ASD symptomology, ASD vs. other disorders, mothers vs. fathers, coping mechanisms of caregivers, substance use, and incarceration. A potential future research project idea is presented.
Wherry, Morgan, "An Exploration of the Effects of Parenting a Child Diagnosed with Autism Spectrum Disorder" (2018). Honors Theses. 535.


Hardesty entered the Army (Infantry) in 1945 and served in the U.S. Disciplinary Barracks. Interviewed by Joyce Suellentrop on Jun 20, 2006, Hardesty talked about military experiences in the Second World War. The 2005 Kansas Legislature passed a bill funding the WWII Veterans Oral History grant program. This transcript is from one of the nine community institutions that received these grants. The transcript from the interview is presented here; the original audio copy of the interview is available through the Gray County Veterans Memorial & Archives and through the Kansas State Historical Society.


If you look in my closet, you'll quickly notice that dresses form the basis of my wardrobe. You might assume that this is because i'm a super girly girl. Or because I love a good twirling pic. While all of the above are true, I really love dresses because I am LAZY.
I know, fashion bloggers are supposed to be into getting dressed up and all that. And I mean, yes I like it! But I also really like to keep it simple, and I really like to sleep. So my secret for looking put together with minimal effort is...you guessed it, dresses!
Dresses require no matching, no tucking, nothing. Pretty much I can hit snooze 10x, put on a dress, throw my hair in a bun, add some lipstick and hop into my car for my hour + commute to my day job. Somehow when I arrive, my clients still think I am oh so polished and worthy of billable hour...HAH fooled ya!
A good sheath dress like the one I'm wearing can do double duty. I've worn this one in a board meeting by throwing a matching blazer over it (like this one) and the textured fabric also makes it perfect for a weekend by the beach somewhere. Hopefully I'm jetting off to Mexico soon, which is what I was envisioning when I added this hat (it would also look great with this one!) They also look great with a neck scarf (like this one!) or a cozy cardigan like this one when it gets cooler. I like to pair sheaths with a strappy heel to amp things up a bit. I love this pair and this pair too.
What are some of your tricks for getting ready fast in the morning? I need all the sleep I can get so I would love it if you would share them with me!


text:
Q: powershell get-process behavior different when in script If I type this command, the results are correct:
Get-Process -ComputerName localhost -Id 1112,2436
Get-Process -ComputerName localhost -Id 1112, 2436

Notice the space in the list in the second command.
But if I try doing this in a script, it fails:
$str = '1112, 2436'
Get-Process -ComputerName localhost -Id $str

Get-Process : Cannot bind parameter 'Id'. Cannot convert value "1112, 2436" to type "System.Int32". Error: "Input string was not in a correct format."

This fails too:
$str = '1112,2436'
Get-Process -ComputerName localhost -Id $str

Get-Process : Cannot find a process with the process identifier 11122436.

Any idea how I can pass the two ids to the command in a Powershell script?

A: 1112, 2436 in -Id parameter is an array declaration, not a string. Remove the quotes:
$Ids = 1112, 2436 # spaces don't matter
Get-Process -ComputerName localhost -Id $Ids

redpajama_set_name: RedPajamaStackExchange


All the enthusiast Sarawakian photographers are invited to participate to this event organized by WPPM – Wedding and Portrait Photographers Malaysia. The event which will be held on Saturday 26th of January 2013 -1pm to 5.30pm will see numerous well known photographers sharing their passion with those attending.
Among them are Portraits Artist Eddie Putera, who is coming especially from Kuala Lumpur, the famous Sarawakian photographer Shen Yeo and by the great Scottish photographer Gerry Fox, who is one of our Kuching campus' instructor.
1.30pm-2pm: Opening Speech by WPPM Team.
4pm-5pm: 'Sound and image: the power of the combination.' by Gerry Fox.
5pm: Group photo and closing presentation.
Admission is RM30 and this includes a door gift.
To register send an email to info@wppm.com.my and cloe@wppm.com.my.


