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This is an english translation of an interview published in: ARTMIX no 9, march 2005.
The shortened version was published in: Opcje. Kwartalnik Kulturalny, 2004, no 3 (56), pp.54-61.
The rebellion of a neo-avant-garde artist
The 1970s. Tradition abandoned
Joanna Turowicz: The notion of "conservatism" became the pretext to our conversation. Actually, what I have in mind, concerning your work, is rather wide associations. If conservatism, then also tradition. Many a time, you have emphasised the revolutionary significance of the return to the tradition in your work after 1987, that is after your broke your co-operation with Przemysław Kwiek who was your partner both in work and in private life. You departed from the creation of ephemeral situations and actions in the KwieKulik Duo in favour of material pieces made independently and studies on old works of art. To understand how revolutionary this return to tradition was in you case, we should go back to the 1970s.
The general background of the 1970s was such: on the one hand there was our artistic stance, reluctant to the past, strongly rooted in a certain avant-garde pattern. You just went forward, the novelty and progress, and the rejection of tradition were the most important. On the other hand, however, there was the contesting trend of the late 1960s and the early 1970s. That was an all-European, as well as American trend: Woodstock, hippies, protests against the Vietnam war, etc. One could read about it in the press and see films on this theme in film clubs, featuring images which were not in a wide distribution or would be shown but a few years later. Polish critics, who were a part of the cultural establishment of Communist Poland like Osęka, Kowalska, Olkiewicz, Janicki… also wrote about the contestation and the deterioration of many respected international events, e.g. i Oberhausen, Venice and Paris. Of course, there was the March of 1968 in Poland, later came the Gierek-era openness and optimism and, closer to us, a series of student festivals, e.g. at the town of Nowa Ruda where almost everybody contested not only the institution of a festival itself, its organisers and the so called activists but, even, each other themselves. Some short-living neo-dadaist groups appeared. After we finished our studies, we started to realise slowly what the mechanisms of the state control were like in Poland, supported by the network of protection, method of passing over some things in silence, or making no mention of uneasy matters. That was rather difficult to notice and expose to possible criticism.
How did the KwieKulik Duo was formed in this atmosphere of contestation around 1971, right after you graduated from the Academy? You both studied sculpture at the Warsaw's Academy of Fine Arts, starting from a traditional workshop, didn't you?
We studied classical domains: portrait sculpture, nude study, drawing. Kwiek also studied graphic arts and painting and I dealt with textile art and ceramics. Maybe, it is worth mentioning that we had "dealt" with art quite early, several years before we enrolled to the Academy. When I was 14, I started regular classes in a sculpture section of the Youth House of Culture in Warsaw. There I met Kwiek.
How come you abandoned traditional art? Instead of a painting or effigy – a theoretical commentaries, activities and documentation (slides, films).
Our shift from the study of traditional techniques and themes to what we later called "camera-targeted activities" [dzialania dokamerowe] was not sudden nor coincidental. It was more or less 1967/1968 when Kwiek started to ponder how not to sculpt the other leg of an effigy if he had already proven that he was capable of doing it, sculpting the first one. He started to play with variant potential of an object. He photographed the stages of the transformation of a sculpture. It still was a sculpture. It still was made using traditional materials, clay, plaster, etc. He recorded those transformations on slides and in a film. One can also see in various bits of the film tape how I endeavoured my nude study in a still traditional mode. (I was one year lower as a student than Kwiek but we all shared the same space.) Kwiek had a variant approach to an object, but it still was a single object. I had departed from the object altogether at that time. For the whole year, I recorded various situations and events; I animated people and objects before the lens – I created a kind of a visual memoir in slides. Well… and even before, I was fascinated by the projection as such and the phenomenon of the screen. In the academic year 1969/1970, I constructed a spatial screen on which I projected abstract slides, lighting up certain elements on this screen according to some dramaturgy. A priest from the township of Lesna Podkowa saw this projection and proposed me to make the designs for the lighting in the church. During the vacations of 1970 I worked on it for several weeks, making mock-ups and studying various lighting effects but I finally gave up. I found the atmosphere of the church paralysing. I did not know how much of experiment I could dare to in, after all, the church. Moreover, I was only a student and I did not have much confidence in myself.
In the 1970s there was the so called "conceptual revolt in the world art". A work of art as an object ceased to be important and it was now the process and its documentation that started to count. Your student experiments were approved by professors Jerzy Jarnuszkiewicz and Oskar Hansen, so, there must have been much creative freedom at your academy?
Indeed. Thanks to Jarnuszkiewicz and, especially, Hansen, the search for the new materials and media was not viewed as a threatening revolt or some whim. It was important that those things were seriously commented by our professors on the theoretical level. Hansen developed his own Theory of the Open Form, which offered us a certain intellectual support in discussions. Initially, the discussion was purely academic, only in confrontation with the so called "life", outside the academy, did we involuntarily become the so called "avant-gardist" because we wanted to continue with the defence of our "theoretical" stance in the actual reality of such a bureaucratic and conservative state as the Polish People's Republic [PRL] was, despite its post-revolution propaganda slogans.
But it was not only the avant-garde gauge that made you break with tradition. It was also the specific, oppressive and "grey" reality of the Communist PRL. There was the ban on quoting the uncomfortable tradition.
Sure. The names such as Pilsudski 1 ozef Pilsudski (1867 – 1935) polititian, statesman, advocate of Poland's independence; after the May Revolt became the dictaror and national marshal, fought for independence of the country, especially against Poland's former occupant – Russia (Kiev War). [Translator] [/ref] and Gombrowicz [ref]Witold Gombrowicz (1904 – 1969) Novelist, dramatist and essaist. Co-operated with Parisian Kultura where he launched his Dziennik (Journal). Main works Ślub (Wedding, 1953), Trans-Atlantic (1953), Pornografia (Pornography,1960), Berliner Notizen (1965), Kosmos (Cosmos1965). His works reached far into the future, preparing his readers to go from modern to post-moder messages. [Translator] were absolutely banned from the official existence. I can remember a discussion between students and party activists at the town of Nowa Ruda in 1971. Someone from the audience asked why Gombrowicz was not published in Poland, being so important a writer, etc. A silence fell and then activists tried to explain that there was no paper and money. To this someone replied that the works might be photocopied…. A laughter burst out. At that time a photocopier was a novelty and the possibility to multiply information fascinated the artists but this did not mean the device was accessible to the general public. No way. The access to photocopiers was under strict control. That more or less was the atmosphere of that time. Now, I cannot recall various facts but peculiar terror reigned then, which prohibited one from mentioning any good aspects of the pre-war past.
I believe much depended on an individual home and upbringing, whether some information, e.g. on our pre-war past was transmitted and the reserve towards the reality of Communist Poland was instilled.
Both Przemek and I absorbed at our homes some kind of faith that whatever is spoken in public is true. We had similar upbringing. Both our fathers were army men, colonels of the Polish People's Army. Przemek's mother had a managerial post, being a committed Communist. I spent my childhood in the barracks. Nobody could pay us a visit until 1956. The barracks were located in some godforsaken area. They were in the precinct between Pulawska, Rakowiecka and Niepodleglosci Streets in Warsaw. There was the headquarters, the garages for military equipment and accommodation for the soldiers, along with kindergarten and shops. That was a restricted area within the city centre.
A few years after your graduation from the Academy, in 1975, you applied for the Communist Party memberships. You were not accepted. This, probably, was a good turn in your lives (you returned your Candidate Cards only during the Martial Law). One can say you were in such an "in-between" situation.
We have always been "in-between". Between tradition and novelty, between art and science, between life and theory. The Polish Communist Party's (PZPR) statutes stipulated a one-year period of being a candidate. That we were not approved as members for several years against the statute, certainly, made us curious. We had been "suspended" for so long that we probably got used to it.
Why did you enrol at the party?
