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logesh0007 · 1 year

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Pannervakkam Red Hills, Chennai, Exclusive Opportunity: Premium Commercial Land for Sale

Introduction

Anyone looking to launch a company or invest in real estate in Chennai now has a special chance thanks to the King Foundation. Visit this page to learn more about it. In the exclusive Pannervakkam Red Hills community, which is located along the famed Outer Ring Road (OR Road), we are glad to provide a carefully chosen portfolio of top-notch commercial land. Due to their exceptional position, simple accessibility, and substantial potential for future growth, these commercial real estate assets are without a doubt distinctive. Take advantage of this incredible chance to purchase great real estate for less than ₹2,000 per square feet by not passing it up.

The benefits of accessibility and location are:

These commercial property lots are conveniently located close to the well-known Chennai Outer Ring Road (OR Road), which links the city's most important suburbs. They are easily reachable from all sections of Chennai thanks to their ideal location in a thriving business zone and easy access from three major thoroughfares. Accessibility is further improved by the well-planned network of side roads that smoothly connect the nearby highways and provide a hassle-free trip to your business location.

Access to ports and a variety of commercial possibilities:

One of its unique advantages is the close proximity of these commercial property plots to the significant ports of Kattupalli and Ennore. These ports act as important gateways for both domestic and international trade, providing a wide range of opportunities for companies engaged in logistics and import-export activities. By assisting businesses in expanding and gaining access to new markets while allowing the easy flow of resources and commodities, they raise the region's commercial potential.

Improved connections and cutting-edge infrastructure:

The commercial property sites in the Pannervakkam Red Hills offer excellent connections and infrastructure. Along with nearby highways and side roads, a robust transport network enables simple access and a smooth flow of goods and services. Smooth driving on well-maintained roads enables businesses to build solid working relationships with suppliers, customers, and consumers. Additionally, the convenience and appeal of this neighborhood are enhanced by its close proximity to amenities, including dining businesses, shopping centers, and entertainment places.

The bustling commercial sector of Chennai:

In recent years, Chennai's corporate community has greatly expanded. Chennai is a booming metropolis in Tamil Nadu. The city has become a popular option for businesses in a variety of industries because of its thriving economy, robust business ecosystem, and hospitable business climate. A particularly strong growth corridor, Pannervakkam Red Hills, has attracted businesses and investors searching for excellent commercial real estate. Due to their excellent location inside Chennai's commercial sector, these commercial property plots provide the fantastic potential to profit from the city's flourishing and dynamic business climate.

Open your mind to profitable investment opportunities:

Both businesses and individuals have a lot to gain from investing in these commercial property plots in Chennai's Pannervakkam Red Hills. These plots are ideal for starting and growing enterprises as they are well connected, in a prime position, and close to important ports. They are considerably more valuable as investments given the potential for local growth and development. Businesses that purchase commercial property in this highly coveted area will be well-positioned for long-term success and will be able to take advantage of Chennai's dynamic business community.

Take advantage of this special chance:

Before it's too late, buy a stunning commercial property in Pannervakkam Red Hills, near Chennai's Outer Ring Road. For businesses wishing to establish a strong presence in Chennai's thriving business sector, these land tracts show enormous promise. To learn more about these commercial property plots and to take the first step towards purchasing your perfect plot, get in touch with The King Foundation right away. Our dedicated team is here to respond to your inquiries, provide clear explanations, and help you select an investing strategy.

Conclusion:

Pannervakkam Red Hills commercial property locations in Chennai provide the best real estate in a busy commercial region. These plots have a lot of potential for businesses in a variety of industries because of their easy accessibility, ideal location, and closeness to significant ports. The King Foundation's unwavering commitment to excellence has allowed these real estate developments to maintain the highest standards of workmanship and design. Don't miss out on this amazing opportunity to buy a top-notch commercial property. To start expanding your business in Chennai's vibrant commercial climate, get in touch with The King Foundation right away.