text:
Europe's Dangerous Complacency
Richard A. Falkenrath Wednesday, July 7, 2004
Nearly four months have passed since Islamic terrorists killed 191 people in Madrid on March 11. Yet, Spain appears to be making little effort to prevent a similar attack. As someone who experienced the September 11 attacks on America in 2001 and helped fashion a response, the relatively passive approach of the Spanish—and other Europeans—to the "3-11 attack" on Madrid is stunning.
There is a valuable lesson for Europe from the tragedy. The bombings were preventable. The Spanish government failed to prevent them, however, because of specific and identifiable structural weaknesses in the country's counter-terrorism law and practice. Most other European states suffer the same weaknesses, as did the US until recently. These can be corrected if properly understood and if elected leaders are prepared to act. Unfortunately, Spain has not yet begun a self-critical examination of why its authorities failed to prevent the bombing. The inquiry that began yesterday, has no real hope of rendering such a service. The investigative panel is made up of members of parliament who belong to opposing political parties; they are not independent actors and are unable to provide the objectivity and independent prescriptive vision required.
The Madrid attack was like the September 11 attack in that government agencies failed to share information about an unfolding terrorist threat. Although the US government possessed little data directly relevant to the September 11 conspiracy, there is no question that Washington's ability to perceive the plot—to "connect the dots"—was impaired by a "wall" between US law enforcement and intelligence agencies. This problem was rectified after the attacks. George W. Bush began daily meetings with his intelligence and law enforcement chiefs. Congress eliminated the statutory foundation of the "wall" by passing the USA Patriot Act. The FBI, the CIA, the new Homeland Security department and many other federal agencies are now required to share all terrorism-related information with one another and with the White House. If there is ever again a failure of information-sharing in the US government, it will be due to malfeasance or incompetence, not scrupulous observance of policy.
The same cannot be said of European countries. With the exception of the UK and, to a lesser extent, France, European countries have a "connect the dots" problem at least as severe as that in the US before September 11, 2001.
Journey into Europe
By Akbar Ahmed
Domestic Determinants of Foreign Policy in the European Union and the United States
Edited by Daniel S. Hamilton and Teija Tiilikainen
Vision 2020 Bosnia and Herzegovina
Edited by Sasha Toperich, Heidi Obermeyer, and Tea Ivanovic
So what should European governments do to improve their chances of preventing another attack? Each country's leader should order all law enforcement and intelligence agencies to share all terrorism-related information with one another, to the extent permitted by law. In some cases it may also be appropriate to establish a standing "fusion cell" to analyse domestic and foreign threat reporting, as the US and UK have done, or a joint taskforce to include sub-national law enforcement agencies in specific investigations. But these interagency practices will be insufficient if the law continues to discourage police from using intelligence in domestic counter-terrorism operations.
While details vary according to different legal systems, there are three basic requirements for an effective legal regime for domestic counter-terrorism. First, domestic law enforcement officials need a viable procedure for using foreign intelligence to initiate a domestic wiretap, search warrant or other surveillance measure. Second, prosecutors need the ability to introduce foreign intelligence into judicial proceedings without prejudicing the prosecution or risking the disclosure of the information. Third, intelligence analysts need the ability to receive, possess, search and analyse information collected by law enforcement on people who may be associated with a terrorist organisation or plot. The legal systems in most European countries lack these three basic requirements. At the moment, however, no European government—including the new Spanish government—shows any sign of having the political courage to propose a sensible, balanced legislative remedy to these basic statutory deficiencies. This is precisely why Spain needs an independent, apolitical 3-11 commission, made up of of statesmen who are out of government and "above politics". It should have an expert, independent staff as well as the time and money needed to complete the task. It must have unfettered access to all classified intelligence and sensitive law enforcement information related to pre-March 11 terrorist threats and counter-terrorist operations. And it must make clear, actionable recommendations about reforming Spanish counter-terrorism law and practice.
With the structural problems of European counter-terrorism so widespread and interconnected, all of Europe stands to benefit from an independent Spanish 3-11 commission.
Richard A. Falkenrath
Senior Fellow, Foreign Policy Studies, The Brookings Institution
Terrorism & Extremism

redpajama_set_name: RedPajamaCommonCrawl


I do not condone the harming of people or animals for the purpose of drinking blood, however I acknowledge the necessity to a subpopulation of people here-in refered to as "sanguinarians". I take no responsibility for the misuse of the following information resulting in pain or injury. Just because something is not listed, does not mean it is a safe practice. This information is intended to be used only by consenting adults. Adults defined by the age of majority in the country or state of residence.
Always keep this kit in a location where you know where it is and can reach it quickly in case of emergency. Never be too afraid to call the hospital if needed. If another person's life depends on it, that is not the time to be considering your own life. If it is that big a deal, you should have thought about it before you even started.
Take a basic first aid/CPR course! These are often given several times a year through the Red Cross. You never know when you will need the information. Taking routine refresher courses doesn't hurt either.
NEVER cut on the neck, inner thigh, wrist, bend of the elbow, or back of the knee.
NEVER attempt to draw blood with a syringe without proper training.
NEVER draw blood from a sick donor.
NEVER take blood from the unwilling or underage.
NEVER leave unless you are sure your donor is ok and has stopped bleeding.
NEVER take more then your donor can safely give.
NEVER pressure your donor into giving blood.
NEVER take blood from someone under the influence of medication or alcohol, legal or otherwise.
NEVER drink blood from someone without knowing if they have any blood borne diseases.