The situation of some incapacity, some social vegetation was unbearable. The Party seemed to be the only legal way of being active outside the private grounds. It had taken us about two years before we decided. Other artists encouraged us to do so. Anastazy Wisniewski who converted his membership into art would say a scornfully artistic "yes" to what was happening. Marek Konieczny encouraged us, too. He, in turn, was a friend of Alfred Lenica's and Erna Rosenstein's whose Communist background dated back to the pre-war time. For example, when they paraded in the May Day celebration in 1971 (together with Artur Sandauer) they raised clenched fists in front of the podium in the traditional gesture of old Communists.
One can find many analogies between your stance and that of the pre-war avant-garde, especially Russian one. I mean the commitment, the will to shape reality by art and your attempts at this shaping which, from today's perspective, seem a little naive but heroic. Well, initially in the Soviet Russia, many avant-garde representatives participated in the transformation and the cultural life of their country. In the 1930s repression appeared and the Socialist Realism was proclaimed the obligatory doctrine so the avant-gardists were totally eliminated, trampled. Consequently, a wide term of "neo-avant-garde" appeared as the name for this type of artistically committed stance of the 1970s.
I cannot recall when the term "neo-avant-garde" was first used. However, the term "avant-garde" did not fit us perfectly because it would suggest we were trying to force the open door in the sense of applying new means to change the already existing reality. Moreover, we were born under Socialist conditions and we practically did not know any other system. We did not feel those winds of history which must certainly have influenced the former avant-garde. The situation in Poland was generally different. In our time, after 1956 1 After Stalin's death in 1953 and the criticism of his actions by the 20th Meeting of the Communist Party of the Soviet Union in 1956, the period of "the thaw" came so the restrictions became milder in Poland. [Translator] , and that is important, there was not threat of loosing one's life or being sent to a labour camp. There was no risk of life but only that of a bad level of existence – being disdained, being refused good commissions or having the ban on one's passport. What was the worst was this universal apathy. Probably, that we wanted to change reality may somehow have been in the line with the avant-garde tendency but, actually, we did not want to destroy; we wanted to reform and reorganise. For example, Kwiek and I studied the theory of organisation and cybernetics and were interested in, among others, a "formalised notation", as we would call the recording of Activities (that is the record of the sequential behaviour and activities of an artist under concrete conditions). We treated a mechanical recording and projection equally to traditional painting and sculpture. All the time, we postulated the "implementation" (this probably was the term very often used in the past) of our experiments in life. Yet, the reality was reluctant to it, it refused being changed. Certainly (and this has already been said many times) we were pathologically naive then. However, the people who made an indirect criticism of the system between the lines, who winked in confidence and would, at the same time, receive their remuneration from the system and reinforce the ruling stagnation were also pathological. They were ill with dubiousness and hypocrisy… well, save for those who really risked their lives in 1 : 1 scale, as Jacek Kuron did.
Let's return to your neo-avant-garde stance (or avant-garde in the wide understanding as Peter Bürger proposes in his Theory of the Avant-garde, Minneapolis 1984). I mean the socially committed stance, as well as art and life practice joined together and experiments with the new media. In your small flat in the Warsaw district of Praga, you ran the gallery and The Studio of Activities, Documentation and Propagation (PDDiU), where you collected the archives of not only the KwieKulik Duo but other artists, too. How did you support yourselves without a regular state employment?
Occasional commissions and moonlighting. This means we first begged for state commissions in the State Artistic Ateliers (psp), however, we belonged to no coterie so we only got such jobs which others would not accept. Using our own terminology: these commissions conditioned our life, so we started to include them as such into our art by creating the "camera-targeted activities". A good illustration for this is our work from 1974 entitled "Carving and Acting. Earning and Creating. Having Your Cake and Eating It." (Kucie i Dzialanie. Zarabianie i Tworzenie. Wilk syty i owca cala.) We were carving an inscription in sandstone: "In this place …. heroically died from the Nazi hands…". While we were carving consecutive words we placed letters from black cardboard paper on the stone plaque and made new variations of the inscription, e.g. "At the this time while we were carving this stone 300 people died of hunger" or "IN THIS bag is 20 ducats". A series of slides was made along with a single copy of our authorised album, which featured the commission from PSP on their letter paper, ending with the sentence "We also communicate to you that the date for the unveiling of the plaque is 6 April 1974. Therefore, the deadline for this commission is very urgent". There are also other works where these two threads: a slipshod commission and art intermingle. In 1979 we made "the MOnuMENT to CULTural Slipshod" (pomniKULTUchaltuRY) where the portrolio of our slipshod works made to that date was the main element. I must not add that the State Artistic Ateliers were the target of our constant criticism and scorn.
You had the power to join art and daily life for so many years because you acted together. When your son was born you included him into your actions, too, and photographed various situations with him.
Sure. This would not be possible if one acted on one's own. It could only appear as a result of a dialogue. We talked to each other much. Przemek had such a dialectic manner: when you said "white", he would reply "black". So you finally said "black" to finish the discussion but then he would say "white. There was no end to it. We just transferred the things we did during our academic studies into our lives. When you are a student you are somehow under an umbrella. You can absorb many things then; you are rather disinterested and radical. We cultivated this academic stance also outside the Academy but then the "adult" reality was at our threshold – a child and the necessity to support ourselves. This was the stance of the academics who simultaneously had to carve some stone slabs in honour of… and they included this carving in their "disinterested insight". Summing up, it was a weird combination. Well, in our case it was not the examination of the limits of language or the limits of the body but, rather, the limits of the status of an artist. We wondered what our place as artists was in a concrete society. If we did something, like writing a letter of complaint or making an action, we determined our position on the basis of reflections and reactions of various officials and institutions. Their response was often a part of our "oeuvre". We continued in our ethos of artists who wove their art from occurrences in their own lives. After many years, we planned to publish an interview which Maryla Sitkowska made with us under the title "Art and Theory Illustrated by Various Life Occurrences or the Art out of Anger" (Sztuka i teoria ilustrowana przypadkami zyciowymi, czyli SZTUKA Z NERWÓW). I think this explains much. Later, when the "Solidarity" period came, it turned out that there was hardly anyone who had such authentic, full-blood works on Polish reality. Stefan Morawski was the first to notice this. He mentioned us among those who did something in the time of Communist Poland (PRL).
The 1980s. The avant-garde is flabbergasted – the return to painting
At the beginning of the 1980s the new generation of artists appeared – the painters who made works in the so-called "new expression" style (Gruppa and others). What was your reaction as the neo-avant-garde artists to such a triumphant return of painting?
This ideally fits the theme of conservatism. That was the period when the ethos of avant-garde within which Jerzy Beres and others acted continued. In the early 1980s, everything was pushed away by the "wild" painting. The painters expected, and that actually was fulfilled, that it would be enough to spill some paint on canvas and the museums would buy it on the instant. Indeed, great artists they were. I think that this situation shocked the movement of other media, the conceptualists and contextualists. Even, it was not painting itself that was the issue but it was their arty stance. How could one be so non-analytical, so ego-expressive and splash so much colour around? We had always been the alternative, the opposition to the official, regime-favoured and, actually, traditional art, so when the liberation came, the museums ought to have been interested in the art "excluded" to that day; but, suddenly, panting encroached this potential space of ours. We were astonished – this 19th-century painting again? Where was progress? Where was the research on the medium? Where – the broadening of the language of expression? And where – the experience of the body? We could not understand that situation. After 10 years, it was 1981, what had been forbidden could finally have flourished but – again not? So when? We felt like orphans: we were first slapped in the face by the regime, then the young generation of those conservative painters slapped us again.
That's your interpretation. Critics welcomed the new trend in art.
Of course! Finally, true art returned to the parlous! One could smack and indulge in metaphors. However, we had our own approach to it. We assessed it from the perspective of the 1970s when we negated painting and the object. We could never find a common platform with such true artists. The arty artists were something which we had always opposed.
So, you found a common language only with the artists of a still younger generation, such as Zbyszek Libera and Jerzy Truszkowski, linked to the so called "Whip-Round Culture", didn't you? They also did not have any scruples to use tradition and create works of art. Simultaneously, they were interested in body art and the new media, although they painted pictures.
