#Arnofini

[paranoidgemsbok]

Sitting in my car for 15 minutes on wikipedia because a podcast brought up a van Eyck and I went and looked at it again and I didn't understand the subjects fucking 1400s hairstyle and I had to do research on what was going on, like physically

[zarya-moskovits-blog]

Loving Grayson Perry exhibition in Bristol.. Feeling inspired

[lostcarcosauk-blog]

7sins print #sevensins #7sins #fire #passion #lust #love #digitalpainting #digitalart #art #artists #artpublicist #artistsoninstagram #artistsofinstagram #artsy #painting #womenempowerment #instadaily #instalove #instagood #instagraff #bristol #bristol247 #uwe #arnofini #basement45 # (at Stokes Croft)

[littlewalken]

Feb 20

It would be great if the Bernadette Banner and Karolina Żebrowska show could get made. Their excitement would just be contagious. Here's one of the oldest things ever woven and it's plaid! This dress is one of the earliest examples of tailoring that shows of boobs! Look how modern these shoes look and they're thousands of years old! And of course they'd have to dress up for whatever time period that episode revolves around.

A Stitch in Time comes close but Bernadette and Karolina would take it up to 11. https://www.youtube.com/watch?v=-u2RM1odsf4 Do see that episode, it's the big green dress from the Arnofini wedding picture.

Menwhile... I started Picard but it didn't click. I might restart Umbrella Academy, got thru 1 1/2 half episodes, or try to start Wandavision.

I want to see these things, and others, but it's got to be the right media at the right time, if you know what I mean. I'm looking for a combination of comfort and new. Something like a familiar actor in a new work or a familiar franchise like Star Trek with new actors.

I suppose some of it at the moment is remembering how different things were a year ago, the tree smash was on 2-22, so I'm looking forward to this Twos-Day being better.

Do take a moment and reflect on this possibly once in a life time day, like when the solar eclipse happened, and just go 'wow' to yourself.

Kind of like that feeling when you touch a meteorite.

Everyone should touch a meteorite at least once in their lives so you know you're touching something that is as old as the universe, what ever your beliefs on its creation are.

Small get it out of my system rant after the picture of nubby wubby pupper ears. His grew to be nice and floppy. Brudder's wagger was the first to wag purposefully when he saw me.

A couple more days and that whole year that started with a tree smash will be behind me.

Even tho the neighbors were up partying until 2am and then their dinosaurs started screaming not long after I will still prefer that to the wake up call at the last place where a screaming hallucinating doesn't believe they've been diagnosed schizophrenic insists everyone hear vulgarities.

If you've never been trapped in an abusive situation for whatever reason I hope you never have to know what it feels like to be free.

Those anti autism commercials that want to frighten you into thinking an autistic child will ruin your life should be changed to an adult family member who doesn't believe they have a severe mental illness.

Most autistic people have table manners, the sense not to soil themselves, and hopefully aren't abusive and say "I'm autistic" when it's convenient as an excuse but otherwise insist they aren't.

[sanattarihindenkisanotlar]

Nedimeler: Yağlı boya ile yapılan 1656 tarihli tablo Geç Ortaçağ İspanyası'nın en önemli ressamı sayılan Diego Velazquez'in elinden çıkmıştır. illüzyonlu ve üç boyutlu olması tabloyu sanat tarihinin ilkler arasında yerini almasını sağlamıştır. Tabloda gerçekciliğin ve döneme göre üstün bir resim sanatının gösterilmesi adından oldukça söz ettirmekte. Resmin sol tarafından başladığımızda ressam Velazquez'in kendisini büyük boy bir tuval üzerinde çalışırken görüyoruz. Hemen arkasında bir ayna görüyoruz ve orada iki silüet dikkat çekmekte bunlar dönemin İspanya Kralı IV. Felipe ve eşi Mariana'dır. ( Bu ayna olayının Arnofini ve karısının aynadaki yansıması çiziminden etkilenerek yapıldığı düşünülmekte.) Tablonun Merkezidinde altın saçlı beyaz elbiseli kız ise İspanya Kralı olan IV. Felipe'nin kızı Margaret Teresa resmedilmiş ve her iki yanında nedimeleri Dona Isabel de Velasco (sağdaki) ve Dona María Agustina Sarmiento de Sotomayor (soldaki) resmedilmiştir. Arka kapıda duran kişi José Nieto Velázquez hakkında farklı yorumlar mevcut birincisi ressamın bir akrabası olduğu ikincisi ise kral ve kraliçeye kapıyı açan bir çalışanın olduğu. Resimde ön kısma geldiğimizde kadın cüce Mari-Bárbola ile yerde uyuklayan köpeği ayağıyla dürten erkek cüce Nicolasico Pertusato’dur. Hemen arkalarında ise kral ve kralicenin özel koruması ve onun yanında ise oda hizmetçisi Doña Marcela de Ulloa yer almaktadır. (🖼) #SanatTarihi #HistoryOfArt #Sanat #Art #Mitoloji #Mythology #Arkeoloji #Archaeology #Tarih #History #Tablo #Resim #Picture #Ressam #Painter #Çizim #İspanya #Spain #Madrid #DiegoVelazquez #Nedimeler #LasMeninas #Margarita #Felipe #Mariana #Barok #YağlıBoya #ÜçBoyutlu #Bridesmaids #PradoMuseum (Museo Nacional del Prado) https://www.instagram.com/p/CDnw7CKn-jX/?igshid=mq8j702n2b9n