The setItem() method of the Storage interface, when passed a key name and value, will add that key to the given Storage object, or update that key's value if it already exists.
A DOMString containing the name of the key you want to create/update.
A DOMString containing the value you want to give the key you are creating/updating.
setItem() may throw an exception if the storage is full. Particularly, in Mobile Safari (since iOS 5) it always throws when the user enters private mode. (Safari sets the quota to 0 bytes in private mode, unlike other browsers, which allow storage in private mode using separate data containers.) Hence developers should make sure to always catch possible exceptions from setItem().
The following function creates three data items inside local storage.
Note: To see this used within a real world example, see our Web Storage Demo.


It's often said that you are what you eat. In Israeli filmmaker Arnon Goldfinger's new documentary, though, you are what you own.
Identity plays a major role in The Flat, which follows Goldfinger's effort to piece together parts of his family history, which is full of questions and contradictions about the Holocaust.
The film begins with Goldfinger clearing the remnants of his grandmother's home in Tel Aviv, Israel. Though his 98-year-old grandmother Gerda never appears in the documentary (except in photographs), her character takes on a life of its own, as her possessions — ranging from old minks to a Shakespeare collection — are organized and stuffed into plastic garbage bags. These scenes capture the no-limits nature of sifting through the belongings of a loved one and are especially impacting for anyone who has ever been placed in such a position.
While shuffling through Gerda's items, Goldfinger is somewhat startled at the discovery of a Nazi tabloid known for unfettered propaganda. Piecing together clues from tattered photographs and faded newspaper clippings, Goldfinger discovers a relationship between his grandparents, German-Jews who moved to Tel Aviv in the 1930s and a high-ranking official in Adolf Hitler's Ministry of Propaganda.
What makes the film special is that it is about more than simply what Gerda and her family physically own in the Tel Aviv flat. It also shines a light on what they own in terms of family history and collective memories.
Goldfinger's discovery spurs a curiosity to understand the truth about what drove the close relationship between his grandparents and the Nazi propagandist Leopold Itz von Mildenstein — a relationship that continued even after the war ended and the Nazi's crimes had been brought to the fore.
Denial exists on both sides of the relationship, as Goldfinger learns when he informs his mother and Mildenstein's daughter of his findings. Unlike characters from the older generation, Goldfinger approaches the war more analytically and with less emotion. Rather than working toward accepting an incomplete history, Goldfinger constantly acquires the facts to compose an accurate account of the past.
The film then asks questions and examines how the merits of truth have changed from one generation to the next. Goldfinger's mother, for one, was trained not to cast doubts on her family's history. Throughout the film, she asks her son Arnon what the point of his quest is and why it is necessary. And it's a fair question: Why stir the pot when all has been calm?
The divide between Goldfinger's generation and that of his mother is clearly explained when Goldfinger interviews one of Gerda's close friends.
Distanced from history, Goldfinger is able to ask the questions that his mother never could, and, in the end, the film argues that this is a good thing.
Though the compelling story of Goldfinger's quest drives The Flat, the film brings a careful attention to detail, particularly in Goldfinger's direction. Repeated cuts to the opening of window shades, for example, convey a contemplative tone even before Goldfinger's narration reinforces it. Techniques such as this help guide the film, giving the story greater depth by allowing it to visually establish an emotional connection with the audience.
The Flat might also intrigue audiences because its composition differs from most documentaries concerning the Holocaust. To tell his story, Goldfinger, who wrote and directed the film, breaks away from the History Channel model and refrains from using repeated images of ghettos or concentration camps. Instead, he relies on uncovering the truth about the past through the clues at his disposal — oral interviews, historical documents and public records.
At times, The Flat can be a little difficult to follow. But Goldfinger's steady narration tempers this issue to an extent by helping those watching determine what is important information and what is irrelevant.
For a historically specific film, The Flat is uniquely universal. It is, at its core, a statement about the human character and contains something for everyone who has ever been plagued by the inescapable desire to answer the question: Where am I from?


[Boxuesky!] Original E-Books Library-Boxuesky-welcome to contribute-③ Original E-Books Library - Powered by Discuz!
Now, we are in the right way to develop the Library of Original ebooks. Recent days, we got the average of >50 original books per day. It is so amazing.
From now, if you have a good skill for ripping the original ebook, do not hesitate to take part in, and we will give you a lot of money and especially super.
If the book are new, even will be published in the future, you will get more 1 super for one ebook.


