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As the brutality of police and military forces against protesters has increased across the Arab World over the past year, it’s easy to forget that the region does not have a monopoly over this violence.

“The Summit,” an investigative documentary screened last week at the Berlin International Film Festival, reminds us that while the frequency of crackdowns varies in different parts of the world, when security forces decide to attack, they often do so with a similar level of brutality.

In the film, Italian journalists Franco Fracassi and Camillo De Marco dissect the brutal security crackdown against anti-globalization protests at the G8 summit in Gonoa, Italy in June 2001. The police attack left one dead and hundreds of protesters severely injured.

“The Summit” offers rare insight into a seemingly out-of-place human rights breach that has somehow failed to leave a mark on the global consciousness. Fracassi and De Marco succeed in fully reconstructing the incident, which took place over a decade ago, using firsthand accounts by protesters, chilling documentary footage, released police tapes and emergency calls from horrified eyewitnesses.

The filmmakers, along with an investigator, sifted through hours of documentary footage that show a very different narrative from the official one propagated by local police forces.

Still, some parts of the film are a bit cliché, seemingly influenced by mainstream detective shows. For example, one scene shows the detective-looking narrator sitting in an interrogation room, facing the camera with a raised eyebrow, questioning the “official” version of the story.

In an interview with Egypt Independent after the film screening in Berlin, Fracassi commented on some of the staggering similarities between the police tactics shown in the film and those used by police and military forces in Egypt. These similarities suggest that police forces in both countries were trained in the same place — the US — says Fracassi.

While the identity of the thugs who are believed to “infiltrate” or attack protesters in Egypt, often dubbed “the third party,” remains unknown, “The Summit” clearly identifies a vandalism group, called the Black Bloc, as Italy’s “third party.”

It seems that deploying violent groups to justify attacks on peaceful protesters is a standard tactic in the police manual.

Eyewitnesses in the film testify to seeing Black Bloc members — or “thugs” as they are often described in the Egyptian media — instigating violence, and then hiding behind the police lines as security forces attack peaceful protesters.

Especially resonant with the Egyptian experience are the tapes of emergency calls featured in the film, which reveal that operators responded to frantic callers reporting criminal acts by saying they have orders not to intervene.

Eyewitnesses in “The Summit” also discuss how deploying violent gangs during protests was meant to place the blame for violence and vandalism on protesters and turn the public against them. Revolutionaries in Egypt have been facing similar accusations throughout the past year.

In the testimonials shown in “The Summit,” people describe police brutality as animal-like, giving off a strong stench of testosterone and sweat — a description that could easily be used to describe the Egyptian military forces dragging female protesters by their hair and beating the bodies of dead protesters before throwing them on piles of garbage on street corners.

In Egypt, many activists subjected to torture and serious injury in clashes with security forces are back on the streets, protesting. The Gonoa attack, however, seems to have left much deeper scars on its victims, who were taken by surprise as they were used to police forces protecting protests, not attacking them.

Fracassi, who is both the director of “The Summit” and a subject in the film, as he was attacked by police in Genoa while working as a journalist, says that making the film was part of his healing process. Fracassi and other victims said that, a decade later, it was still difficult for them to watch the incident or read about it, and their voices shook up as they recounted their ordeals.

“The Summit” thoroughly investigates an incident that mirrors the periodic use of violence against protesters in Egypt, and possibly offers Egyptians clues to find the truth about the events of the past year.

©2012 Heba Afify

Pablo Siquier

La producción artística de Pablo Siquier se divide en dos líneas creativas que en ciertos momentos han sabido converger. Por un lado, pinturas sobre tela tradicionales: superficies que requieren del espectador su capacidad de observación y lectura; y por otro, intervenciones en el espacio que lo comprometen en un tipo de percepción más física y ambiental. Es esta dimensión de su obra la que se despliega en esta exposición.

