#vinci new capital master plan

[hasquetzorkukudoneanythingwrong]

Pretty lies, ugly truths

The control room had detected a new singularity. This one was located in the spanish capital of Madrid in modern day.

Da Vinci: we can't detect much about the singularity itself, it seems that there's a powerful magical field around the whole thing.

Rex: well fuck... will we be able to even communicate?

Sion: we'll work on making communications work while you're out there but for the beginning you'll be on your own.

Rex: ugh...

Gordy: you'll be able to handle it, can't be that bad of a singularity right?

Rex: I feel like you're jinxing us.

Da Vinci: regardless, this one's a big one. It needs to be handled soon!

Rex: we'll handle it!

Chaldea was sending in Rex, Quetzalcoatl, and Mash Kyrielight into the Madrid singularity to handle things. Soon the three got into their coffins and rayshifting commenced.

3...2...1!

Once they were inside the singularity, they noticed something odd... it was snowing heavily.

Rex: holy crap... that's a heavy snow...

Mash: yes, maybe the snow is what's interfering with the signal.

Quetz: does that mean it's a magical snow? Like in sca- Ugh!

Out of nowhere Quetz doubles over in pain

Rex: Quetz!

Rex runs over to help but before he can something interrupts them.

???: Weigh Anchor!

Out of nowhere a huge ship appears in the streets of the city, heading towards the group

Mash: Senpai!

Mash moves to shield Rex and Quetz from the ship but ends up knocked away along with Rex

Rex: fuck!

Then coming from the ship, chains appear binding Quetzalcoatl, who was too weakened to be able to break free

Quetz: que?! What's going on?!

Rex: Hey! Let her go!

???: finally! We've been waiting for you for a long time!

Quetz: huh?!

When the group looked up at the ship, they recognized it. It was the Santa Maria that Columbus captained. But the man on top looked different.

Columbus?: I'm so sorry Missy, but the boss needs your spirit origin. And what the boss wants, he gets.

The man dressed similar to Columbus but looked much younger and less sinister.

Rex: who the hell are you?! Let go of my wife!

Columbus?: you don't know who I am? Well... then again... I guess you've become accustomed to the real me. Alright! Listen up laddy! Because this will probably be the last name you hear about before die!

Rex and Mash looked up at the man, both angry at the bastard.

Columbus: I am Christopher Columbus! But specifically I'm the Columbus you were told about in your schools! The heroic traveler who against all odds managed to discover America! I'm not the horrible schemer and slaver you're accustom to!

Rex: so you're the lie we were fed as children to justify your farce of a holiday?!

Columbus: rude way to put it but yes! Now if you'll excuse me!

The man snapped his fingers and out came an army of men clad in red appeared.

Rex: what the-

Mash: senpai! That's the spanish inquisition!

Rex: seriously!?

Mash: looks like them!

Columbus: that's right lil lady! Anyways, I'll be leaving you to them while I take this lady back to the base! Seeya!

The boat leaves, with Quetzalcoatl inside, unable to do much.

Rex: DAMN YOU!!!!

Rex wanted to make chase but the inquisition members blocked him off

Soldier: give it up master of chaldea! You do not stand a chance against the inquisition!

Rex: fuck off asshats!

In all his Fury Rex blasts fire at the soldiers, while Mash fights them off with her shield.

Mash: senpai! There's too many!

Rex: to hell with that! We've faced worse odds and came out fine! I'll be damned if I let them get away with my wife!

But the odds really were looking grim, until suddenly the snow intensified around them, mostly focusing on the soldiers.

Soldier 1: ack! The snow! What's happening!

Soldier 2: must be that damned ice queen!

Rex: ice queen?

Then from behind Rex and Mash, another servant comes in to get them out of there, Shakespeare.

Shakespeare: come on you two! We need to get you to safety!

Rex: but I need to save Quetz!

Shakespeare: that can wait! You need to be alive to do so anyway!

Rex: alright fine!

Then the two follow Shakespeare towards safety.

Soldier: where'd the two go!?

The group came out of the storm and were taken into what looked to be a book store. Inside were the two other authors Rex was familiar with.

Anderson: how'd it go Shakespeare?

Shakespeare: not amazing, they got to her.

Murasaki: how unfortunate.

Rex: can someone tell me what's going on?

Mash: yes, I'd appreciate that too.

Murasaki: this is a very unique singularity, it was intended as a trap.

Rex: a trap!? For Quetz?!

Anderson: yes, for whatever reason some mastermind wants her spirit origin. We're not sure why or who, but we do know it can't be good.

Rex: then we have to save her!

Murasaki: you're not in a condition to fight right now, and besides that mastermind won't won't able to do anything as of yet.

Mash: how can you be certain.

Shakespeare: we've been summoned here for a while and we've observed that the man in charge isn't here. There's someone in charge of the singularity but they're taking orders from someone else, somewhere else.

Anderson: and I've stopped their communications with said boss with my Ice Queen's blizzard.

Mash: you're responsible for the snow?

Rex: how can you make such a powerful snowstorm with a fictional character?

Murasaki: that's the nature of this singularity. Somehow authorial works have far more power. We assume who ever made this trap of a singularity is responsible.

Mash: have any guesses as to who it is?

Shakespeare: oh do we!

Anderson: we're pretty sure it's Miguel de Cervantes.

Mash: what makes you so sure?

Murasaki: because one of his most famous creations is also one of the greatest threats here: Don Quixote.

Rex: Don Quixote? But he was just some old delusional fool who thought he lived in a knight story!

Anderson: yeah, normally. But it seems his delusions became a noble phantasm! That turns fantasy into reality.

Mash: could that be why stories are becoming real all in this singularity?

Murasaki: we believe so...

Mash: fantasy to reality... so that makes you three the perfect allies... but what's the plan...

But Rex was getting antsy, wandering the shelves of the book store. He hated being without his wife, it'd been a long time since they were separated like this.

Mash: senpai...

Shakespeare: he can't handle it...

Rex looked through the books, eventually coming to the comics section...

Rex: hey... if you can turn fantasy into reality... how about pulling a Moriarty on me...

Mash: huh? Senpai what are you talking about?

Rex: Moriarty has that gun from that one German story... if the authors can do something similar to help me... I can save her.

Murasaki: that doesn't sound outside the realm of possibility.

Anderson: what did you have in mind?

Rex: lemme see If I can find it...

He looked through the comics, until he found what he was looking for.

Rex: ah ha! This here!

He pulled out a book, and opened to a particular page. In it was planet, a planet made of a dark colored ooze. The inhabit creepy looking slime monsters.

Rex: this! Symbiotes from marvel.

Shakespeare: interesting...

Anderson: not sure how I feel adapting a modern work like that...

Rex: just do it! I'll be able to save her with these powers.

Rex already had some servant abilities, with a small amount of authority from Quetz and the leftover spirit from Cipatli. But they weren't much, with this he hoped to complete it to make a proper spirit origin, or something akin to one.

Mash: senpai... is this really a good idea?

Rex: I Need to save her... I hate being without her... and I want to skewer the fools who took her away...

Murasaki: I can see the pain he's feeling... we should help...

Anderson: fine, we'll turn you into an alien monster. But it likely won't stick when this singularity's fixed.

Rex: so long as I get my wife back I'm fine with it.

The three authors put to use their abilities to infuse Rex with the alien symbiote. Slowly an ooze formed onto his body, colored dark blue, black and red. Then his body was complete engulfed in the slime. It formed something akin to a tight fitting costume with a mask not far off from a lucha mask.

Rex: ...feels weird...

Mash: at least it looks to have worked... what can you do?

First Rex changed his hand to form a large blade.

Rex: that... I can slice a bitch.

After changing it back, he was then able to form flames from his hands, dark blue in color.

Rex: oh!

Anderson: how the hell?

Mash: he did have some of Quetzalcoatl's authority. Maybe it's been enhanced.

Rex: hahahaha! Now let's go! Where the hell could they have taken her!

Shakespeare: not exactly sure where they operate, but Columbus should now.

Rex: you think he'll be out there?

Murasaki: yes, him and his inquisition have been hunting us ever since they found out about us.

Anderson: as authors not aligned with Miguel we pose a great threat here.

Rex: yeah, I can tell why.

Then Rex's communicator started up.

Da Vinci: hello?! Is this thing working?

Rex: we hear ya!

Da Vinci: finally! How's everything?

Mash: not so great.

Da Vinci: what happened?

Rex: the enemy took Quetz!

Da Vinci: what!? And what's with the getup? And why do you have an avenger class spirit origin?

Rex: long story, I'm a monster now. Going to save Quetz!

With that Rex leaps into the air to hunt down Columbus.

Da Vinci: Mash, can you explain?

Mash: somehow, fantasy can become reality and senpai used that to become a monster to save Quetzalcoatl. And he's currently hunting down Columbus for information.

Da Vinci: ah...

Mash: now I'll go catch up with him!

Mash runs off to follow Rex, seemingly forgetting the authors.

Anderson: well... should we leave them to it?

Murasaki: we really should follow, to help make things go smoothly.

Shakespeare: and I can't miss out on the story this will be.

Anderson: *sigh* ok then

Off with Rex he's found the Santa Maria and immediately rushes to fight the captain, leaping into the air with hand blades to kill the captain.

Rex: COLUMBUS!!!

Columbus: what the-? Is that the master of Chaldea?

Seeing the threat Rex was posing Columbus prepared to unleash his noble phantasm but before he could Rex manages to slice at him, injuring him severely.

Columbus: fuck!

The captain falls over, already too weakened to fight much.

Rex: Where is She?! Where'd you take her!?

Columbus: how'd you get so strong?

Rex: Tell Me!

Columbus: you're not getting any info from me...

Rex: we'll see about that

Rex grabs the captain by the arm and slowly stabs into his side, with the shape-shifted blade burning with divine fire.

Columbus, in pain: Aaahhh!

Rex: tell me what I need to know.

Columbus: aaahh! Fine! She's at the capital building!

Rex drops the fool, satisfied by the info. Finally Mash comes in, having caught up with Rex.

Mash: senpai! Did you find out where Quetzalcoatl is?

Rex: the capital building!

Mash: great!

As they finish Columbus starts to fade, tho now looking more like the one we're all familiar with.

Rex leaps off the boat and joins Mash as the boat fades along with it's master.

Mash: we're likely to run into Don Quixote there

Rex: doesn't matter.

The two leave towards the capital building. Having to fight off inquisition soldiers who got in their way. Eventually they find the capital building, a knight clad in sparkling armor with a strong looking horse stands guard.

Rex: that's him isn't it?

Mash: more then likely

Quixote: ho! You two! What brings you here?

Rex: I'm here to get my wife back!

Quixote: ah! You're the man I was told about! You look far more monstrous then I thought.

Rex: good! Now prepare to die!

Immediately the two clash, Rex's blades against Quixote's spear.

Mash attempts to help but is quickly surrounded by more inquisitors, having to fight them off before helping.

*slash*

Quixote: quite an interesting power you've got there! But you'll fall regardless monster!

Rex: Shut Up! I'll kill you! And then I'll get my wife back!

The two clash even more, Rex also having to fight off soldiers at the same time. Eventually another man comes out of the building.

???: Don! What goes on?

Quixote: the enemy master has come my lord!

Miguel: oh! He's come to save that goddess has he?

Rex: give her back!

Rex says this as he continues to clash with the knight.

Miguel: unfortunately I cannot, my master has requested her capture and I must follow his orders!

Rex: Fuck You!

Quixote: how vulgar!

Then, just as before the snow intensified, blinding the enemies.

Miguel: of all the times for this to ha- urk!

The spanish author feels a sharp pain in his chest, he looks in front of him and beyond the falling snow he sees the pissed off Rex.

Rex: I. Said. Give. Her. Back!

Rex then slices straight up, cutting the author in half.

The snow was still intense and the knight was now clashing with Mash, unaware of his master's death but also unaffected by it.

Rex runs into the capital building, the slimy symbiote receding into him to appear normal still. He then finds Quetzalcoatl inside a box similar to the coffins used for rayshifting.

Rex: mi corazon!

He goes over and busts it open and picks her up out of it.

Rex: are you ok?

She's only semi-conscious and isn't able to say much

Quetz: mi amor...?

Rex: I'm here! You're safe!

Outside Mash continues to fight Quixote, in the clash she manages to break his spear.