Complement your style with bold digital watch for women. A watch is a unique kind of accessory. It is a bold fashion thing added to a lot of different functions. Special digital watch, for it not only shows you the time when you throw just one glance down at it-it can be much more than that. Most of the newer digital dameure is packed to the brim with features such as alarm, stopwatch, date display, heart rate monitor and much more. However, it is far from all models, which is so filled to the brim with features. Some of these craftsmen have in fact chosen to go in the opposite ditch, and create a range of watches that are kept simple and minimalist. Just like an old-fashioned watch-just digital. It can be hard to choose, because the two watch types each have their own charm and benefits.
We live in a digital age, then follow with future trends, and get you one of the great digital watch for ladies! There is a lot to choose from, both stylistically and functionally, so there is probably also a model to suit you. Choose you based solely on fashion and Visual aesthetics, is one of the simpler watches as, for example, All Black from Nixon perhaps preferable. Do you play an active lifestyle, you can maybe do benefit from the many features, like for example the Timex models has to offer. Regardless of your taste and your purpose with the watch, so you can probably find one that's right for you right here on the page.
What To Consider When Buying A Smartwatch Clock?


text:
Q: when this code executes, it shows no output. Why is that? Following code has no output when it executes. Can anyone explain the following code?
int main() {
  int i, j;

  for (i = 0; i < 10; i++) {
    if (i % 2)
      printf("%d\t", i);
    else
      break;
  }
}

A: 0 % 2 gives false so the loop terminates at the first iteration without calling the printf.

A: Your code has two issues:
1.
if (i % 2)
The condition of (i % 2) evaluates to false because the calculation - 0 divided by 2 - result in 0  -> 0 / 2 = 0. The remainder is also 0.
2.
else break;
That provides the result if (i % 2) is not true (which is the case with 0 at the first iteration) you immediately will break out of the for loop. Omit the break; statement in general, if you want to proof if all values from 0 to 9 have an remainder when divided by 2 or not.
Note that to pack break; in an separate else statement is nonetheless redundant.

Side note:
j has no use in your code.

I guess what you want is something like that:
#include <stdio.h>

int main (void) {
   int i, j;

   for ( i = 0; i < 10; i++ ) {
     if ( ( j = i % 2 ) )
       printf("(%d / 2) has a remainder of %d.\n", i, j);
     else
       printf("(%d / 2) has no remainder.\n", i);
   }
}

Output:
(0 / 2) has no remainder.
(1 / 2) has a remainder of 1.
(2 / 2) has no remainder.
(3 / 2) has a remainder of 1.
(4 / 2) has no remainder.
(5 / 2) has a remainder of 1.
(6 / 2) has no remainder.
(7 / 2) has a remainder of 1.
(8 / 2) has no remainder.
(9 / 2) has a remainder of 1.

Try this code online.
Note that by the division 1 / 2, the result 0.5 is raised to the nearest upper integral value 1 because of the implicit double to int conversion.

A: i % 2 gives the remainder of the Euclidian division of i by 2. It does NOT mean "i is divisible by 2". If the latter is true, then i % 2 gives 0 which implicitely converts to false. If it is false, then i % 2 gives 1 which implicitely converts to true. Therefore, in the first iteration, the conditional ex^pression evaluates to false so you break out of the loop immediately.
If you want to check the divisibility of i by 2, you must use i % 2 == 0.


What do you need to do to have your Civil Ceremony Wedding at Raheen Woods Hotel?
How will approval be granted to you?
A member of this team will meet with you and review their application. When they are satisfied that both the hotel and the wedding couple meet the requirements, approval is then granted.
Applications should be made to the Health Services Executive Civil Registration Office at least three months before the wedding; however, it is advisable to apply as far in advance as possible to guarantee requested dates. Approvals will be granted for civil ceremonies from July 2008 onwards.
What do we at Raheen Woods Hotel, have to do?
We must complete a declaration form for each individual application and also ensure that the standards set out by the Health Service Executive Civil Registration Office are adhered to at all times.


text:
Em termos musicais, a escola franco-flamenga ou escola neerlandesa foi um movimento de renovação musical da Renascença que se desenvolveu a partir do século XV, nos Países-baixos borgonheses antes de se espalhar por toda a Europa. Caracterizou-se pelo grande desenvolvimento da polifonia e iniciou, assim, as bases da Harmonia moderna. O estilo franco-flamengo se espalhou graças à invenção da imprensa. É considerado o primeiro estilo internacional depois da uniformização do Canto gregoriano no século IX. A escola franco-flamenga se estende sobre todo o período de 1420 a 1600, mas distinguem-se cinco gerações sucessivas de compositores.

Contexto histórico
Enquanto a Guerra dos cem anos entre a França e a Inglaterra chega ao fim, certos países não envolvidos com o conflito, como os Países baixos e a Borgonha, conhecem a paz e a prosperidade econômica. O desenvolvimento das fábricas, principalmente têxteis, nos Países baixos (Hainaut, Condado de Flandres, Principado de Liège, Ducado de Luxemburgo e Brabante) contribui para o desenvolvimento das Artes. Durante quase dois séculos, esses países foram, assim, palco do principal centro cultural da Europa.