Contact: Shankar B

Ph: 9600008155

Email: [email protected]

For more details: https://kfestate.com/property-01/

Address: 659J+9WH, Chennai Outer Ring Rd, Angadu, Tamil Nadu 600067

Tag: #commerciallanforsale #commercialplotforsale #commercialplotsinchennai #commercialplotsinredhills #commerciallandsinredhills #commerciallandinchennai #commerciallandinouterringroad

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beckettodxe156-blog · 5 years

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property for sale in Ayia napa - For Sale & To Buy

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ericfruits · 7 years

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How a brothel owner created the world’s biggest industrial park

PAST the neon lights of Reno and the cookie-cutter homes of neighbouring Sparks, the I-80 highway winds through a thinly populated expanse of arid hills and lunar valleys in Storey County. On one side of the road flows the Truckee River; on the other bands of wild horses forage for parched grass. Signs of civilisation are restricted to electricity pylons and the odd rundown farmhouse. The Wild Horse Saloon, a dark and smoky room connected to a legal brothel, is the only sit-down restaurant for miles. It is not an area that immediately seems conducive to hosting a business park. Yet Storey County in Nevada is home to the world’s largest by some measures: the Reno Tahoe Industrial Centre (TRI). The park spans 104,000 acres in total—three times the size of San Francisco.

Near its eastern border hulks Tesla’s “gigafactory”, a gargantuan white structure where the company hopes to produce batteries for 500,000 electric cars a year. It already has nearly 5m square feet of operational space; when complete, the firm’s founder, Elon Musk, expects it to be the world’s largest building. In February 2017 Switch, a provider of data centres, opened the biggest in existence on its “Citadel Campus” in TRI. A few months later, Google snapped up 1,210 acres of land—enough to fit nearly 100 American football pitches. One executive whose company owns land in the park muses that no other bit of industrial America has a higher level of investment per square foot.

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Demand for industrial property is rising nationally thanks to the strength of the economy and the boom in e-commerce. Long the ugly duckling of commercial property, warehouses and distribution centres are now emerging as “beautiful swans”, according to a recent report by Jones Lang LaSalle (JLL), a commercial real-estate firm. The proportion of industrial property in America that is vacant has plunged from 10.2% at the start of 2010 to an all-time low of 5% at the end of 2017, notes Craig Meyer of JLL. Almost all new space is being built in parks that are pre-planned and pre-zoned, he says. Companies can get up and running quickly—standalone sites are rare. One of TRI’s anchor tenants calls TRI an “industrial wonderland” for the speed at which firms can move.

Yet the park might have served a rather different purpose. Along with a partner, Lance Gilman, an affable businessman whose uniform consists of cowboy hats, crocodile-skin boots and turquoise jewellery, purchased the land that now forms the TRI for $20m from Gulf Oil in 1998. The oil company had planned to stuff it with big game and use it as a luxury hunting reserve before the price of oil plummeted and such indulgences were judged inappropriate. Mr Gilman’s idea was to pre-approve the land for industrial uses and sell tracts of it to firms wishing to build swiftly.

He recalls looking out at the park after the purchase, and thinking that it would take three generations to sell it all. He sold plots to small firms and some big ones, like Walmart, but during the Great Recession of 2007-09 sales dropped precipitously. During the lean years TRI relied in part on cash from another of Mr Gilman’s businesses: the brothel, called Mustang Ranch, that houses the Wild Horse Saloon. “Without Mustang Ranch, there might not be TRI,” Mr Gilman says from a red, faux crocodile-skin chair in an office at the bordello.

Things turned around in 2013. Representatives from Tesla flew in for a meeting. They had been scouring the country for a site for their battery plant but had not found anywhere that would allow them to build fast enough. How long would it take to get a grading permit (required when topography is significantly altered), they asked? In jest, Storey County’s community development director pushed a permit across the table and told the visitors to fill it out. The reality was not much slower: Tesla got its permit within a few days.