Mash: yes!

Now the spear appears far more old and damaged then it did before she damaged it. Quixote looks at it, and seems distraught.

Quixote: it's a lie... isn't it?

Mash: huh?

Quixote: it's all just a story... chivalry... it's all a lie...

Out of nowhere Quixote's armor becomes old and worn, his horse weak and also old. Then the snow stops entirely.

Mash: what happened?

???: you broke his trance.

Mash looks over and sees Shakespeare and the others.

Anderson: with Miguel dead, he was weakened and him seeing his spear I'm it's tru form broke his delusions. Now the fantasies are fading.

Mash: so it's over?

Murasaki: looks like it

Don Quixote then fades away himself. Then Rex is seen coming out of the building carrying Quetz.

Mash: Senpai! Is she ok?!

Rex: she'll be fine. Just need to get back.

Da Vinci: so you saved her? That's great to hear! Now let's get you two back before the singularity fades.

Rex: but who the hell was their master?

Da Vinci: not here, so we'll handle it when we get there.

Rayshifting in 3...2...1!

A/N: there's the story I've been planning for a bit. There's going to be a small epilog soon enough but for now there's that.

Tags

@hasishtardoneanythingwrong @hasereshdoneanythingwrong @haspaulbunyandoneanythingwrong @hasbbdoneanythingwrong @haskamadoneanythingwrong @hasabbydoneanythingwrong @renmeo @kazmetic @grievouslyxorvia @valiantstrawberrymilk

[katyamber]

Now that we’ve found love

Chapter 3

The morning was fresh, skin that was not covered by sheets pimpled in the breeze that swept through the master bedroom. Ann could hear a gentle ticking noise from the other side of the bed and it soothed her. She knew that if the ticking was there, so was her wife.

Anne was awake and had felt Ann stir, not wanting to move just yet and disturb her after their late night. Ann shuddered next to her and folded her leg under Anne’s.

“Good morning sweetheart” she whispered and rolled over, spooning behind Ann and kissing her shoulder slowly. She smelled like Lavender. Her hand moved under the covers and found Ann’s hip, pulling her closer and smiling into her hair.

Ann’s heart pounded in her chest, the love that she felt was something she had never experienced before. It warmed her almost instantly. Her Anne wrapping her up and protecting her from the cold, protecting her always. She honestly did believe that she could never experience this kind of intimacy and innocence with a man.

The more her heart pounded the more the blood flowed and she began to wake up. She squeezed Anne’s arms which were now wrapped around her and smiled widely “Good morning Darling.” She mumbled, leaning down and kissing Anne’s arm gently.

“So, we should waste no more time,” Anne announced abruptly.

“Waste?” Ann asked, confused, this wasn’t a waste of time, was it? It was lovely.

“We need to start planning our trip. France, Switzerland…good lord, the world. There’s no time to lose.” She rambled, getting more and more animated as she continued to talk.

“First, we shall have to stop in London, and then on to Margate to the docks where we will get the silk trade boat over to Belgium and then on to France, Paris…they’re building a piece of art in the capital as we speak. Based on the ancient pyramids of Egypt. It’s entirely made out of glass.” She went on “Incredible design and it lights the grand museum where they have Egyptian antiquities.” She waved her arm about and quickly sat up.

“But more than that – it’s got art from all around the world, beautiful pieces from Caravaggio, Leonardo da Vinci, Vermeer, the Moabite Stone...”

She was cut off by Ann’s finger pressing against her lips “You’re getting distracted.” She told her with a giggle and leaned in to kiss her once, softly on the lips.

“And after Paris?” she asked.

“Barbizon, the scenery is meant to be breath-taking and there is a new art movement over there, started in that very town. Montargis, Fourchambault, Nevers, Chevenon, Diou, Digoin, La Clayette, Lyon, where we shall board a boat and travel by the Rhone River to Geneva in Switzerland. The River’s source is meltwater from a large glacier” she explained, her hands still waving about excitedly. “I’m told it’s beauty is unparalleled” She smiled and leaned in to kiss Ann’s cheek “Except by you.”

Ann watched her wife with her head tilted to the side, half-listening to her but half in awe of her. How did she hold so much information?

Anne stopped herself and took a breath “Sorry, I know it can be quite overwhelming.” She admitted, taking Ann’s hand in hers and bringing it up to her mouth to kiss.

“It is a little, but it’s also exciting…I haven’t looked forward to much in my life.” She told her “Other than you”

Anne hummed and nodded “We should write our wills before we leave for our trip. In case something happens to either of us. I wouldn’t want you to be left without anything.” She explained.

A few day’s later

“This is the last will and testament of Ms. Anne Lister of Shibden Hall in the borough of Calderdale, in the Parish of Halifax, in the county of York Minster made the ninth day of May in the year of our Lord one thousand eight hundred and thirty-six. I give and devise all my estate called Shibden Hall…Unto my friend Miss Ann Walker who, here living with me at Shibden Hall...”

With the wills changed for both Anne and Ann, they excitedly packed their belongings and made sure the gig was well stocked for their long journey which would see them passing lakes, mountains, beaches, forests, glaciers, rivers, and seas.

The night before their trip, Ann was becoming more nervous about traveling. She had never really traveled far before, and certainly not out of the country. The nerves showed. Anne knew that Ann was nervous about the trip, but it was something that had to be done. Ann couldn’t stay locked up inside forever, the things she would see, the food she would taste, the culture she would experience certainly would distract her gentle mind.

It wasn’t late when they went to the bedroom. Anne stripped down to her nightgown and let her hair down. Checking her travel trunk to make sure she had everything she would need to hand. She was indifferent to traveling, it didn’t make her nervous or anxious. It was just a part of her life, not a job, not a holiday – it was just something she was so used to. She felt more nervous and anxious when she was at Shibden, at least when she was away in foreign lands she could be herself and nobody would ever see her again.

Ann sat on the edge of the bed and looked at her feet, her eyes unblinking as she contemplated her next words.

“What…W-what if I’m not very good at traveling?” she asked, “I don’t want to hold you back from enjoying your trip,” she told her sadly, her eyes darting over the floor looking for something to focus on.

“Darling, you will be fine, stop worrying. And if you’re not fine? I’ll be there and you’ll be perfectly safe. I’ll make sure of that.” She assured her taking her hand and sitting next to her on the bed.

“W-would you?” Ann stuttered. “You wouldn’t be mad?” she asked, looking for reassurance.

“How could I be mad at you?” she asked, tilting her head and leaning in to kiss the corner of Ann’s lips.

“Have some courage” she whispered, taking Ann’s chin in her fingers. “You’re a Lister now, adventure is in the blood.” She smiled, searching for Ann’s eyes which were darting around nervously.

“Ann, honestly. It’ll just be like being in this room right now. Only slightly bumpier. The view will be better than this old place.” She told her firmly, finally finding her big steel blue eyes, noting the hint of green in them when she was upset.

“I love you, Ann. Nothing you could do would sway my very high opinion of you. Not even you.” She assured her.

With those words, Ann smiled shyly and cupped Anne’s cheeks “Thank you.” She whispered, leaning in for a kiss.

Before Anne could say anything else or move, Ann was on her. Ann’s knees on the bed either side of Anne’s hips. Ann towered over Anne on the bed and slid her fingers through Anne’s hair, pulling her in for a languorous kiss.

Anne returned the kiss without hesitation, feeling very powerless with Ann on her and her head being held in place. But she didn’t mind, she didn’t mind Ann taking control if it made her relaxed and happy.

Anne moved her arms around Ann’s waist and pulled her in close as they kissed, feeling Ann’s hard nipples against her upper chest as the gap closed. The sat like this for what seemed like hours, but in truth, it had probably been 30 minutes of kissing and gently rubbing against each other.

Anne was the first to pull her lips away and her eyes fluttered open slowly “I…” she started and shook her head, pulling Ann back in for another slow kiss.

Moving her hand down between them, Ann bravely moved Anne’s nightgown out of the way and found thick black hair. She moaned quietly into Anne’s mouth as she was met with heat and wetness that she could only imagine. She slipped her untrained fingers around, mimicking what she liked herself and found Anne’s bud. Her fingers grazed it gently and she was awarded a deep groan.

Anne gasped again as she felt Ann moving her fingers on her, her empty open mouth was soon filled with Ann’s nipple through her nightgown.

Ann rocked against Anne, her fingers gentle and teasing. But it was enough. Anne pushed herself up into Ann’s hand and when she felt her orgasm building, she joined Ann’s hand and guided her to the pressure and pace she required to come.

Anne’s orgasm was violent and quiet, her mouth filled with Ann’s breast to muffle her moans and her body jerking uncontrollably against Ann.

Falling back on the bed, Anne looked up at Ann as she regained her breath and smiled.

Ann stayed on her knee’s and reached down for the bottom of her gown, lifting it up to show thick golden hair and a swollen bud.

Anne reached for her hips and pulled her up until she got the idea of what Anne was trying to achieve.

Gingerly, Ann lowered herself down onto Anne’s face, gasping at the burning contact of Anne’s tongue.

The gown was quickly pulled up and over, tossed to the ground beside the bed. Ann’s hands found their way behind her and rested on Anne’s solid thighs as she rocked herself against Anne’s mouth. “Oh Anne…” she muttered, her hands traveling any part of her wife’s body as they could reach.

It didn’t take long before Ann was hunched over, gripping the sheets above Anne’s head and riding out waves of her orgasm. When the waves stopped coming and she was aware of her surroundings, she climbed off Anne who had a very red, very wet face. She giggled a little and snuggled into the side of her wife, stroking dark, hard nipples through the cloth she was still wearing.

“We should get some sleep.” Anne reminded her, looking over her naked wife, her perfect nipples, her perfect everything.

“Should…” Ann whispered.

Then Anne was on top of her wife again and they were rocking together again, and again, stroking and licking and kissing until the sun came up. They’d sleep in the gig on the way down to London.

[awed-frog]

tl;dr: nope

I got a couple of anon asks about this, and I’m also tagging @twist-shout-and-shells because they asked me to, but I have to say - I don’t know anything about comics, I don’t know Marvel at all, so this review is just a meaningless rant. Like, I know so little about this universe that the first superhero movie I ever saw in my life was Thor, and the only reason they got me was because my mythology-loving ass assumed this would be about the actual god, you know?, so that was a very confusing two hours. Anyway - after this, I’m done with them. The ridiculous hype campaign they created around Infinity War actually activated my crow brain, which means I rushed to the theater because I was sort of expecting this would be a shocking masterpiece and any spoiler would ruin it for me, and - yeah. Never doing that again. Because, whatever - they do manage to come up with some good writing from time to time, and Black Panther’s success had made me hope they’d finally recognize that a solid, coherent and meaningful story is really the first thing you need, but apparently not? 

Ugh.

Anyway, here are main reasons why I didn’t like Infinity War.

1) No, we don’t need a new plague

Problem number one with this movie is that it fails to take into account that our IQ as a people has dropped about twenty points over the last thirty years (and I’m not even joking) and that means even a guy nicknamed ‘Mad Titan’ is actually given the benefit of the doubt (I don’t remember anyone thinking Hela might have had a point, but then again, women are known to be emotionally compromised at all times, right, so all that rage was probably PMS and crazy bitches, amirite?, can’t live with them, can’t live without them). And here, predictably, is the result:

I even checked Breitbart so you wouldn’t have to and while they seem confused as to whether they should support this movie or not (don’t watch because Captain America is played by ‘Comrade Communism’, do watch because Chris Pratt is a Good Christian Man), it’s still clear to everybody over there that Thanos, “an environmentalist wacko obsessed with salvaging the natural resources of the universe” is “espousing liberal jibberish”.

So, I’m going to keep it short and mostly sourceless because I saw a lot of people discussing this, but just to be clear: yeah, it is worrying that human population has basically tripled in thirty years, but the correlation ‘more people = more damage & fewer resources’ isn’t as clear-cut as some like to think. Also, research shows that women being recognized as human beings - that’s the actual way to solve this problem (see also x, x), which means that if Thanos had meant business, he could have used those frwaking stones to build schools and family planning centres. 