Os compositores da escola franco-flamenga não se contentaram em permanecer em seu país, mas passaram a trabalhar em numerosos países europeus. Assim, viajaram para a Itália, Espanha, França e Alemanha, onde fizeram conhecer o seu estilo. Desta forma, o estilo se espalhou rapidamente, graças ao desenvolvimento da imprensa.

Características da composição

O caráter da polifonia flamenga foi fortemente influenciado pela escola inglesa. Esta última, caracterizada pela superposição de terças, sobretudo no Fauxbourdon,  chegou à França após esta ser invadida pela Inglaterra por Guilherme o conquistador. Ali encontraram um notável sucesso as composições de um musicista, matemático e astrônomo inglês, John Dunstable, autor de canções sacras e profanas. Este foi um dos compositores mais influentes de todos os tempos.

Foi da produção inglesa que os compositores flamengos tomaram emprestada a superposição de terça e sexta que ainda correspondem à nossa sensibilidade acústica, abandonando as sucessões de quarta, quinta e oitava características dos períodos Ars Nova e Ars Antiqua.

O centro da composição flamenga é a tríade, isto é, a superposição de terças, acompanhando e introduzindo uma nova atenção ao desenvolvimento vertical da polifonia, embrião do que –bem mais tarde– será o fundamento da Harmonia. Algumas das regras modernas da composição vieram à luz nessa época, e dentre as mais notáveis podemos citar:

 Proibição de criar quintas e oitavas paralelas, a fim de evitar o sabor arcaico que delas derivava.
 A obrigação de que a superposição de vozes sempre formasse uma tríade consonante, permitindo  dissonâncias apenas sob forma de notas de passagem nos tempos fracos e sob forma de retardo sobre o tempo forte.

As cinco gerações da escola franco-flamenga

Na produção Flamenga do século XVI,  é costume fazer a distinção de 5 períodos ou gerações, separadas por cerca de vinte anos, e cada uma associada ao nome de um ou mais compositores importantes. Esta é obviamente uma classificação de conveniência: a evolução da linguagem musical foi (como sempre) contínua ao longo de todo o período.

 A primeira geração (1420-1450), também conhecida como Escola Borgonheza", foi dominada por Guillaume Dufay, Gilles Binchois e Antoine Busnois. Esta geração marca uma ruptura com música medieval. À sucessão de Quartas,  quintas e Oitavas, que marcaram a música de então, eles preferiram as superposições de terças e sextas e, consideraram um desenvolvimento vertical da música dentro da polifonia.
 A segunda geração (1450-1485), da qual Johannes Ockeghem foi o compositor mais importante é marcada pelo desenvolvimento dos motetos que se tornam os locais preferidos de experimentação do Contraponto.
 A terceira geração (1480-1520), principalmente com  Josquin des Prez, frequentemente considerado como o maior compositor belgo desta escola chamada "franco-flamenga, mas também Jacob Obrecht e Heinrich Isaac.
 A quarta geração (1520-1560): Adriaan Willaert e Jacob Clemens non Papa.
 A quinta geração (1560-1600), dominada por Orlande de Lassus.

Por volta do ano de 1600, o estilo franco-flamengo foi amplamente difundido em toda a Europa. Era o início da idade de ouro dos compositores italianos.

Quadro sinótico dos compositores renascentistas (1400-1600)
Esta é uma linha do tempo com os principais e mais influentes compositores renascentistas, separados por período e estética musical.

Nota: Algumas datas possuem apenas valor aproximado.

Lista de Compositores Franco-Flamengos

Bibliografia
 Ignace Bossuyt (trad. Henri Vanhulst), De Guillaume Dufay à Roland de Lassus : les très riches heures de la polyphonie franco-flamande, Racine, 1996, Bruxelles, 174 p.
 Robert Wangermée, « Guillaume Dufay et la Renaissance en musique » dans Robert Wangermée et Philippe Mercier (directeurs), La musique en Wallonie et à Bruxelles, Tome I Des origines au XVIIIe siècle (430 pages), La Renaissance du livre, Bruxelles, 1980 [D.1980-0115-8], pp. 127-144.
 Robert Wangermée, « La musique » dans Freddy Joris (dir.), Wallonie. Atouts et références d'une Région, Gouvernement wallon, Namur, 1995 .