That initial deal raised TRI’s profile. Switch, Google and eBay soon followed. Not long afterwards Mr Gilman began receiving cheques from companies wanting to buy land in the park without even touring it. They are often technology firms; a quarter of leasing demand for American industrial space comes from e-commerce companies wanting to expand operations. In January a firm deploying blockchain technology purchased 67,125 acres of TRI land. Out of the 104,000 acres, only a few hundred acres are still available. Gazing out at a cluster of busy warehouses from a hilltop in the park, Mr Gilman chuckles: “I guess I sold myself out of a job.”

Correction (February 9th): An earlier version of this piece said that the land at TRI was leased, rather than sold. This has been corrected.

This article appeared in the Business section of the print edition under the headline "Everything’s bigger in Nevada"

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topbeautifulwomens · 6 years

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#Don #Henley #Biography #Photos #Wallpapers #photooftheday #fashionphotography #red #streetstyle #summer #swag #theferragnis #threads #travel #wshh

With earlier mentioned 100 million in list sales, the Eagles epitomized commercial Southern California rock in the 1970s, and their appeal continues undiminished decades later. As of late 2007, Their Greatest Hits 1971-1975, a 1976 best-of that was the first album ever certified platinum, is the best-selling album of all time in the U.S., its 29 million copies outstripping the previous champ, Michael Jackson’s Thriller (27 million). The group’s well-crafted songs merged countryish vocal harmonies with hard-rock guitars and lyrics that were alternately yearning (“One of These Nights,” “Best of My Love”) and romantically jaded (“Life in the Fast Lane,” “Hotel California”). During the band’s hugely successful career, it had an increasingly indolent recording schedule until its breakup in the fall of 1980. Subsequently, every single of the members pursued solo careers, with Henley’s the most successful commercially and critically. In the 1990s, the band’s sound was frequently cited as an influence by young country stars and culminated with the band’s reunion in 1994. The Eagles continue to be one of clean millennium’s most successful bands.

The group originally coalesced from L.A.’s country-rock community. Before producer John Boylan assembled them as Linda Ronstadt’s backup band on her album Silk Purse (1970), the four original Eagles were already experienced professionals. Leadon had played in the Dillard and Clark Expedition and the Flying Burrito Brothers; Meisner, with Poco and Rick Nelson’s Stone Canyon Band. Frey had played with various Detroit rock bands (including Bob Seger’s) and Longbranch Pennywhistle (with J.D. Souther, a sometime songwriting partner), and Henley had been with a transplanted Texas group, Shiloh. After working with Ronstadt, Henley and Frey decided to form the Eagles, recruiting Leadon and Meisner.

Intending to take the country rock of the Byrds and Burritos a step further toward hard rock, the Eagles recorded their first album with producer Glyn Johns (Rolling Stones, the Who) in England. “Take It Easy” (Number 12, 1972), written by Frey and Jackson Browne, went gold before long after its release, as did their album. (Another single, “Witchy Woman,” reached Number Nine that year.) Desperado was a concept album with enough of a plot line to encourage rumors of a movie version. The LP yielded no major pop hits, but its title track, a ballad penned by Henley and Frey, has become a classic rock standard, covered by Linda Ronstadt, among others. With On the Border, the Eagles changed producers, bringing in Bill Szymczyk (who worked on all subsequent albums through 1982’s Greatest Hits Vol. 2) and adding Felder, who had recorded with Flow in Gainesville, Florida (and who once gave guitar lessons to another Gainesville native, Tom Petty), then became a session guitarist and studio engineer in New York, Boston, and L.A.

The increased emphasis on rock attracted far more listeners â€” mid-1970s hits included “Best of My Love” (Number One, 1975), “One of These Nights” (Number One, 1975), “Lyin’ Eyes” (Number Two, 1975), and “Take It to the Limit” (Number Four, 1975) â€” but alienated Leadon. After One of These Nights, Leadon left the band to form the Bernie Leadon-Michael Georgiades Band, which released Natural Progressions in 1977. (Leadon went on to become a Nashville session musician, and in the 1990s formed Run-C&W, a jokester group who played a blend of country and R&B.)