[onesibold]

Jan van Eyck - Hochzeitsbild des Giovannni Arnofini - 1434

[deeisace]

Oh!!!

A Stitch in Time is on tv again!!

This is the programme where they look at famous paintings and recreate an article of clothing from it in the traditional way

One of Charles II's fashion, one of that Arnofini lady's green dress in the one done by van Eyck, one of the leather coat of The Hedge Cutter (v v interesting! From the 1780s-ish!), the one that's on now is Dido Belle (I remember they had trouble with that one cs in the portrait she's leaning over or smth and they can't see the whole dress and how it goes)

[laurarosser]

The (un)Learning Zone

Preparations for BABE (Bristol Artists Book Fair) at Arnofini. 

The mobile (un)learning zone will move around the artist’s book fair offering participants the opportunity to (un)learn. The project is a playful attempt at taking people away from knowing and a world that is increasingly focused on perfectionism and knowledge. 

A take on the library zone, I will create errant instruction sets from wiki-how on a 1980’s dot matrix printer. The instructions which fade in and out of meaning have been disrupted using an algorithmic logic, to creatively disrupt knowing.

[deadliveevents]

Borley Rectory The Trial of Harry Price On 18th February at the Arnofini Gallery in Bristol, a debate took place about possibly the most famous haunting in the history of ghost hunting #deadlive #haunted #SupernaturalMagazine https://goo.gl/FSzoiF https://www.instagram.com/p/BqI8twpg-ME/?utm_source=ig_tumblr_share&igshid=brtqca4w86pm

[zarya-buttonz]

Loving Grayson Perry exhibition in Bristol Arnofini

[tankarmern]

My group exhibition in June. My print was sold during the charity exhibition 'Ace Art Project' at the Arnofini.

[lostcarcosauk-blog]

View this post on Instagram

A post shared by Simon francis thomas (@lost_in_carcosa)

Bismuth suspended in resin #resinart #resin #casting #art #artists #moldmaking #creative #creatives #bristol #uwe #arnofini #instadaily #instalove #lostcarcosa (at Bower Ashton - UWE)

[newstfionline]

Welcome, Please Remove Your Shoes

By Margarita Gokun-Silver, The Atlantic, March 15, 2017

I hoard slippers--the thin-soled, terry kind that many hotels include in their amenity packages. My house is full of them, some still plastic-wrapped. Shoes that will never be good for anything but indoor wear. Yet to me, they are simply too precious to leave behind.

I grew up in the USSR, where tapochki--indoor slippers--were worn habitually. We changed into them when we came home, leaving the dirt of the outdoors at the entrance. We carried them to school where our fellow students stood guard at the door posted by the principal with the sole purpose of checking our bags for smenka, the change of footwear. Museums provided containers of felt mules by the entrance for visitors to don over boots before entering the halls. And we knew that when we visited a friend, we would be expected to take off our shoes and wear the slippers the host owned just for that occasion. Walking inside a home--any home--while still wearing outdoor shoes was bad form.

The origin of the habit is mysterious, but tapochki occupy an important part of the Russian psyche. The pragmatic benefits are obvious--casting off outdoor shoes keeps the floors and rugs clean. But the real benefit is symbolic.