2) Your plan against evil can’t be just saying no

This is probably what bugs me the most both in fiction and IRL: saying ‘Trump is a moron’, ‘capitalism is bad’ or ‘genocide is wrong’ is not a political program. It’s a moral stance, and kudos to you, but if you want to make the world a better place, you need a lot more than that. But, nope - IW fell into this trap with such relish I can actually believe no one saw this as a problem - at all. When Thanos pointed out, rather smugly, that decimating Gamora’s planet had led to a new era of happiness and prosperity, she didn’t react in any way. We never saw Tony or Shuri mentioning the outlandish, extravagant idea that better and greener technology could actually save us all. We never saw anyone point out that when the richest 1% own half the world’s wealth, wiping out half of a Nairobi slum isn’t likely to do much for the environment. I guess it wasn’t relevant to the plot?

3) Turning your audience against the good guys = dick move

That said, our planet is objectively in bad shape, and writers and artists who are (or like to think of themselves as) engagés are more than welcome to discuss this - for all her faults, JK Rowling did that to perfection in Fantastic Beasts and Where to Find Them, focusing on the importance of conservation and taking a clear stance against animal trafficking. Other movies, of course, went a lot farther than that: my movie rec of the day is Okja, a masterful and soulwrenching look at how capitalism manages food production. But IW, on top of everything else, manages to be an anti-green movement movie? As if that was needed in any way? Apparently comic!Thanos’ goal was to impress Lady Death or something, and maybe they should have gone with that, because to me, movie!Thanos’ plan sounds like an ill-conceived and unfortunate parody of the green movement. In fact, eminent biologist E. O. Wilson’s Half-Earth explores this exact possibility - which is not about killing off 50% of the population, thank you very much, but about improving agriculture and urban structures so we can leave 50% of the world to the rest of the ecosystem. And maybe it’s just me, but isn’t it a bit weird the book came out at about the same time when IW’s script was being written? I try not to be a paranoid nutcase, but come on. Because what the movie does is that it turns Thanos into a sort of green Hitler whose only focus is the environment (“But he was a vegetarian!”), cue the creepy final shot of him going all ‘Schwarzy in the forest’ surrounded by clean-water creeks and happy animals while we are left counting our dead. The metaphor couldn’t be more obvious, and to be honest it is most unwelcome. Time and place, guys? I really haven’t seen something so revolting since I got to the end of the Da Vinci Code and realized atheists were the true monsters all along.

4) Being a hero doesn’t mean saving your friends

So this is starting to become a trend, and seriously, enough. If you’re a hero, then you need to think of something greater than yourself, and this is why your life will suck and suck and suck until your untimely death. Deal with it? And I can understand Loki giving up the Tesseract for his brother, because he’s always been more of an anti-hero than a hero, and his morals are shot to hell in any case, and I’ll forgive Dr Strange because he clearly saw something we didn’t, but what the hell was Steve thinking? Seriously, I keep seeing posts about how Pure and Noble Steve is, and guys, did we even see the same movie? Bringing Vision to Wakanda meant endangering an entire nation, and thousands of people there paid for that choice with their lives. It’s because Steve insisted in not seeing the big picture - or accepting Vision’s own wishes - that Thanos even succeeded in the first place. If they’d destroyed the stone, Thanos would never have gotten his hands on it, and Wakanda would not have been attacked by a horde of alien demons. Sacrificing hundreds or thousands of nameless (black, African) warriors to keep one (white) man safe is not heroism - it’s cowardice. It’s assuming your own feelings and your friends’ lives count more than the lives of strangers, and this is the exact opposite of how a hero should think. Not that I’m surprised, since Steve already condoned the destruction of half of Bucharest to save Bucky, but whatever. Compare and contrast with Tony, by the way, who first tried to destroy the Time stone, then chose to sacrifice himself to save someone he didn’t even like? Yeah, that’s more like it. #TeamStark

5) Every single woman is defined by her relationship to a man

With the caveat that no emotion, connection or motivation is throroughly explored in IW because it’s an action-packed movie during which people never speak an honest word to each other (relying instead on posturing, movie quotes and sarcastic remarks), here is basically what happens: men have things, and women have men. Tony’s journey is mostly about saving Peter and also sacrificing himself for the world. Steve is all about his friends and various heroics. Dr Strange is a sort of ascetic monk playing the long game. Thanos wants to save the universe or something. And Vision is on a quest towards humanity? Maybe? But the women - Gamora is important because she’s Thanos’ daughter. Scarlet Witch is important because she loves Vision. Natasha (I think she’s in the movie? I don’t actually remember if we hear her speak) is on Cap’s side because Cap. Pepper only appears to remind us of what Tony has to lose. Exceptions to this rule include Shuri, whom IW didn’t quite manage to destroy; Loki, who was always female- and queer-coded, so I’m not surprised he ends up dying for the handsome and suitably Aryan hero; and arguably Starlord, who mostly fights for Gamora (what is a virtue in a woman, however, is a weakness in a man, because Starlord ends up fucking up the plan because of his love for her). And I know they probably tried to compensate for the complete lack of women in the movie by highlighting how powerful Scarlet Witch is and focusing so much on Gamora, but I’m an annoying person, so that didn’t work for me. Because, again, Scarlet Witch is a 2D character plucked directly from a Victorian dictionary’s definition of ‘woman’ (while the menfolk around her worry about the possible demise of the Entire Earth, there she is, channelling all her energy in being a good and loyal companion to her robot husband) and Gamora has no more control over her life in this movie than she had as a child? Her main narrative purpose in IW is to make us feel bad for her boyfriend and father, who’re both driven to kill her (for very different reasons) and suffer for her death (and don’t get me started on Thanos suddenly loving someone and what a stroke of luck, the one person in the universe he gives a damn about just happens to be standing next to him on top of a cliff when he needs to kill her). Seriously, why is it that female characters’ concerns still begin and end with romantic love? This trope that romance is the most important thing for every single woman needed to die, like, yesterday.

6) None of that actually means anything

Look, I’m a sucker of time-travel of any description, but I also think time-travel must be done honestly or not at all. Movies like Back to the Future or Arrival both use time bending to great effect, because the stakes are real and painful and there are all sort of complex decisions facing our heroes. But IW doesn’t care about any of that. The existence of the Time stone is not about ethical dilemmas or even turning up the drama to eleven - the one purpose of that thing is to make us hope that our personal fave is not dead after all, so we’ll keep watching this stupid franchise until the end of times. That finale could have been innovative and heartwrenching, and instead we already know it wasn’t. Samuel L. Jackson is apparently confirmed in Captain Marvel, which will be released next year, and we also know they’re working on Spider-Man 2, Guardians of the Galaxy 3, Black Panther 2 and Doctor Strange 2. Capitalism has very nearly killed the possibility of creating a well-written and gutting story, because the rule is, If it makes money, it goes the fuck on. Hence TV shows which no longer make any kind of sense but we all keep watching out of nostalgia, affection for the characters or dissatisfaction with our own lives, and also franchises which stretch the plot to new and boring limits (for instance, it beggars belief that Tony and Steve didn’t even meet in IW, and their fight never came up at all: I guess we’ll have to wait for IW 2, or Avengers 37: The One with The Talk). And here, again, studios are so greedy that they willingly disregard the fact audiences will reward ‘complete’ stories: for instance, Logan was critically acclaimed and made tons of money, but the risk of ‘permanently’ killing off a beloved character is still considered too high. And playing it safe actually works: IW costed $320 million, which is about 5% of the studio’s budget, and that investment has already been repaid in full (the movie made double that in the first two weeks).  

(Meanwhile, 21st Century Fox gained more than one billion dollars from Trump’s TAX REFORM THAT WILL MAKE AMERICA GREAT AGAIN - probably a disappointing amount of money for owner Richard Murdoch, who has a net worth of 15 billion and is known to use some of that hard-earned cash to support laudable & important causes such as the privatization of public education, but hey, we all need to make do and move on, right? Right.)

So this is mostly it. To be fair, IW was mildly entertaining, and I thought they sort of did a good job in juggling twenty leads - we got no character development at all and no meaningful dialogue, but we saw everybody at least once and their lines were funny? Some moments were genuinely good despite a couple of bizarre plot points (I’m still unclear on why Strange didn’t create a circle of fire around Thanos’ arm, and very tired of the overused ‘Yeah, let’s save the most powerful weapons for last’ trope), so I wouldn’t say this was the worst movie ever made, but as I said, I’m done. I’ve given more than enough money to this franchise, so when IW 2 comes out, I think I’ll be a boring adult and watch it on TV as I’m doing my ironing or something. Good times.

[contemporaryartgaleries]

Ed. Escher In the City, pays Tribute to the Great Graphic Artist

It’s been a while, that the arts inspired by the architecture in all parts of the world, even in the most modern of the structures. And this is also the case in the Ed. In Escher, the new real estate project in the capital city of the state.

The name and the architectural design was inspired by the great graphic artist at Dutch in the proximity of the Conelis Escher better known as M. C. Escher. In today’s post, you will get to know a little more about how it works and how did you get into such a relationship with the best of the new building will be in the neighborhood of the City.

From The Architecture To The Graphic Arts

Born on the 17th day of June, in the year 1898 in the town of Sneek), M. C. Escher, and began to build its history in the performing arts while still a young girl, after failing in high School, when he decided to join the School of Architecture and the Decorative Arts in the world.

One week after the registration, he decided to change the architecture for the graphic arts, thanks to her teacher, and a well-known artist Samuel Jessurun de Mesquita. Escher fell in love with their designs, and linogravuras, and he decided to build his career in this area, learning the techniques of drawing and the art of engraving to master.

Once out of school, Escher traveled throughout the world experiencing different cultures, and recording it in images of the numerous places in Spain and Italy. Later, he settled in Rome and later in Switzerland and in Belgium.

Real estate: 5 Tips for adding Value when Selling

But it was in the Spanish city of Granada, which had its geometrical art muslim, is applied to the tiles, and their works, so they have a lot of influence in that direction, and with the designs of the regular geometric patterns that are repeated and can be seen from the paving and filled with the elements that exist in nature, such as fish, reptiles, birds, and humans. Pretty much the entire theme of his work is reflected in the concept of the impossible is made possible.

Work Of The Artist Escher

Work Of The Artist Escher

Throughout his career, Escher produced 448 lithographs, engravings on wood, and engravings, in addition to the more than 2 million drawings and sketches. He also designed books, painted murals, tapestries, and postage stamps.

The artist, like Da Vinci and Michelangelo, he was also left-handed, passed away on Tuesday, march 27, 1972 in Hilversum, in the Netherlands, but his work continues to this day, influencing artists, designers and architects around the world.

Ed. Escher: The Project Is Inspired By The Work Of General Relativity And Special Relativity

In short, the neighborhood, the City, the region, the fastest-growing in the city of Belo Horizonte, you’ll receive a big tribute to the artist, Ed. Escher, which goes against the major trend, cosmopolitan, mixed-use buildings.

Your relationship with your graphic artist, you may be exemplified by one of the most well-known works: general relativity and special Relativity, and a litogravura in 1953. In it, we can see the three areas that create the worlds in which we live independently of each other in each and every one of them.

Work Of The Artist Escher

The new mixed-use development in the Art and Symmetry, offer the opportunity to work and live in the same place, but in the same way as in the work of Escher, there is no correlation between these two very different areas, ensuring the comfort, safety, and uniqueness, both for residents and for businesses.

7 Reasons To Buy A Room in the City to take

In addition to self-catering apartments with one and two bedroom suites, walk-in closet, living room and integrated open-plan kitchen, the Building is in Escher we also have commercial offices in sizes ranging from 35 m2 to 167 m2, and the shops in front of 35 m2 with a great view. All in an area with an excellent location in the capital city of the state.