Leadon was replaced by Joe Walsh, who had established himself with the James Gang and on his own. His Eagles debut, Hotel California, was their third consecutive Number One album (the second was their record-breaking 1976 greatest-hits compilation). “New Kid in Town” (Number One, 1976), the title cut (Number One, 1977), and “Life in the Fast Lane” (#11, 1977) spurred sales of more than 16 million copies worldwide.

Meisner left in 1977, replaced by Schmit, who had similarly replaced him in Poco. Meisner has released the solo albums Randy Meisner (1978) and One More Song (1980), and (yes) Randy Meisner (1982). (In 1981, he toured with the Silveradoes; later, in 1990, Meisner reemerged in a group called Black Tie, alongside Billy Swan and Bread’s James Griffin.) Henley and Frey sang backup on One More Song, and in the late 1970s they also appeared on album by Bob Seger and Randy Newman. In 1981 Henley duetted with Stevie Nicks on the Number Six single “Leather and Lace.”

Between outside projects and legal entanglements, it took the Eagles two years and $1 million to make the multi-platinum LP The Long Run. The album included the hit singles “Heartache Tonight” (Number One, 1979), “The Long Run” (Number Eight, 1980), and “I Can’t Tell You Why” (Number One, 1980).

Walsh continued to release solo albums, though his biggest hit to date has been 1978’s cheeky “Life’s Been Good” (Number 12). Felder and Schmit also put out their own albums and contributed songs to film soundtracks. Schmit’s second LP, Timothy B, included “Boys Night Out” (Number 25, 1987).

In 1982 Henley and Frey both embarked on solo careers. Frey charted with “The One You Love” (Number 15, 1982) and “Sexy Girl” (Number 20, 1984) before a movie proved his ticket into the Top Ten: “The Heat Is On,” featured in Beverly Hills Cop, shot to Number Two in 1985. Frey followed this success by becoming an actor, making a guest appearance as a drug dealer on the popular TV series Miami Vice. The episode was based on a track from his album The Allnighter, “Smuggler’s Blues,” which consequently reached Number 12 (1985). Later in 1985, Frey’s “You Belong to the City” hit Number Two. While still dabbling in acting with roles in the short-lived TV series South of Sunset, the movie Jerry Maguire, and a guest spot on the Don Johnson post-Miami Vice series Nash Bridges in the 1990s, Frey also co-founded a music label, Mission Records, in 1997.

Ultimately, though, Henley was the ex-Eagle who garnered the greatest chart success, and the most critical acclaim as well. His “Dirty Laundry” (from his first solo effort, I Can’t Stand Still) made it to Number Three, but the 1985 solo album Building the Perfect Beast was to be his true arrival as solo hit maker and respected singer/songwriter. The kickoff single, “The Boys of Summer,” went to Number Five â€” supported by an evocative black-and-white video that fast became an MTV favorite â€” and earned Henley a Grammy for Best Rock Vocal Performance; the hits “All She Wants to Do Is Dance” (Number Nine, 1985) and “Sunset Grill” Number 22, 1985) followed. A third album, The End of the Innocence (1989), created a Number Eight (1989) title track, and the additional singles “The Last Worthless Evening” and “The Heart of the Matter,” which both hit Number 21. The LP won Henley another Grammy, in the same category as before.

In the early 1990s, he sought release from his Geffen Records contract, initiating a long and bitter legal dispute. After participating in the release of a solo best-of album in 1995, Henley was freed from his contract. Five years later, he released a solo album of all-new material, Inside Job (co-produced by former Tom Petty and the Heartbreakers drummer Stan Lynch), and embarked on a solo tour to support it. Henley married for the first time in May 1995 and had three children before releasing Inside Job. This life-altering change for the longtime bachelor resulted in a new theme in his songwriting; a lot of of Inside Job’s tracks were clearly about marriage and family, including the gentle ballad “Taking You Home” (Number 58 pop, Number One Adult Contemporary, 2000). Much of the rest of the album, however, still explored Henley’s cynicism toward the business world and the media.