In 2006, a monument to Oblomov--the titular character of Ivan Goncharov’s famous novel about a lackadaisical Russian nobleman--was installed in the city of Ulianovsk. The monument features Oblomov’s couch, with his slippers underneath it. Created by a local welder, the mules celebrate the novelist’s ability to infuse personal objects with a symbolism that captured the Russia of his day. In the novel, Ilya Ilich Oblomov spends most of his waking hours in his robe lying on a couch and doing nothing. The novel had political overtures; it was published two years before the abolishment of serfdom in Russia and has been credited by some as a portrayal of general apathy among the Russian nobility. Oblomov’s robe, the couch, and the slippers represent the hero’s indifference to life outside his home. But they also symbolize the domestic space, the feeling of leaving the worries of the world at the door, and the safety and comfort that only one’s abode can offer.

Personal objects separating the outside and the inside can be found in European paintings as early as the 15th century. In The Arnofini Portrait (1434), Jan Van Eyck included two pairs of pattens--the wooden clogs usually worn over the indoor shoes to protect footwear from the mud and dirt of the outside. The 1514 engraving Saint Gerome in His Study, by Albrecht Durer, also features shoes that seem to indicate domestic use--a pair of mules in the foreground, stored under a bench with books and pillows. Whether they are there to suggest their purpose as outdoor-only footwear or the beginning of the practice of using mules at home we may never know. Yet just as in the Van Eyck’s work, a discarded pair of shoes--the shoes that the subject isn’t wearing at home--may be the indication of a new custom taking hold: a custom of separating footwear into indoor and outdoor.

Around this time, the conquests of the Ottoman Empire brought Eastern habits into the European continent. “[Most Ottoman people] were wearing outdoor shoes over the indoor shoes like galoshes,” explains Lale Gorunur, the curator of the Sadberk Hanim Museum in Istanbul. “But they’d never go indoors with outdoor shoes. They’d always take off the outdoor shoes at the gate of the house.” Territories under the empire’s rule seemed to adopt this habit, and slippers remain common in countries like Serbia and Hungary.

Although the late 20th-century Parisians seemed amused at the idea, their predecessors were enamored with indoor shoes. “By the 17th century, an increasing number of men are having portraits done of themselves in a kind of casual, domestic setting in their mules, their slippers,” explains Elizabeth Semmelhack, a curator of the Bata Shoe Museum in Toronto. “By the 18th century, where intimacy and intimate gatherings become very much a part of social culture, you begin to see more pictures of women and their mules.”

The Victorian era added its own twist to the infatuation with the indoor shoe. Women used Berlin wool work, a needlepoint style popular at the time, to make the uppers of their husband’s home slippers. “[They] would take those uppers to a shoemaker who would then add a sole. And they would be gifted to the husband to wear while he is smoking his pipe by the fire in the evening,” says Semmelhack.

Portraits of the Russian upper classes of the 18th and 19th century frequently feature subjects in either the Ottoman style mules or in thin--intended for indoor use--slipper-shoes. The same couldn’t be said for the poor. Peasants and laborers are either shown barefoot, wearing boots meant for outdoor work, or donning valenki, the traditional Russian felt boot. Perhaps because of this link between the indoor footwear and the leisure of the rich, tapochki were snubbed immediately following the 1917 Russian Revolution. Remnants of the maligned, old world had no place in the new Soviet paradigm. But the sentiment didn’t stick. Although never as extravagant or ornate as before, soon tapochki were back in most Soviet homes offering their owners comfort after a long day of building the Communist paradise.

Today, attitudes towards taking off shoes indoors vary, often by national culture. An Italian friend told me it was considered rude to go barefoot in the house in Italy, and a Spanish friend raised her eyebrows when I offered a pair of slippers. “Spaniards don’t take their shoes off.”

In Japan, where slippers are a Western introduction, most people take off their outdoor shoes before going indoors. Jordan Sand, a professor of Japanese History at Georgetown University, notes that architecture accommodates the practice. “The Japanese live in dwellings with raised floors. It’s basic, even in modern apartment buildings, that every private dwelling has space at the entry,” he explains. “As you enter the door there is a little space and step up and the rest of the house is higher than the outside. You shed your footwear there. In a traditional house, most of the interior space is covered with tatami mats. No footwear is worn on tatami mats.” While the Japanese generally go either barefoot or wear socks on the mats, there are exceptions. In those parts of the house that aren’t covered by tatami--the kitchen, the hallway, and the toilet--people wear slippers. A singular pair of slippers is reserved specifically for the toilet, where it stays.

When I moved to the U.S. in 1989, slippers disappeared from my life. Americans never took off their shoes and their wall-to-wall carpeting bore traces of the outside tracked indoors on the soles of their footwear. I could never get used to it. My shoes came off immediately whenever I entered my house and I’ve asked my guests to take off theirs. The panoply of terry mules I have hoarded from hotels is always on hand to help.

