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- Discover CSUB
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Terms & Conditions
Acceptance of Your Award
By accepting my financial aid award, I have indicated my acceptance or rejection of financial aid funds, and I have read and accept the conditions which apply to this award.
I affirm that I will use any funds I receive under the Federal Pell Grant, Federal Supplemental Educational Opportunity Grant, Federal Work-Study, Federal Perkins Loan, Federal Stafford Student Loan, or Federal PLUS programs solely for expenses related to attendance at California State University, Bakersfield.
I understand that I am responsible for repaying any funds that I receive which cannot reasonably be attributed to meeting my educational expenses at California State University, Bakersfield. I further understand that the amount of any repayment is based on the regulations published by the Secretary of Education. I also affirm that I do not owe a refund on a Pell Grant, or a Supplemental Grant, nor am I in default on a Perkins Loan, Federally Insured, Guaranteed, Stafford, SLS or PLUS previously received at this or any other post-secondary institution, and have nor borrowed more than the loan limits under the Title IV programs at any institution.
I certify under penalty of perjury that all information pertaining to my household size, family members who are or will be attending post-secondary institutions during the academic year pertaining to my aid application, and all information pertaining to my resources, is correct and reflects any changes that may have occurred since application.
I understand that on Census Day, which typically occurs at CSUB in the third week of each term, the OFA&S will recalculate student financial aid awards (specifically for the Federal Pell Grant, Cal Grant and State University Grant funds) based on changes in your enrollment. If you have dropped units after receiving aid, this may result in reduction in your award and a balance on your account. This Census Day Repackaging policy is outlined on our web site.
I understand that, by federal regulation, units added to my enrollment after Census Day can NOT be counted in determining my financial aid eligibility (including registration after Census Day for late start classes, Add Slip delays, etc.).
I understand that this award is contingent upon final approval and receipt of funds from Federal and State agencies, and it is valid only if I am enrolled as a student at California State University, Bakersfield during the period(s) covered by the award.
I understand State University Tuition Fees are subject to change by the CSU Board of Trustees. Our additional Campus-Based Tuition Fees are subject to change by recommendation of the CSUB Campus-wide Fee Committee and approval by the CSUB President.
If I am a transfer student with Cal Grant eligibility, I understand that it is my responsibility to notify the California Student Aid Commission (CSAC) that I will be attending CSUB in a timely manner so that Cal Grant eligibility appears on the CSUB's Cal Grant eligibility roster. If I fail to notify CSAC of the change in school, and do not appear on CSUB's Cal Grant roster by the end of the academic year (June 30th), I should contact CSAC to find out about requesting a Cal Grant award Leave of Absence for the terms in which I did not receive Cal Grant funds so that my award eligibility is not canceled for future terms.
I authorize California State University, Bakersfield to deduct payment of deferred tuition, registration tuition fees, current year room and board due to the institution, and any university debt from my financial aid award.
I authorize California State University, Bakersfield to deduct payment of tuition, registration fees, current year room and board due to the institution, and any other university debt from my financial aid award disbursement [including any grants (including Cal Grant B stipend if applicable), scholarships, and/or Federal Student/Parent Loans]. I understand that to revoke my authorization (i.e., opt out) I will need to contact the CSUB Office of Financial Aid & Scholarships in writing before my aid is disbursed and that I will be responsible for paying any outstanding university debt on my account immediately.
If I am attending two schools, I understand that I can receive aid at only one school. I must report this in writing to the CSUB Office of Financial Aid & Scholarships.
I understand, agree, and accept that any over-award is an educational loan and will survive any bankruptcy filing on my behalf and will not be discharged by any bankruptcy proceedings.
I have been made aware of the CSU Student Lending Code of Conduct.
I understand that my financial aid cannot exceed my Cost of Education, and that if I am receiving other aid specifically earmarked for fees (e.g., Cal Grant, Athletic Grant Fee Awards, Fee Waivers, etc.), that any State University Grant (SUG) I am awarded will be reduced accordingly.
Terms & Conditions of Your Award
Initial awards for Undergraduate and Post-Baccalaureate Teacher Credential students are based on full-time enrollment in, and completion of, 12 or more units each term with a minimum total of 36 units for the academic year with at least a 2.0 GPA. Masters candidates must enroll and complete 8 or more total units each term (of 500-or 600-level coursework), with a minimum total of 24 units for the academic year with a minimum 3.0 GPA. Awards are prorated at Census Day for students enrolled less than full-time.
To be eligible for most types of financial aid disbursements, students must have at least half-time enrollment by term. Undergraduate, 2nd Bach, or Credential students >= 6 units, Masters >= 4 units. Students with less than half-time enrollment are NOT eligible for financial aid disbursements.
Approval by the Financial Aid Office is needed to withdraw. Students who withdraw may be required to make a repayment to the University, their student loan lender, or both.
You are required to report in writing all changes in address, marital status, enrollment level, housing residence status, household size, dependency status, number of family members in college, or financial status. Failure to report these changes may result in the adjustment, cancellation or repayment of your award.
Students awarded Federal Work-Study must complete the Work-Study Questionnaire to accept or decline their FWS award (Note: students who are not hired within 30 days of either being awarded FWS, or by October 1st, whichever is later, will have their FWS award canceled and re-awarded to another student).
All Financial Aid awards are dependent upon availability of funds and may be reduced or canceled.
Student whose registration or dormitory tuition fees were paid through financial aid funds are not eligible for a refund if they withdraw. The refund will be used to reimburse the financial aid programs used to pay the tuition fees.
Students who cease their attendance after receipt of financial aid funds, but do not officially withdraw from the term, may be required to repay all or part of the funds received.
Right to Know
- which financial aid programs are available to you.
- deadline for submitting application materials.
- how your eligibility is determined.
- how recipients are selected from the group of eligible applicants.
- how and when awards are disbursed.
- which portions of your award must be repaid (and the terms of repayment) before you accept or receive any funds.
- how to challenge or appeal your award, or any decision pertaining to your award.
- to receive a notification or explanation of any reduction, cancellation or withdrawal or your award.
You are responsible for:
- Completing application materials on-time each year.
- Providing correct and accurate information.
- Keeping your personal university information up-to-date, including your e-mail address, by completing the BioData Change Form from the Admissions & Records Office.
- Read and understand all forms and keep your own copy.
- Promptly reporting in writing the receipt of tuition/fee assistance from other sources: Vocational Rehabilitation, Veterans Administration, employers, etc. or receipt of financial aid from another college or university while you are enrolled on this campus. Report non-CSUB outside scholarships by completing and submitting the Scholarship Disclosure Form.
- Report VA Benefits by completing the VA Education Benefit Verification Worksheet.
- Paying registration tuition fees and/or campus housing costs from other resources if your award is reduced, withdrawn or canceled.
- Formally declining your financial aid award and withdrawing your registration if you decide not to attend CSUB.
- Completing a Direct Deposit Authorization online via myCSUB for the Student Financial Services (SFS) Office.
- Completing entrance/exit interview counseling if you receive a Federal Perkins Loan, or Federal Stafford Student Loan.
- Notifying the lender promptly (if you received a student loan) of any changes of address, schools attended, graduation date or other factors that affect the status of your loan.
- Reading and familiarizing yourself with our: Steps to Financial Aid
- Satisfactory Academic Progress guidelines
- Census Day Repackaging guidelines
- Withdrawal guidelines
Office of Financial Aid & Scholarships
9001 Stockdale Highway
Bakersfield, CA 93311-1022
Phone: (661) 654-3016
Fax: (661) 654-6800
Email: email@example.com
Federal School Code: 007993
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CSUB Academic Scholarships
iGrad Financial Literacy


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February Holidays ~
Photo credit: Ladyheart from morguefile.com
We all know that Valentine's Day is coming up this month, but there are plenty of other holidays coming up this month as well! See the list below for tons of February holidays and reasons to celebrate all month long!
February Holidays
February 1
National Freedom Day
National Serpent Day
February 2
Groundhog Day
Heavenly Hash Day
February 3
National Cordova Ice Worm Day
February 4
National Create a Vacuum Day
National Stuffed Mushroom Day
February 5
National Chocolate Fondue Day
National Weatherman's Day
World Nutella Day
February 6
New Zealand Day
February 7
National Fettuccine Alfredo Day
Send a Card To A Friend Day
Wave All Your Fingers At Your Neighbor Day
February 8
Boy Scouts Day
National Kite Flying Day
February 9
National Bagels and Lox Day
National Toothache Day
Read In The Bathtub Day
February 10
National Cream Cheese Brownie Day
Umbrella Day
February 11
National Don't Cry Over Spilled Milk Day
National Make a Friend Day
National Peppermint Patty Day
Clean Out Your Computer Day
February 12
International Darwin Day
National Lost Penny Day
Mardi Gras
February 13
Get a Different Name Day
National Tortellini Day
February 14
National Ferris Wheel Day
National Organ Donor Day
Valentine's Day
February 15
National Gum Drop Day
Singles Awareness Day
February 16
Do a Grouch a Favor Day
National Almond Day
February 17
My Way Day
National Champion Crab Races Day
Random Acts of Kindness Day
February 18
Drink Wine Day
National Battery Day
February 19
Chocolate Mint Day
February 20
National Cherry Pie Day
National Hoodie Hoo Day
February 21
International Mother Language Day
National Sticky Bun Day
February 22
International World Thinking Day
National Margarita Day
Walking The Dog Day
Washington's Birthday
February 23
International Dog Biscuit Appreciation Day
National Banana Bread Day
Play Tennis Day
February 24
National Tortilla Chip Day
Oscar Night
February 25
National Chili Day
National Chocolate Covered Nuts Day
National Pistol Patent Day
February 26
National Pistachio Day
Tell a Fairy Tale Day
February 27
International Polar Bear Day
National Kahlua Day
No Brainer Day
February 28
Floral Design Day
National Public Sleeping Day
Which February Holidays Will You Be Celebrating?
All of these February holidays were compiled from a calendar that I bought called Everyday's a Holiday, from The Ultimate Holiday Site and random findings on the internet.

subset: commoncrawl


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Hindi Serials
Welcome to the page of Old-Serials we bring you the latest News, Info & Discussions regarding your favorite show. Please join the debate and read the latest updates about your show. Hindi Serials - Old-Serials Serials, Dramas Online. Following list is Sony-TV StarPlus Colors Sab-TV MTV-Hindi Star-Bharat Zee-TV AndTV Old-Serials


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Amid whispers of trouble, "Green Hornet" director Michel Gondry might be one of the few people delighted about the news that his film will be converted to 3D during the editing process.
"We are so thrilled," he tells Popcorn Biz of the decision to go 3D. "It's something we have been lobbying for for the duration of the shooting. Now they have finally said yes."
Gondry says he shot the film starring Seth Rogan "with 3D in mind," even if they didn't shoot in 3D.
And in terms of watching action movies, Gondry says, 3D "is better for the brain. When the editing is too fast, the brain doesn't have time to adjust." The added dimension will help.
Gondry spoke during the press day for his latest film "Thorn in the Heart" a documentary about his extended family in France which opens in Los Angeles on May 14.
The news about the decision to convert "The Green Hornet" to 3D has been dissected by various movie blogs as an ominous sign of trouble for the film, including one which claims that that it's actually a thinly veiled effort to overhaul the whole movie.
But Gondry remains enthused about the project due out in the winter. Now in the editing process, the innovative filmmaker has a lot of tricks up his sleeve.
"There are a ton of ideas I have since we are going to 3D now," he says. "I am going to do things in 3D that have never been done before. I have been thinking about this for years."