In 1990 Henley founded the Walden Woods Project, dedicated to preserving historic lands around Walden Pond in Concord, Massachusetts (where Henry David Thoreau and others reflected and wrote), from corporate development. Among the singer’s various fund-raising means were holding charity concerts, featuring other top rock artists, and donating proceeds from some of his own recordings, including a reggae version of the Guys and Dolls standard “Sit Down You’re Rocking the Boat” (1993). In 1993 the Walden Woods Project got a big increase from Common Thread: The Songs of the Eagles, coordinated by Henley and featuring Clint Black, Trisha Yearwood, Travis Tritt, and others.

In 1994, after years of fielding off reunion rumors, Henley, Frey, Walsh, Felder, and Schmit â€” who had appeared together in the video for Tritt’s version of “Take It Easy” â€” hit the road for a massively successful concert tour. The tour went on hiatus toward the end of 1994, due to Frey’s gastrointestinal surgery, but it continued in 1995. In November 1994, the band released Hell Freezes Over, which featured four new songs, including the singles “Get Over It” (Number 31, 1994), “Love Will Keep Us Alive” (Number One Adult Contemporary, 1994), “Learn to Be Still” (Number 15 Adult Contemporary, 1995), and 11 of the old hits culled from the band’s 1994 live appearance on MTV. Within months the reunion LP had sold more than 10 million copies and gone to Number One on the pop album chart.

In 1998 the Eagles were inducted into the Rock and Roll Hall of Fame. All seven members of the band performed together for the first time at the induction ceremony. The core members of the group â€” the ones who had recorded and toured together in the mid-1990s â€” reunited again for a few concerts at the end of 1999, including a New Year’s Eve show in L.A. A four-CD retrospective set, Eagles 1972-1999: Selected Works (Number 109) was issued in November 2000. In February 2001, the Eagles fired Felder, who retaliated by suing the band, its organization, and Henley and Frey individually; the latter pair countersued. (Felder later wrote a book about his time in the band, Heaven and Hell, which was published in the U.K. in November 2007.) The case was settled out of court in May 2007.

In 2003, The Very Best of the Eagles was released, covering the band’s full 1970s output as well as the new single “Hole in the World.” In 2007, Eagles released its first all-new album in 28 years, the double-CD Long Road Out of Eden, exclusively through Wal-Mart, Sam’s Club, and Eagles.com in the U.S. It debuted at Number One on the Billboard chart. The band continued to tour successfully through 2008.

Name Don Henley Height 5' 10 Naionality U.S Date of Birth July 22, 1947 Place of Birth Gilmer, Texas, US Famous for Pop/rock singer

The post Don Henley Biography Photos Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/don-henley-biography-photos-wallpapers/