As for me--my personal slippers wait for me by the door. When I slip them on my feet are freer, my floors stay cleaner, and I always feel as if I’ve truly come home.

[twinkandwink]

Obviously this celebration of Sarah records will be held in Bristol and will include a preview of the Sarah documentary and a few Sarah bands will be playing, one for definite will be Secret Shine.

BETWEEN HELLO AND GOODBYE: THE SECRET WORLD OF SARAH RECORDS

Saturday 03 May 2014 to Monday 05 May 2014, 11:00 to 18:00

Concert: £18/£16 Exhibition: Free → Book

Over the bank holiday weekend, a programme of concerts, exhibition, film and activities celebrate the legacy of Sarah Records.

Concerts and screening Saturday 3 May, 7.30pm, £18/£16 concs

Exhibition Saturday 3 May - Monday 5 May, 11am - 6pm, free

Operating at first from a telephone-free basement at the top of Blackboy Hill and then from a house overlooking Bedminster station, Sarah Records released 100 7” pop singles between 1987 and 1995. Clare Wadd and Matt Haynes, the label’s young founders, then took out adverts in the music press headed ‘A Day For Destroying Things’ announcing that the label was over and that they didn’t do encores.

Since then, Sarah has acquired almost legendary status around the world, and is now the subject of both a documentary - My Secret World, made by filmmaker Lucy Dawkins - and a book, Popkiss: the Life and Afterlife of Sarah Records (forthcoming from Bloomsbury).

As well as displaying a healthy DIY punk attitude, the idiosyncratic label saw its productions as something of a love letter to its home city, featuring photos of Bristol on the centre labels of its singles, naming its compilations after local places, and giving away postcards that formed a jigsaw of Temple Meads station.

On the Saturday evening, My Secret World will be previewed during a concert programme featuring performances by some of the label’s bands. Over the bank holiday weekend, there will be an exhibition of Sarah memorabilia (including original artwork, sleeves, posters, fanzines), themed walks, and more.

Part of the Bristol Art Weekender.

Share your comments and pictures @arnolfiniarts

Arnolfini  16 Narrow Quay Bristol BS1 4QA Box Office +44 (0)117 917 2300

[insideencounters]

NEXUS - Forms Installation

Film festivals for many are about the big names, catching premieres and getting to meet their heroes in person. Unfortunately many events often fall by the wayside, this year that seems to mostly fall upon the fringe events like the outdoor screenings and live acts.

Perhaps you managed to get over to the Arnofini for a screening? Perhaps you even managed to watch Bob being animated live or find the Aardman sculptures from long ago? After some investigation (and some very uninformative staff), i discovered there was an installation on physical motion on the top floor of the Arnofini. After taking a long walk to the top of the building, i found a member of staff engrossed in his mobile who looked vaguely shocked to see me. 

I followed the sound of slowly shattering glass into the darkness and was amazed at what i saw. Nexus - Forms Installation showcases the work of Memo Akten and Quayola whose work was commissioned for the Olympics this year.

Go and find the exhibition.

Go and sit in the space.

It's a short film (around 3/4 minutes) but watch it at least 3 times and allow it to wash over you.

The film stylistically combines the work of Muybridge and Duchamp, creating an abstraction of movement not unlike the Nude Descending a Staircase No. 2. The animation is both playful and powerful to watch, showing the varying stages of design from the original source video (of Olympic sports) all the way through its computer design. The end result is a colourful tidal wave of balls, lasers, swirls and needles creating the impression of the original movement but extrapolating it and heightening the movements to generate a powerful recreation of human motion, removed from the personality.

The level of detail here is vast and one could watch for hours, as human forms drift in and out of correlation, getting lost in the chaos. For anyone seeking something different at the festival and doesn't mind a lack of narrative, I wholeheartedly recommend this, although you will never be able to look at your screen saver the same again.

Forms can be found on the top floor of the Arnolfini until 6pm today and is entirely free so I urge you to see it in person. If you're outside of Bristol then head on over to... http://www.nexusinteractivearts.com/work/dQ/forms

Benji Corless

[deadliveevents]

Borley Rectory The Trial of Harry Price On 18th February at the Arnofini Gallery in Bristol, a debate took place about possibly the most famous haunting in the history of ghost hunting #deadlive #haunted #SupernaturalMagazine https://goo.gl/FSzoiF