Ligações externas

Compositores franco-flamengos
Escolas de pensamento

redpajama_set_name: RedPajamaWikipedia


text:
U.S. wants military cooperation pact with Sri Lanka to tackle red tape: TV
By Shihar Aneez
COLOMBO (Reuters) - The United States wants a special forces cooperation agreement with Sri Lanka to sidestep bureaucracy and has no intention of setting up a military base in the country, the American ambassador to the island nation said in a television interview.
The comments represent the latest attempt by ambassador Alaina B. Teplitz to assuage concerns over U.S. involvement in the Indian Ocean island after plans to sign a Status of Forces Agreement (SoFA) by the two countries was heavily criticized by local media and some political analysts who see it as a threat to Sri Lanka's sovereignty.
Also called the Visiting Forces Agreement (VFA), it will establish the framework for U.S. military personnel visiting Sri Lanka at the invitation of the government and is still being negotiated by both nations, Teplitz said.
"The visiting forces agreement is an update to an existing agreement and it is designed to address a number of red tape issues," Teplitz told state-run TV channel Rupavahini in an interview late on Saturday.
Giving the example of the 2017 floods in Sri Lanka, Teplitz said the government had sought help from the United States and it brought in relief supplies but the aeroplanes transporting them required clearance from the government.
The agreement would allow the United States to speed up these procedures, she said, so that when there is an emergency "we don't spend time to cut through the red tape."
Sri Lanka sits near one of the world's busiest shipping routes in the Indian Ocean and over the last several years China has become a major investor, building ports and highways.
India, which is just next door, is starting to push back against China's growing influence and so are the United States and Japan, experts say.
Teplitz had earlier this week dismissed the idea that the military pact had anything to do with China.
"China has nothing to do with the VFA; this is all about the long-standing bilateral partnership with Sri Lanka," she said during a live Facebook chat on Wednesday.
She said the U.S. and Sri Lanka currently renegotiate certain administrative issues around entry and exit of military personnel before every single training or ship visit which takes up a lot of time.
The agreement lays down rules for the benefit of both countries - "meaning no base, no permanent presence of U.S. troops", said Teplitz, adding that Sri Lanka retains the right to approve or deny all entry of people, vessels and aircraft.
The debate on the need to have such an agreement has taken center stage especially after the Easter Sunday attacks and is driving a deeper wedge between the country's President Sirisena Maithripala and Prime Minister Ranil Wickremesinghe who are already at loggerheads.
Sirisena said earlier in July he would not sign any military cooperation deals that are "unsuitable for the country".
Days later Wickremesinghe told the parliament that negotiations are still on with the United States to agree on a pact but he too would not agree to anything that challenges Sri Lanka's sovereignty.
Reporting by Shihar Aneez; Writing by Aditi Shah; Editing by Christopher Cushing


text:
Q: embed youtube video with jwplayer on mobile device when I try to play the video from this link on a mobile device it's play with jwplayer, but when I've tried to implement the code suggested from the same link in my own website it's automatically play the video with youtube player.
how can I play the video with JWplayer on mobile ?? (android, ios)
the code:

thanks


text:
Oceanside Museum of Art show honors La Jolla Art Center & School
Curator Dave Hampton with his "secret weapon," Gayle Kauihou, at the opening of the La Jolla School of Arts show at OMA. Danielle Susalla Deery
Contemporary Art Wins a Beachhead: The La Jolla School of Arts 1960-64
10 a.m. to 4 p.m. Tuesdays-Saturdays; 1-4 p.m.
Sundays through July 8
Oceanside Museum of Art, 704 Pier View Way
$5-$8, free Tuesdays
oma-online.org
Special Event:
"Remembering the Art Center in La Jolla," 2 p.m. April 14, guest curator Dave Hampton will lead a conversation about the school with former faculty member Fred Holle and former students James Aitchison and Karen Kozlow. Free with OMA admission.
By Lonnie Burstein Hewitt
La Jolla's Museum of Contemporary Art has gone through several incarnations in its lifetime. Originally the residence of Ellen Browning Scripps, designed by architect Irving Gill, it was used by local artists as an informal gallery space after her death in 1932. In 1941, it became an official community art center where the prevailing form was impressionistic landscape paintings.
By the late 1950s, The Art Center in La Jolla had turned into something quite different: a showplace for progressive contemporary art. Abstract expressionism came to town, and in 1960, an in-house art school was established, with a faculty of cutting-edge, often controversial artists teaching and exhibiting painting, ceramics, and sculpture.
"Contemporary Art Wins a Beachhead: The La Jolla School of Arts 1960-64," now on view at Oceanside Museum of Art, is a tribute to the Art Center's school, which only lasted four years, but paved the way for what is now MCASD-LJ. Curated by Dave Hampton, an expert in mid-20th-century California art and design, this is the kind of show you might have seen at the Art Center 50 years ago.
Featured are six artists from the '60s who were among the most influential contributors to the Art Center's glory days — painters Don Dudley (1930- ), Fred Holle (1931- ), Sheldon Kirby (1924-1990) and Guy Williams (1932-2004), and ceramic artists Malcolm McClain (1923- ) and Rhoda Lopez (1912-1993). Their work from that period, so often displayed in group and solo shows at the time, has not been shown publicly since, and is a vibrant reminder of a turning point in La Jolla's art history.
Fred Holle, who was still a student at SDSU in 1960 when he became the art school's youngest faculty member, recalls the epoch as "a hot time."
"It was a time when intuition played a dominant role," he said. "We were after the unusual, the impossible. The impulse was the exciting part of a painting."
Holle moved on to the Bay Area and other art forms when the school folded. "I don't want anyone to think I died in 1964," he said. "I'm still painting full-time."
He will take part in a "conversation" about the Art Center on April 14 (see sidebar), along with James Aitchison, who remembers being a 17-year-old "beatnik-appreciator" with a scholarship to L.A.'s Chouinard Art Institute when he first came to the Art School.
Don Dudley, the assistant director, showed him around, and Aitchison says he was more impressed by Dudley's 6'7" height and huge moustache than he was with the place, which seemed too beautiful for a serious school. "Then I looked out the window of one of the studios, and saw bevies of teenage girls in teeny-weeny bikinis on the beach below, and I thought: I could do worse than spend a year here!"
Aitchison spent two years at the Art School, learning to throw pots with Rhoda Lopez, going on watercolor excursions with Sheldon Kirby, making friends with all the instructors.
"They were real mentors," he said. "They were there to show you about life. I learned that art is not just shapes, colors, and forms; there's an emotional element too, and it was my job to capture that. Those two years changed everything for me."
Hampton says the "Beachhead" exhibit documents "a magical time when a bunch of wild young artists were adopted by a proto-museum in a largely conservative town."
"It's a little-known chapter in local art history," he said, "but it went a long way toward developing our knowledge of art."


The Mayo Law Group PLLC can assist in different aspects of the real estate field.
Mack Mayo of The Mayo Law Group PLLC is consistently recognized as a Top Spokane Lawyer and Super Law Rising Star in various areas of law. The Mayo Law Group PLLC represents many owners, landlords, and property management companies throughout the Inland Northwest.. Click below to schedule your initial consultation or call us at (509) 381-5091.
Mack Mayo of The Mayo Law Group PLLC is consistently recognized as a Top Spokane Lawyer and Super Law Rising Star in various areas of law. The Mayo Law Group PLLC represents many owners, landlords, and property management companies throughout the Inland Northwest. Click below to schedule your initial consultation or call us at (509) 381-5091.