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whitecuberd-blog · 7 years

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Press Release: In a bloodsoaked historical context where the simmering tension of an unacknowledged holocaust threatens to burst the flesh of its ivory benefactors, what can one do but dream of a past less fraught; or so says the work of Melbourne artist Minna Gilligan. ‘The 60’s’ as imagined by Gilligan seem to be a time of technicolour fantasm, of naiive reverie and snappy outfits. Gilligan openly admits to her construction of a falsified epoch , having herself been born in the 90’s and subsequently coming of age in the early to mid 00’s. The presentation of ‘Feeble Minded Gifted Kind of’ is the result of a fortuitous oversight on behalf of the artist. A large cache of works from Gilligan’s formative years (2009-11) lay dormant in a document drawer deep at the Victorian College of the Arts; where Gilligan studied under the artist John Campbel over this period. Ignoring calls from concerned gallerists and the artist alike, White Cuberd and Melbournefineartgossipblog have excavated, and now present a selection from this early period of Gilligan’s practise in the hope of illuminating new readings of the artist’s oeuvre. Here we see the underpinnings of Gilligan’s artistic world. Inhabitable realities give way to uncoagulated forms suspended in mathematical planes and dimensions. The artists Narrates these scenes with a wry nihilism, as with the shows titular work ‘feeble minded gifted kind of’. Cringeworthy execution and materiality evoke what can only be an irony akin to german painting of the later part of the 20th century. Or maybe this is just garbage that should have been incinerated instead of dragged from the bin and into the gallery? Gilligan currently lives and works in Melbourne, Australia and is represented by Daine Singer gallery. Press Release by: Zabludowicz. JR. * * * Review: Minna Gilligan: Coping Mechanisms. Minna Now Escapism. “Art and the current climate”1. Art as commodity (beyond art as ‘Art’ (i.e. striving for some moral value?)). Art as fashion… art as fashion with Artist as product. Minna herself is/ is also the interest point. “A figure who is not simply a figure of moral autonomy (self-governing and self-crafting), but a figure who seeks to enhance its competitive positioning in every sphere of life.”2 ‘let me address why I don’t make political art and won’t make political art…. while simultaneously platforming myself in a politically active narrative’ (Gilligan in February 2017 blog post). A Minna on a Fitzroy living room wall, the homeowner is sipping a glass of red after a long day in the office working on the next Future Estate development. “The subject as pleasure maximizer and pain minimizer, a utilitarian calculator.”3 Disco, flower markets, corduroy, macaroons…. “A subject who is concerned with its present and future value, not simply maximizing its deal-making capacity and not even simply entrepreneurializing itself, but investing in itself in order to enhance its present and future value and in order to attract investors.”4 …. I see this in Minna (Gorman, commercial outcomes, commercial gallery, she has value as a brand herself). I see this in myself. I see myself in Minna. Fun pop colours, textas, spray paint!, fashion collage. Here for a good time, not for a long time. (“But credit my work if you are RG’ing”). What would happen if Minna’s work was suddenly really scary and fucked up? Politically what does it mean to be visible and popular in the arena of Australian art today and refuse to engage with the present, or speak to the present through your obsession with an inauthentic past and telescoping into life's niceties? Make cool art; be cool (funky); be hot (and cute (not threatening)); ignore the present (through ‘the past’); be a feminist (unthreatening, seemingly not very critical?); make money; fashion, art, design; lend your art to a clothing brand that only makes clothes for thin people. Fun, colourful, easy, uncomplicated, messy, ugly spray painted abstractions. Honestly a Minna5 was my iPhone screensaver for most of 2016. The feeling I get when I look at it is the same as when I am watching The Real Housewives of Beverly Hills or The Kardashians. Escapism. Escaping into “reality”. A reprieve. What is the link between the enjoyment of her work and how that functions in the world today that I am finding troublesome? Something to do with the popularity, niceness, fun…. The world is the opposite….. What responsibility do Artists have to engage with reality (if they are popular, nice)? Maybe that isn’t her reality (she maybe can not/ does not see the world as fucked/ part of it?). Why am i so compelled to want to reveal her work as perpetuating this fucked-ness, like why do i care? Minna is Pepsi Kendall. I am Pepsi Kendall. Minna is just trying to cope, like the rest of us. Gorman made clothes to fit dogs before they made clothes that fit me. But I would sell out too. Sign me up. How does Minna’s popularity as an Artist speak to the fears of the current consumer? (i.e. if her work is a coping mechanism, and it’s popular…. Does that mean everyone is fucking terrified and also desperate for reprieve?) Consuming/ consumption as medicine. Semi-left ‘floating in space’ crowd…. If only they could face the terror?