However, for them, art was still a work of art, not the process and talking about it. Libera and Truszkowski were post-conceptual artists; they used the new media and turned the conventional and stale relations between artists and critics and institutions upside down. That was what made them different from the "wilds".
The muteness of the neo-avant-garde female artist
Another important issue for the theme of conservatism is the difference between sexes and the cultural context. I will begin with something which has absorbed my attention: your silence, emphasised in some texts and interviews. You yourself say that when you were a young girl, you somehow felt no clear borders of yourself, You did not speak, that means you were incapable of speaking in public. For years, you have not commented on the activity of the KwieKulik Duo. Such a feminine silence is the traditional motif of the patriarchal culture and the symbol of oppression. In your case the woman is acting, she is active but she is silent.
True. A certain situation may illustrate it well. At the Dreamers Meeting in Elblag in 1971, Anastazy Wisniewski was preparing a catalogue which featured declarations and various manifestos of the participants. He approached me with a tape recorder and asked whether I would like to declare something. I shook my head. Certainly, this gesture was not recorded. He asked me whether I was shy to speak. I negated again, shaking my head. Then I saw a sentence printed next to my portrait "I announce to everybody that citizen Zofia Kulik has very important information for all of us but she is not shy to reveal it. A. Wisniewski". It was like that. I was never pushy about speaking. I couldn't gather my thoughts whenever someone expected me to say something; although, every often everything would simmer inside me. I think that if we lived in the time of a revolution, my role would be next to some leader fighting for beautiful ideas. I would organise things, carry pamphlets, bombs or whatever. I dreamt of serving some matter. This remains an unfulfilled desire, unrealised in my life. I was born for ideals not for myself.
Perhaps this is a variation of the dream of a fairy-tale prince? A revolutionary prince? An externalised cliché or a more noble model of feminine subjugation, thus a cultural topos important for the Polish tradition? The model of a woman who exists only in relations and the relations are mostly related to sacrifice. Take all of these women who followed their beloved on the way to the expulsion in Siberia or these terrorist women with bombs at the side of a leader, (e.g. the tragic figure of Kama in Agnieszka Holland's "Fever").
Perhaps. I expected my partner to be a stronger personality but that was not linked to the traditional division of roles. It was rather the expectation of him to exceed the average, to be an outstanding man whom you serve for the sake of the idea he cultivates. He might have been a doctor, a discoverer, etc.
So, we can say that you acted silently at Kwiek's side; although, Przemek emphasises that there was balance in your relationship, that you always made decisions together. Well, when did this silence start to be tiring to you?
It seems to me that there must have been some deep psychological process and it continued for years. Maybe, first moment like that happened around 1978. I told Przemek I did not want to participate with him in spontaneous public appearances, without a script. To that time it was like that: We created some artistic situation the core of which was, for the most cases, a slide projection, a few gestures, but the commentary was the most important. Kwiek was the speaker. He explained things while I was sitting silent. I told him I was not going to participate in such a situation again, that I find it embarrassing. Almost always, we treated our viewers with some dish like bigos or something at the end. Even if Przemek prepared the dish, I was the "scullion" at his side performing all the simplest kitchen tasks. Moreover, I organised the events from the, as it is today called, logistic point of view. I cared for us not to forget anything, have it well packaged, carried to the site and then cleared away. So, these were all of these mundane tasks which one quickly wanted to forget and especially artists eliminated them from their lives; but in our case they were always in the foreground. That was a terrible grind for me. Moreover, I had to find a way to get all of these products for our dishes. We really did not have money. For all the time when we lived in our Praga flat, I visited my mother every second day and brought some food from her. The worst was the distance between the ZOO stop to the corner of Targowa and Wojcika streets which I had to cover with full baskets. Everything was in the baskets: soup, chops, cakes – mostly processed food because I was ashamed to take raw food like fresh potatoes. My mother believed that this was the way to save our time and work, not that we did not have anything to eat. So, in 1978 I had the idea of this performance with a washbasin. We were thinking then what we could do during the "Body Performance" even at the Labirynt Gallery in Lublin. Later, we developed the idea, adding buckets on our heads and the heads on chair seats. Finally, our appearance was in three parts. In the second part I was sitting on the floor, my head projecting through the hole cut-out in the washbasin. Kwiek poured water into it and, next, he washed his face and legs in this water. Then he wielded a knife at the back of my head and yelled: You bitch! Say something! Say! From the moment of that appearance I started to feel better. Yet, I think that Przemek still slighted such pre-arranged appearances. He preferred the things which looked spontaneous. In 1981 there was another situation. We went to Brussels. We brought lots of equipment and documentation but had no script. The people were entering the room and Przemek asked me "What shall we do?". My nerves refused to bear such situations any longer.
So, during all these years of your co-operation you did not breech the "Duo stipulations"?
In 1978 I made an independent mini-gesture entitled "Zofia Kulik's Plea for Pardon" (Prośba o przebaczenie Zofii Kulik). For the first time did I try to do something without Kwiek. The Duo did suffocate me too much: all of these repetitions; we were speaking always the same things, we were doing always the same things. Strange emotions accumulated within me. I was inspired by a fragment of an American film "Jezebel" from 1938. It was a story from the time of the Secession War, starring Bette Davis. She was completely infatuated but she wasn't humble. He left her and married another woman. Later, he came and paid her a visit. She did not know he was no longer free, so she wanted to return to him. I can remember the scene when the heroine dressed in a white gown fell before her beloved onto her knees and begged his pardon. She was so pathetic. Later I went to Podwale street to the costume centre to hire a white dress. I wanted to plea pardon from the public, making the same gesture as the actress and falling onto my knees before it. What was the public supposed to forgive me? I didn't know exactly. Probably that I was not present in person, even if I seemed te be. I was nothing but a part of a dimorphic hybrid in which my role was not clear, nor how much space I occupied, what my shape was. I was tired with that muteness of myself. "Zofia Kulik's Plea for Pardon". Look what the title it was: a concrete person with a given name and surname asks her public for pardon.
Was it on the occasion of the KwieKulik performance "Grave Hardships Kill Life" (Ciezkie bolaczki zabijaja zycie) at Warsaw's Dziekanka in 1978?
Yes. First, there was the KwieKulik performance with stones. We wrote down the things which perplexed the public on slips of paper and glued the slips to these stones. We placed the stones in a big burlap bag that was hung at the ceiling. The bag was supposed to fall down on a cardboard box because of the weight of the stones. There was a living creature in the box. It was smashed, only bloody pulp remaining. Then the second part occurred. (Please note, Kwiek forgot to put the title of my appearance next to the title of our joint piece on the poster). Dressed in a white satin gown, with a long train and holding a suitcase in which I had brought the gown from the costume centre in my hand, I tried to bow to the public. I approached the public several times to fall onto my knees. I must have been really pathetic, as that actress had been. When I made a few bows I felt totally humiliated but… I asked for that. I needed such a situation and I had it.
Did this prefigure your split?
Perhaps. Earlier in 1957 – 1979 we had this case with the ban on our passports. It was evident we had to be together. No way for our parting with each other lest we might be totally smashed. But later, we did not have to. There was "Solidarity" and the Marital Law. Later we had a series of appearances at Dziekanka, every week for about a month in subsequent years from 1984 to 1986. So, in fact, our parting from each other lasted from 1984 to 1987, 1989 even. Quite long, for several years.
One cannot evade associations with feminism in case of your performances. As if you were acting feminine humiliation in them. This activity with the basin – even when one would translate it into universal issues (there was censorship, the oppressive system, the regime), one could not fail to notice the feminine aspect of the acted-out and externalised subjugated role.