If you’re interested in finding out more about the Ed. Escher and all of the other benefits of choosing to work and live in the neighborhood of the City, you can contact with us!…

Article source: Ed. Escher In the City, pays Tribute to the Great Graphic Artist

[weartandculture]

Inson Wongsam :

                           Traveling and seeking on a new world

Silpakorn University during half a century ago like a small world in a narrow frame and not as open as today because communication with the outside world is difficult. The news received from Europe which is considered a civilized world. Most of them are publications especially books about art are the best medium. Aside from that, it is a story of Professor Silp Bhirasri and some students who have studied in Italy which is like a lap of western art. Being a good artist is believed to have many basic elements. One important element that helps artists to create works more efficiently is the experience of both life and art. Artists must accumulate both types of experience as fuel to drive creativity. In addition, artists must have imagination, which is an abstract world in which artists can

transform into concrete through their artistic strategies that they are good at. Lastly, the artist must have ingenious intelligence enough to collect experience. Imagine being a work of art with quality. The search for experience of life and the artistic experience of Inson is different from general people that may be obtained from reading books. Travel to study abroad traveling to experience the new world of Inson is different from general

people traveling by airplane or international boat. But Inson chose to travel by motorcycle. Inson is therefore the creator of the legend in the modern art industry of Thailand and is an endless story to this day The land that Thai artists in the past have dreamed of visiting the most is Italy, France and various countries in Europe, especially Italy, which is considered the most charming because it is the birthplace of genius artists like Michelangelo Buonarroti (1475-1564) Leonardo da Vinci (1452-1519), as well as Professor Silpa Bhirasi (CorradoFeroci: 1892-1962) Inson has a strong desire to travel to the land of art himself but traveling across the continent more than half a century ago is not as easy as today. It is even more difficult to travel through the streets through different terrain. He must meet people of many nationalities and languages, and the most important thing is that having money is a very important factor and knowledge of foreign languages but both is not a stumbling block for him because he thinks money can be obtained if skilled and intelligent. As for language, the same thing is because “language .. (dogs) can learn” when he is a human, why can not learn the language of people together Inson wants to travel to a new world that he has never seen on land which is very difficult for general people but Inson intends to prove his ability to do so. Inson therefore began to plan his travel carefully by offering travel to Berie Lucker, a Lambretta scooter dealer, the company has given a scooter for use in traveling. In addition, Inson also requested funds from Esso Company Limited to ask for support in the amount of travel oil which also received a good response Therefore, the problem of the traveling vehicles therefore disappeared but still having problems with personal expenses while traveling Inson solved the problem by bringing more than 200 pieces of his art into works on paper that can be conveniently rolled into a cylinder tied to the car. Inson’s works include printmaking, line drawing, and sketching. These works, Inson, are displayed in various locations. To sell to make money as traveling expenses From New Delhi Inson to travel to Lahore, Karachi. Inson exhibited at The Arts Council of Pakistan, Karachi, Pakistan (1957). ) Upon arrival  at Tehran, Iran. Inson exhibited with Preecha Na Bangnoi (an old friend at Silpakorn University) at Gilgamesh Gallery, Teharan. (2032) When traveling to Turkey, Inson exhibited solo works at the Consulate de France Istanbul, Turkey (1963) When traveling to Athens, Greco-Inson exhibited works at Plaka Art House in Athens (1963) only in Greco, which is the source of civilization of that world Inson was especially impressed. He stayed in Athens for about 2 months to admire the great Greek art. He then traveled to live with Corfu fishermen for 6 months because he was impressed with the beautiful nature andfriendliness of the fishermen. On Corfu Island, Inson met an American artist named Alexander Is a New Yorker and was the person who bought a certain amount of Inson’s print work with the promise that once he returns to New York, he will pay later and will accept the client on Corfu Island, Inson created a new set of woodblock prints. To keep selling as a factor in traveling further throughout the journey of Inson must overcome many obstacles. For example, while traveling to Istanbul Turkey’s capital runs out of money, can’t sell photos So there is no money He had to live with a fish seller and ask for bread and grilled fish every day without paying.by deferment to the fish dealer that if able to sell the image, fish and bread will be paid. Soon Inson was starving Esso Company in Bangkok sent 200 US dollars to bid for Inson’s work in Bangkok, giving him money to pay for bread and grilled fish. About suffering because of lack of money during that trip Inson must always experience He told me that he once lacking money, without money to buy food, had to fast for two days without knowing where to make money from the picture, it can not be sold in the end, must use the walk in the community then lay down on the ground to ask for attention when he saw that somebody came to see it enough Therefore got up and opened to receive donations in hats. In this way he can survive. Aside from fasting sometimes without money Inson must sleep under the bridge. These things require a strong and witty mind to perform in order to survive. However, finally, Inson traveled to Rome. Around August 1963 (1973), it took time to travel from Bangkok to Rome. Italy for almost 2 years. Seems to be the first person in the world to ride a scooter from Thailand to Italy. By using a scooter produced in Italy and sent to sell in Thailand, is the first person to successfully drive back to its place of origin In Rome’s journey to Rome was like worshiping sacred things in the city of art. Inson desires to reach Geovenni,near Florence, home to Professor Silp Bhirasri. The visit to the birthplace of Professor Silp is Damrong Wong- upparaj, another student of Professor Silp Bhirasri. Traveled to join with Even if the professor had already left this world but to pay respect to the master at the front of the house would be a great joy for both of them while in Florence, Italy, Inson and Damrong displayed art at the Numero Gallery in Florence (1963). Their artistic performances were a tribute and remembrance of their teachers. After Damrong went back to Thailand. While Inson desires to travel to Paris France instead of Rome because at that time, Paris was like the capital city of modern art Rome is just a glorious past. For this reason, Paris is his dream destination. Inson traveled to Austria and exhibited solo works at the Gallerie Fuchs in Vienna, Austria (1957), then traveled to Switzerland and France by train because the scooters are no longer in a condition to travel long distances Go Inson gave to the Thai Embassy in Rome and traveled to various countries in Europe until finally Paris, France. While Inson traveled to Paris He almost didn’t have any money. But luck always stayed with Inson. He has worked in a Vietnamese restaurant as a waiter and promoted to Chef Resulting in food to eat and income. Then, after 6 months, he resigned to work that he was skilled at, namely painting, decorating, welding, advertising signs, Inson stayed in Paris until 1966. During that time Have the opportunity to study art at L'Ecole Nationale Superieure des Arts De'coralifs until graduation. After that, Inson exhibited art works at the Gallery de Huat Pave, Paris (1966) and many other times which is quite successful. Giving him the capital to pursue his dreams in another hemisphere, New York, USA. Inson sets out from Paris, the center of 19th-century modern art. To New York City, the center of modern art in the 20th century. Inson traveled with an American woman named Barbara Wood (Brabala Wood) who studied art in France While he only has one dollar Many years in foreign countries, he knows that finding money is not difficult. Finally, Inson was able to build a studio in the East Village successfully He stayed in New York for about 6 years before moving to New Jercy Inson lives in the United States for about 7 years (1967-1974), living with Barbara.

 Inson and Barbara have a son, Inson Wood (now director of architecture and design, David Easton Incorpolation Graduated from Cornell University and a masters degree from Harvard University). Barbara lives with cancer while his son was 14 years old. Inson married another American woman named Laula Lipnin but parted ways when Inson returned to Thailand in 1974. While residing in New York Inson has held solo exhibitions and collaborations with other artists many times, such as solo performances at Lichfield Gallery Conn, and collaborated with Brazilian artists (1967), showing solo works at Eleven Gallery New York (1968), showing joint work with Phanom Suwananat (1914-present, an old friend at Silpakorn University studying at New York City at that time Currently residing in the United States of America) at De Mena Gallerly, New York City (1969).Living in New York City is not that easy but with being a life fighter and capable around the example Allowing to survive in every situation Starting from renovating the hair salon to a studio and showroom that he produced using the knowledge inherited from his father who is a silversmith. The knowledge gained from Silpakorn University and design, studying from Paris. By Inson, using scrap brass, copper to make earrings, necklaces, bracelets using plating methods into various colors doorknob, window hook and scrap materials used to make candlesticks, place  trees and other home decorations, and Inson’s studios are receiving attention, and there are enough customers to help Inson live without difficulty. The But with the hustling lifestyle of the big cities, he saw that living in a capitalist world characterized by competition and cost of living is difficult, stressful, leading to various diseases. Finally, he saw that If living in a drought-free world Would not be good for his sensitive mind Inson decided to return to his homeland. In order to return to their roots in the year 1974 after living abroad for more than ten years. The thing that Inson brought back was Life experience and art experience Without assets and money Inson said that “… When going empty-handed, coming back empty-handed …”.

อินสนธิ์ วงศ์สาม กับการเดินทางและการแสวงหาบนโลกใหม่

มหาวิทยาลัยศิลปกรเมื่อครึ่งศตวรรษที่ผ่านมา เหมือนโลกใบเล็กๆ ที่อยู่ในกรอบแคบๆ ไม่เปิดกว้างเหมือนปัจจุบัน เพราะการสื่อสารกับโลกภายนอกนั้นกระทำได้ยาก ข่าวสารที่รับมาจากยุโรปซึ่งถือเป็นโลกอารยะนั้น ส่วนมากเป็นสิ่งพิมพ์ โดยเฉพาะหนังสือเกี่ยวกับศิลปะเป็นสื่อที่ดีที่สุด นอกจากนั้นก็เป็นคำบอกเล่าของศาสตราจารย์ศิลป์ พีระศรีและศิษย์บางคนที่ผ่านการศึกษาจากประเทศอิตาลี ซึ่งเป็นเสมือนตักศิลาของศิลปะตะวันตก

การเป็นศิลปินที่ดีนั้นเชื่อว่าต้องมีองค์ประกอบพื้นฐานหลายประการ องค์ประกอบสำคัญประการหนึ่งที่ช่วยเสริมให้ศิลปินสามารถสร้างสรรค์ผลงานได้อย่างมีประสิทธิภาพคือ ประสบการณ์ ทั้งประสบการณ์ชีวิตและประสบการณ์ศิลปะ ศิลปินต้องสะสมประสบการณ์ทั้งสองประเภทไว้เป็นเชื้อเพลิงขับเคลื่อนการสร้างสรรค์ นอกจากนี้ ศิลปินจะต้องมี จินตนาการ ซึ่งเป็นในโลกแห่งนามธรรมที่ศิลปินสามารถแปรเป็นรูปธรรมด้วยกลวิธีทางศิลปะที่ตนถนัดและเชี่ยวชาญ ประการสุดท้ายศิลปินต้องมี ปัญญา ที่แยบยลพอที่จะมีประมวลประสบการณ์ จินตนาการให้เป็นศิลปกรรมออกมาได้อย่างมีคุณภาพ การแสวงหาประสบการณ์ชีวิตและประสบการณ์ทางศิลปะของอินสนธิ์ต่างไปจากคนทั่วไปที่อาจจะได้จากการอ่านหนังสือ เดินทางไปศึกษาต่อต่างประเทศ การเดินทางไปแสวงหาประสบการณ์จากโลกใหม่ของอินสนธิ์ต่างจากคนทั่วไปที่เดินทางโดยเครื่องบินหรือเรือโดยสารระหว่างประเทศ แต่อินสนธิ์เลือกเดินทางด้วยรถจักรยานยนต์ อินสนธิ์จึงเป็นผู้สร้างตำนานให้กับวงการศิลปะสมัยใหม่ของไทยจนเป็นเรื่องเล่าขานไม่รู้จบมาจนทุก���ันนี้

ดินแดนที่ศิลปินไทยในอดีตใฝ่ฝันที่จะไปเยือนมากที่สุดคือ อิตาลี ฝรั่งเศส และประเทศต่างๆ ในยุโรป โดยเฉพาะอิตาลีนั้นถือว่ามีมนต์เสน่ห์มากที่สุด เพราะเป็นถิ่นกำเนิดอัจฉริยะศิลปินอย่าง มีเกลันเจโล บูโอนาร์โรตี (Michelangelo Buonarroti : 1475-1564) เลโอนาร์โด ดา วินชี (Leonardo da Vinci : 1452-1519) รวมถึงศาสตราจารย์ศิลป์ พีระศรี (Corrado Feroci : 1892-1962) อินสนธิ์มีความปรารถนาอย่างแรงกล้าที่จะเดินทางไปยังดินแดนแห่งศิลปะเหล่านั้นด้วยตนเอง แต่การเดินทางข้ามทวีปเมื่อกว่าครึ่งศตวรรษที่ผ่านมาไม่ง่ายเหมือนทุกวันนี้ ยิ่งยากลำบากมากขึ้นเมื่อต้องเดินทางไปตมถนนผ่านภูมิประเทศที่แตกต่างกัน ต้องพบกับผู้คนหลายชาติ หลายภาษา และสิ่งสำคัญต้องมี เงิน ึ่งเป็นปัจจัยที่สำคัญยิ่ง และความรู้เรื่องภาษาต่างประเทศ แต่ทั้งสองสิ่ง ไม่ได้เป็นอุปสรรค์สำหรับอินสนธิ์เพราะเขาคิดว่า เงินนั้นสามารถหาได้หากฝีมือและมีปัญญา ส่วนเรื่องภาษาก็เช่นเดียวกันเพราะ “ภาษา..(หมา) เรียนได้” ในเมื่อเขาเป็นคนทำไมจะเรียนรู้ภาษาของคนด้วยกันไม่ได้