El recorrido abarca sus primeras instalaciones a fines de la década del ochenta y principios de los noventa: la realizada en el Instituto de Cooperación Iberoamericana en la muestra Inocentes Distractores, o en Centro Cultural Recoleta junto al Grupo de la X.
La muestra incluye una instalación de maderitas pintadas a mano con infinidad de puntitos que Siquier proyectó en esos años pero que nunca llegó a realizar y otra realizada en poliestireno expandido como las presentadas en la Galería Ruth Benzacar en el año 1995 y en el Centro de Arte Reina Sofía de Madrid años más tarde. Asimismo la sala será intervenida por una enorme instalación confeccionada en hierro trefilado.
La muestra contará con dos murales de gran tamaño, uno de los formatos que más ha desarrollado Siquier en estos años y en donde se unen sus dos líneas de trabajo. Uno en vinilo autoadhesivo de 590 x 1340 cm. y otro en carbón de 590 x 730 cm.

Murales e instalaciones
Sala Cronopios
Jueves 23 de Febrero al
domingo 4 de abril de 2012

Bruno Taut compte parmi les architectes les plus significatifs du Mouvement Moderne et est l’un des premiers membres du Deutschen Werkbund, l’Association Allemande des Artisans. A l’occasion du 125ème anniversaire de sa naissance, le Berliner Werkbund lui consacre une exposition présentée au Centre Méridional de l’Architecture et de la Ville (CMAV) par le CAUE 31, l’AERA et le Goethe-Institut de Toulouse.
Les cités résidentielles de Taut dans les années 20 à Berlin établissent de nouveaux critères architecturaux et urbains. Avec peu de moyens, le souci du détail et l’intégration des espaces extérieurs au logement, il a réformé les formes de l’habitat. La qualité de l’architecture de Bruno Taut ne réside donc pas seulement dans ses couleurs expressives qui sont devenues la marque de son oeuvre.
Cette exposition présente de manière systématique les lotissements et les ensembles résidentiels de Bruno Taut à Berlin et dans les environs. Pour chaque projet sera pris en considération sa phase de réalisation, ses modifications ultérieures et son état actuel.
Le curateur de cette exposition est l’architecte Winfried Brenne, qui a largement contribué à la redécouverte et à la conservation de l’héritage de Taut. L’analyse méticuleuse et le savoir artisanal réalisés ici, ainsi que les résultats de la réhabilitation ont valeur d’exemple pour les témoins architecturaux du XXème siècle, menacés en tant de lieux.

Le Berliner Werkbund s’est fait un devoir de redonner aux monuments du Mouvement Moderne la place qui leur est due dans la conscience collective, tout en les protégeant des menaces du présent et en intervenant prudemment sur ces ouvrages uniques. Les efforts pour inscrire quatre cités significatives de Bruno Taut au patrimoine mondiale de l’humanité sont fortement soutenus.
L’exposition rend hommage au «maître des bâtiments colorés», qui a profondément marqué l’architecture du XXème siècle et dont la contribution à une ville sociale est restée vivante jusqu’à nos jours.

Bruno Taut – Un architecte à Berlin 16 janvier – 7 avril 2012
Vernissage le 16 janvier 2012
Centre Méridional de l’Architecture et de la Ville 5, rue Saint Pantaléon
31000 Toulouse
Tel. 05 61 23 30 49
cmav@cmaville.org
Du lundi au samedi de 13h à 19h Métro Capitole
www.cmaville.org

December 21, 2011–March 18, 2012

Accompanied by a catalogue and an Audio Guide

Gallery 699

It has been said that the Renaissance witnessed the rediscovery of the individual. In keeping with this notion, early Renaissance Italy also hosted the first great age of portraiture in Europe. Portraiture assumed a new importance, whether it was to record the features of a family member for future generations, celebrate a prince or warrior, extol the beauty of a woman, or make possible the exchange of a likeness among friends. This exhibition will bring together approximately 160 works—by artists including Donatello, Filippo Lippi, Botticelli, Verrocchio, Ghirlandaio, Pisanello, Mantegna, Giovanni Bellini, and Antonello da Messina, and in media ranging from painting and manuscript illumination to marble sculpture and bronze medals, testifying to the new vogue for and uses of portraiture in fifteenth-century Italy.