That's the point. And Przemek would indeed humiliate me in public. I have never discussed it in my interviews but this may have been the main reason of our split. I know he will negate it, but he was a master in making a mountain out of a molehill. At home, you could pass over it somehow but in public it was terrible. For instance, such a situation from 1981. I knew some English, he did not. We had lectures with slides for students in Holland. He wanted to explain all of our Polish and Communist contexts. However, I was not able to render all of his flamboyant language, so I made some shortcuts. He would scold me for this. The students were waiting for the continuation of the story but I lost the thread. Yet, Kwiek took no notice of it and continued reprimanding me. Such situations were really embarrassing. It was more or less 1982 when I did not want to deal with art at all. I did not want to go to all these events and symposia "starring" Kwiek, Jozef Robakowski, Andrzej Partum and others. Therefore, I had the idea to move from Warsaw to Dabrowa. This also was the moment when I told Kwiek: Do art yourself, make career and I will help you. I was prepared to realise the traditional model of a couple: he is professionally active and she helps him in the background. I was physically very strong and a good organiser, so I really could be helpful to someone who would really want to do something. But Kwiek didn't.
So, He turned out not to be this revolutionary prince?
Kwiek turned out not to be much interested in his own career. Moreover, there was another very important reason why I remained in this Duo for so long – I was sorry for this great output of the KwieKulik in the form of a huge archive. As I said, the archive did not have any closed form, so it was fated to annihilation without our presence. Therefore, all of this lasted so long. Had Kwiek had a different character, the split would not have happened. Think, how determined I must have been to break with all of this; simply – the razor at your throat. He forced me to emancipate. Like parents trying to kick out their child from a cosy home. And now, he is building his own mythology that it was I who broke with him.
The 1970s was the period of contestation movements in the West, including the second wave of feminism. However, this wave did not reach Poland. Maybe, you ran across feminist ideas in a different way in the time of the Communist Poland?
I can remember a propos feminism that I was annoyed by Natalia LL's opinions on feminism. These were sheer slogans. They did not exceed nice-sounding sentences-openers. It was too little for me. Ewa Partum – the same: feminism, feminism. When I thought over their feminism I concluded: there is the Woman's League 1 The Woman's League – communist organisation of women, meant to help them in dificult life situaitons and propagate socialist / communist ideas along with general education, elements of hygiene, job training, etc. [Translator] in Poland, why don't they join it as activists? Let them develop contacts with international organisations. Or, let them organise themselves independently and propose something.
Well, this is the KwieKulik approach. Moreover, feminism in art really appeared with the wave of feminism as a social movement, not only theoretical and artistic phenomenon.
Yes. After all, if we speak of feminism why did Partum put mascara on her eyelashes and applied make-up foundation to her body when she undressed, preparing for a performance? She would put on her stiletto hills and only then was she a "feminist"? And at that time, there were so many women's problems to be solved. So, my approach was like that – pragmatic. When I heard the word "feminism", I rather thought about a non-artistic context: what a woman-feminist could do for other women in Poland. I would rather be interested in such things.
Ewa Partum and Natalia LL had contacts with the world feminism. So did Maria Pininska-Beres.
Yes. They were influenced by it. They used western terms; yet, this was incomprehensible in the Polish Communist reality. They were radical in their commonplace texts but they did not reveal any single bit of the secrets of their own experience and thoughts. Well, at least I cannot recall anything like that.
Rebellion, individuation and the return to tradition
In 1987 was the final collapse of the KwieKulik Duo. One may say that the process of individuation (terminology after Jung) commenced. Your independent work started with "The Archive of Gestures" (Archiwum gestow) – a series of photograph with a male nude model (Zbigniew Libera), often assuming poses after old masterpieces or reproducing monument-like poses. According to your words, this is the first work in which the "temperament of traditional artists" manifests itself. Sometimes, your appearances were accompanied by self-commentaries. You regained your power of speech earlier but now you started to make it increasingly more public.
In my text which I hanged on the occasion of my first solo exhibition at Mała zpaf Gallery in Warsaw in 1989, I wrote about the closed form, about the fact that I have no-one whom I could serve, about subjugation, etc. My point was to realise again who I was and what I wanted to do. The answer was that I would never again do any open form. I wouldn't do it as this was the basis for the KwieKulik Duo – this permanent activity when one did not know what was the matter and limit of art. At the moment when I started to work with Libera, to arrange his poses before the camera, my atelier-based work began. Similar to Cezanne who studied and painted landscapes, I started to study and photograph gestures. A certain baroque of research commenced. I would then penetrate albums and, indeed, I went through all possible epochs. During these studies, I started to think about my own psychological motivation.
Perhaps it was the thirst for tradition?
Yes, but this thirst and curiosity developed during cognition. Something like the situation when one enters a forest, one does not want to be an ignorant in this forest. One starts to scrutinise and gather knowledge on a given theme. So, my entrance into the forest was not pre-programmed but spontaneous, pretty intuitive. Later, I started to realise things, to recollect facts from the time of PRL: about the bans, this Gombrowicz and Pilsudski case, etc., and I started to perceive myself in a model-like way – previously, I was radical in one way, now in another, opposite to the former stance. This created a certain form of pleasure, both cognitive one and that which was elated to a new exciting adventure. I managed to say, although first in an intuitive way: down with the open form, from now on I am dealing with the closed form. I wrote a text on it in an absolute amok. I did not know myself what I was writing. I somehow drew it from my guts, only later my consciousness caught up with it. It was fine, that I was going to spite myself, and spite KwieKulik, too. The more I sank in my search of traditional forms, the better I saw myself in a former role, in art, behaviour and expectations, etc. I started to behave in a "conservative" way and demanded from various institutions to treat me as a regular traditional artists. I envied my younger colleagues, who worked with the new media, that they entered into official relations just after graduation – galleries, museums, press, etc. They never questioned these institutions and relations, probably there was no need for that any longer. Even when they were criticised by some right-wing centres, they had already enjoyed the status of a professional artist. One could not even dream about such a situation in the 1970s. So that was the reason why I craved the role of the "traditional" artist for myself even stronger. Which, however, did not mean I felt at home in this role. All the time something hesitated in me whether I should, perhaps, go back again into this alternative independence of the previous period.
What was the response to your first solo appearances and exhibitions?
At the same time when I had my exhibition in Lublin in 1990, Jerzy Bereś had his performance during which he spoke seemingly in general terms but he simultaneously looked at me. He spoke about kitsch. I felt a little stupid, although, I was not absolutely sure that he alluded to me.
Deriving from your photographic archive, you started to construct increasingly complicated compositions (collages and photo collages) the structures of which resembled mandalas, mosaics, gothic windows and altars, and carpets. Many motives of the Socialist Realist iconography appeared in you first works, especially those form the early 1990s. Your first solo exhibition had the title "The Visual Idioms of the Soc-Ages" (Wizualne idiomy Soc-Wiecza). It revealed your obvious inclination to use the elements of monumental, state-supporting, and often totalitarian aesthetics.
Yes. There are many such motifs. I invented the title of the exhibition "The Visual Idioms of the Soc-Ages". The idiom is a phrase typical only of a given language, impossible to be translated literally. It was in 1989. My experience with KwieKulik was still fresh and I was frustrated that I might fail to describe and explain certain things. The whole richness of the context of various interesting stories was lost. As for the totalitarian aesthetics, it abundantly derived from tradition. Here, I encourage you to view my "iconographic guide" to my work "All Missiles Are One Missile" (Wszystkie pociski sa jednym pociskiem) which was issued on the occasion of Venice Biennial in 1997.
What turns one's attention is the high emotional level of your early self-commentaries. By contrast with your previous silence, this initial period of your individual work is reminiscent of a rebellion, some revolutionary outburst in the field of art and privacy. The return to tradition, reconciliaiton but, also, anger, aggression directed to the outside: art as a must (compulsion), reaction to it and self-treatment. You write "I am not filled with meekness but a subdued need for attack. And there is only a question of where to direct it: from myself or toward myself."
This was one of the first self-commentaries. Indeed, it was written in a very emotional way. It is quoted everywhere. I carry some aggression within myself – maybe this already belongs to the time gone, I do not know. Is it caused by upbringing or, perhaps, life in the time of regime? Maybe, it is caused by my shyness, the reluctance to expose my inner life, I don't know. This aggression does not appear directly. I do not want to harm physically neither myself nor anyone else. Hence, for instance, the title of the series of my exhibitions "Symbolic Weapon" (Bron symboliczna).