อินสนธิ์ต้องการเดินทางไปยังโลกใหม่ที่เขาไม่เคยเห็นทางบก ซึ่งเป็นเรื่องยากมาก��ำหรับคนทั่วไป แต่อินสนธิ์มุ่งมั่นที่จะพิสูจน์ความสามารถว่า เขาทำได้ ดังนั้น อินสนธิ์จึงเริ่มวางแผนการเดินทางอย่างรอบคอบ โดยเสนอการเดินทางแก่บริษัท Berie Lucker ซึ่งเป็นผู้จำหน่ายรถสกูตเตอร์แลมเบรทตา บริษัทฯ ได้มอบรถสกูตเตอร์ให้ใช้ในการเดินทางคันหนึ่ง นอกจากนี้อินสนธิ์ยังขอทุนจากบริษัท เอสโซ จำกัด เพื่อขอการสนับสนุนที่น้ำมันในการเดินทางจำนวนหนึ่ง ซึ่งก็ได้รับการตอบสนองด้วยดีเช่นเดียวกัน ดังนั้นปัญหาเรื่อง ยานพาหนะในการเดินทางจึงหมดไป แต่ยังมีปัญหาเรื่องเงินค่าใช้จ่ายส่วนตัวระหว่างการเดินทาง ซึ่งอินสนธิ์แก้ปัญหาด้วยการนำผลงานศิลปะของเขามากกว่า ๒๐๐ ชิ้น เป็นผลงานบนกระดาษที่สามารถม้วนใส่กระบอกผูกติดกับรถได้สะดวก ผลงานที่อินสนธิ์นำไปได้แก่ ภาพพิมพ์ วาดเส้น และงาน สเก๊ตช์ ผลงานเหล่านี้อินสนธิ์นำไปจัดแสดงตามสถานที่ต่างๆ เพื่อจำหน่ายหาเงินมาเป็นค่าใช้จ่ายในการเดินทาง

จากกรุงนิวเดลลีอินสนธิ์เดินทางต่อไปยังเมืองละฮอร์(Lahore) การาจี อินสนธิ์จัดแสดงผลงานที่ The Arts Council of Pakistan นครการาจี ประเทศปากีสถาน (พ.ศ.  ๒๕๐๕) เมื่อเดินทางไปถึง กรุงเตหราน ประเทศอิหร่าน อินสนธิ์จัดแสดงผลงานร่วมกับปรีชา ณ บางน้อย (เพื่อนเก่าที่มหาวิทยาลัยศิลปากร) ที่ Gilgamesh Gallery, Teharan. (พ.ศ. ๒๕๗๕) เมื่อเดินทางไปถึงประเทศตุรกีอินสนธิ์จัดแสดงผลงานเดี่ยวที่ Consulate de France นครอิสตันบูล ประเทศตุรกี (พ.ศ. ๒๕๐๖) เมื่อเดินทางไปถึงกรุงเอเธนส์ ประเทศกรีช  อินสนธิ์จัดแสดงผลงานที่ Plaka Art House กรุงเอเธนส์ (พ.ศ. ๒๕๐๖) เฉพาะในประเทศกรีชซึ่งเป็นแหล่งอารยธรรมของโลกนั้น อินสนธิ์ประทับใจเป็นพิเศษ เขาอยู่ที่เอเธนส์ประมาณ ๒ เดือน เพื่อชื่นชมศิลปกรรมที่ยิ่งใหญ่ของกรีก จากนั้นเขาเดินทางไปอาศัยอยู่กับชาวประมงบนเกาะคอร์ฟู (Corfu) เป็นเวลานานถึง ๖ เดือน เพราะประทับใจธรรมชาติอันงดงามและความเป็นมิตรของชาวประมง ที่เกาะคอร์ฟูอินสนธิ์ได้พบกับศิลปินชาวอเมริกันคนหนึ่งชื่อ อเล็กซานเดอร์ เป็นชาวนิวยอร์ก และเป็นผู้ที่ซื้อผลงานภาพพิมพ์ของอินสนธิ์ไปจำนวนหนึ่ง โดยสัญญาว่าเมื่อเขากลับไปถึงนิวยอร์กแล้วจะจ่ายเงินให้ภายหลังและจะรับอินสนธิ์ไปอยู่ด้วย 

ที่เกาะคอร์ฟูอินสนธิ์ได้สร้างงานภาพพิมพ์แม่พิมพ์ไม้ชุดใหม่ขึ้นจำนวนหนึ่ง เพื่อเก็บไว้จำหน่ายหาเงินเป็นปัจจัยในการเดินทางต่อไป ตลอดการเดินทางของอินสนธิ์ต้องฝ่าฟันอุปสรรคนานัปการ เช่นขณะเดินทางไปถึงอิสตันบูล เมืองหลวงของตุรกีเงินหมดขายรูปไม่ได้ จึงไม่มีเงินติดตัว เขาต้องอาศัยอยู่กับพ่อค้าขายปลาและขอขนมปังกินกับปลาย่างทุกวันโดยไม่ต้องจ่ายเงิน โดยผัดผ่อนกับพ่อค้าปลาว่า หากขายรูปได้จะจ่ายค่าปลาและขนมปังให้ อินสนธิ์อดอยากอยู่ได้ไม่นาน บริษัทเอสโซ จำกัด ในกรุงเทพก็ส่งเงินค่าประมูลผลงานของอินสนธิ์ที่กรุงเทพไปให้ ๒๐๐ ดอลลาร์สหรัฐ ทำให้เขามีเงินจ่ายค่าขนมปังและปลาย่าง เรื่องความทุกข์ยากเพราะขาดเงินระหว่างการเดินทางนั้น อินสนธิ์ต้องประสบอยู่เสมอ เขาเล่าให้ฟังว่า ครั้งหนึ่งขาดเงินไม่มีเงินซื้ออาหารต้องอดอาหารถึงสองวัน โดยไม่รู้จะหาเงินมาจากไหนรูปก็ขายไม่ได้ในที่สุดต้องใช้วิธีเดินไปในชุมชน แล้วล้มตัวลงนอนดินเพื่อเรียกร้องความสนใจ เมื่อเห็นว่ามีคนมามุงดูพอสมควรแล้ว จึงลุกขึ้นเปิดหมวกรับบริจาค ด้วยวิธีนี้ทำให้เขามีชีวิตรอดไปได้ นอกจากเรื่องอดอาหารแล้ว บางครั้งไม่มีเงิน อินสนธิ์ต้องอาศัยนอนตามใต้สะพาน สิ่งเหล่านี้ต้องอาศัยจิตใจที่แข็งแกร่งและไหวพริบปฎิภานอย่างมากจึงจะเอาชีวิตรอดได้ อย่างไรก็ตาม ในที่สุดฮก็เดินทางไปถึงกรุงโรม ประมาณเดือนสิงหาคม พ.ศ. ๒๕๐๖ (ค.ศ. ๑๙๖๓) ใช้เวลาในการเดินทางจากกรุงเทพฯไปถึงกรุงโรม ประเทศอิตาลีเกือบ ๒ ปี ดูจะเป็นคนแรกของโลกที่ขี่รถสกูตเตอร์จากประเทศไทยไปถึงประเทศอิตาลี โดยใช้รถสกูตเตอร์ที่ผลิตในอิตาลีแล้วส่งมาขายที่เมืองไทยอินสนธิ์เป็นคนแรกที่ขับกลับไปถิ่นกำเนิดของมันได้สำเร็จ

การเดินทางไปกรุงโรมของอินสนธิ์เสมือนการไปนมัสการสิ่งศักดิ์สิทธิ์ในนครแห่งศิลปะอินสนธิ์ปรารถนาจะไปให้ถึงเมือง Geovenni ใกล้เมืองฟลอเรนซ์ถิ่นกำเนิดของศาสตราจารย์ศิลป์พีระศรี การไปเยือนบ้านเกิดของศาสตราจารย์ศิลป์นั้น มีดำรง วงศ์อุปราช (พ.ศ. ๒๔๗๙-๒๕๔๔) ศิษย์อีกคนหนึ่งของศาสตราจารย์ศิลป์ เดินทางไปสมทบด้วย แม้ศาสตราจารย์ได้จากโลกนี้ไปแล้วก็ตาม แต่การได้ไปคารวะอาจารย์ถึงหน้าบ้านคงเป็นความปลื้มปิติของคนทั้งสองอย่างยิ่ง ระหว่างที่อยู่ในเมืองฟลอเรนซ์อิตาลีอินสนธิ์และดำรงได้จัดแสดงผลงานศิลปะที่ Numero Gallery เมืองฟลอเรนซ์ (พ.ศ. ๒๕๐๖) การแสดงงานศิลปะของทั้งสองคนเป็นการแสดงคารวะและระลึกถึงอาจารย์ของเขาทั้งสอง หลังจากนั้นดำรงก็เดินทางกลับประเทศไทย ขณะที่อินสนธิ์ปรารถนาที่จะเดินทางไปกรุงปารีส ประเทศฝรั่งเศสแทนที่จะอยู่กรุงโรม เพราะช่วงเวลานั้นกรุงปารีสเป็นเสมือนนครหลวงของศิลปะสมัยใหม่ กรุงโรมเป็นเพียงอดีตที่เคยรุ่งโรจน์เท่านั้น ด้วยเหตุนี้ กรุงปารีสจึงเป็นจุดหมายปลายทางที่เขาใฝ่ฝัน อินสนธิ์เดินทางต่อไปยังประเทศออสเตรีย และได้จัดแสดงผลงานเดี่ยวที่ Gallerie Fuchs กรุงเวียนนา ประเทศออสเตรีย (พ.ศ. ๒๕๐๗) จากนั้นเดินทางต่อไปประเทศสวิสเซอร์แลนด์ และฝรั่งเศส ด้วยรถไฟ เพราะรถสกูตเตอร์ไม่อยู่ในสภาพที่จะใช้เดินทางไกลได้อีกต่อไป อินสนธิ์จึงมอบให้สถานเอกอัครราชทูตไทยในกรุงโรม แล้วเดินทางไปยังประเทศต่างๆ ในยุโรปจนภึงกรุงปารีสประเทศฝรั่งเศสในที่สุด ขณะที่อินสนธิ์เดินทางไปถึงกรุงปารีส เขาแทบไม่มีเงินติดตัวเลย แต่โชคมักเข้าข้างอินสนธิ์เสมอ เขาได้ทำงานในร้านอาหารเวียดนามเป็นเด็กเสิร์ฟ และได้เลื่อนตำแหน่งเป็นกุ๊ก ทำให้มีอาหารกินและมีรายได้ ��ากนั้น 6 เดือน เขาจึงลาออกไปทำงานที่ใช้ความสามารถตามที่เขาถนัดคือ งานทาสี ตกแต่ง เชื่อมโลหะ ทำป้ายโฆษณา อินสนธิ์พำนักในกรุงปารีสจนถึง พ.ศ. 2509 ระหว่างนั้นเข้ามีโอกาสได้เข้าศึกษาศิลปะเพิ่มเติมที่ L’Ecole Nationale Superieure des Arts De’coralifs จนสำเร็จการศึกษา หลังจานั้นอินสนธิ์จัดแสดงผลงานศิลปกรรมที่ Galleries de Huat Pave กรุงปารีส (พ.ศ.2509) และที่อื่นๆอีกหลายครั้ง ซึ่งประสบความสำเร็จพอสมควร ทำให้เขามีทุนเดินทางตามความฝันในอีกซีกโลกหนึ่งคือ นิวยอร์ก สหรัฐอเมริกา