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Forever after: A warrior wounded, a family challenged
By MEGAN MCCLOSKEY | STARS AND STRIPES Published: November 13, 2012
One bullet.
One choice.
One American military family shattered.
On Oct. 26, 2005, Army Spc. Erik Schei was shot in the head during a patrol in Iraq. The doctors said he would never recover from the catastrophic brain injury. They urged the family to take the 21-year-old off life support.
But his mother refused to abandon hope.
Christine Schei's choice to take her wounded son home forever altered her family. Her younger son vowed to finish his brother's mission, only to end up gravely wounded himself. Her 4-year-old daughter lost her childhood. Her husband lost his career, and his peace of mind.
Thousands of American servicemembers have been seriously wounded in Iraq and Afghanistan over the last 12 years of war. But the collateral damage from those wounds extends much further, challenging the families of the wounded for a lifetime.
Chapter 1: Christine's choice
Christine Schei refuses to take her son off life support, and instead starts down the long path of caregiving as Erik struggles to recover from severe brain damage.
The full story
Chapter 2: A promise kept
Deven Schei follows through on a promise he made to his older brother and joins the Army. After getting wounded in Afghanistan, he battles depression as he recovers alone at Brooke Army Medical Center.
The full story
Chapter 3: Reality sets in
Seven years after Erik was shot, he is still trapped in a body that barely moves. Christine's life revolves around his daily needs, and she fights the VA to get him every treatment available.
The full story
About the series
This series was compiled from extensive interviews with the Schei family over four months; first-hand observations from the Schei home in Rio Rancho, N.M., with Deven Schei at Brooke Army Medical Center, and with the family during a visit to Washington, D.C.; medical documents; and interviews with therapists involved in Erik Schei's care. The dialogue is reconstructed from the memories of those involved, with more than one source confirming what was said when possible.


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I can advertise on my site as i have already added Linux Mint to the Linux OS area of the forum.
Here is the homepage introduction of my site:
Welcome to one of a few sites for Linux
This one in particular is for all Linux users and Developers, the for Developers feature is one of our goals of this site, this site is also here so Linux users can gain help and support and so Developers can host and share there Linux programs for free, just like this site is free! as well as our site features, we also provide resources for Linux.
Site Features
Download area, forum,top 10 software!, FAQ, member list(registered users only!), Linux OS reviews, Linux site links and much more!
The developers feature of the site I made because some Linux developers can't get there head around Source Forge(file sharing site) so i made this site simple to navigate.
If you are a Developer viewing this site and want to host your Linux programs do the following:
* Click on the forum link to the left of this page
* Once you have done that click on Post To Host section of the forum
* And post a request with your file linked or send by email to firstname.lastname@example.com
* And it will be uploaded to the Downloads area of the site in the Developers Downloads section
In all i hope you find this Linux site useful best regards admin.
what do you think? to my offer.
thanks from pc-geek
The site is now open, I did it in just over two and a half days and from just coming back to Joomla isn't too bad.
The forum is user integrated.So its a one login, one register deal.
Need FTP access to upload Linux distributions or large programs or sdk's let me know on the site via PM or email or request in the forum.
Request Ad Space
Header space on frontpage no bigger then 120px in height,
Footer space is fine for size on the frontpage within reason,
Above posts no bigger then 100px in height and footer on the forum doesn't matter much within reason.
If you wish to request ad space all I ask is you register first so you are able to post and request your ad space thank you.
Best Regards.


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A few days ago, I was invited to participate in a food review session at Frontera Sol of Mexico which serves authentic Mexican and Tex-Mex cuisine.
Apparently, the restaurant has decided to organise a food review session with a few bloggers to give feedback on their new dishes before launching their revised menu on the 26th September 2011. During review session, each blogger, including yours truly was asked to randomly pick a dish and give comments on how it fared. Bloggers will also get to decide what goes and what stays in the menu by inviting their friends to vote on the Frontera Facebook Page.
On this note, if you like my food pictures, please click 'like' on the following link here and here. Thanks a lot!
All of us were given a starter which consists of two soups, namely the Tortilla Chicken Soup and Chipotle & Mushroom Soup.
The Tortilla Chicken Soup is a traditional lightly spiced chicken soup with tomatoes and onions, garnished with tortilla strips, cheese and cilantro. I enjoyed eating the slices of tortilla strips which was wrapped with cheese. Taste wise, it was a good, hearty soup and will certainly delight soup lovers. Love the creamy texture.
The Chipotle & Mushroom Soup was described as a mildly spicy chipotle chili and button mushroom clear soup. However, mild was the last word in my mind as I coughed quite a fair bit when the soup hit my throat after the first sip.
Although I didn't like it initially, I gave the soup a few more tries and surprisingly, the taste of chipotle (which is actually smoked dried jalapeno) started to grew on me. The best way to describe the soup would be an acquired taste which taste better after a few more sips.
And here were my written comments (with ugly handwriting) ….
I also enjoyed dipping the nachos into the Chili Con Queso which is a Tejas-styled cheese dip made from American cheese, cheddar cheese & tomatoes.
Next up was the main course which was chosen randomly. I got the Texas Bacon Cheeseburger which sounded really exciting. The burger came with 200g of pure beef patty topped with lettuce, onions, tomatoes, dill pickles, melted American cheese & beef bacon.
The bacon was nicely cooked and the cheese was thick and flavoursome. The vegetables were crisp and fresh. My only gripe was the patty itself which was overly cooked. I was told by Mr Ramesh Vadiveloo, the manager of Frontera that the patty was char-grilled and as a result, the outer meat texture looked rather black-ish. However, he took my feedback positively and promptly asked the chef to redo the same dish again. The replacement burger was much better as the texture was evenly cooked. Still, I would prefer the burger to be a bit more moist and juicy. If Frontera could do that, they will definitely have a winner here.
Here are some of the additional pictures taken…
My other half took the Texas BBQ burger looked almost the same as the Texas Bacon Cheeseburger with the additional glazed with BBQ sauce on the beef patty and also onion rings.
The onion rings on top of the patty was a nice creative twist. Thumbs up for the food presentation.
Again there was nothing much to fault other than the dried patty which I mentioned earlier. (Again, it was replaced with a better grilled patty). Portion wise, the meal was great and the rest of the ingredients were fresh.
The proper way of eating the burger is to put the top half of the bun on top of the patty and onion rings. Be prepared to open your mouth really big as the burger is certainly huge.
And being true to its Tex-Mex origins, fries are served with jalapeno coleslaw.
This was how the burger looks like after taking a huge bite.
Finally it was dessert time and I got to eat try Black Label Sundae.
Initially I thought that the sundae was mixed with whiskey as implied by its name, but it was actually a chocolate chipotle brownies topped with Mexican caramel, vanilla ice cream, hot fudge, whipped cream and cherry.
The whipped cream has a nice milky taste to it while the chunks of chocolate brownies at the bottom of the glass which was otherwise bitter became soft and sweeter after being soaked with the melted ice-cream for a short while. This is definitely a welcome dessert after a hot spicy meal.
Overall, it was an enjoyable food review session. I am sure that if Frontera tweak their new cuisines just a little bit more, they would definitely be great additions to their new menu. I would also like to thank Ramesh Vadiveloo, the manager of Frontera for his great hospitality throughout the food review session.
Frontera Sol of Mexico
No. 18-G-2, Jaya One
72A, Jalan Universiti
46200 Petaling Jaya
Selangor Darul Ehsan


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Car Services
4.6 (476)
Pitcrew offers a wide variety of car service, car repair, car denting painting from best car workshops and trained car mechanics in the city
No big TT car repair bills. Get packages @ fixed prices
Genuine or OEM TT car spares handled by best TT car mechanic to deliver quality at affordable prices
Door step TT Car Service Pick & Drop. No Charges Apply
Get issues resolved with Best TT Tail Light Price in Delhi
Credit Cards, Debit Cards, Wallets & EMI Options available
App alerts for PUC & Insurance expiry. Store TT Car Service, TT Car Workshop records digitally


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Jeff Foxworthy to Host Tim Mcgraw, Florida Georgia Line + More at RedFest Music and Comedy Festival May 23rd-25th in Austin
RedFest is a three day Music, Comedy and Reality TV festival at Austin's Circuit of the Americas. The event will be hosted by comedian Jeff Foxworthy. Performing live are top stars like: Tim McGraw, Florida Georgia Line, Lynyrd Skynyrd, Kelli Pickler, Big & Rich, "Duck Dynasty's" Phil Robertson and more. Other co-hosts include Larry The Cable Guy and Rodney Carrington. According to Foxworthy, "RedFest is a festival for anyone who loves the outdoor lifestyle." Here's who is performing at RedFest 2014.
The line-up of performers for RedFest:
- Tim McGraw
- Florida Georgia Line
- Phil and Alan Robertson from "Duck Dynasty"
- Jeff Foxworthy
- Larry The Cable Guy
- Rodney Carrington
- Kellie Pickler
- Lynyrd Skynyrd
- Big & Rich
- Love & Theft
- Kip Moore
- Justin Moore
- Easton Corbin
- Colt Ford
- Cassadee Pope
- Parmalee
- Amber Carrington ("The Voice")
- Big Smo
- Gangstagrass
- Hellbound Glory
- Sundy Best
- Hot Buttered Rum
- JJ Grey & MoFro
Circuit of the Americas, 9201 Circuit of the Americas Blvd, Austin, TX.
Dates and Times
- Friday, May 23rd beginning at 6:00PM
- Saturday May 24th beginning at 12:00PM
- Sunday May 25th beginning at 11:00AM
Prices for tickets range from $45 for a single-day to $9,900 for a 3-day VIP Private Suite experience for ten of your guests.
More Info.
Jeff Foxworthy says "RedFest is a three day celebration of Music, Comedy, Reality TV, Camping, Hunting, Fishing and all kinds of activities." Some of the biggest names in music and comedy will be on hand. Fun outdoor activities for the whole family will be available. RedFest is a festival for anyone who loves the outdoor lifestyle.