Do you sublimate this energy into symbolic art.?
Yes. Into art, symbolic art because there are also artists (I am not one of them) who express their strong emotions using the body in a direct way, e.g. by cutting it. Here, one should find analogy to this aggression against the surface of the body. Perhaps I do the same but use a different "body". How can I call it?
I will quote another fragment of your self-commentary. "When I make images of subjugation, do I appreciate and prize it or scorn and abolish it? I accept subjugation as my problem and theme. Full of fear and, simultaneously, full of hatred to the situation in which the constraint of subjugation appears, I take an artistic revenge by grabbing all sorts of weapons (symbolic and formal) directed against me." Certainly, your works feature the deconstruction of power systems perceived in universal categories, as well as the category of feminist criticism of "masculine-martial" culture. However, I can also see fascination here (the beauty of structure ordered so much that it hurts). It is as if these visual symbols of serfdom raised fear but, also, fascinated.
I was afraid of this fascination of which you speak. Later it was eliminated thanks to the fact that others started to write about me much, calling it "critical art". The most terse commentary said that I "apply an astonishingly efficient manoeuvre – I realise the sweetness of formal compositions by building them from images of bullets, skulls, naked figures, etc." A form looks like a flower from a distance but when you approach it, you see the barrels of canons instead of beautiful petals. That's how I feel, that the cover of aesthetic expression, beauty and harmony, this shining and vibration, hides some horror of life and potential decomposition. "The World as a War and a Decoration [Adornment]" (Swiat jako wojna i ozdoba") – this is the title of my work from 2003.
Summing up, my point is also that the critical potential of your works has already been very well analysed. However, to avoid the oversimplification of the range of their possible reception, I waywardly emphasise the element of your fascination with the totalitarian gesture and structure. Perhaps, it is something of the Stockholm syndrome when a victim begins to identify or becomes fascinated with her tormentor?
Certainly, there is fascination. But there is something else at stake – to learn what you were enchanted with, what was the method, the way. Because totalitarianism apply archetypes and psychologically deeply rooted forms and visual "tricks", it would be good to cognise them lest we may be enchanted too easily.
Photographed stills from various TV programmes became a module of your most monumental work "From Siberia to Cyberia" (Od Syberii do Cyberii) 1998 – 2004. You included these photos even earlier in your carpet-like compositions (among which were "Who Conquered the World?" Kto zycięzył swiat? 1994, All Missiles …., 1993). These works were rightly perceived as the analysis of the instrumental treatment of image by power systems. I like Piotr Piotrowski's opinion that "information is one of the means of "adding the aesthetic to politics ' in totalitarian countries". And you show it in your works. This opinion, actually, does not pertain only to strictly totalitarian countries (e.g. selected information on conflicts using arms). However, let us return to the genesis of "From Siberia to Cyberia". When did you start to photograph stills of the TV screen?
This story is again a broad hint dropped in the garden of feminism. For years, I was with Kwiek who always cooked. Later, Kwiek moved to the utility building at the back of our garden so, there was nobody to cook for me. I was left alone with our son. I began to learn cooking. The TV set was in the kitchen. I would install a camera on a tripod opposite the set. And, here was I peeling potatoes, and here – I push the camera button. Later, I bought a video recorder and started systematic recording. I developed a kind of addiction: lunch or supper time and I look up what's on TV in the newspaper to know what time precisely is worth going to the kitchen to have an interesting recording at the same time. It was like that for several years. Were it not for my kitchen duties, this work would not appear; well, it would not be of that size and so uniform. As you say, I had used TV images before but I collected them in a fragmentary way. Now, I wanted to make a work composed only from them. I needed the whole mass of them, and I got it. At that time, I also started to work a little on a computer, so pixels, the points which build the image appeared. Consequently, the associations with pointillism came, along with embroidery and lace. (I am skipping here fractals which caught my eye then.) A lace pattern appears where stitches become denser. You gather some stitches and let others drop – that's probably what's it called. I was interested in such things then. The zigzag pattern in "From Siberia to Cyberia" was made because certain fields on a photographic paper were not exposed to light, they are like these dropped stitches.
Sewing, handiwork as inspiration to create a form… Your mother was a seamstress and your father worked in the military. These contrasts must have had strong impact upon you, as you yourself remember. At a certain moment you say that you "put your father's content in you mother's form". So, let us return to form. Is this the form of your "feminine genealogy", the experience transmitted from mother to daughter?
I do not know. Probably the experience really comes from my mother. But that happened without my consciousness. As a girl, I would observe my mother, constantly bending over some fabric. She laboured over patterns, adjusting models. I helped her a little. At that time sewing machines did not overcast the edges so you had to do it manually. This job would continue late at night. Once a big event came – scissors from America which cut toothy edges, so the fabric did not go off. Of course, the sewing machine was propelled by a pedal and was always… in the kitchen.
You started making references to your past and personal experience rather late. However, today this experience has already been included in the analysis of your works. Thanks to this fact their critical context becomes deeper not only as the deconstruction of the universal power but also the "masculine-martial" history and culture which is pinpointed by such critics as Sara Wilson and Izabela Kowalczyk, among others. As we can see, the feminist slogan of the 1970s "what is private is political" has remained up-to-date.
Well, I find it difficult even to imagine that such references to one's past and personal history would be possible earlier. In the 1970s the obligatory model of an artist was that of a universal person, which probably also implied a sexless one. While we were sunk in the avant-garde trance, there were no personal sentiments. Even if we, that is I and Kwiek, took "conditions" into account in our art. We would reveal many details from our lives and external "necessities"; however, that was an attempt at the construction of a certain objective model, as science did, or create a universal warning for the so called "society". Such things, however, were not meant to pertain to an individual experience. "Yes" for general and social issues, "no" for anything private. No way. This would mean derision. Therefore, I subdued these things for so long. These things accrued within me and they can be explained to a large extent only in the context of my concrete psyche and my personal experience. Today, the performances with the washbasin and the white dress may be better understood using the language worked-out by feminism. Where you have terminology, you find it easier to notice something.
You cognised feminism later, yet today, one can say that the interpretation of your individual oeuvre without feminist tools is practically impossible.
By the way of feminism. I once watched a TV programme (certaintly!) on the occasion of the Feminist Conference in Krakow in 1995. I had already been active on my own for a long time. So, American feminists came, I re-wrote their names from the video tape: Elizabeth Kennedy, Claire Kahane, Carolyn Korsmeyer, Isabel Marcus. They answered the question "My road to feminism". I listened to them and oops! I could see my former Gehenna. I had had to achieve everything of which they were telling now solely by myself. So I listened and every sentence I heard was about me. I thought to myself "That's the point! It is like that!". Luckily, I started to go back to my own personal experience and recalled various things. Had I not done it, what would have been with me now? I am not a person who will instantly reveal all of her private matters. Speaking about myself in public was a really great trespass for me. Even now, in this interview, I dig out various facts under the influence of your feminist questions… but, come on! Let's not exaggerate. I do not want to be reduced to a single label…
June 2004, Dabrowa-Lomianki
Heartney Eleanor, 1996, April, Into the International Arena, "Art in America" (recenzja z Kwangju Biennale).
Kowalczyk Izabela, 2002, Niebezpieczne związki sztuki z ciałem, Poznań: Galeria Miejska ARSENAŁ.
Kulik Zofia, 1992, Na temat repetycji, [w:] Obecność III, kat. wyst., Poznań: Galeria BWA, Galeria ON, Muzeum Etnograficzne.
Piotrowski Piotr, 1999, Między Syberią a Cyberią. O sztuce Zofii Kulik i o muzeach, [w:] Zofia Kulik. Od Syberii do Cyberii, kat. wyst., Poznań: Muzeum Narodowe.


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Camvi addressed biometrics on the edge at FedID
Last week at the Federal Identity Forum and Exposition (FedID 18) Camvi Technologies was invited to speak at the Law Enforcement and Biometrics session with U.S. federal executives from the DoD and the FBI.