อินสนธิ์ ออกเดินทางจากกรุงปารีสซึ่งเป็นศูนย์กลางของศิลปะสมัยใหม่คริสต์ศตวรรษที่19 ไปสู่มหานครนิวยอร์กซึ่งเป็นศูนย์กลางของศิลปะสมัยใหม่คริสต์ศตวรรษที่ 20 อินสนธิ์เดินทางไปพร้อมกับสตรีชาวอเมริกันชื่อ บาร์บาร่า วู๊ด(Barbara Wood) ที่ไปศึกษาศิลปะในฝรั่งเศส ขณะที่เขามีเงินเพียงหนึ่งดอลล่าร์เท่านั้น หลายปีในต่างแดนทำให้เขารู้ว่าการหาเงินไม่ใช่เรื่องยาก ในที่สุดอินสนธ์ก็สามารถสร้างสตูดิโอที่หมู่บ้านตะวันออก(East Village)ได้สำเร็จ เขาพำนักในนิวยอร์กประมาณ 6 ปี ก่อนจะย้ายไปอยู่ที่ มลรัฐนิวเจอร์ซี(New Jercy) อินสนธิ์ใช้ชีวิตอยู่ในสหรัฐอเมริกาประมาณ 7 ปี(พ.ศ.2510-2517) โดยใช้ชีวิตร่วมกับบาร์บาร่า อินสนธิ์และบราบาลามีบุตรชายด้วยกันหนึ่งคนชื่อ อินสนธ์ วู๊ด (ปัจจุบันเป็นผู้อำนวยการฝ่ายสถาปัตยกรรมและการออกแบบบริษัทDavid Easton Incorpolation สำเร็จการศึกษาจากมหาวิทยาลัยคอร์แนลและปริญญาโทจากมหาวิทยาลัยฮาวาร์ด) บราบาลาเสีชีวิตด้วยโรคมะเร็งขณะที่ลูกชายมีอายุได้ 14 ปี อินสนธิ์ได้แต่งงานกับสตรีชาวอเมริกันอีกคนหนึ่งชื่อลอร์ลา ลิพนิน(Laula Lipnin) แต่แยกทางกันเมื่ออินสนธ์เดินทางกลับประเทศไทยในปี 2517 ระหว่างที่พำนักในนิวยอร์ก อินสนธ์ได้จัดแสดงผลงานเดี่ยวและผลงานร่วมกับศิลปินอื่นๆหลายครั้ง เช่น การแสดงเดี่ยวที่ Lichfield Gallery Conn และแสดงผลงานร่วมกับศิลปินบราซิล (พ.ศ.2510) แสดงผลงานเดี่ยวที่ Eleven Gallery นครนิวยอร์ก (พ.ศ.2511) แสดงผลงานร่วมกับพนม สุวรรณนาถ (พ.ศ. 2457-ปัจจุบันเพื่อนเก่าที่มหาวิทยาลัยศิลปากรไปศึกษาอยู่ที่นครนิวยอร์กขณะนั้น ปัจจุบันพำนักอยู่ในประเทศสหัฐอเมริกา) ที่ De Mena Gallerly นครนิวยอร์ก(พ.ศ.2512) การใช้ชีวิตในนครนิวยอร์กไม่ง่ายนัก หากแต่ด้วยความเป็นนักสู้ชีวิตและมีความสามารถรอบตัวอย่างอินสนธ์ ทำให้เข้าเอาชีวิตรอดได้ทุกสถานการณ์ เริ่มตั้งแต่ปรับปรุงร้านทำผมให้เป็นสตูดิโอและห้องแสดงเครื่องประดับตกแต่งที่เขาผลิตขึ้นโดยใช้ความรู้ที่ได้รับสืบทอดมาจากบิดาที่เป็นช่างเงิน ความรู้ที่ได้มาจากมหาวิทยาลัยศิลปากรและการออกแบบที่ร่ำเรียนมาจากปารีส โดยอินสนธิ์นำเศษทองเหลือง ทองแดง มาทำเป็นต่างหู สร้อย กำไล โดยใช้วิธีชุบให้เป็นสีต่างๆ นำลุกบิดประตู ตะขอเกี่ยวประตูหน้าต่าง และเศษวัสดุเหลือใช้มาทำเป็นเชิงเทียน ที่วางต้นไม้ และของแต่งบ้านอื่นๆทำให้สตูดิโอของอินสนธิ์ได้รับความสนใและมีลูกค้ามาอุดหนุนพอที่จะช่วยให้อินสนธิ์มีชีวิตอยู่ได้โดยไม่ลำบากนัก แต่ด้วยวิถีชีวิตที่เร่งรีบบีบคั้นของเมืองใหญ่ทำให้เขาเห็นว่า การมีชีวิตอยู่ในโลกทุนนิยมที่เต้มไปด้วยการแข่งขันและค่าครองชีพสุงนั้นยากลำบาก เครียด จนนำไปสู่โรคภัยต่างๆจนในที่สุดเขาก้เห็นว่า หากอยู่ในโลกที่แล้งน้ำใจต่อไป คงไม่เป็นผลดีต่อจิตใจที่อ่อนไหวของเขา อินสนธิ์จึงตัดสินใจเดินทางกลับมาสู่มาตุภูมิ เพื่อคืนสู่รากเหง้าของตนในปี พ.ศ. 2517 หลังจากใช้ชีวิตในต่างแดนนานกว่าสิบปี สิ่งที่อินสนธ์นำติดตัวกลับมาคือ ประสบการณ์ชีวิตและประสบการณ์ศิลปะ โดยปราศจากทรัพย์สินและเงินทอง อินสนธิ์กล่าวไว้ว่า “…เมื่อไปมือเปล่า ก็กลับมาตัวเปล่า…”

BRENDA LEE - ALL ALONE AM I

[vsplusonline]

How Covid-19 is reshaping our physical space

New Post has been published on https://apzweb.com/how-covid-19-is-reshaping-our-physical-space/

How Covid-19 is reshaping our physical space

By- Madhumita Roy and Mainak Ghosh

“Form follows function” the mantra coined by Louis Sullivan has articulated much of the modern and contemporary architecture and built environment. As per WHO report, coronavirus has already affected 188 countries, hurling down the citizens of these countries to a complete lock down situation. Today at the wake of the pandemic what is the ‘function’ and ‘form’ our built creations have taken? Cities, urban settlements have been places for opportunities and increased interactions boosting economy and growth since ages. Needless to say it has attracted more and more people, increased the density, and thus amplified buildings, roads, and many other infrastructures into smaller realms. In times of COVID-19 outbreak globally the idea is contrary – social distancing, isolation and self-quarantine.

A new attribute to function and the forms of human creation has responded, once sky soaring office tower with air conditioned comfortable places to work has gone void, deserted roads, while the people have caved into their homes for longer hours. In social media it is prevalent to find comments like “skies have turned blue again”, “less pollution” and “more time with family”, aren’t these supposed to be ecstatic. In other words, with fierce development and steady urban or rather regional growth, over the century, there have been some deep fundamental emergent problems, often overlooked. Some of these relate to ecological degradation because of pollution while others socially relevant.

Added to these, another aspect which has surfaced again and again, is the safety and security of citizens, be it terrorist attack, violence, disaster or be it spread of pandemic, and the slow killers like SPM, pollution, radiations etc. Along with envisioning cities as consumerist opportunities, global melting pots, fast and busy life prompted with sense of competition and materialistic growth, aided with ‘smart’ features which are certainly energy intensive, it is time to ponder over ‘Healthy, Safe and Happy’ (HSH) places and cities and actually create them. It may sound simple and obvious but certainly the most challenging task for not only the governments, authorities but also for each one of us. How healthy are we and our livings are, do we practice being healthy consciously. Washing hands with soap should certainly not be an agenda for celebrities, but it is today, just to remind us of the fact that we are far from living in HSH places. And it all starts with an individual and his/her house. “Is the place where I live or work, good for my health and wellbeing, is it safe from that aspects which I am bothered about and am I happy, stress free living or working there?” we ourselves need to be concerned and start shaping our places, redefine “function” of places.

It is suspected that following the pandemic there might occur an economic crisis or slow down; the cycle keeps going on almost as a natural process historically, perhaps new reforms and measures would emerge to stabilize, what is important in coming days is to practice and not compromise on ‘HSH’ living. Because a compromise on ‘HSH’ living might host the seeds for bigger problems that might lurk in near future. Experiencing such crisis, what should be our approach to think about the design and planning of our future cities and houses. Public open spaces, recreational and commercial venues, public buildings, transportation all need to be rethought in not just ‘smart’ ways but also in truly ‘safe’ ways encompassing all the phases of design, construction or implementation and operation.

Planners, urban designers, environmentalists have time and again used design of places, cities, rural areas, regions as an instrument of social or economic reforms. The profession of planning always evolved out of series of crises and people’s responses to them such as health crises (epidemics), social crises (riots, strikes) and others (fire, flood, etc.). From literary documentation of Hygeia, City of Health (1876) inspiring ‘Parks Movement’ in nineteenth century, to Edward Bassett’s ‘master plan’ (1935), works of legendary Patrick Geddes (1854-1932), Lewis Mumford (1895- 1990) and many more stressed upon holistic design of settlements and living. Today, the rules, regulations, documentation, legislation has been propounded in accordance with designing for safety and against various hazards in a smart way. They are not to be seen as constraints and barriers but as tools for achieving HSH places. In fact the prevailing situation of pandemic and quarantined or restricted living should be taken as an important input for revisiting some of the existing research, documentation and regulations linked with physical planning of cities.

People have responded and interacted to their outdoor and indoor environments in a very different manner than before. The risks and adverse effects of capitalism, consumerism and globalization could be made viable in long run through meticulous planning and designing. While cities owe to density for its being, perhaps human anthropometry and ergonomics requires rethinking, which in turn start shaping up the bubbles of spaces around each individual forming places. Be it Leonardo De Vinci’s ‘Vitruvian man’ or Le Cobusier’s ‘Modular man’, man has been primordial entity for designing anything for that matter and would continue to be in future, with added responsibility on each one of us to create HSH places to live HSH lives.

(Roy is professor and Ghosh associate professor, department of architecture, Jadavpur University)

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[dulwichdiverter]

A powerful project

WORDS: LOUISE KIMPTON-NYE; PHOTO: PAUL STAFFORD

This autumn London will host a major exhibition of paintings by acclaimed Syrian artist Sara Shamma.

The work is the culmination of a project exploring the psychological impact of modern slavery and the meaning of survival and recovery.

It has been inspired by the horrific experiences of women and girls who have been kidnapped by Isis in Syria and Iraq, displayed at slave markets, exhibited on platforms in front of hundreds of men and sold to the highest bidder.

As a King’s College London artist in residence for 2019, Sara has worked with the university’s Institute of Psychiatry, Psychology and Neuroscience (IoPPN) and human rights charity the Helen Bamber Foundation to highlight the plight of enslaved people and press for change.

In August I met Sara at her East Dulwich home to see her work in progress and find out more about the project.

Arriving on the doorstep, I am warmly welcomed into Sara’s studio, which is full of her paintings and sketches and the materials and tools of an artist’s craft.

An entire wall is taken up by a huge and arresting work depicting girls and women of different ages, some in motion, others still. Sara has just finished this painting – the scent of fresh oil paint hangs in the air. Called 4 Ages of the Woman, it will form the centrepiece of her upcoming exhibition.

For me, 4 Ages of the Woman feels very positive and celebratory of women. It is a powerful statement that women are here. We are in the world, living our lives and taking up space, growing up and growing old.

In sharp contrast to this painting – and essential to its impact – are what Sara refers to as “the eyes works”, a series of small sketches of partial faces with detailed, hyperreal eyes painted in oils. Filmy and bloodshot, the eyes convey a certain lasciviousness and sense of threat.

Sara explains: “I wanted to paint women – and also the eyes of men – because when I was a teenager, when I used to walk down the street in Damascus, if there was a man walking towards me, I could tell from his eyes that he was going to touch me on a certain area of my body. So I immediately changed my path. This used to be normal. Eyes tell you everything.

“I started to think about these [ex-trafficked] women. How do they feel about anyone who is watching them? So that’s why I thought about working a lot with the eyes.”

Sara draws parallels between the kidnapping and selling of Yazidi women and girls to the highest bidder with some current marriage practices.

“I know this is still happening now, even in some sophisticated societies, like early marriage – the father is selling his daughter, basically. He gets some money and she gets married.

“And in [adult] marriage where a woman marries a man only because he has a lot of money, even though she doesn’t like him. So it’s like selling herself.”