During the early Renaissance, artists working in Florence, Venice, and the courts of Italy created magnificent portrayals of the people around them—from heads of state and church to patrons, scholars, poets, and artists—concentrating for the first time on producing recognizable likenesses and expressions of personality. The rapid development of portraiture was linked closely to Renaissance society and politics, ideals of the individual, and concepts of beauty. The object may have been to commemorate a significant event—a marriage, death, the accession to a position of power—or it may have been to record the features of an esteemed member of the family for future generations.

Featuring many rare international loans, this exhibition will present an unprecedented survey of the period and provide new research and insight into the early history of portraiture. It will be divided into three sections and will span a period of eight decades. Beginning in Florence, where independent portraits first appeared in abundance, it moves to the courts of Ferrara, Mantua, Bologna, Milan, Urbino, Naples and papal Rome, and ends in Venice, where a tradition of portraiture asserted itself surprisingly late in the century.

In Florence, the most striking innovations occurred first in sculpture and were then taken up in painting. In the courts, thanks in large measure to the genius of Pisanello, the medal became the preferred means of recording a likeness. The medals, which were durable, could be produced in multiple casts, and were easily exchanged among the social elite. In Venice the painted portrait held sway, thanks to the achievements of Antonello da Messina and Giovanni Bellini, whose portraits resolutely abandoned the dominant Italian convention for the profile to present the sitter turned three-quarters, his or her distant gaze and delicately modeled features expressing hints of an interior life.

As Leon Battista Alberti declared in his treatise on painting, composed in 1435: “Painting possesses a truly divine power in that not only does it make the absent present (as they say of friendship), but it also represents the dead to the living many centuries later, so that they are recognized by spectators with pleasure and deep admiration for the artist.”

Celibato by Haidji

Cleibato I by Hidji ©2012

Celibato II by Haidji ©2012

Celibato III by Haidji ©2012

Celibato I
Celibato II
Celibato III

Haidji – Photography

37,5 cm x 50cm each
serie – 1200 Euros

contact : contact@prosumerzen.org

New world…brave ?

Obsession, anxiety and over-caffeinated paranoia are the predominate tones in the compelling universe presented by artist and Egypt Independent reporter Ali Abdel Mohsen in “Razor-Sharp Teeth,” a solo show currently on view at Mashrabia Gallery. The series of ink drawings on cardboard flaps and flattened boxes makes a seductive case for the potential of contemporary drawing practice — an interesting occurrence in an art scene that sometimes suffers from an overabundance of elaborate video installations and new media works.

Mohsen is by his own account a former waiter, real estate scout, cameraman, wolf hunter — and self-taught artist. The “self-taught” qualification might be a large part of what makes his work so engaging. His nervously scrawled drawings share a fervid energy and illustrative quality that’s reminiscent of canonical outsider artists like Henry Darger, as is the eerie sense of foreboding that pervades his works. But while an artist like Darger reveled in hermetic references to his own, interior fantasy life, Mohsen’s cryptic allusions to inhumane violence seem rooted in a very real, very local socio-political context.

These untitled drawings typically depict post-apocalyptic cityscapes inhabited by grotesque humanoid forms with angry, whirlpool-like spiraled lines in the place of faces; exaggerated, hairy appendages; and mangled genitals. All executed in what looks like black felt-tip pen, the forms are defined by heavy, scribbly outlines and agitated, angular slashes and hash marks. Thin washes of bright, pop-like colors add volume and atmosphere.

Space is loosely defined in these vaguely mythological, sometimes quasi-mystical scenes, giving them a universal, no-place quality; but certain topical references like clusters of sprouting satellites are suggestive of Cairo in particular — as is, more generally, the sprawling labyrinths of urban chaos that Mohsen depicts. Renderings of raw subjugation, humiliation and torture certainly evoke current events — the artist himself was arrested and beaten in the course of his reporting on the 18 day uprising in January 2011; but Mohsen thankfully manages to steer clear of any overt, revolution-themed iconography, conveying notions of dread and violence on a hallucinatory plane far beyond local specificities.

That’s not to say that “Razor-Sharp Teeth” is all doom and gloom. The drawings demonstrate an attractive tension between eerie desolation and comic-book like camp, or kitschy sci-fi. Some of these untitled works — like one drawing of a wobbly, unpopulated cityscape, or a zoomed-in portrait of a white deer with gnashed teeth that has been shot in the neck — veer particularly far toward a graphic novel or even pop-advertisement type aesthetic.