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Sign in to get personalized notifications about your deals, cash back, special offers, and more.
Clients can help to diminish unsightly veins and have the confidence to show off their legs after this laser treatment; no bandages involved
This test is designed to check patients' cholesterol status, blood glucose, liver function, kidney function, inflammation and bone health
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Refresh and rejuvenate the look thanks to a 1ml or 2ml dermal filler for the lips or cheeks
Receive this advanced treatment designed to improve the appearance of firmness in the skin; includes a face mask to take home
The treatment takes approximately 10 minutes, aiming to relax fine lines and decrease their visibility
Smiles can be brightened thanks to this teeth whitening kit that includes whitening gels, mouldable mouthguards and an LED light device
Discover top restaurants, spas, things to do & more
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FOOD- THE DISH- Moon light: Old diner gets new shine
As almost everyone knows by now, the iconic Blue Moon Diner on West Main Street is reopening. But when? And what about the building's new look?
Recently, Dish popped in to talk with husband and wife team Laura Galgano and Rice Hall, who'll be in charge of the restaurant operation, while founding partners Mark Hahn and Rob Gustafson focus more on the Moon's catering business.
Galgano previously sold wine for Simon N Cellars, while Hall used to work at the C&O. And both put in some time at Bizou. When the Moon closed in August 2004, the two were living in Madison, Wisconsin, but after discussing the idea of re-opening with Hahn and Gustafson, they decided to come back and give it a shot.
When Dish arrived, Hall was cooking some bacon to "season the grill," and Galgano was organizing the renovation efforts. According to the duo, the new Moon should be open by November 8 at the earliest and mid-November at the latest.
The biggest change, says Galgano, is the outside. "When we ripped the siding off," she says, "we found a wonderful old building."
Indeed, the decoratively painted brickwork is a vast improvement over the dingy old siding. In addition, local filmmaker and metal worker Johnny St. Ours has attached an elaborate steel counter to the front of the building that Rice and Galgano say they plan to make the focal point of a sidewalk dining area.
They've also moved the main entrance to the side, so customers can enter through the non-smoking area. "But, don't worry," says Hall. "We're still going to have the smoky, dingy diner area, although it won't really be dingy anymore."
Inside, they've replaced the 80-year old "quirky" wiring and added new stools, chairs, and cushioned booths. But they say they plan to keep the old look of the Moon, complete with the familiar objets.
"I've never been a part of something that's created such a buzz," admits Galgano, sipping on her Blue Moon Blend, a coffee that Doug Escalera, who runs Escalera Coffee out of the IX Building, roasted up especially for the new Moon.
Court Square in exile
After the Court Square Tavern caught fire in March, owner Bill Curtis had hoped to reopen in July, in time for the Tavern's 30th anniversary. That didn't happen, and Dish readers have been eager to know when the unpretentious hometown landmark would re-issue its famous shepherd's pie, grilled Ruben, and exceptional beer list.
Well, according to long-time Tavern manager Debbie Weissler, who also manages Tastings for Curtis, the Tavern should be up and running in another four weeks.
"We're just waiting for new equipment and carpeting," says Weissler. "And there's still more carpentry and painting to do."
Weissler says the old electrical system that caused the fire when a spark jumped from an aging power cord on a beer cooler, has been updated, and they're also putting in– believe it or not– new lighting! As anyone who frequented the pre-fire Tavern knows, its odd florescent lighting was a signature feature.
"It's going to be a little cozier," says Weissler.
Weissler also reveals a little-known secret since the fire.
"People kept stopping us up and down the street to ask when we were going to re-open," says Weissler. "So we've been doing a Court Square Tavern's 'menu in exile' down at Tastings for our regulars."
Blue Moon Diner managers Laura Galgano and Rice Hall, sipping here on the Moon's own special coffee blend, say the diner should be open by mid-November.


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have a nodding acquaintance (with someone or something)(redirected from having a nodding acquaintance with us)
Like this video? Subscribe to our free daily email and get a new idiom video every day!
have a nodding acquaintance (with someone or something)
To have a slight or precursory knowledge of someone or something. Jim asked me to help fix his computer for him, but I'm afraid I only have a nodding acquaintance with how his machine works. Ruth and I had only a nodding acquaintance before going to the party, but once we got talking, it was like we'd been friends our whole lives.
See also: acquaintance, have, nod, someone
have a nodding acquaintance with someone or somethingknow someone slightly; know a little about something.
1989 Donnie Radcliffe Simply Barbara Bush Their families had lived less than ten miles apart as they were growing up, and their fathers almost certainly had a nodding acquaintance on the golf course.
See also: acquaintance, have, nod, someone, something
have a nodding acˈquaintance with somebody/somethingknow somebody slightly/know a little about something: I have a nodding acquaintance with some members of the committee. ♢ You need at least a nodding acquaintance with the rules of chess to understand the book.
See also: acquaintance, have, nod, somebody, something


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Question: Should I be scouting for corn rootworm in my fields at this point, and is there anything I can do if I have heavy populations?
Answer: The corn rootworm hatch has occurred about 30 days earlier than normal due to the warm temperatures this spring. Depending on the planting date of a particular field, rootworm larvae could have been feeding before the Bt protein was fully expressed if you used transgenic hybrids. There are areas across the Corn Belt where we are seeing one to two nodes of feeding from heavy rootworm pressure right now. Also, rootworms that have fed on the protein can have delayed feeding and emergence; this can still have an impact on the crop beyond the current state.
At this point, adults have begun to emerge and feed on tissue and silks as well, which is really a concern for two reasons. The adults are emerging and feeding on the above ground parts of the plants, which could affect pollination. Plus, each adult female will lay approximately 600 eggs that will overwinter and hatch next spring, and that can have an impact on the 2013 corn crop.
The top priority is helping farmers assess their current pest pressure, including the intensity of feeding and the number of corn rootworm adults present. A half-inch of silk is really the magic number; you need at least a half-inch for optimum pollination. So if you are shedding pollen and you have less than a half-inch of silk that's when you might address the situation. Where needed, consider an application of a foliar insecticide like Warrior II with Zeon Technology or Besiege as a pollination aid and also to prevent adult females from laying eggs for next year.
Answer provided by Craig Abell, Syngenta Crop Specialist.


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The Daily Word in twin mistresses, crazy lunch lady, Ikea monkey
Winter is here, New Mexico.
A U.S. drone strike has reportedly killed a senior Al Qaeda leader near the Afghan border.
An undercover APD officer says he nabbed a father soliciting a prostitute who had left his 3 small children alone in a cold car in a motel parking lot.
Chinese police chief fired after being accused of keeping twin sisters as mistresses.
Lobos achieve a 10-0 record after beating Valparaiso. The final score was 65-52 and Alford's pack forced 23 turnovers.
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Orange and apricot sponge cake for Passover, or you know, a weekday.
Wednesday, April 8, 2009
Passover orange and apricot sponge cake with citrus mascarpone frosting
I know that I just posted a sponge cake recipe. But come on, that was over a week ago, and this one is different. And it's Passover. This one is good. Different, but good. Ok, it's not too different, but a little. Still, it's just as good, and has this oh so dreamy frosting. I made up the frosting. I had some stuff, I mixed it together, and ooooooooh, baby. It's like if cream cheese frosting (heavy) and whipped cream (light and airy) had a baby, and it fell in a puddle of sunshine. That might be the best food description I've come up with yet. Anyway, try it. Or don't, but you're missing out. Happy Passover, guys. I'll be posting more Passover recipes over the next few days. Better late than never, eh? And I know I should have made a frosting without dairy, but I'm not Kosher. You can leave it out, or make a lemon glaze (simple syrup with a bit of lemon juice) or use something else, but this is so dreamy.
Orange and apricot sponge cake for Passover, or you know, a weekday.
Orange and apricot sponge cake for Passover, or you know, a weekday.
Based on a recipe from the Gourmet Jewish Cook by Judy Zeidler, a very interesting cookbook I got from Alex a while ago. Cheap on Amazon!
8 eggs, separated
pinch of salt
1 1/2 c sugar
3 T teff (optional, use something else if you don't have teff, the recipe originally called for almond meal, but I'm out)
1/2 c tapioca starch
3/4 c rice flour mix (you can use potato starch if you aren't eating any grains, I'm out of that too)
3 T orange juice
3 T apricot jam (or your choice)
Preheat oven to 350. Beat the egg whites with a pinch of salt until they hold soft peaks. Add 3/4 c of sugar and continue beating until stiff but not dry. Set aside. Beat together the rest of the ingredients until well combined, then fold in part of the egg whites to lighten. Fold in the rest of the egg whites, and spread the batter evenly in an ungreased tube pan and bake 45-55 minutes. Cool upside down, then spread with citrus mascarpone frosting.
From my brain
1/2 c heavy cream
1/3 c sugar
1 T orange juice
juice and zest from 1 lemon
2 T apricot jam
8oz mascarpone, room temperature
Whip the cream and sugar until fluffy (don't overwhip!). Add in the orange juice and lemon juice and zest, then the jam. Fold in the mascarpone, and mix until combined. Keep chilled.
7 comments:
This looks so good! Thanks for the green light on my post which is now up. Chag Sameach!ReplyDelete
Looks really delicious, but where do you find gluten free mascarpone? For the life of me I cannot find it, everything around here seems to have modified food starch or, quite specifically, wheat in it.ReplyDelete
And how big is your tube pan? I cannot wait to make this!
Thanks guys! Nicole- I get my mascarpone at Wholefoods, the trash went out this morning so I can't check what brand I used!ReplyDelete
My tube pan is 10", also. I should have put that in huh, I'll change it!
Ha-ha from your brain! That was a awesome description of your frosting. I've already printed it out.ReplyDelete
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Welcome to your weekly Game Talk, where we aim to have an intelligent, down-to-earth discussion about driving games and simulations. Last week we had a lot of responses, which is great!
The topic this week is pretty straightforward, what was the first driving game you ever played? And if it's different, what game got you into driving games? So to simplify, what gave you your first taste, and what was the gateway drug?
We should always remember our first [driving game]. If you don't...then apparently it didn't leave much of an impression. But our first is a landmark in our life, regardless of how bad or good the it was. It's what started our interest in these games in the first place!
So let's hear your guy's first.