Matt McCrann, Director of Sales and Business Development for Camvi, delivered a presentation on "Biometrics on the Edge: AI-Powered Solutions for Next Generation Biometric Systems" during the session. The speech addressed the key challenges resulting from the growing needs for real-time intelligence and analytics, and discussed how artificial intelligence and edge computing can be leveraged to accomplish more complicated biometric tasks.
"Next generation biometric systems need to be developed with three core competencies: Scalable, Adaptable and Interoperable," explained Matt McCrann, "Using artificial intelligence as an enabler, these next generation systems will demonstrate a level of autonomy and a form of adaptiveness, which will allow users to overcome the challenges that real world scenarios present, such as poor, sub-standard biometric collection and attain their most extreme objectives, such as high performance stand-off, long-range facial recognition."
The Palo Alto-based face recognition company reports that the presentation was well received by the federal officials and industry experts in attendance. Following the presentation, McCrann led a workshop and discussion around "AI and Deep Learning in Biometrics".
The presentations and workshop discussions provided insights into the challenges and potential solutions related to law enforcement agencies and the use of biometrics.
Article Topics
artificial intelligence | biometrics | biometrics at the edge | Camvi Technologies | cloud services | edge computing | facial recognition

subset: commoncrawl


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President Barrack Obama and his ex rival John McCain never agree on anything; but, have now become allies with the use of armed drones. The White House has spoken, and they have decided that the Pentagon should take the lead with the lethal operations and not the CIA(Central Intelligence Agency). After the tragic death of two western hostages in a CIA drone strike, key members of congress have urge to let the department of defense handle anything that has to do with drones.
"We will renew this discussion with the administration, within Congress as to who actually should be running the drone operation," McCain said on CNN's "State of the Union" on Sunday.
I myself think that drones are a positive but also a negative to the United States. Many people could or would assume that the world would be a better/safer place with drones all around. In reality, drones can be more harmful then what you think. Take for example the two hostages that just suddenly died because of a drone attack. The CIA and the department of defense should be careful with whom they attack. Drones aren't humans, they carry a highly developed motherboard that could malfunction or cut connection with it's host. I have no experience with drones, but if they are going to be used then let the ones who have a better knowledge with it and a better strategy take over the business so that mistakes don't happen again.
The debate remains over the effect of drones on the war against terrorists. Have drone strikes led to increased security by taking out potential threats or have they caused an increase in the hatred of the United States while inspiring more terrorists to act out?


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NBC News slammed Tucker Carlson and Fox News for targeting NBC reporter Brandy Zadrozny during a segment on Carlson's show on Wednesday night.
"Fox News has chosen to smear Brandy. In so doing they have shamefully encouraged harassment and worse. Fortunately, any effort to intimidate Brandy is doomed to failure. NBC News couldn't be prouder of Brandy, and we will continue to vigorously support her work," the network said in a statement on Thursday.
During his show on Wednesday, Carlson devoted a segment to Zadrozny — an investigative reporter who has covered disinformation, QAnon, extremism and other conspiracy theories online — and accused the reporter of "seeking out personally identifying information about anonymous Trump supporters online."
Carlson also brought on Darren Beattie — a former Trump speechwriter who has given speeches at conferences attended by prominent white nationalists and has since left the White House — as his guest for the segment, who accused Zadrozny of being a "neo-Stasi" who was trying to "crush the rebellion of the American people against their corrupt ruling class associated with the victory of Donald Trump."
"Over the past several years, journalists from news organizations around the world have put themselves at risk in order to shine a light in the dark corners of society and the Internet — specifically in the realm of conspiracy theories and online extremism," NBC News also said in its statement. "Tucker Carlson dangerously and dishonestly targeted one of those journalists — Brandy Zadrozny. Brandy represents the best of investigative journalism and of NBC News."
"She is relentlessly well-researched and sophisticated in her understanding of disinformation and conspiracy theories on the Internet and within some social media communities," the network continued in its statement. "Her work is widely respected and has contributed greatly to the public's awareness and understanding of the dangers of this alt-universe that breeds online but has very tangible real-world impacts."
A Fox News spokesperson did not immediately respond to TheWrap's request for comment.


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Terrence Shannon Jr. Looks to Improve NBA Draft Stock
Texas Tech guard Terrence Shannon Jr. made John Hollinger's list of 'The 14 returning college players I'll be watching closely for the 2021 NBA Draft,' released by The Athletic on Thursday.
Hollinger profiled players from around the college game, ones that could have left early for the NBA after last season, but chose to stay at least one more season. Shannon was the only Big 12 player on the list. The list also includes Iowa center Luke Garza.
Shannon scored 16 points and grabbed 5 rebounds in just 19 minutes against Northwestern State on Wednesday night. He also had 2 steals.
Last season, as a true freshman, Shannon was an All-Big 12 Freshman team pick who averaged 9.8 points, 4.1 rebounds and 1.0 assists. He also shot 82.9 percent shooting at the free-throw line, seventh-best in the Big 12.
Shannon, a 6-foot-6 guard out of Chicago, Illinois, was part of the 2019 recruiting class ranked No. 16 in the nation, as ranked by 247Sports.com, and featured guard Jahmi'us Ramsey, who was drafted last week in the second round by the Los Angeles Lakers. Shannon was a four-star recruit and a Top 100 player nationally coming out of high school.
Under Red Raiders head coach Chris Beard, the program has placed one player in the NBA Draft each of the past three seasons. Before Ramsey, guard Jarrett Culver was selected No. 6 overall by the Phoenix Suns (and later traded to the Minnesota Timberwolves) in the 2019 Draft. In the 2018 Draft, Zhaire Smith was taken No. 16 overall by the Phoenix Suns.
If a Red Raiders player were drafted in 2021, it would equal the program's high for consecutive years with at least one draft selection. From 1995-98, the Red Raiders sent Mark Davis, Jason Sasser, Tony Battie and Cory Carr to the NBA via the draft.
Texas Tech hosts Sam Houston State on Nov. 27.
**Want to win a $20 gift card? Go sign up here and join our conversation! The best poster each week wins a gift card to your favorite establishment!**


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SSL certificates can help protect your information from ending up in the wrong hands. Here are 9 things you need to know to help keep your personal info safe online. 1. WHAT IS AN SSL CERTIFICATE? An SSL certificate encrypts information sent between your web browser (Google Chrome, Apple Safari, etc) and a web server (i.e. your favorite website). This allows you to submit your credit card information, usernames and passwords, and other sensitive information to websites securely. 2. WHAT DOES S.S.L. STAND FOR? SSL stands for Secure Socket Layers. 3. HOW DOES AN SSL CERTIFICATE WORK? Your web browser connects to a web server that is using an SSL certificate. The web server then sends its SSL certificate and the issuing certificate authority. A certificate authority, CA for short, is a trusted third party that has issued the certificate. Your browser then confirms the validity of the certificate with the certificate authority. By verifying that the certificate was
Any sufficiently advanced technology is indistinguishable from magic


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Dark wood will provide warmth to a room, make it feel cosy and add a touch of drama to the room. With careful design choices, a dark tone can make a spectacular finish. The key to making it work is contrast and lighting. Some of our most successful projects have been with deep browns, blacks and charcoal colour floors
Dark colour floors need to have contrast to their surroundings, so if you have dark kitchen units or walls then the space will start to feel enclosed and cause difficulties for the visually impaired. Lighting is essential, a room that is poorly lit whether naturally or not will not make a comfortable environment.colour
It depends on the finish. The higher quality products will tend to have many layers to achieve the dark effect, thus making a durable finish. Avoid very flat colours or those with no texture as dust, scratches and scuff marks can show. Texture such as a brushed surface will help light reflect off your floors at different angles and this minimises how much scratches show up.
To a certain degree dark wood will make a room feel smaller. However, sometimes a room can feel too sparse and cold if everything is left to a light colour. Don't rule out dark wood for your floors in smaller rooms, opting for a white walls can offset the illusion.