…Minna’s work being a dummy to placate a child, and the audience is using it as a numbing device…. But this doesn’t have to be bad. Literally sign me up. “Her practice speaks of fleeting, personal encounters with the past and present, and manifests in a tumultuous reconciliation of both.”6 Is there actually a successful reconciliation of past and present in her work though? Plot twist: it is in fact the UNSUCCESSFUL reconciliation of the past and the present which MAKES her work so successful. The space in between what she is putting down, and what exists all around it. Vintage housewife collage on pretty pop colour texta doodle. ‘Utopia’. Head down, don’t look up. Early Works *knife* “Her works are playgrounds of colour, often inhabited by lone protagonists trapped in states of longing, sadness or exhalation. Though her paintings reference 1960s/ ‘70s psychedelia and evoke a nostalgic romanticism - with lone women floating in technicolor dreams - her work is atemporal, existing in a utopian space of imagery filtered through the digital realm.”7 Why would an artist be compelled to work through “states of longing, sadness or exhalation” in Australia today as a cis white woman who is successful and does not make political art? I am so untrusting of Utopian spaces. Utopia = red flag. Yet I work towards trying to create utopian spaces IRL all the time and am a constant cop. So why would I trust Minna’s work more if it were Dystopic (from her POV)? (NB: I do think her work is Dystopic). I feel uneasy about Minna Now because it mirrors my own complicity. It seems like Minna herself is pointing towards the dystopic in her Early Works. CAN’T TELL YOU WHAT IT REALLY IS8. Pictures of meat on pretty pop colour texta doodle. Utopia. Man with blood nose on pretty pop colour texta doodle. Utopia. STAY AWAY9. I DON’T FEEL LIKE IT ANYMORE10. Tigers; lions; snakes; horses galloping into a void. DON’T WANT TO CARE11. This world is so different from what we now of Minna Now. SIMPLICITY FUNERALS12 vs. rainbow stylin’. I just don’t see space for this emo/ goth vibes acid-trippa girly girl on Daine’s sales spreadsheet, too real (dark). Is the shift from Minna as ‘feeler’, as seen in the Early Works, a commercial tactic? Does the artist's current work function as the personal antidepressant that I use it for myself? After Thoughts “It is true that the worst thing any of us could do would be to stop making work and abandon our artistic narratives. While I will not be making overtly political work, as such, I not be silent out of fear. I will still be painting, drawing, collaging, and posting the results on Instagram, with all of the above paragraphs considered.”13 A world in which making art is better than not.... Lol. Close your eyes and press your eyeballs so hard colours start appearing, and hope so hard you can forget. Minna Gilligan’s Early Works tell me the Minna we know now is not the Minna of yesteryear. In the Early Works it appears Minna was concerning herself with a certain “reality” (grim, ugly, not exactly a wrapped up package) that is only present in her works today through its total erasure, disappearance. The world was ugly and something had to give. The machine churns on. There is money to be made, collabs to be had, and memories on the dance floor to be etched into the only future Minna seems interested in… a happy, pretty one? tbh that’s scarier to me then before but alas- who could blame a gal? *knife* 1 Minna Gilligan, “Art and the current climate” (blog post), 02/02/2017. Accessed April, 2017. http://www.minnagilligan.com/ 2 Wendy Brown, “INVEST YOURSELF! WENDY BROWN IN CONVERSATION WITH ISABELLE GRAW”. “The Individual” Issue No. 104. December, 2016., Texte Zur Kunst. Accessed April, 2017. https://www.textezurkunst.de/104/tzk104-brown-graw/ 3 Ibid., (Brown). 4 Ibid., (Brown). 5 Minna Gilligan, “All the things that we do for fun” (2015), acrylic, spray paint and collage on canvas. 6 "Minna Gilligan", Daine Singer (website). Accessed March, 2017. http://www.dainesinger.com/minna-gilligan/ 7 Ibid., (Singer). 8 Text found on Minna Gilligan’s untitled ‘Early Works’ 9 Ibid., (Gilligan). 10 Ibid., (Gilligan). 11 Ibid., (Gilligan).12 Ibid., (Gilligan).13 Ibid., (Gilligan, blog post). Review by: i-D.vice

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kingfoundation · 1 year

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