text: ← Projects/Release Team/Release Process Responsibilities You do not have permission to edit this page, for the following reason: The action you have requested is limited to users in one of the groups: Users, Administrators, trusted, KDEDevelopers. You can view and copy the source of this page. = KDE SC Release Packaging Responsibilities = == The KDE Continuous Integration (CI) System == 1. all the KDE SC modules are built continuously 2. no packaging unless all modules build ok (even better would be to force all make tests too) 3. the packaging tools run on the CI system generating "test" tarballs 4. the "test" tarballs could be downloaded from the CI system 5. == The KDE Sysadmin Team == 1. provides and manages the CI system 2. will transfer "test" tarballs to the public ftp site 3. prepares the public ftp site for bandwidth requirements at release announce time 4. == The KDE Promo Team == 1. writes and distributes release announcements through normal channels 2. deals with the media 3. manages public expectations 4. == The KDE i18n Team == 1. maintains the languages list 2. == The KDE Release Team == 1. coordinates the entire release effort 2. sets release milestones and dates 3. communicates important dates to the community and to distros 4. communicates important news to the community and to distros 5. creates "test" tarballs using the CI system and handles distro feedback 6. adds hot and security patches to the tarballs before the final release 7. creates "final" tarballs using the CI system 8. pushes tags to the module repositories in a timely manner 9. writes and maintains the necessary tools 10. writes and maintains the release process documentation Template used on this page: Template:Moved To Community (view source) Return to Projects/Release Team/Release Process Responsibilities. Retrieved from "https://techbase.kde.org/Projects/Release_Team/Release_Process_Responsibilities"