Does Sara see herself as a feminist? “I am a feminist, of course,” she says. “I think every [woman] should love herself and every man should love himself. So maybe I’m a feminist in that way. That’s why I do a lot of self-portraiture.”

A graduate of Damascus University’s faculty of fine arts, Sara has exhibited her work around the world and has won various international awards. In 2016 she came to live in London, having been awarded an Exceptional Talent Visa.

After visiting many areas of the capital, she and her husband chose East Dulwich as their home. “I love this area,” she says, “because it has a very natural feeling. You feel part of a community, you know the neighbours and everyone who passes by.

“It’s very green and this is very important for me because I come from Damascus, which is a very crowded city and very urban and grey.”

Sara’s art is unique. Hyperreal depictions of people and objects are layered with transparent faces and figures whose presence seems fleeting.

A distinctive use of reflective surfaces and glass, and thin white vertical lines scratched out of the paint, create an unsettling distance between subject and viewer.

As a young artist in Damascus, Sara honed her technique by copying scores of Old Masters. She started studying art intensively from the age of 14, using books and photographs of art to inform her work.

“I studied each artist’s style and technique; Georges de La Tour, Leonardo da Vinci, Rembrandt, Rubens, Van Dyck; and many Impressionists, including Renoir and Mary Cassatt”, she enthuses.

“I did this for years and years. I used to sell them, because people love copies, and as a student this was very convenient for me. I think that was the main thing that taught me art – not university, but copying Old Masters.”

So how did she develop her unique style? “I didn’t try to develop it”, she says. “It came naturally, I just worked instinctively. I still work instinctively and I don’t plan my work. The most important thing to me is that I look at a finished painting and I see something, or it surprises me in some way – maybe the colour, the expression of the face, the technique – that’s what matters to me.”

A distinctive feature of Sara’s paintings is the depiction of objects. “I use very many objects; balloons, organs, objects from the studio, sometimes a toy from my children’s room”, she says. “It doesn’t have a specific meaning or symbol because I love paintings to be kind of meaningless. When something is meaningless it has all the meaning... it might move you, it might shake you.

“I love my paintings to touch the subconscious of the viewer. I think whenever anything touches your subconscious it really changes something in you. If I prepare my work, or decide what the painting will be or give it meaning in any way, I think it would be flatter and will not touch [the] subconscious.”

Her approach may be instinctive, but an intense period of research takes place before she starts painting.

Working closely with Dr Siân Oram – a lecturer in women’s mental health at the IoPPN – and other experts in the field of modern slavery, Sara has read many research papers and transcripts of interviews with ex-trafficked women. She has also met survivors of trafficking and listened to their harrowing testimonies.

This research feeds directly into her paintings which, she stresses, are not intended to be illustrative. “I don’t think that art should be illustrative”, she says. “It’s like a reflection of feelings, experience and – again and again – the subconscious mind.”

Meeting with the women has had a profound effect on Sara. “I couldn’t sleep and I started to imagine voices, noises, smells, pictures. It’s very ugly, it’s like you’re exploring a very different world.

“Afterwards, when I enter inside the work with all my senses, I get a bit depressed. But that’s fine.”

I wonder if the process is cathartic for the women in some way. “It is highly important, yes”, Sara says.

“At first I thought maybe they don’t want to talk, maybe they’re afraid or don’t want to repeat [their experiences] or have flashbacks. But they were very happy to talk about everything.”

Sara has a longstanding interest in the psychological effects of suffering and an urge to “comment [on] and challenge the status quo”. Previous projects exploring this theme include World Civil War Portraits (London, 2015), Diaspora (Dubai, 2014) and Q (London, 2013).

Her residency at King’s is aiming to provide a means through which survivors of modern-day slavery can process their painful experiences, in addition to raising awareness of the issue. Findings from her time there will identify new research questions and develop collaborative relationships with organisations working to support those who have been forced into slavery.

More than 40 million people are estimated to be enslaved around the world today. Many are women and children. The trauma they suffer as a result of violence and loss of liberty has a devastating and enduring effect on their lives and those of their families and communities.

As Sara says: “I hope that my responses to, and engagement with survivors will help raise awareness and understanding of this very live issue.”

Sara Shamma: Modern Slavery will run until November 22 at Arcade at Bush House, King’s College London, the Strand. Curated by Kathleen Soriano, the exhibition will be accompanied by a book of essays and insights into the project by Sara Shamma, Dr Siân Oram and other leading experts in the field of modern slavery

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Dose North Coast Akam

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Where to Travel this Spring

As the first flower buds appear and balmy weather ensues, spring fever lights up several of our favorite destinations worldwide. Spring is one of the best times of year to travel; summer crowds have not yet descended, and many destinations begin to bloom. Read on for several of our favorite places for a long weekend this spring, and what’s new in each locale.

NAPA

Napa Valley, CA. iStock/Getty Images

In the aftermath of the wild fires that impacted Napa, Sonoma and Mendocino in the fall of 2017, many feared the area would take years to come back. But thanks to a new downtown scene and thriving wellness offerings, the region is in full recovery mode. The once-sleepy downtown now offers a number of hotspots; our favorites are the rooftop at the Archer Hotel Napa, which offers addictive bar food and live music; and Compline, a restaurant and retail shop on buzzy First Street. Following days of wine tasting and gastronomy, visitors can take advantage of the over-the-top spas that have become the newest bragging right among Napa Valley’s top hotels. Meadowood is adding a 10,000-square-foot fitness center, adults-only pool and pool café over the course of 2019. Carneros Resort recently unveiled a $3.5 million renovation of its spa, with new cutting-edge treatments like an antigravity chair and an elixir bar serving shots of collagen-boosting tonics. Add in the much-anticipated opening of the Four Season Calistoga later this year, and the region that put American wine on the international map is having a resurgence—and it shows no signs of stopping.

Related: The 14 Best Farm-to-Table Restaurants in the World

CABO

Cabo San Lucas. iStock/Getty Images

This longtime weekend escape for Los Angelenos is famous for its fleet of luxury resorts, and the past year has welcomed several new stalwarts, including the Solaz, a Luxury Collection Resort, and Viceroy Los Cabos. Over the next two years, the destination has even more on the way, including the Four Seasons Costa Palmas, which opens in mid-2019 and welcomed Gwyneth Paltrow and her friends for a pre-wedding party last summer, and Amanvari, set to debut in 2020. Also buzzed-about is a roster of new restaurants, such as Ventanas al Paraiso’s Arbol, with its Asian fusion menu and eclectic décor, and Viceroy’s Nido Cevicheria & Bar, housed in a nest-like structure overlooking the water. Those looking to soak up some authentic Baja culture should check out the weekly Art Walk through the Gallery District (every Thursday, November to June), during which the neighborhood is closed off to cars and guests can enjoy complimentary gallery visits and talks with local artists.

NORWAY

Norway. iStock/Getty Images

Norway abounds with dramatic landscapes, Norse mysticism, adventurous pursuits and the regal Norwegian fjords. This year, the country is upping the ante with the addition of two resorts, both with deeply historical roots. In Trondheim, a quintessentially Nordic city in the country’s central Fjordland, the Britannia hotel was originally opened in 1870 and has been restored to its former glory following a 1.2-billion-dollar renovation. The grand dame features sophisticated rooms and impressive restaurant offerings, including Jonathan Grill, where guests can savor Norwegian specialties like halibut prepared on traditional Japanese grills. Across the country in Oslo (known as Europe’s fastest-growing capital), the new Amerikalinjen hotel breathes life into an iconic building that once housed a prominent shipping company. With a stylish interior featuring chic Nordic design mixed with historical elements, including the building’s original staircase, the hotel has a Finnish sauna and cozy courtyard that’s home to a cocktail bar and brasserie.

THE SOUTH: TENNESSEE AND AUSTIN

Lake Austin Spa and Resort. Lake Austin Spa and Resort

The ever-charming American South comes alive in the springtime. Austin is experiencing a veritable tourism boom, thanks to its undeniably Texan spirit, cosmopolitan style and, as of late, serious sophistication in the form of two recently opened (and much-anticipated) spa resorts, Lake Austin Spa and Miraval Austin. But the big news this year is the wilder sequel to Blackberry Farm, Blackberry Mountain, which is set amongst 5,200 acres of Tennessee’s Smoky Mountains. The property will have 19 private stone cottages, traditional cabins or multi-bedroom homes and will feature a seemingly endless selection of outdoor adventure activities, spa treatments and farm-to-table dining experiences. Blackberry Mountain is a 20-minute drive from the Blackberry Farm sister property.

Related: Austin Itinerary: A Perfect Weekend in the Texas Capital

LONDON

Belmond Hotel, London. Belmond Hotel

This spring, the British capital is heating up as luxury hotel brand Belmond christened its first London property, the Belmond Cadogan, earlier this year. Set at the intersection of three coveted neighborhoods—Knightsbridge, Chelsea and Belgravia—the nearly 130-year-old historic Cadogan hotel will now house 54 rooms, a modern British restaurant and an elegant afternoon tea room that transforms into a cocktail lounge at night. A highlight is the hotel’s exclusive access to the 93-acre Cadogan Estate Gardens across the street. The Belmond also plans to offer its guests several uniquely British experiences, such as a private breakfast with a London cabbie. Also notable in the city are two exciting exhibitions: Leonardo da Vinci: A Life in Drawing, a once-in-a-generation showing of 200 of the master’s works at Buckingham Palace; and Christian Dior: Designer of Dreams, which presents more than 500 objects, including 200 rare pieces, alongside accessories, fashion photography and film at the Victoria & Albert.

Related: Top Tables London: 22 Great Restaurants in the British Capital

THE CARIBBEAN: ST. KITTS AND GRENADA

Park Hyatt St. Kitts. Park Hyatt St. Kitts

We’re keeping an eye on two under-the-radar Caribbean islands that have recently welcomed big-ticket properties and prove to be competitors with their tried-and-true counterparts. A lush jewel in the West Indies, St. Kitts welcomed the Park Hyatt St. Kitts in late 2017. The sleek and modern retreat wraps around a crescent beach and offers spacious, ocean-view accommodations with private decks and pools. The location at Christophe Harbor is currently under development and is poised to be one of the Caribbean’s most luxurious marinas, with Ritz-Carlton and Six Senses properties on the horizon. Also on the rise is Grenada, home to the luxurious Silversands. Owned by an Egyptian developer who has a passion for the island, the property opened in December 2018 and is redefining what luxury looks like here, with the longest pool in the Caribbean (at 330 feet) and an innovative spa. Now is the time to go, while the paradise still feels a bit undiscovered.

REYKJAVIK

Reykjavik. iStock/Getty Images

The Icelandic capital is even more appealing this spring with several exciting debuts, and April is a particularly excellent time to venture to the island nation to catch a glimpse of the Northern Lights. With the opening of the Reykjavik Edition later this year, as well as the awarding of Iceland’s first Michelin star to the New Nordic restaurant Dill, the capital has gotten a healthy dose of style. Opened last year, The Retreat at Blue Lagoon is a luxurious, spa-focused haven with 62 suites, a sophisticated restaurant and private access to the iconic geothermal lagoon and has already become a destination in its own right.

This is an excerpt of the article that originally appeared on Indagare.com.

Indagare is a members-only boutique travel company. To find out more, click here.

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from RSSMix.com Mix ID 8312273 https://hashtaghighways.com/2019/04/30/where-to-travel-this-spring/

[writing143]

The Italian Renaissance

The Renaissance was a time period of creativity and tremendous change in Europe. Many political, social, economic, and cultural changes occurred during this period. The most important change took place in the minds of the people and the new way they saw themselves and the world around them.  It was a period of transition from the Middle Ages into the Modern Age. In the Middle Ages there was a lack of personal individuality and creativity as serfdom prevailed. However, in the Renaissance individuality and creativity was emphasised and encouraged. Vast progress was made in the areas of art, science, writing, and technology.  

The term 'Renaissance' comes from the French word meaning 'rebirth'. The Renaissance is considered to have been a time of rebirth after the diseases, disasters, and disorder of the Middle Ages. In Italy, this was a time of rebirth of the ancients, as people returned to the values and forms of the Greek and Roman antiquities in literature, philosophy, science and, above all, art and architecture. It was a time of revival of interest in these ancient cultures and a time of innovation. The Renaissance began in Italy in the mid 1300s and eventually spread north throughout the rest of Europe. In Italy, this period produced some of the greatest works of literature and art in the world. The rise of a new wealthy class of merchants and industrialists, known as the bourgeoisie, was also a result of this time. 