But perhaps the most interesting works in the collection are the subtler, more inscrutable ones; especially a series of drawings featuring rows and columns of tiny, cipher-like figures that stack up in some kind of absurd arithmetic. In one triptych, the first panel shows a few sparse rows of these figures — some with menacing fangs, others with fantastical satellite heads; some nude, some in niqab. The tiny creatures sometimes interact with each other (fighting, gesticulating, having sex), all against a yellow background with a vivid red river branching off into two streams at the top of the picture plane. In the second panel, the entire picture plane has been consumed by the figures, which engage with each other in an even more animated fashion; until in the last scene of the triptych, the tidy rows of figures have disintegrated into a jumbled knot of antagonism, with stray bodies tumbling out of the fray.

On the same night as Mohsen’s opening at the Mashrabia, a survey show of contemporary drawing by Egyptian artists opened across the river at the Gallery Misr. Despite the renowned names and a few interesting pieces, “Drawing” was a tired and tiresome look at a medium that can often seem un-sexy in a new media age. By contrast, Mohsen’s “Razor Sharp Teeth” was a fresh and exciting viewing experience that raised the stakes both for drawing as a practice, and for local artists’ potential to engage with a fraught contemporary context in an oblique, compelling way.

“Razor Sharp Teeth” is on display at Mashrabia Gallery until 8 March, 8 Champollion Street, Downtown, Cairo. The gallery is open daily from 11 am to 8 pm. Mashrabia Gallery is closed on Fridays.

EXPLORING THE AESTHETICS OF LANDSCAPE EXPERIENCE IN THE AGE OF SUSTAINABILITY

AN INTERNATIONAL COMPETITION FOR BUILT AND VISIONARY (UNBUILT) RESIDENTIAL LANDSCAPES

The Competition

The goal of Suburbia Transformed 2.0 is to promote and celebrate residential designs that go beyond “green” by explicitly using sustainable strategies, tactics and technologies to enrich the aesthetic spatial experience of people. ST 2.0 will assemble contemporary projects achieving this goal into an exhibition and catalogue. The emphasis is on how such sustainable landscapes can be beautiful, inspiring, perhaps profound; and serve as examples for transforming the suburban residential fabric, one garden at a time.

Significantly, this year’s version, ST 2.0, invites the submission of visionary (unbuilt) work, along with built projects. Our hope is to trigger an instructive dialog between design that has been built and that which is untethered to the construction process. Such a curatorial stance has the additional benefit of opening up the competition to students, as well as professionals.

Eligibility

Open to all, including landscape architects, landscape designers, architects, individuals, teams or firms…and students of design whose work will be judged in a separate category.

Submission Requirements

We seek solutions to the ubiquitous small-lot, detached single-family, residential condition in the hope that we may better understand how to transform suburbia. Therefore, submissions must be for two-acre or less residentially zoned single-family properties. A submission with a newly built house is allowed as long as the lot was part of a pre-existing subdivision or town property. Distance from an urban center is not relevant for the purpose of this competition.

Each entry must be submitted on a CD to include the components in the order listed below and sent to:

ST2.0 Competition Administrator
58 Brook Circle
Boulder, CO 80302

Submission Components:
1. Main submission:

A multi-page PDF document that includes the following in the order listed:

a. A 250-word or less description of the overall project specifically addressing how the project responds to the competition goal and design criteria
b. Existing Conditions Plan showing topography, planting, and structures (including first floor plan where appropriate), as well as any other relevant site and immediate context conditions
c. Site Design Plan
d. Eight to fifteen (8-15) images keyed to the site plan with captions describing relevance to the competition goal and design criteria.*

*For visionary (unbuilt) projects on real sites only, to better communicate the intended spatial experience, a minimum of two detailed cross sections at 1”=10’-0” or larger is required.