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"Tell the chef, the beer is on me."
Johnen Galerie participated in Gallery Weekend Berlin 2013 with a solo show with works by German conceptual artist Hans-Peter Feldmann. The exhibition Kunstausstellung represents the methodology the artist has developed within the last years. The show includes two installations: Dreigruppen (Trianda); mostly forgotten or unknown artists, mainly paintings from the 19th and early 20th century. Feldmann arranges three images of different traditional subject-matters and techniques. Each viewer may perceive and interpret these constellations in his or her own way. Thus images of clearly defined theme and content are integrated in a network of open and complex relationships. Furthermore the exhibition includes works where the author actually remixes portraits, scenes with small interventions: red noses, crossed eyes and black eyes add a strikingly modern and humorous accent to the dusty and solemn images.
In this video, gallery owner Jörg Johnen introduces us to Hans-Peter Feldmann's and oeuvre and the artist's current exhibition.
Hans-Peter Feldmann was born in Düsseldorf in 1941. His works have been shown in numerous exhibitions, lately at Deichtorhallen, Hamburg (2013), Serpentine Gallery, London (2012), Solomon Guggenheim Museum, New York (2011), Pinakothek der Moderne, Munich (2010), Kunsthalle Düsseldorf (2010) and Konsthall Malmö (2010). He lives and works in Düsseldorf.
Hans-Peter Feldmann: Kunstausstellung at Johnen Galerie Berlin (Germany). Interview with Jörg Johnen, April 26, 2013. Video by Frantisek Zachoval.
PS: Watch Hans-Peter Feldmann's solo presentation within the framework of the exhibition The Endless Renaissance at Bass Museum in Miami Beach.
> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:
This video provides you with a walkthrough of British artist Richard Hughes' solo show at Anton Kern Gallery in New York. Hughes was born in 1974 in Birmingham. He studied at Staffordshire University and Goldsmiths College London. Hughes lives and works in London. The current show at Anton Kern Gallery is Richard Hughes' third solo exhibition at the gallery. It's dominated by large sculptures that recall insect legs and seem to be made of lamp posts. The show runs until May 18, 2013. A Richard Hughes monograph was launched at the opening. More information is available after the break.
Richard Hughes. Solo exhibition at Anton Kern Gallery, New York. April 12, 2013. Video: Shimon Azulay.
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> On YouTube:
Exhibition text:
For his third solo show at Anton Kern Gallery, UK-based artist Richard Hughes has turned the gallery into a stage for a magic dance performed by a street gang of enchanted lamp posts, ice-cream-wafer-like garden walls and broken memorial statues found in the most dilapidated and dark corners of (British) suburbia. With his first artist monograph freshly published by JRP Ringier and two recent solo exhibitions at Tramway Art Space in Glasgow and Firstsite in Colchester, England, Hughes' work is at the center of public attention.
Richard Hughes is known for his exceptional skill to turn ordinary, sometimes slightly repulsive objects that might be found in a hovel of a rooming house or unceremoniously dumped by the side of the road — bleak monuments to abused domestic or public spaces — into narrative sculptures. Their placement in a gallery space instantly invites questions as to its recent history, use, and function, or imminent action. Upon closer inspection, all objects reveal themselves as casts, meticulously crafted replicas of every-day things injected with an element of fantasy. The beauty within this ostensibly abandoned world lies in the moment of surprise when materials reveal themselves as "fakes." This is the moment when hidden images and cultural memories become visible and intelligible, when the vernacular becomes a universal language. Hughes' sculptures are not ready-mades. As facsimiles of common objects it's not the object that is transformed but its reappropriated meaning and ability to reconfigure the object for the viewer. Gradually, these objects-turned-sculptures reveal their inherent capacity to tell stories, to evoke narratives that are charged with everyday-life experience and humor.
Richard Hughes has had solo exhibitions at Tramway, Glasgow (2012); Sculpture Court, Tate Britain (2006); The Showroom, London (2004); and is currently presented at Firstsite, Colchester, UK, in an exhibition entitled Time is over, time has come. His work has been exhibited internationally, including presentations at the François Pinault Collection, Punta della Dogana, Venice (2009); the Schirn Kunsthalle, Frankfurt (2008); and the Museum Abteiberg, Mönchengladbach, Germany (2006). Hughes was selected for the 55th Carnegie International, Carnegie Museum, Pittsburgh (2008); the fourth Liverpool Biennial (2006), and the British Art Show 6 (2005). He was nominated for the Beck's Futures award in 2006 and was the recipient of the EAST International award in 2003.
In this video, the artists Lita Albuquerque and Mollie McKinley talk about their collaboration for Spring/Break Art Show 2013 in New York. Their project is curated by Natalie Kovacs.
Interview with Lita Albuquerque and Mollie McKinley at Spring/Break Art Show 2013. New York, March 5,2013.
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> On YouTube:
Wie verändern digitale Möglichkeiten das Lernen? Die Leuphana Universität Lüneburg testet mit "ThinkTank Cities" die Online-Projektarbeit. Studenten aus mehr als 100 Ländern tüfteln in Teams an der Stadt der Zukunft.
Auch Cloud-Anwendungen machen es möglich: Studierende arbeiten online an gemeinsamen Texten und Modellen, greifen auf Materialsammlungen zurück und bewerten gegenseitig ihre Arbeiten. Wo auf der Erde sie am Computer sitzen, spielt dafür keine Rolle. Wie sich die neuen digitalen Möglichkeiten nutzen lassen, erprobt aktuell die "Digital School" der Leuphana Universität in Lüneburg. Im dreimonatigen Kurs "ThinkTank Cities" haben sich Teilnehmer aus mehr als 100 Nationen eingeschrieben. Zulassungsbeschränkungen oder Studiengebühren gibt es nicht. "Die digitale Interaktion hat die privaten Kommunikationsstrukturen und Arbeitsprozesse grundlegend verändert", sagt Holm Keller, Vizepräsident der Leuphana Universität und verantwortlich für die "Digital School". "Sie muss auch für vollkommen neue Bildungsangebote genutzt werden."
Im Online-Kurs "ThinkTank Cities" entwerfen fünfköpfige Teams eine neue Stadt. Hierzu diskutieren sie existierende Planstädte wie Karlsruhe und Brasilia, entwickeln die Vision einer städtischen Gesellschaft, und bauen am Ende auch ein Architektur-Modell ihrer Idealstadt. Bekannte Experten wie der US-Architekt Daniel Libeskind und die Soziologin Saskia Sassen (Columbia University in New York) geben Video-Vorlesungen, beantworten Fragen und bewerten die Arbeiten. Die Mitstudenten sind aufgerufen, die Ergebnisse der Projekt-Teams zu kommentieren ("Peer-Review").
Die "Digital School" will sich bewusst von anderen E-Learning-Konzepten absetzen, bei denen die soziale Interaktion zu kurz kommt. "Wir sehen bei vielen Angeboten keine echte Online-Didaktik, sondern das schlichte Abfilmen von Lehrveranstaltungen, gefolgt von Multiple-Choice-Tests", sagt Keller. Mit einem "Social Learning"-Konzept setzt man in Lüneburg stattdessen auf Teamarbeit an einem Endprodukt. "Die Teilnehmer lernen dabei implizit auch, mit sehr unterschiedlichen Menschen gemeinsame Lösungen zu finden", so Keller. Die Einbindung der Studenten in einen interaktiven, sozialen Prozess ermögliche bessere Lerneffekte: "Das ist online nicht anders als offline." Die soziale Interaktion könnte sogar ein Zusatznutzen digitaler Lehrangebote sein.
Große Nachteile der reinen Online-Kommunikation sieht Keller nicht. Im Gegenteil. Im Vergleich zur persönlichen Kommunikation könne die Online-Zusammenarbeit sogar zu weniger "egozentrischen" Lösungen führen. Zwar fielen manche Signale in der Kommunikation weg, etwa die Mimik und der Tonfall der Gesprächspartner, doch könnten hier Online-Videokonferenzen Abhilfe schaffen. Allerdings organisieren die Teams im "ThinkTank-Cities"-Kurs die Kommunikation untereinander selbst. "Sie können die Wege selbst wählen, wir machen da keine Vorgaben", sagt Keller.
Der Redebedarf kann groß sein. Denn die Leuphana Universität setzt die Teams mit Hilfe eines Algorithmus so zusammen, dass die Teilnehmer möglichst unterschiedliche berufliche Erfahrungen und kulturelle Hintergründe mitbringen. Auf der anderen Seite aber sollen die Ansprüche der Team-Mitglieder an das Projekt möglichst übereinstimmen – hier setzt man auf "Homogenität". Wer etwa besonders viel diskutieren möchte, trifft auf in seiner Gruppe auf Gleichgesinnte.
Dem Online-Kurs sollen nach Möglichkeit ganze Online-Studiengänge an der Leuphana Universität folgen. Langfristig schweben Keller global einheitliche Bildungsplattformen vor. Die Online-Studiengänge sollen akademische Abschlüsse bieten, die allgemein anerkannt werden. Das grenzüberschreitende Online-Studium wird schon jetzt durch den "Europäischen Hochschulraum" erleichtert, der mit dem sogenannten Bologna-Prozess entstanden ist. Die Hochschulen erkennen im europäischen Ausland erworbene Prüfungsleistungen an. Der Bologna-Prozess habe dem digitalen Lernen einen Schub gegeben, meint Keller. Bei erfolgreicher Teilnahme am "ThinkTank Cities"-Kurs können sich Studierende Leistungspunkte an ihren "Heimathochschulen" anrechnen lassen.
Keller sieht in den ortsungebundenen Online-Studiengängen Chancen für mehr "globale Bildungsgerechtigkeit". So könnten zum Beispiel viele Menschen in Afrika aus familiären und finanziellen Gründen nicht in eine Universitätsstadt ziehen, um dort zu studieren. Für Ausländer ergebe sich auch die Möglichkeit, einen in Europa anerkannten Universitätsabschluss zu machen, bevor sie in die EU einwandern. "Mit einem europäischen Masterabschluss haben Einwanderer formal ganz andere Möglichkeiten, hier Zugang zu Berufen zu bekommen." Auch das "lebenslange Lernen", das Wirtschaft und Politik regelmäßig einfordern, sei ohne Revolution der Online-Lehre nicht umsetzbar, meint Keller. Die Menschen müssten dauerhaft neben Familie und Beruf lernen können, und nicht nur in einer bestimmten Lebensphase und an einem bestimmten Ort. "Lernen muss Teil des Lebens sein, das haben private Anbieter und die öffentliche Hand zu lange vernachlässigt."
Offen bleibt, welche Institutionen und Anbieter den globalen (Online-)-Bildungsmarkt künftig prägen. Studieren bald Millionen von Menschen an der Harvard-Universität, weil sie weltweit einen klangvollen Namen hat? Nein, mein Keller. "Digitale Lehre bedeutet nicht die Automatisierung von Bildung." Auch online könne Harvard nur eine begrenzte Zahl von Studenten betreuen. "Das Personal kann zwar in der Online-Lehre anders organisiert werden, aber die Interaktionszeit pro Student wird nicht geringer." Mehr Wettbewerb im Bildungsmarkt führt laut Keller nicht dazu, dass langfristig deutsche Unis an den Rand gedrückt werden. Allerdings könnten deutsche Studenten online viel internationaler arbeiten.
Spring/Break Art Show in an old schoolhouse in Mott Street, New York, is a curator-driven art fair. The fair is in its second year. For 2013, the title is New Mysticism. 22 curators show work by more than 80 artists, who, according to the organizers, explore how digital semiotics, the internet and technology at large, combined with the old relics of 20th century visual culture, inform a new formal intuition. This video provides you with a walkthrough on the occasion of the preview on March 5, 2013.
Spring/Break Art Show: New Mysticism. Preview, March 5, 2013.
PS: Coming soon: Interview with the artists Lita Albuquerque and Mollie McKinley.
> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:
Proyecto Basurto is an exhibition project conceived by the Los Angeles-based gallery Steve Turner Contemporary. Proyecto Basurto is a pop-up exhibition in Mexico City, featuring works by seven artists: Parker Ito, Edgar Orlaineta, Sarah Rara, Pablo Rasgado, Javier M. Rodriguez, Rafaël Rozendaal and Fabiola Torres-Alzaga. The exhibition is held in the historic Edificio Basurto, a landmark 1944 art deco apartment building in Colonia Condesa.
Steve Turner Contemporary: Proyecto Basurto. Interview with Steve Turner, February 22, 2013.
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> On YouTube:
The group show How Do I Look? at the art center Roots & Culture in Chicago presents drawing, photography, video, and sculpture by the artists Edie Fake, Erin Leland, Aay Preston-Myint, Michael Sirianni, Latham Zearfoss. The press release explains that "the five artists in this show are together concerned with the physical construction of interiority, the confinement to oneself that nevertheless has a public appearance, and among other things, the richness of erotic encounters and their spatial dynamics. Employing sidelong glances, coded gestures and secret language, both in tactics of display and in attitude, the artworks of How Do I Look? continue both the feminist project of de-neutralizing domestic space and the queer project of de-pathologizing promiscuity. As a collection of encounters, How Do I Look? elicits desire from fluid erotics enacted relative to public disclosure, through the evocative interplay formed in moving from the openness of light to the cloaking of darkness. How Do I Look? is at once a self-obsessed trifle and an ever-prescient interrogation: "How do you see me? How do I see everything else?". The exhibition runs until March 23, 2013.