Do consider the colours for the entire room, they all need to work together
Don't opt for dark floors if you have poor lighting
Don't skimp on price, to get good depth of colour requires either numerous layers of colour or timbers that are naturally dark like Walnut Flooring or Wenge
Do contrast walls and kitchen units to the floor with a light colour, white works very well.
Do add colour with soft furnishing or floral displays
Surprisingly there are many dark wood floors available.
Dark smoked oak and American walnut will provide milk chocolate tones, while dark thermo oak will provide near black with slightly reddish undertones. On the grey side you will find mid greys through to dark charcoal colours and then there is jet black, usually achieved through a painted finish.


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The 5 Elements of the new revised Codes and what they each intend to measure
Element | Code Series Reference | What each element measures |
Ownership | 100 | Measures effective ownership of entities by Black people. |
Management Control | 200 | Measures the effective control of entities by Black people. |
Skills Development | 300 | Measures the extent to which employers carry out initiatives designed to develop the competencies of Black employees and Black people internally and externally. |
Enterprise and Supplier Development | 400 | Measures the extent to which entities buy goods and services from Empowering Suppliers with strong B-BBEE recognition levels. This element also measures the extent to which enterprises carry out supplier development initiatives intended to assist and accelerate the growth and stability of black enterprises. |
Socio-Economic Development | 500 | Measures the extent to which entities carry out initiatives that contribute towards Socio-Economic Development or Sector Specific initiatives that promote access to the economy for Black people. |
If you would like anyone else to receive this information, send us their email address to firstname.lastname@example.com call the office 011 880 9918.


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Product Description
Publication Date: June 01, 2010
While I was taking a prospective customer on a tour of my company's beverage-can plant in Golden, Colorado, some years ago, I suddenly found that I was talking to myself. I turned around and saw the customer staring at an employee. The worker was placing paper sleeves over can ends and placing the filled sleeves [...]
Product #:
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0:01 - Cavill is god's gift to 2018, I don't care how much people hate it.
0: 03 - Of course, Cruise would be trapped on the side of a mountain as a tank barrels down on him with seconds to escape
0:08 - I know who this guy is but who the hell is this guy?
0: 14 - Rebecca Ferguson, welcome back girl!
0: 19 - Ethan's probably thinking he regrets the decisions he made three years ago
0: 30 - "And the blood will be on your hands." lol Ethan looks so confused
0: 39 - Angela Bassett, get it girl! Of course, the bad guy escaped.
0: 42 - UGH, Alec Baldwin. I keep forgetting he's in these. Is it too late to get Jeremy Renner back?
0: 43 - WOW, does Henry Cavill know how to walk through a door behind the bosslady
0: 47 - AWWW yeah the bathroom fight
0: 49 - "This is a CIA Mission. You use a scapel. I prefer a hammer." Cavill's the hammer....
0: 50 - They still timed his punches to the music. Well done, editing peeps.
0: 54 - Ow ow ow my back my back my back
0: 57 - I don't know where they pulled Ving Rhames from but it's always nice to see him in these movies
1: 05 - Gorgeous cinematography
1: 11 - "You go rogue, he's been authorized to hunt you down and kill you." lol that Cavill's character's name is August Walker. That's like the friendliest spy name ever.
1: 12 - 1:16 - Cruise vs Cavill - heck yeah
1: 18 - There's that ICONIC run
1: 20 - 1:29 - I can't believe Cruise broke his angle for that scene..and that Ethan is going to jump out of a window because Benji told him to....
1:33 - Classic Mission: Impossible 2 motorcycle chase
1: 38 - Yay, they brought Michelle Monaghan back. It's like a espionage family reunion. WHAT'S THAT EXPLOSION THOUGH
1: 42 - Of course he's standing on top of a building
1: 47 - "Please don't make go through you"...and then he hits her with a car.
1: 52 - Princess Margaret from The Crown took a level in bad-ass
1: 55 - "Ethan this is not who we are." I think we need to reconsider that. Oooh, Ethan's turning to the dark side. Which I'm speculating - do they kill off Monaghan which pushes him over the edge?? *sigh*
2: 00 - Of course, he would jump out of a plane
2: 04 - My new aesthetic is Ferguson walking into a cabin, gun in the hand, hair in the face. She should be the star of her own spy film.
2: 05 - I think she's beating the crap out of Simon Pegg
2: 07 - Cruise vs Cavill fighting on the cliff...At this point, I think they're giving too much away.
2: 08 - "What's done is done when we say it's done." So you're going to be doing these forever Tom?
2: 17 - You load that gun, Cavill. MEOW.
2: 25 - Did Cavill perform that stunt for real?
2: 15-2:23 - Showtime. OF COURSE, he would learn to fly a helicopter and make it look like it's crashing into the side of a mountain. Because it's Tom Cruise and something is wrong with him.
Chases, fist fights, explosions - it's everything you'd expect from a Mission Impossible trailer. However, I prefer the earlier edition released a few months ago, which left more to the imagination but the stakes still felt high. This trailer is more like a collection of scenes where you just don't know what's going on except everyone is hunting Ethan down so he's going to go AWOL. (Also Friction by Imagine Dragons is sorely missed in the new trailer. And I'm disappointed Jeremy Renner isn't going to be in this one too). Fallout is probably my most anticipated movie of the summer, so this trailer isn't going to stop me.
Are you going to accept the mission this summer?
Mission: Impossible Fallout hits theaters July 27th!


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Treat every day as a chance to get closer to your higher self. You can become valuable to many people if you have spent time and energy developing deep-seated habits. Most worship services dedicate a weekly day to God. Why not do the same with other days of the week for other activities?
You can be your own hero, and it's up to you to choose the attributes. Let's look at the week of someone who has chosen to put spirituality at the center of their life.
- The spiritual path
Monday : dedicated to water fasting
Tuesday : dedicated to meditation
Wednesday : practice of selfless action (karma yoga)
Thursday : dedicated to total or partial silence
Friday: oriented around the study of spiritual texts
Saturday: writing on the reflections that may have emerged during the week
Sunday: prayer
There are an infinite number of combinations since there are an infinite number of lives to think about. The point of dedicating a particular task each day is that it is empowering and can truly become part of us.
Let's see some examples of possible activities for different life paths.
- running 10 kilometers (for a top athlete)
- reading research articles (a researcher)
- writing 3000 words (a writer)
- drawing for 8 hours (an architect)
- going to museums or looking for beauty in nature (an artist)
- calling family members (a householder)
- and so on.


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This is probably the best time of year for idiotic transfer rumors, so we try to be pretty selective with what we actually write about here. However, sometimes there's enough smoke to a fire that it bears a closer look, and that seems to be the case with Gonçalo Guedes. Numerous sources in Italy and Portugal have reported that Fiorentina are very interested, with Alfred Pedullà claiming that Gennaro Gattuso really wants the 24-year-old winger.
While there are plenty of other clubs reportedly interested, you can see why Ringhio would want the Portugal international. Guedes has everything you could ask for in a wide attacker: pace, technique, vision, shooting, and fantasia. He stacked up 7 goals and 6 assists for Valencia, which isn't an okay but not great return, but los Murciélagos were so disjointed this year that you can't hold it against him.
He's never been as prolific at club level as his skill set suggests he should be (although he's got 6 goals in 22 Portugal appearances) and hasn't quite lived up to the hype he generated as a teenager, which led to a €30 million transfer to PSG in 2017. He never cracked the team in Paris, but they still flipped him for €40 million to Valencia in 2018.
He's got 2 years left on his current contract and should be available for €20-25 million per the majority of rumors. It also helps that his agent is Jorge Mendes, who represents Gattuso and thus has contacts with the Viola and a vested interest in sending good players their way. Indeed, Ringhio's thought to have specifically requested Guedes, which is another good sign.
Considering the dearth of wingers on the roster, he'd would be a massive upgrade for Fiorentina. If he can quickly develop a relationship with Dušan Vlahović and Gaetano Castrovilli, he could be the exact kind of guy this team should be targeting: young, relatively inexpensive, in need of some new scenery, and possessing the potential to explode into a top-notch player. If nothing else, it's exciting to be linked to good players in their primes for the first time in too long and shows that there's a lot more optimism around the club than there has been in years.