2. Supporting files:

A digital folder consisting of separate image files for all images used in the main submission. This will be for exhibition and publication purposes, and files must be of high quality and high-resolution. All photographs, drawings, plans, and cross sections must be in .jpg or .tiff format at a minimum of 300 ppi (pixels per inch) at 16” x 20”. **

**Entrants are responsible for obtaining permission for photographs with photographers for publication and reproduction by the James Rose Center. The James Rose Center will provide proper credit for photographs and other images, but will not assume responsibility for any copyrights or photography fees. The James Rose Center retains the right to publish, exhibit, and publicize all materials submitted.

The CD shall be identified only by the number you have received upon confirmation via email of your Entry Form. Place the CD in a transparent case also labeled with the entry number. No logos or other form of identification shall be seen on the submissions. CD submissions must be received by March 9, 2012 no later than 5:00 PM. All submissions become the property of the James Rose Center.

The jury will review the submissions and select up to twelve outstanding projects in each category: built work; professional visionary (unbuilt) work, and student visionary (unbuilt) work. Those selected shall receive notification shortly after the jury makes their selection. The James Rose Center shall assemble exhibition displays and an exhibition catalogue from the submitted work. (See www.jamesrosecenter.org for an example of the 2010 exhibition) Exhibited work shall become the property of the James Rose Center.

Design Criteria for Judging

Selected submissions must provide landscape experiences that are beautiful, inspiring and/or profound; in so doing they should:

Make the most of what’s already on the site (earth, rocks, plants, structures, water) before importing or removing anything
Use local, inexpensive, low-energy-consumptive, non-polluting materials and construction techniques before others
Consider the landscape’s potential to create useful resources rather than consume them
Consider the relationship of the site to larger environmental systems
Consider means for guiding future growth and evolution of the garden

Jurors

Cornelia Oberlander OC, FASLA, FCSLA, LMBCSLA, Landscape Architect
Meg Calkins, LEED AP, ASLA, Associate Professor of Landscape Architecture, Ball State University
Matthew Urbanski, Principal, Michael Van Valkenburgh Associates, Inc., Landscape Architects, P.C.
Joseph S. R. Volpe, Professor, University of Massachusetts, Amherst
Julie Bargmann, Associate Professor of Landscape Architecture, University of Virginia; Founding Principal, D.I.R.T. studio.

Selected Outstanding Projects Receive

Public exhibition at the James Rose Center
Publication of work in select design periodicals
Publication of work in exhibition catalogue
Copies of catalogue at reduced rate
Recognition on the James Rose Center and NJASLA websites among others
A framed custom awards certificate, presented at the opening reception
Professional photograph of award presentation for publicity purposes
Further exposure through traveling exhibition

Schedule

Aug 15, 2011 Call for Entries posted
Feb 17, 2012 Entry Form and fee due
Mar 09, 2012 CD submission due
Mar 24, 2012 Jury convenes
May 19, 2012 Opening Reception at James Rose Center
Aug 31, 2012 Exhibition travels

To Enter

Fill out the Entry Form available on the website, www.jamesrosecenter.org. An entry fee of $95 ($35 for students) must be received together with the Entry Form by February 17, 2012. You may either return the form electronically using PayPal, or mail it with a check payable to the James Rose Center to:

ST2.0 Competition Administrator
58 Brook Circle
Boulder, CO 80302

We will confirm receipt of your entry form via email and assign you a number to identify your submission. This number must be placed on your CD submission. No other identifying marks are allowed.

Questions

Please email questions to designcompetition@jamesrosecenter.org by February 1, 2012. We shall reply via email asap. All questions and answers shall be posted on the James Rose Center website by February 13, 2012.

Courtesy by World Architecture News © ALL RIGHTS RESERVED WAN www.worldarchitecture.org

Soixante œuvres de grands artistes américains de l’après-guerre appartenant à la Fondation Guggenheim, dont des tableaux de Jackson Pollock, Mark Rothko ou Andy Warhol, sont exposées jusqu’au 6 mai au palais des Expositions de Rome.
L’exposition, intitulée « Le Guggenheim. L’avant-garde américaine, 1945-1980 », illustre les principaux courants artistiques de l’art américain de cette période : de l’expressionnisme abstrait au pop art en passant par le minimalisme et l’art conceptuel.