Roots & Culture is a nonprofit contemporary art center. The mission of Roots & Culture Contemporary Art Center is to provide exhibition opportunities for leading-edge emerging artists and to develop the city of Chicago's cultural community as a center for art production and a destination for artistic discourse.
How Do I Look? Group Show at Roots & Culture Contemporary Art, Chicago. Opening reception, January 22, 2013. Video by Francisco Cordero-Oceguera.
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> On YouTube:
DRAFT is the first exhibition of artist Michelle Grabner's work at Autumn Space Gallery in Chicago. In this show, Michelle Grabner presents five large scale works and an edition. Included in the exhibition are a monochromatic woven gesso relief and a collaborative sculpture with Michelle Grabner's husband Brad Killam.
Michelle Grabner is a Professor and Chair of the Painting and Drawing Department at The School of the Art Institute of Chicago. She is represented by Shane Campbell Gallery, Chicago and runs The Suburban and The Poor Farm with her husband Brad Killam. She will co-curate the 2014 Whitney Biennial at the Whitney Museum of American Art. Her work is included in the permanent collections at the Walker Art Center, Minneapolis; Museum of Contemporary Art, Chicago; MUDAM – Musée d'Art Moderne Luxemburg; Milwaukee Art Museum, Milwaukee, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC, and the Victoria and Albert Museum, London.
Michelle Grabner: DRAFT / Autumn Space, Chicago. Opening, February 23, 2013. Video by Francisco Cordero-Oceguera.
PS: Watch also: Brad Killam and Zach Cahill: Five Drills / Performance at NADA Cologne 2012.
> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:
Splendid Playground is the title of a retrospective at the Guggenheim Museum in New York that highlights the work of Japan's avant-garde collective Gutai. Gutai (具体) was founded by Yoshihara Jirō in 1954. From 1954 until 1972, the Gutai group totaled 59 Japanese artists, who explored new art forms combining performance, painting, and interactive environments. The name "Gutai" literally means "concreteness" and stands for the direct engagement with materials its members were experimenting with. One of the major works on display is Motonaga Sadamasa's Work (Water) (1956/2011), a large scale sculptural installation made of polyethylene tubes filled with brightly-colored water that the artist recreated for the rotunda of the Guggenheim museum. This video provides you with a walk through the exhibition. More information on the exhibition is available after the break. The exhibition Gutai: Splendid Playground at the Guggenheim Museum in New York runs until May 8, 2013.
Gutai: Splendid Playground. Retrospective at Guggenheim Museum, New York. Opening, February 14, 2013. Video by Shimon Azulay.
> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:
Excerpt from the press release (English):
(NEW YORK, NY – February 11, 2013) — From February 15 to May 8, 2013, the Solomon R. Guggenheim Museum will present Gutai: Splendid Playground, a retrospective of the Gutai Art Association (1954–72), the radically inventive and influential Japanese art collective whose innovative and playful approaches to installation and performance yielded one of the most important international avant-garde movements to emerge after World War II. Based on fifteen years of research, Gutai: Splendid Playground provides a critical examination of both iconic and lesser-known examples of the collective's dynamic output over its two-decade history and explores the full spectrum of Gutai's creative production: painting, performance, installation art, sound art, experimental film, kinetic art, light art, and environment art. Gutai: Splendid Playground is the first North American museum exhibition devoted to the Gutai group and offers a comprehensive interpretation of the convention-defying movement.
Comprising approximately 145 works by 25 artists and spanning two generations of Gutai artists, Gutai: Spendid Playground is organized into six chronological and thematic sections presented along the Guggenheim ramps:
Play: An Uninhibited Act
Concept: Can a Piece of Cloth Be a Work of Art?
Network: To Introduce Our Works to the World
The Concrete: The Scream of Matter Itself
Performance Painting: Pictures with Time and Space
Environment: Gutai Art for the Space Age
The exhibition also includes documentary films of the group's historic outdoor exhibitions and stage events and offers a focus on their eponymous journal as a platform for international artistic exchange. A centerpiece of Gutai: Splendid Playground is a site-specific commission of Work (Water) (1956/2011) by the late Motonaga Sadamasa. Prior to his death in 2011, Motonaga reimagined his iconic early Gutai outdoor installation, made of plastic tubes filled with colored water, for the Guggenheim rotunda.
Gutai: Splendid Playground is co-curated by Ming Tiampo, Associate Professor of Art History, Carleton University, Ottawa, and Alexandra Munroe, Samsung Senior Curator of Asian Art, Solomon R. Guggenheim Museum. Assistance was provided by Asian Art Curatorial Fellow Lyn Hsieh.
Gutai: Splendid Playground is supported in part by the Henry Luce Foundation.
Additional funding is provided by the National Endowment for the Arts, The Japan Foundation, the E. Rhodes and Leona B. Carpenter Foundation, Mitsubishi Corporation (Americas), the W.L.S. Spencer Foundation, Tokio Marine Holdings, the United States–Japan Foundation, and the Dedalus Foundation, Inc.
The Leadership Committee for Gutai: Splendid Playground is gratefully acknowledged for its support: Hauser & Wirth, Yoko Ono Lennon, Axel Vervoordt Gallery, Rachel and Jean-Pierre Lehmann, Cindy and Howard Rachofsky, Tina Kim and Jae Woong Chung, Marianne Boesky Gallery, Richard Roth, and those who wish to remain anonymous.
Exhibition Overview
The Gutai Art Association was founded in 1954 by the influential artist, teacher, and critic Yoshihara Jiro in the town of Ashiya, near Osaka. The group spanned two generations, totaling fifty-nine artists over its eighteen-year history. The name "Gutai" literally means "concreteness" and captures the direct engagement with materials its members were experimenting with around the time it began.
Against the backdrop of Japan's World War II militarism and defeat, the American Occupation, and Japan's postwar reconstruction as a democratic state, Yoshihara directed Gutai as an experimental environment for his protégés to explore the potential of their creative free will. Yoshihara's call "Do what no one has done before!" pushed Gutai to break through borders between painting and performance, object and process, and between art, the ordinary public, and everyday life. He championed art making as an act of freedom, a gesture of individual spirit, a rite of destruction to create something new. Unbridled invention led the Gutai artists to experiment with new methods and materials: they painted with watering cans, remote-control toys, homemade cannons, and bare feet; made ephemeral site-specific works using the sky, water, sand, lightbulbs, and torn paper screens; and staged exhibitions in public parks, on the beach, and in bombed-out ruins. Gutai artists gained critical attention for their use of the body and for their experimentation with technology and nature.
The Gutai group grew out of both a rich local cultural context and critical engagement with international contemporaries. The local context, arising from the cosmopolitanism of the Kansai region, included prewar modernism, theater design, traditional Japanese festivals, children's art education, and avant-garde calligraphy. The international context included Abstract Expressionism, Art Informel, Gruppe Zero, Happenings, and environment art—all movements with which Gutai intersected both at home and abroad. Gutai: Splendid Playground seeks both to examine Gutai's aesthetic strategies in the cultural, social, and political context of postwar Japan and to further establish the group in an expanded, transnational history and critical discourse on modern art.
Gutai artists perceived early on that the canvas had become a contested arena internationally, and inspired by Yoshihara's ethic of originality and individualism, they literally leapt through the picture plane in their search for new forms of art. During their first phase (1954–61), Gutai constructed self-expression as an assertion of the individual against the mass-conformist legacies of wartime totalitarianism. Not only did they lead by example, performing powerful acts of self-expression, but they sought to develop the autonomy of others—of their audience, the general public, and especially of children—by provoking them to think, create, and imagine for themselves. The exhibition features Tanaka Atsuko's interactive sound-art installation Work (Bell) (1955 [refabricated 1993]), where visitors activate a cacophony of bells ringing sequentially across the Guggenheim's Ramp 2; and "performance paintings" by Murakami Saburo, Shimamoto Shozo, and Shiraga Kazuo. For Shiraga, painting with his feet enabled an unmediated encounter with the material and a direct bodily form of artistic expression, seen in such paintings as Untitled (1957) and Wild Boar Hunting II (1963) and in his performance Challenging Mud (1955), where the artist "painted" with his entire body in a pile of grit, directly engaging with raw matter.
During the group's second phase (1962–72), Gutai assessed and experimented with new technologies, seeking ways to counter the perceived dehumanization caused by Japan's rapid growth and evaluating its cultural impact. The exhibition highlights artists from this later period of Gutai production, who have long been neglected in scholarship, such as Imai Norio, Imanaka Kumiko, Kikunami Joji, Matsuda Yutaka, Matsutani Takesada, Mukai Shuji, Nasaka Senkichiro, Nasaka Yuko, and Yoshida Minoru. Exploring the relationship between art, its environment, and the viewer, Gutai's intermedia works incorporate optical illusion, light projection, and movement. Artists frequently motorized their sculptures, turning exhibition spaces into dens of screeching, pulsing, machinelike organisms. Yoshida's erotic machine-sculpture Bisexual Flower (1970) mines the psychedelic effects of this approach.
During the group's lifetime, Gutai artists showed on four continents and distributed their magazine, the Gutai journal, to contacts around the world. In 1962, Yoshihara established the Gutai Pinacotheca, which became the center of the group's activities, functioning as an exhibition space and a site for international engagement. In 1958, the Gutai group was featured in their first exhibition in the United States, at the legendary Martha Jackson Gallery in New York. It was not until 1965, however, when Gutai was included in a show at the Stedelijk Museum in Amsterdam on the Nul and Zero movements that Gutai's role as a pioneer of intermedia experimental art was fully recognized. Long misunderstood abroad as a painting movement by virtue of the group's 1957–65 collaborations with French Informel critic Michel Tapié, the full spectrum and historic contexts of Gutai's highly innovative cross-genre approaches to art making within an international context have remained understudied.
Ferdinand Hodler is considered as the best-known Swiss painter of the 19th century. Hodler is known for his portraits and nature and landscape images, especially those of the Swiss mountains and lakes. Hodler's paintings had a major influence on Switzerland's picture and perception of itself. At the same time, he was one of the most important representatives of the transition from the 19th century to modernism. The Fondation Beyeler in Riehen (Basel, Switzerland) currently presents a comprehensive exhibition of the late work of Ferdinand Hodler. The show has been organized in conjunction with the Neue Galerie in New York and is curated by Ulf Küster (Fondation Beyeler) and Jill Lloyd (Neue Galerie). In this video, Ulf Küstler provides us with a guided tour of the exhibition. He presents highlights of the show and talks about the life and work of the artist. (This video is an excerpt. The full-length versions in English and German language are coming soon on this page. They are already available on Fondation Beyeler's YouTube channel.).
The exhibition at Fondation Beyeler, which focuses on the late work of the Swiss painter Ferndinand Hodler, comprises some 80 works and includes loans from renowned Swiss and American private collections and major national and international museums. The show is complemented by a extensive supporting program such as lectures, readings, and a dance performance.
Ferdinand Hodler at Fondation Beyeler. Tour with curator Ulf Küster, February 6, 2013.
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The exhibition Chicken by Jake & Dinos Chapman at the PinchukArtCentre in Kiyv (Ukraine) presents the specially produced new installation The Sum of all Evil, that represents a synthesized reflection upon the central themes such as the Holocaust, violence, and death. The Chapman brother's fascination with sharp subversive humor and unbridled aggression is apparent throughout their work. The Sum of all Evil is an enormous miniature scenery, which is composed of four encased dioramas. It is a continuation to Chapman's' earlier epic nine-part installations, Hell (1999-2000) and Fucking Hell (2008). Jake & Dinos Chapman: Chicken brings together many of the artist's most celebrated works: early iconic sculptures such as The Chapman Family Collection (2002), Sex I (2003) and From the Blackened Beyond (2011). In this video we attend the opening reception of the exhibition, and Eckhard Schneider, (General Director of the PinchukArtCentre) provides us with an introduction to the exhibition. Finally, Jake & Dinos Chapman talk in detail about the work The Sum of All Evil. The show runs until April 21, 2013.