text:
Pitching Startup to Investors: Tips. Part 2
We keep talking about what a pitch deck should look like. In the first part of the series, we dwelled on the structure of the presentation. But while it is simple in theory, how does it work in practice? In today's 2nd part of the series we'll look into examples of startup pitch decks. We'll analyze the slide decks of large global companies from Facebook to Uber, and look at examples of why certain startups were chosen by investors in due time.
Facebook started out as a small university ecosystem project. Back in 2004, the startup was called Thefacebook.com. The Facebook service was then available only for students at Harvard University, but a little later, students from Boston universities were able to use it, and after a while it became available for students from other educational institutions in the United States.
At first, the social network for messaging could not demonstrate income metrics to investors, since it did not earn. However, the creators — Mark Zuckerberg and partners - showed the number of users, their engagement, and growth metrics. We are now seeing the results of this pitch deck, but in fact such a presentation is similar to a press kit, which is regularly updated for media advertisers. Here's what the original Facebook pitch deck looked like back in 2004.
Airbnb (the company was originally called AirBed&Breakfast) is basically a textbook example. Their pitch deck is small, yet it contains all the necessary information, while keeping the text minimal.
First, Airbnb explains the need for its product and its benefits: it allows travelers to save money and immerse themselves in the cultural environment of a new city, and for homeowners to benefit from renting out flats. The following slides show the depth of the market and competitors, demonstrating how the search and rental platform works. Then Airbnb shares its approach to how the service makes money, talks about the achievements and startup activity.
In general, if you want to have a good pitch deck and impress your investors, focus on what Airbnb has done.
Buffer is a top service for scheduling posts on Twitter, Facebook, Instagram, Instagram Stories, Pinterest and LinkedIn, which is also the result for the analysis of results and engagement.
The company's experience shows that the success with investors was brought to it by a small (13 slides) and extremely specific presentation, which contains all the necessary information about the market, the product, the numbers that characterize it, development milestones, business model, team, previous investors and advisers... How is it possible to fit so much without overloading the slides with text? Check it out.
LinkedIn, in its 2014 pitch deck for round B, emphasized depth rather than brevity. The LinkedIn example proves that a competent approach, high-quality pitching using storytelling, and demonstration of the results already achieved play a key role in attracting investors.
LinkedIn believes that a presentation should show not only numbers and market size, but also the value of the company, its strengths and competitive advantages. LinkedIn demonstrates that it is replacing old standards and approaches with new, more technological ones. As Web 2.0 replaced Web1.0, Google and Search 2.0 replaced Alta Vista and Search 1.0. Similarly, LinkedIn replaces the old approaches to professional networking where people exchanged their business cards with social networking. Thus, LinkedIn's task is to prove in their pitch deck that the product is "Networking for Business 2.0".
LaunchRock is a service that helps users create landing pages and talk about their projects before launching a full-fledged website.
Its pitch deck is well structured and it not only introduces the product, but also shows how it works, demonstrating various ways you can use it. The company says it has its own insights into the behavior of users of social networks, and knows what its customers love and what they want.
They also use storytelling: despite minimalist design, all slides are united by a common plot into one story. This helps to retain the attention of the investors and helps to convey product value.
Mixpanel is a deep analytics platform for mobile and web applications. The service counts the number of views and analyzes user actions.
Their pitch deck helped the company raise $65M for Round B.
This example illustrates in detail the idea of how understanding a customer can help create an effective tool for solving their problem. Mixpanel starts its pitch from the "pain" of its target audience and further demonstrates its product, showing its competitive advantages, metrics, and strategic plan for the next two years.
As of 2021, BuzzFeed has raised an impressive $240M. It's even more impressive considering that this product is partly in the media space, and there are few successful startups out there.
Back in 2006, the BuzzFeed platform started with the idea that creating a successful media project is real, the main thing is to combine content and native advertising. In 2008, the BuzzFeed team pitched this concept to investors and raised $3.5M.
In their pitch deck, BuzzFeed illustrates their idea in detail with screenshots demonstrating how it works and how it looks, also demonstrates the business model and describes the team. And the pitch deck itself begins with big numbers that the company already has — thus, the team speaks with investors in a language they understand.
Foursquare developed a mobile platform to find the best places in the city. The project began with an application that helps to find friends, interesting places and at the same time is a social game. Since then, Foursquare has evolved into a city-based hotspot gaming service.
In its pitch deck Foursquare not only identifies the pains of users, but also demonstrates the benefits that investors will receive if the project is successful.
Dwolla is a payment solution that helps users request, receive, and send money. At one time, their pitch deck helped the company raise $16.5M.
Dwolla is a clever example of how storytelling helps convey the core value of a product to investors and engages them. Faced with the consumer pain of high credit card fees, one of Dwolla's founders came up with the idea behind the startup. And then he told this story to the audience during the project pitch.
Cubeit is a mobile application that aggregates content from any source. It is noteworthy that the creators began to communicate with investors even before they made the finished product. Despite this, investors were immediately interested thanks to a good performance.
Their slide deck begins with the following statement: "Owning more devices doesn't make your life easier". The next slide announces the solution — the Cubeit mobile application, which allows you to collect content from any platform.
WeWork is a company whose product is to create coworking spaces where startups and small companies can operate. It has an interesting experience of pitching the project at round D. A good product with great potential allowed the speakers to literally play on the feelings of investors! Their slide deck was largely devoted to forecasts, and the dizzying numbers worried investors, as they thought they were missing out on profits.
The business plan they presented also played a part: thus, the pitch was devoted to the prospects that await the project and the investors who will support it.
Uber started as UberCab and in their pitch deck bet on the novelty of the idea. The premise - "new generation car service" — is on the first slide, followed by a description of the "pain" of the market: a decrease in the quality of taxi service, high prices for trips and, at the same time, low salaries for taxi drivers.
To prove their idea, the founders of Ubercab cited information provided by bullet lists. For example, the thesis "one-click car service" was explained by the arguments that the car will definitely pick up the passenger, since the mobile application will "bring them together" with a specific driver, the passenger and the driver will be able to see each other's rating and photos.
In the third part of the series, we will share tips on how to grab the investor's attention and what to avoid during a pitch.
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The startup ecosystem of Estonia
In this article, we will look at the startup ecosystem of Estonia and will puzzle out what will the international startup get here.
What does a startup need to be happy? Fast and steady growth, and… unicorns
New product Zorka.Scale: startup promotion
Hanna Samarskaya
Silicon Valley is Dead
Discussing whether Silicon Valley is dying and if we can potentially find the same ecosystem outside.


text:
package com.thegongoliers.output.gears;

public enum RatchetState {
    LockReverse,
    Neutral,
    LockForward
}

redpajama_set_name: RedPajamaGithub