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Kristin Susan Bethell
Nassau, Bahamas
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World peace leaders are gatherings
For peace talks- with all eyes watching Israel
God's Holy land - He waits.
There are countries facing economic collapse
Absolute financial collapse it they don't get help
Because of social and political instability
There are many new deadly and dreaded diseases on the rise-
Killing millions- Wars- wars in individual's hearts
Families warring with each other, between black and white
There is increased prejudice and hatred
Between rich and poor.
Famine, drought, earthquakes becoming more frequent and more severe.
Killer hurricanes like never seen before.
Mass destruction because of flooding, tornados and fires out of control
In the midst of these birthpains in the eye of a hurricane there is peace
Calm and stillness always.
Peace cannot be found in pleasure- seeking in liquor, drugs.
Free sex- immoral relationships, in corruption, in getting power
Or in having a lot of money.
Peace doesn't come from another exotic cruise - wake up.
Real, true, lasting peace- peace of mind, peace of heart
The peace that passeth all understanding
Comes from having a personal relationship
With Jesus Christ who is the Prince of Peace.
Even in the midst of trouble, sorrow, grief, pain,
Temptations, trails and testing of life
In the midst of turmoil, unrest, chaos, confusion
God- Jehovah Shalom
Gives to us perfect peace- He gives peace to those
Whose minds are stayed on Him.
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POW! (Play Of The Week)
by Fabrice Roger-Lecan
Translated by Christopher Campbell
This two-fisted hander is a brittle comedy which brings out the best and the worst in the male ego. Jammed packed with testosterone -- that is, corporate testosterone, French playwright Roger-Lacan exposes the mores and unstated but necessary male code of relationships in today's business world.
Bernard is 40 years old today. An important day! Why should he not believe that his best friend and business partner for many years would want to help him celebrate his big "4-0". But business partner Adrien has other plans. He is a member of an elite gentlemen's club, which has its excusive monthly dinners on that very date. It's an elite club, which he never told Bernard about!
Questions! To what extent will a man go to break into an elite gentlemen's world with the promise of corporate success? To what extent will a man go to maintain an important male relationship?
These questions and others are explored with biting humor and violent action. These two men are "civilized", but surely there are limits. Or are there? Would you be moved to murder by strangulation by neck-tie?
MEMBERS ONLY doesn't speak at today's corporate world; it yells at it.
All I can say is, "Women beware"! Men will not only be men, but there's no stopping them. And don't you forget that!
Good monologues and scenes for two men
Review by W. Martin


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UK Dept. of Energy & Climate Change
It certainly caught the eye. "The world's future is being decided this weekend" ran the headline over an op-ed piece in Sunday's Observer.
And the byline was pretty compelling too: Nicholas Stern, now Lord Stern, the author of the groundbreaking report bearing his name on the economics of climate change.
The rather more sober text of the article did not quite bear out the dramatic headline, as the big climate decisions aren't expected to come until the Copenhagen climate conference in December. But a meeting in London last weekend was crucial nonetheless. And it did make some progress.
Ministers from the 17 key developed and developing countries that make up the Major Economies Forum (MEF) got together to try to chart a course through the deadlock bedevilling the formal UN negotiations on a new deal to combat global warming. After seven intense weeks of negotiations so far this year, held at four sessions in Bonn and Bangkok under the auspices of the UN Framework Convention on Climate Change, the major issues are nowhere near being resolved.
Worse, the negotiating text remains an unwieldy, lengthy document studded with hundreds of square brackets, denoting disagreement. Only five negotiating days are left, in Barcelona at the beginning of next month, before the representatives of the world's governments fly to the Danish capital.
With little chance of this calamitously cumbersome process reaching anything like a conclusion, most of the hopes of sealing a deal in Copehagen rests on the shoulders of the ministers who attended the London meeting, and those of their nation's leaders. The MEF has proved invaluable in providing a place where delegates from these key countries can talk and try to move towards agreement outside the constricting confines of the UN negotiations.
That must be enough to set George W. Bush turning in his political grave, for the Forum is a direct descendent of one he set up in 2007 (under the slightly different name of the Major Emitters Forum) to try to block progress on climate change by bypassing the UN altogether.
An MEF summit this summer took some of the most significant, if still small steps forward of the year so far, with participating countries agreeing for the first time that the rise in global temperatures should be halted at two degrees centigrade above pre-industrial levels. Rich countries agreed, again unprecedentedly, to slash emissions of greenhouse gases by 80 percent by 2050, while developing nations broke new ground by accepting that their own pollution should "peak as soon as possible."
The London gathering also modestly moved things forward. Both U.S. climate envoy Todd Stern and British Energy and Climate Change Secretary Ed Miliband — both of whom, privately and publicly, were pessimistic beforehand about the prospects of agreement — emerged more hopeful.
While stressing that "this is absolutely not a done deal, it remains in the balance," Miliband went on: "today this feels a more doable proposition than it was yesterday." Stern added, with similar cautious optimism: "More progress needs to be made, but we think that something can be done."
In an important move, the rich countries have quietly softened their stance on insisting that all nations agree that global emissions should be cut by 50 percent by 2050. Developing countries had refused to agree to the target, fearing it would be used to justify forcing big cuts on them in future. As one senior source put it: "Discussions on 2050 have been eating up time that could be more usefully spent on determining what we do before we are all dead."
Eight MEF working groups will shortly announce the results of talks on developing and sharing clean technologies. There was productive discussion on how a plethora of national programs and commitments, by both developed and developing countries, could be fitted into a global deal.
There was even a little progress on the thorniest issue of all, with participants reaching "substantial agreement" that "significantly scaled up finance" will be needed to help the poorest countries reduce their own emissions and adapt to the potentially devastating effects of climate change. (Those hopes, alas, were set back when European finance ministers on Tuesday again reneged on a promise to put money on the table.)
British Prime Minister Gordon Brown issued a call to action ("we cannot compromise with the catastrophe of unchecked climate change, some must compromise with each other") and made clear his on commitment to "work tirelessly…to negotiate a deal." The first head of government to commit to going to Copenhagen, he is already intensely lobbying his fellow leaders to join him there: Downing Street says that several have privately agreed also to go, but will not identify them.
Successful UN negotiating meetings need two things among others — some degree of trust between the major players, and one national leader who will push hard for agreement.
The MEF is beginning to provide the former, and Gordon Brown could become the latter. The odds against agreement in Copenhagen remain long, but they shortened just a tiny bit last weekend.
On the Web:
- London MEF Meeting Official Communique (PDF)
- Britain's battered leader is set on saving the world (Grist, July 6, 2009)
- Britain's Labour government places big bet on low-carbon future (Grist, July 22, 2009)


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in the safe operation and servicing of the desander.
The Desander is installed as close to the well head as possible, ahead of the production equipment, to allow gas wells to be produced under sand producing conditions that would normally be damaging. Installed at the wellsite, SDI Desanders remove fracturing proppants and produced sand from the production fluid, preventing uncontrolled or accidental releases of hydrocarbons that might occur with erosion damage.
Part of our service promise to you is Desander installation. When we ship our Desander out to your wellsite, we also send a trained and certified technician to ensure the Desander is safely and efficiently installed. After installation, we stay to ensure the Desander is performing at optimal levels. Our free orientation and training services ensure your onsite staff is well versed in the operation and maintenance of the Desanders.
When to clean: The Sand SentryTM monitoring system will send a warning via email and/or SMS when the vessel is reaching capacity. At this point, it's the client's responsibility to facilitate a clean out. Without the Sand SentryTM technology installed, the client must establish a sand rate and develop a schedule around the predicted sand flow rating.
The industry's only "TRUE" Closed Loop System!
Introducing Emission Free Flushing of Desanders for a "TRUE" Closed Loop System! NO MORE opening vessels or scraping them out by hand!!! Contact us today to find out how!
How to manually clean: Firstly the unit must be isolated and depressurized. The Desander can then be cleaned out manually using the supplied scraper.