Jake & Dinos Chapman: Chicken at PinchukArtCenter, Kyiv (Ukraine). Interview with Eckhard Schneider, Jake & Dinos Chapman, February 15, 2013. Video by Frantisek Zachoval.
PS: Watch also: Tony Oursler: agentic iced etcetera. Solo Show at PinchukArtCentre in Kyiv, Ukraine.
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Eckhard Schneider, General Director of the PinchukArtCentre:
"Jake and Dinos Chapman's work continually verges on the breaking of taboos. It can be extremely offensive in its use of black humor and subversive jokes, addressing issues of violence, war, the Holocaust, genetic manipulation and death in all their inhumanity. It seems they are always ultimately concerned with generating a moral panic. The selection of work in this case fulfills such claims in a very specific manner, in that they will be premiering a new work, Sum of All Evil, which references the Babi Yar massacres in Kiev."
PinchukArtCentre is an international center for contemporary art of the 21st century in Kyiv, the capital and largest city of Ukraine. It was opened in 2006 by the Victor Pinchuk Foundation. Jake Chapman was born in 1966 in Cheltenham and Dinos Chapman in 1962 in London. They live and work in London. They have exhibited extensively, including solo shows at the The State Hermitage Museum, St Petersburg (2012); Museo Pino Pascali, Polignano a Mare (2010); Hastings Museum (2009); kestnergesellschaft, Hanover (2008); Tate Britain, London (2007); Tate Liverpool (2006); Kunsthaus Bregenz (2005); Museum Kunst Palast Dusseldorf (2003); Modern Art Oxford (2003) and the P.S.1 Contemporary Art Center, New York (2000); upcoming in November 2013 will be a solo show at the Rudolfinum, Prague. Group exhibitions include the 4th Moscow Biennale of Contemporary Art (2011); the 17th Sydney Biennale (2010); Meadows Museum, Dallas (2010); Rude Britannia, Tate Britain (2010); Bundeskunsthalle, Bonn (2010); Hareng Saur: Ensor and Contemporary Art, S.M.A.K, Ghent (2010); the National Centre of Contemporary Art, Moscow (2009); Kunstverein Hamburg (2009); British Museum, London (2009); Palais des Beaux Arts de Lille (2008); Haus der Kunst, Munich (2008); ICA, London (2008); Annenberg Courtyard, Royal Academy of Arts, London (2007); Museum of Contemporary Art Kiasma, Helsinki (2006) and the Turner Prize exhibition, Tate Britain (2003).
PinchukArtCentre представляє першу персональну виставку в Україні Джейка та Діноса Чепменів під назвою «Курча». Проект побудований довкола нової масштабної інсталяції художників «Усе зло світу» (2013), що формує цілісний погляд на головні теми творчості братів – Голокост, жорстокості та смерть. Також, виставка включає в сеье відомі арт-об'єкти Чепменів, гостре почуття гумору та неприборкана агресія яких провокують конфлікт та піддають сумніву табу, що існують у сучасному світі.
With the exhibition Lichtenstein. A Retrospective, the Tate Modern in London currently presents a full-scale retrospective of one of the great American artists of the 20th century. The show brings together 125 of Roy Lichtenstein's most definitive paintings and sculptures. Lichtenstein is known for his works based on comic strips and advertising imagery. His paintings are colored with his signature hand-painted Benday dots. Lichtenstein. A Retrospective showcases key paintings such as Whaam! (1996), Drowning Girl (1963), and Look Mickey (1961). This video takes you on a walk through the exhibition on the occasion of the press preview.
Lichtenstein. A Retrospective. Tate Modern, London (UK). Press preview, February 18, 2013.
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Tony Oursler's exhibition agentic iced etcetera at the PinchukArtCentre in Kyiv, Ukraine is the first major solo exhibition by the artist in Eastern Europe. Tony Oursler: agentic iced etcetera presents specially produced new works, including a Ukrainian speaking installation, as well as some of the most iconic pieces of the artist. The New York–based artist has been a pioneer of New Media and video art. Tony Oursler is especially known for projecting moving images onto objects. In this video, Eckhard Schneider (General Director, PinchukArtCenter) talks about the mission of PinchukArtCentre, Bjorn Geldhof (Deputy Artistic Director, PinchukArtCenter) speaks about the significance of Tony Oursler's work. Finally Tony Oursler talks in detail about the specially produced new works. The show runs until April 21, 2013.
As Eckhard Schneider, General Director of the PinchukArtCentre states:
"Tony Oursler (born 1957) is one of the pioneers of the genre. For Oursler video is a medium comparable to water in its extreme fluidity, one that had remained imprisoned within television for fifty years. He has not only succeeded in liberating video from the screen, but also in developing it into video sculpture. His works are introspections on the human psyche under the influence of mass media. The majority of the work that will be on show has been created especially for the PinchukArtCentre – a dramatic labyrinth of sensations."
PinchukArtCentre is an international centre for contemporary art of the 21st century in Kyiv, the capital and largest city of Ukraine. It was opened in 2006 by the Victor Pinchuk Foundation.
Tony Oursler: agentic iced etcetera at PinchukArtCenter, Kiev (Ukraine). Interview with Eckhard Schneider, Tony Oursler and Bjorn Geldhof, February 15, 2013. Video by Frantisek Zachoval.
PS: Watch also our 2009 coverage of Tony Oursler: Cell Phones Diagrams Cigarettes Searches and Scratch Cards at Metro Pictures, New York
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Oursler is today among the most important as well as the most influential artists of the present day. Formally, Oursler has developed a wide-ranging use of materials such as resin, glass, fabric, steel and various found objects, which are kaleidoscopically overlaid with projection, light and sound, forming a unique embodiment of his themes.
Projecting moving images onto objects, Oursler moves beyond traditional uses of media such as cinema, television and the computer and creates something akin to "living" sculptures. The scenarios he devises are often full of poetic and humorous performances, incorporating all manner of physical and auditory representations of the human form.
Tony Oursler graduated from the California Institute of the Arts in 1979 and is currently based in New York. Oursler's works have been widely exhibited internationally, including solo shows at the ARoS Aarhus Kunstmuseum (2012); Padiglione d'Arte Contemporanea, Milan (2011); Whitney Museum of American Art, New York (2010); Kunsthaus Bregenz (2009); Kunstforeningen GL Strand, Copenhagen (2006); Musee d'Orsay, Paris (2004) and many more. Group exhibitions include the Museum of Art and Design, New York (2012); Cincinnati Art Museum (2011); Carnegie Museum of Art, Pittsburgh (2010); Whitney Museum of American Art, New York (2010) and the Museum of Modern Art, New York (2008). 1 Elizabeth Janus, "Talking Back – A Conversation with Tony Oursler", in Tony Oursler: Introjection (Williamstown: Williams College Museum of Art, 2010).
From the press release:
The PinchukArtCentre (Kyiv, Ukraine) presents the first major solo exhibition by Tony Oursler in Eastern Europe entitled "agentic iced etcetera". The exhibition combines specially produced new works, including a Ukrainian speaking installation, with some of the most iconic pieces of the artist. Themes within the exhibition include chance in everyday life, endorphin fuelled relationships, and the tendency for magical thinking to name a few. The human face and the way it simultaneously communicates and masks emotions is also a key theme in Oursler's work.
Eckhard Schneider, General Director of the PinchukArtCentre: "Tony Oursler (born 1957) is one of the pioneers of the genre. For Oursler video is a medium comparable to water in its extreme fluidity, one that had remained imprisoned within television for fifty years. He has not only succeeded in liberating video from the screen, but also in developing it into video sculpture. His works are introspections on the human psyche under the influence of mass media. The majority of the work that will be on show has been created especially for the PinchukArtCentre – a dramatic labyrinth of sensations."
From his earliest videos and installations, the mutability of human nature has been the central theme of Tony Oursler's work, fuelled by his fascination with the inner workings of the psyche and belief systems . The resulting sculptures, videos and installations challenge the viewer's preconceptions of rationality, schizophrenia and culturally constructed notions of good and evil.
Formally, Oursler has developed a wide-ranging use of materials such as resin, glass, fabric, steel and various found objects, which are kaleidoscopically overlaid with projection, light and sound, forming a unique embodiment of his themes. Oursler's work invites viewers to question their relationship with mass (multi-) media and reaches from an examination of television (and its surrounding structures) to a questioning of the psychological effects of digital communication tools like mobile phones and the Internet.
Projecting moving images onto objects, Oursler moves beyond traditional uses of media such as cinema, television and the computer and creates something akin to "living" sculptures. The scenarios he devises are often full of poetic and humorous performances, incorporating all manner of physical and auditory representations of the human form. The works incorporate a spectrum of voices reflecting numerous performative and literary approaches – florid poetics, interior monologues, tortured fragments or scientific jargon. Viewers are invited to complete the script as they move through the exhibition and confront open-ended, often existential constructs.
Oursler also explores the interaction between sculpture and spectator. He is aiming for a conversational structure in which the object not only speaks but also provokes the viewer's imagination.
The human face reoccurs as subject in "Caricatures" (since 2002), works in which biomorphic sculptural objects become caricature-like forms literally brought to life by videos of eyes and mouths that take over the unnatural proportions of the sculptural object. These works explore the viewer's empathic relationship and echo the history of caricature, ranging from early sculptural forms such as the Venus of Willendorf to the ubiquitous smiley face.
The artist's so-called "micro works" are almost like living embodiments of thought structures. Oursler's interest in memory, construction and new scientific discoveries and ontological systems form the basis of these wildly imaginative microcosms. Landscape, architecture, found objects and amorphic materials are overlaid with tiny projections which complete the surreal, microscopic world. Elaborately edited looping structures cover these small forms and upturn the relationship with the spectator. Each micro-world is displayed at eye level and mirrors the scale of the human cranium.
On the other hand, the overwhelming scale of "Lock" (2011) semi-forces the viewer into a total, physical experience of image and sound. Viewers are dwarfed by the three enormous characters who make up the work and as they pass through the maze of this projected world, they experience three layers of interlocking characters: the first representing free will and agency; the second representing the status quo and human error; the third representing mathematical symmetry and death. This monumental installation involves key performances by artist/filmmaker Tony Conrad, vocalizations by singer/performer Chanique Rogers, a sound collaboration with Dan Lloyd (Brownell Professor of Philosophy at Trinity College, Hartford) and musical compositions generated from functional MRI (Magnetic Resonating Image) readouts of psychological test subjects. The installation has the appearance of a secretive yet familiar system, loosely divided between the mind, body and environment, in which synchronized images shift to form a colourful game.
Finally, the exhibition features a screening room of music-themed video. The screening includes numerous collaborations, including those with Sonic Youth, Beck, Kim Gordon, Stephen Vitiello and Glenn Branca as well as featuring Oursler's recently released music/video collaboration with David Bowie.
The exhibition will be open from February 16 till April 21, 2013 in the PinchukArtCentre. Admission is Free.
Yoko Ono: For most people she is just the widow of John Lennon, or even the woman who broke up the Beatles. What most people don't know is her work as an avant-garde artist. With the large retrospective Yoko Ono. Half-A-Wind Show. Eine Retrospektive, the Schirn Kunsthalle in Frankfurt am Main in Germany wants to highlight her pioneering role as an artist, as a groundbreaking protagonist of the early conceptual, film and performance art. This video provides you with an exhibition walkthrough, an introduction by curator Ingrid Pfeiffer, and an excerpt of Yoko Ono's statements at the press preview. In this excerpt, Yoko Ono emphasizes the importance of the artist, and talks about politicians, the search for truth, and what she believes the individual can do to make this world a better place.