Signées par une cinquantaine d’artistes, les peintures, sculptures, photos et installations ont été empruntées aux différentes antennes du Guggenheim à travers le monde : la Fondation Solomon R. Guggenheim de New York, la Collection Peggy Guggenheim de Venise et le musée Guggenheim de Bilbao (Espagne).
Tous les grands noms sont présents : Roy Lichtenstein, Alexander Calder, Robert Rauschenberg, Richard Serra, Kenneth Noland et Chuck Close.
« Grâce à ces prêts exceptionnels, l’exposition documente les formidables élans créatifs de l’avant-garde artistique américaine, à travers un parcours représentant une forte expérience visuelle et émotionnelle », a observé le président du palais des Expositions, Emmanuele F. M. Emmanuele.
Elle « permet de donner un cadre historique à des œuvres, des artistes et des mouvements décisifs pour la formation

©2012 L´Orient Le Jour

FOIBE by Paolo Dealberti

Ieri sera mentre facevo un po´di zapping sui canali esteri trovavo su RAI 1 ” Porta a Porta” dedicata alla memoria delle Foibe.

Rimanevo subito colpito del Rizzo-pensiero e da subito ringraziavo Veltroni per il coraggio politico di aver tenuto fuori dalla lista una persona come questa ed accendevo un cero affinche´Bersani potesse avere lo stesso coraggio.

Vengo da una tradizione di partigiani di sinistra tanto per chiarire. … l´articolo in http://prosumerzen.net/2012/02/14/foibe/

Initiative La maison d’enchères Christie’s expose à Paris pour un mois près de 70 œuvres, dont certaines sont à vendre, rendant hommage au travail de prospection artistique de Michel Tapié, qui fut une figure importante du monde de l’art des années 1940 à 1970.

«Le but de l’exposition est de développer l’image de Christie’s comme acteur culturel parisien», au-delà de son activité de vente aux enchères, déclare à l’AFP François de Ricqlès, président de Christie’s France.
Cette exposition gratuite se tient jusqu’au 29 février dans les locaux de Christie’s France, 9 avenue Matignon, où Michel Tapié (1909-1987) a eu ses bureaux.

Michel Tapié a été à l’origine de nombreuses expositions après la Seconde Guerre mondiale en travaillant comme conseiller auprès de galeristes parisiens. Il a contribué à la reconnaissance d’artistes français comme Jean Dubuffet, Georges Mathieu, Jean Fautrier, Hans Hartung ou Henri Michaux.
Mais il ne s’est pas limité à l’univers artistique parisien. Il s’est attaché à «jeter un pont entre New York et Paris» après la guerre, en organisant la première exposition de Jackson Pollock à Paris en 1952, a souligné à l’AFP Alexandre Carel, directeur du département de l’art contemporain de Christie’s à Paris. Grand voyageur, il a également exploré le Japon et fait connaître dans l’Hexagone Kazuo Shiraga (1924-2008).
Sur les 67 œuvres (huiles et papiers) prêtées par des collectionneurs, des galeristes et un musée, onze sont à vendre dans le cadre des ventes de gré à gré autorisées en France depuis la loi du 20 juillet 2011. Parmi elles, des Jean Dubuffet, un Jean-Paul Riopelle ou un Mark Tobey.
Pour les vendeurs, cette exposition représente «un écrin pour présenter leurs œuvres», souligne M. Carel.
«Les ventes de gré à gré doivent permettre de rentrer dans nos frais de promotion de l’exposition» (scénographie, catalogue, transport, assurances), explique François de Ricqlès.
Interrogé sur les raisons qui peuvent pousser un vendeur à passer par les ventes de gré à gré plutôt que par les enchères, Alexandre Carel évoque «les délais si on est pressé, la discrétion, la sécurité d’un prix fixe».
Les ventes de gré à gré, que Christie’s menait déjà à l’étranger, ne représentent qu’ «une petite partie de l’activité en volume et en valeur, mais elles peuvent se développer», indique M. de Ricqlès.
Pour Christie’s, faire une exposition à cette période permet également «d’utiliser à bon escient les locaux» entre deux saisons de ventes aux enchères, relève M. de Ricqlès. Toutefois, il ne sait pas encore si ces expositions ont vocation à devenir régulières. «Nous ferons un bilan», dit-il.

©2012 L´orient Le Jour

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