The retrospective Yoko Ono: Half-A-Wind Show at Schirn Kunsthalle in Frankfurt presents around 100 objects, films, installations, photos, drawings, and text based work. The exhibition focuses especially on Yoko Ono's works from the 1960s and 1970s. On display are installations and objects such as Half-A-Room (1967), Air Dispensers (1971), Water Event (1971), Danger Box (1971), and Amaze (1971); films such as Film No. 4 (Bottoms) (1966), Fly (1970), and Film No. 5 (Smile) (1968); and Yoko Ono's music, presented in a special music room. Among the newer works on display are Franklin Summer Drawings (1995-), Vertical Memory (1997), En Trance (Revolving Door Version) (1998), Touch Me (2008/2009) – and a work that Yoko Ono has developed specifically for the exhibition in Frankfurt, the installation and performance Moving Mountains. The exhibition runs until May 12, 2013.
Yoko Ono. Half-A-Wind Show. Retrospective at Schirn Kunsthalle. Press Preview, February 14, 2013.
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This video provides you with a walkthrough of artist David Choong Lee's current solo exhibition titled Organic Updates at 111 Minna Gallery in San Francisco. David Choong Lee presents large altar-like wall sculptures. The multidimensional murals combine abstract and figurative elements. He's been influenced by such diverse sources as Van Gogh, Rembrandt, Sukdo, and underground music DJ scenes. His own artistic style that is a combination of graffiti, collage, portrait, and classical realistic skill with bold graphic elements. The exhibition Organic Updates at 111 Minna Gallery runs until February 23, 2013.
David Choong Lee was born in 1966 in Seoul, Korea. He moved to the USA in 1993. In 1997 he graduated from the Academy of Art University in San Francisco. He has been teaching figurative art at the Academy of Art University in San Francisco from 1998. David Choong Lee lives and works in San Francisco.
111 Minna Gallery is located in the SOMA district of downtown San Francisco in walking distance from SFMOMA. The gallery's space is an urban industrial warehouse. Established in 1993, 111 Minna Gallery features exhibitions of contemporary art, life performance, film screenings, and DJ's.
David Choong Lee: Organic Updates. Solo exhibition at 111 Minna Gallery, San Francisco.
Opening Reception, February 1, 2013. Video: Ross Stanley.
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Singapore Art Week in January was packed with art events: the international art fair Art Stage Singapore 2013, a myriad of exhibition openings in art institutions, private galleries, and art centers such as Gillman Barracks. The Singapore Art Museum contributed even two highlights to the arts calendar: the President's Young Talents show, featuring Singapore's most promising artists under the age of 35, and the much anticipated Collectors Show: Weight of History.
Now in its third year, The Collectors Show presents contemporary art from private collections in Asia. The 2013 edition is titled Weight of History. Curated by SAM curator Michelle Ho, the exhibition features more than 20 works that show how artists perceive, and re-conceive the multiple facets of history in the Asia-Pacific region. The exhibition runs until May 5, 2013.
The President's Young Talents show was inaugurated by Singapore Art Museum in 2001. Its aim is to feature Singapore's most promising artists under the age of 35. The artists are selected by an independent curatorial committee of local art professionals and are mentored through the entire process of art creation. This year the selected artists are Boo Junfeng, Liao Jiekai, Zaki Razak, Grace Tan, Ryf Zaini and Robert Zhao Renhui. The exhibition runs until September 15, 2013.
In this video, we provide you with an exhibition walkthrough on the occasion of the opening reception of both The Collectors Show: Weight of History, and President's Young Talents on January 24, 2013.
Coverage of last year's shows is available in our archive: The Collectors Show: Chimera at Singapore Art Museum and The Singapore Show: Future Proof at Singapore Art Museum at 8Q
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Featured artists in The Collectors Show: Weight of History are Tony Albert, Jumaldi Alfi, Montien Boonma, Kawayan de Guia, Sakshi Gupta, Shilpa Gupta, Gonkar Gyatso, Aisha Khalid, Li Songsong, Morimura Yasumasa, Francis Ng, Chatchai Puipia, Sudarshan Shetty, Shahzia Sikander, Tang Da Wu, Yuken Teruya, Tu Wei-Cheng, Vertical Submarine, Xu Bing, Yee Sookyung, Zulkifli Yusoff, and Zhang Huan. The works come from the collections Hady Ang, Apeejay Surrendra Group, Mimi Brown, Disaphol Chansiri, Aliya & Farouk Khan, Leeum Samsung Museum of Art Seoul, Lekha and Anupam Poddar, Michelangelo and Lourdes Samson, Tatsumi Sato, Peggy Scott and David Teplitzky, Mike Tay, Tay Yu Jin, The Rose Trust, and other private collections.
Gay Town is American actor, filmmaker, writer and artist James Franco's second solo show in Berlin with the gallery Peres Projects. The exhibition that is presented in a temporary project space on the historic Karl-Marx-Allee 87 explores a variety of themes that are central to James Franco's artistic practice: adolescence, public and private persona, stereotypes, and celebrity. The artist created most of the works for the show over the past two years. He created many of the works in temporary locations such as hotel rooms whilst completing other projects, mainly motion pictures. In this video we attend the opening reception of the exhibition, and gallerist Javier Peres talks about how he and James Franco developed the idea for the exhibition and the basic concept of the show.
Peres Projects regards Gay Town as one of James Franco's most ambitious installations to date. For Gay Town, James Franco uses a mix of different media including painting, drawing, film, video, sculpture, and photography. The result is an exhibition that is very much autobiographical. As Javier Peres explains:
"All these works are ultimately very autobiographical. With this show one of the things that James was really exploring was the different things that are happening in his life as he is going through them and he's depicting them in either in film, in the videos, or in the paintings, or even in the blankets. The blankets are all based on drawings that he makes, or collages or fan art or whatever. So it's all stuff that is happening contemporaneously that he's experiencing. The whole idea of the show, was to show this aspect of his life. It's very much like a self portrait."
James Franco was born in Palo Alto, California, in 1978. He is a successful actor, filmmaker, author and artist. Selected exhibitions include The Dangerous Book Four Boys, Peres Projects, Berlin, and Freeks and Geeks, Air de Paris, Paris. He portrayed Harry Osborn in Sam Raimi's Spider-Man trilogy and starred as Aron Ralston in 127 Hours. In 2011, he directed The Broken Tower. He earned several Golden Globes and was Nominee for Best Actor in a Leading Role for 127 Hours.
James Franco's exhibition Gay Town runs until March 9th, 2013. On March 1st 2013 Peres Projects will open its new gallery space on Karl-Marx-Allee 82 with a solo exhibition by David Ostrowski entitled 'I'm OK.' Moments later, he was shot.
James Franco: Gay Town at Peres Projects Berlin, temporary projects space Karl-Marx-Allee 87. Opening, February 9th, 2013. Video by Frantisek Zachoval.
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As part of his Sentient City Survival Kit (2010), the American artist and scientist Mark Shepard developed an iPhone navigation app called Serendipitor. The Serendipitor app calculates the ideal route to get you from A to B, but unlike the usual navigation apps, it doesn't offer you the most direct and fastest way to the destination, but offers detours and delays by way of Fluxus-inspired instructions. The aim is to open the user's eyes to new and unknown features of the city. On August 31 and September 1, 2012, Mark Shepard offered a guided Serendipitous Walk through Basel. VernissageTV took part in the tour on September 1, and documented the Serendipitor Walk Basel. Previous to the Basel Walk, Mark Shepard presented the app and offered guided tours within the framework of the Venice Architecture Biennale 2012 where he was presenting his work at the US pavilion. The Serendipitor app can be downloaded for free at the Apple app store.
Mark Shepard: Serendipitor Walk Basel, September 1, 2012.
PS: If you are interested in Art Walks, here's another, quite different one: Hamish Fulton: Limmat Art Walk, Zürich 2012.
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With Mona Ardeleanu's Berlin debut, Wagner + Partner open their new gallery premises at Strausberger Platz. Under the title of Softskin, the 28-year old Stuttgart painter exhibits her most recent works. Following her studies under Daniel Richer, Franz Ackermann and Karin Kneffel, Ardeleanu has forged her own unique path in the field of painting. In this video, Cai Wagner (director, Wagner + Partner) provides us with an introduction to the exhibition. Mona Ardeleanu talks in detail about the process of painting. The show runs until March 09, 2013.
Mona Ardeleanu was born in Lörrach (Germany) in 1985. The artist lives and works in Stuttgart. Since graduating from Stuttgart State Academy of Art and Design in 2010, Ardeleanu's painting have been shown internationally in both group and solo exhibitions. She has attended grants and awards: Graduiertenstipendium des Landes Baden-Württemberg, (2013); Stipendium der Kunststiftung Baden-Württemberg (2012); Arbeitsstipendium Stiftung Kunstfonds Bonn (2011) and Stipendium Junge Kunst 2010 der Alten Hansestadt Lemgo und der Staff-Stiftung (2010). Her solo exhibitions include: Puppenruhe, Städtische Galerie im Eichenmüllerhaus Lemgo (2011); Es ist in der Haut, wär's im Kleide, so wär's vergänglich, Galerie Rainer Wehr, Stuttgart, (2011); Epidermis (Sieben Häute hat 'ne Zwiebel), John Doe Projects, Karlsruhe, (2010); Patina, Städtische Galerie im Stapflehus, Weil am Rhein, (2010).
Mona Ardeleanu: Softskin at Wagner + Partner, Berlin (Germany). Interview with Cai Wagner and Mona Ardeleanu, January 25, 2013. Video by Frantisek Zachoval.
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Ardeleanu's compositions investigate interiors, although other than this fundamental enquiry, everything remains open. The associative references of the collage-like arranged objects are primarily situated within the interior themselves and seldom within the picture's environment. Nonetheless, Ardeleanu's paintings are also not entirely abstract. Through her conscious placement of patterns, fabric textures and visual allusions to pieces of clothing, one gains the impression of seeing something familiar. However, the non-referential background or rather the interior of these paintings creates a necessity for revision in the viewer. What remains is uncertainty.
The carefully considered tension between abstraction and realism is also mirrored through forms (shapes, bodies) and material (fabrics, textures). Beyond these formal criteria, it is with questions related to dissociation and transition that the artist concerns herself with. Originating with the epidermis's function, her paintings question the constraints of what one labels inside or out. What is skin? What is a cover? The series "Schnürungen" (Lacings) 2011 refuses to answer these questions through the use of imaginative, fabric-clad bodies and aims to redefine the body through these means. In this way Mona Ardeleanu's paintings also encourage a compelling discourse beyond the stereotypes of male and female. In doing so they reveal the aesthetic tensions within the confines of our own patrimonial bodies.
For the 2013 edition of the international art fair Art Stage in Singapore, the architectural practice WY-TO Architects created the entrance and the VIP lounge of the fair. WY-TO has offices in Singapore and Paris. The key element of WY-TO's designs The Skeleton for the entrance and The Whirl for the VIP lounge is the oversized loom theme. In this video, the architect, designer and WY-TO founding partner Yann Follain talks about the basic idea and concept of WY-TO's work for Art Stage Singapore. He also speaks about his background and design philosophy, his ambitions as designer and architect, and the challenges of working between East and West. Finally he provides us with an overview of WY-TO's projects and an outlook on future projects. The video above is an excerpt, the complete interview is available after the break.
"Combining functionality and dream to create spaces for everyday life as well as exceptional occasions" is WY-TO's credo. As Art Stage Singapore's Associate Architectural Partner, WY-TO was responsible for the design of the entrance and the VIP lounge of the fair. WY-TO is based in Paris and Singapore. It was co-founded by Pauline Gaudry and Yann Follain. Both graduated from the Architecture School of Paris-Belleville in 2005. Gaudry and Follain both have a rich multicultural experience. They worked in Hong Kong, Goa, France, and Singapore. Recent projects include the exhibition design for Singapore's ArtScience Museum's Andy Warhol Show, and the designs for the new Natural History Museum of Singapore and the New Museum of Contemporary Art in Buenos Aires.
Interview with designer, architect, and co-founder of WY-TO Architects, Yann Follain at Art Stage Singapore 2013. January 25, 2013.
PS: Click here for our coverage of Art Stage Singapore.
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Complete interview (23:10 Min.):
"Tell the chef, the beer is on me."
"Basically the price of a night on the town!"
"I'd love to help kickstart continued development! And 0 EUR/month really does make fiscal sense too...