The Renaissance started in Italy for several reasons.  Italy's history as the centre of the old Roman Empire was an important base for the Renaissance movement. The Roman architectural remains, antique statues, coins and other remnants left over from the Roman era reminded Italians of the glory of the Roman Empire. As more of these remnants were rediscovered, they inspired people to bring back the greatness of the past.  Surprisingly, the disastrous Black Plague also played a part in bringing about this positive turn in Western civilization. In the 1300s, disease and widespread famine wiped out a third of Europe's population. Those that survived were stronger, well-fed, and mostly educated wealthy people. The decrease in population after the Black Plague also meant there was a shortage of labour, which led to serfs and peasants gaining more rights and freedom. Italy had not declined as much as other countries in Europe during the Middle Ages and feudalism had never dominated the country as much as in Northern Europe.  At the end of the 13th and the 14th century, the feudal power of Italian cities began to weaken and a number of cities become completely free from feudalism. Trade and crafts sprang up in liberated cities and the beginnings of division of labour and the first manufacturing workshops started to appear. Italy's location, surrounded by the Mediterranean Sea gave it easy access to trade, which propelled the Renaissance. Merchants became very wealthy, and the strategically located cities of Florence, Milan, Venice, and Genoa grew into prosperous cities of manufacturing and trade. Accumulation of capital began in these flourishing northern Italian cities and capitalism took the place of feudalism. 

The rise of a new wealthy class of merchants and industrialists, known as the bourgeoisie also came about as a result of this. The Medicis were a wealthy family of bankers from Florence who influenced the cultural rebirth by applying political and economic leadership.  Florence is generally considered to be the birthplace of the Italian Renaissance because of their influence. The efforts of the Italian upper class greatly contributed to the development of the Renaissance. 

In the Renaissance, the ideal man was one who a was master of several trades and skills. Today, 'Renaissance man' is a term used to refer to a person skilled in multiple areas. The term was coined because many such people were produced in the Renaissance. Among them is Leonardo da Vinci.  Da Vinci is probably one the most famous figures of the Italian Renaissance and is a good example of a Renaissance man. He was a renowned Italian architect, inventor, engineer, sculptor and skilful artist. Not only is Da Vinci famous for his paintings, but he is also known for his many inventions, which were well ahead of his time. His works contributed to the development of anatomy, astronomy and engineering. Another example of a Renaissance man is Lorenzo de Medici, who was ruler of Florence from 1469-1492 and also wrote beautiful Italian poetry. The contributions of people who lived during the Italian renaissance have left a clear mark on Western civilization and predetermined many paths of its development.   

The growing wealthy class sponsored artwork and buildings to be constructed and had the time and means to study the classics and develop themselves. The Renaissance developed into a golden age in the arts. Some of the most outstanding artists the world has ever seen, such as Isabella d'Este of Mantua, Donatello, Leonardo da Vinci, Michelangelo, Raphael, and Filippo Brunelleschi lived during this period. Unlike that of the Middle Ages, the work of Renaissance artists was of a secular and humanistic nature, and the artists began to abandon the theocentric views of the Middle Ages and portrayed man as a real earthly being. The art was influenced by classical Greek and Roman style used realism in their sculptures and paintings.  Moreover, the works produced were for people to enjoy, not solely for the glory of God.       

Italian Renaissance art is among the most widely known works of art in the world. Leonardo's Last Supper, Raphael's School of Athens, and Michelangelo's Sistine Chapel Ceiling are the masterpieces produced in this period. 

The Renaissance was also a period of strong development in building and urban planning. Renaissance architecture focused mainly on public buildings, palaces, town houses and other buildings of a secular nature. Typical of this time period are wall panels, arcades, columns, arches, domes, and symmetrical proportions, inspired by the classic styles of Ancient Greek and Roman architecture. Buildings were usually large-scale and very grandiose and their interiors were often adorned with sprawling ceiling frescos. The Sistine Chapel, St. Peter's Basilica and Palazzo Pitti are just a few examples of architectural achievements of the Italian Renaissance that can still be seen today. 

Literature was very important during the Renaissance and many great literary masterpieces were written during this time. Due to the renewed interest in Ancient Greek and Roman ideals, people sought to preserve ancient literary models and create new ones in their likeness.  During the Renaissance these cultures were highly regarded and people sought to imitate them in their art and philosophy.  People began to read the ancient classics and apply their philosophies to their lifestyle and art. The invention of the printing press and the beginning of mass book printing, and the increased interest in education and self-improvement all fuelled development in Renaissance literature.  

New Humanism was an intellectual movement that was at the heart of the Italian Renaissance. It put an emphasis on man, his intellect, and his life on earth. The population began to be regarded as 'citizens' rather than just serfs and peasants. It was believed that citizens should be educated to some extent so they could learn to engage in conversation on various topics.  This brought on a growth in education and the arts. The Renaissance also saw a decline on the church's influence on society and the rise of secularism. During the Renaissance people believed the church should not rule certain matters. Humanist scholars believed that using their wisdom and intellect would increase their understanding of the world and themselves. 

The Renaissance came to an end in Italy towards the 1600s as France, Spain and Germany fought for power of the flourishing Italian peninsula. The focus of the movement gradually shifted out of Italy and into the rest of Europe. The ideas produced in the Italian Renaissance influenced the development of history in the rest of Europe.  The Renaissance was very important because it was a time when Europe transitioned out the medieval Dark Ages and into the Modern Age.  It inspired new ideas, cultures, religions, and ways to live by that eventually spread out to the rest of Europe. There is no doubt that the Italian Renaissance changed and enriched the history of Europe greatly.  

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'Ripple' in Cherryhurst: Project transforms bungalow into swirling wonderland

http://cryptobully.com/ripple-in-cherryhurst-project-transforms-bungalow-into-swirling-wonderland/

'Ripple' in Cherryhurst: Project transforms bungalow into swirling wonderland

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Artists Dan Havel, left, and Dean Ruck have created “Ripple,” their latest monumental sculpture installation.

Artists Dan Havel, left, and Dean Ruck have created “Ripple,” their latest monumental sculpture installation.

Photo: Molly Glentzer

The exterior of “Ripple,” Havel Ruck Projects’ latest immersive sculpture.

The exterior of “Ripple,” Havel Ruck Projects’ latest immersive sculpture.

Photo: Molly Glentzer

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

Photo: Molly Glentzer

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

Photo: Molly Glentzer

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

Photo: Molly Glentzer

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

Photo: Molly Glentzer

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

Photo: Molly Glentzer

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

“Ripple,” Havel Ruck Project’s latest monumental sculpture, was inspired by Leonardo da Vinci’s drawings of water. Artists Dan Havel and Dean Ruck “draw” with saws, transforming buildings.

Photo: Molly Glentzer

‘Ripple’ in Cherryhurst: Project transforms bungalow into swirling wonderland

Dan Havel and Dean Ruck admired Leonardo da Vinci’s deluge drawings long before Hurricane Harvey hit.

During the last few years of his life in the early 16th century, the Italian master made 11 lushly layered pencil sketches that captured the force of a flood so intense it uprooted trees and collapsed mountains and buildings.

Havel and Ruck especially liked the mechanics of upheaval da Vinci illustrated – the idea that “sound, water, air, anything can kind of reverberate and have cause and effect, creating other ripples around it, the chain-reaction effect of the action,” Ruck said.

That was the genesis of Havel Ruck Projects’ new immersive sculpture, “Ripple.”

A provocative fun house, “Ripple” circulates in swirly patterns that have been sliced through virtually every inch of a 1,400-square-foot bungalow at Cherryhurst House, the Montrose contemporary art compound founded by Dallas McNamara in 2012. Havel and Ruck have cut so thoroughly into the walls, ceilings and floors that visitors must be careful where they step – curvaceous slivers of floor rise up or drop away, revealing the soil underneath.

More Information

Havel Ruck Projects: ‘Ripple’

When: Noon-5 p.m. Sunday and April 15; 11 a.m.-5 p.m. March 24 and April 7; check website for future open dates

Where: 1603 Cherryhurst

Details: Free; cherryhursthouse.com

Next cut-up: ‘Open House’

Havel and Ruck are already planning their next project, and this time, it’s truly on sacred ground. The Downtown District and the Heritage Society have commissioned them to create a space at Sam Houston Park, hoping to draw more visitors to the historical buildings there. Not to worry: They aren’t tearing into one of those, and they’ve met with the Parks Department to ensure that they won’t damage trees, either.

They’ve bought a 16-by-24-foot home from Cherry Demolition’s storage lot that will be moved onto a prominent hill in the park in mid-April. They’ll fence it off while they’re working and plan to have it open by sometime in June.

“Open House,” as that one will be called, will be on view for nine months.

Havel expects it to resemble Swiss cheese, with a historical twist. He and Ruck plan to paper the walls with prints of old photographs of Houston and holes through the images to create a kind of puzzle – so viewers might view the skyline outside by looking through an image of a historical face, for example.

He imagines that at night, like “Ripple,” the “Open House” place will glow from inside. “The house will kind of disappear. I hope. Because it’s all an experiment.”

Until last July, the frame bungalow housed Cherryhurst’s artists-in-residence program. But Havel and Ruck are not typical artists in residence. During more than 20 years, they have made an art of transforming doomed buildings into traffic-stopping but ephemeral monumental sculptures.

Their history ranges from 2005’s “Inversion,” for Art League Houston, which created a vortex of wood scraps inside a pair of frame houses on Montrose Boulevard, to last year’s minimalistic “Sharp,” for which they cut an opening clear through the center of a mid-century home in Sharpstown and painted it in a gleaming, reflective copper.

Typically, bulldozers arrive a few weeks or months after Havel and Ruck unveil their work, and the show is over.

Cherryhurst curator Barbara Levine said she and McNamara wanted to challenge Havel and Ruck by inviting them into a building that was not scheduled for demolition and would be on view for at least a year.

“We try to find projects that will resonate in a domestic environment. ‘Sharp’ made a big impression,” Levine said. “We started thinking about that scale and the impact of thinking about home in a different way.”

The artists had a plan. But there was a “pause” at the beginning, after McNamara invited them to alter the Cherryhurst home, Havel said. “One final email, where we said, do you understand what we do?”

McNamara gave them just one rule: They could not penetrate the roof.

Translator

To read this article in one of Houston’s most-spoken languages, click on the button below.

Havel and Ruck started on “Ripple” last July, working nights and weekends since they both maintain full-time jobs. (Ruck is a project manager for capital construction projects at the University of Houston. Havel teaches art, architecture and history at St. John’s School.)

They wanted to riff on da Vinci’s idea, although they never really know until they bring out the saws where a project might lead.

“This was just a pretty wild possibility; seven months of thinking about a project, and every day it’s a new puzzle,” Havel said.

He and Ruck had long wanted to create a progressive, cut piece. “Then it became more about how we circumnavigate the architecture with this system of ripples,” he explained.

The home’s nice oak floors gave them a Eureka moment. “Part of it was the wood grain and just the beauty of the wood,” Havel said. The ripples they cut would be inspired by wood grain.

His models and drawings gave them a starting point, but before they lit into any surfaces with chain saws, Ruck “drew” the lines they would cut with painter’s tape. They debated, redrew. Discarded tape piled up on the floors as they improvised.

“All of our projects explore something different for ourselves in terms of process and approach,” Ruck said. “So there’s learning as you go – just the style of cut, and how to make the cuts you want, with design elements.”

Havel said he and Ruck don’t really think alike, describing his artistic partner as a formalist who sees what he wants, then finds it by doing, physically sculpting. Havel is more of a draftsman who prefers to work out ideas first on paper or with models.

“So a lot of our projects, he’ll describe something to me, and I’ll go home and draw it out,” Havel said. “Or I’ll get my sketchbook out and go, ‘Is this what you’re saying?’ ”

While they cut with the same visual language, when wood chips and dust were flying and saws were screaming, they worked in separate rooms but also fed off of each other’s discoveries about ways to work with shiplap, say, or pile debris into closets. And they often switched places, extending each other’s lines like a couple finishing each others’ sentences.

“The design challenge is to get it to blend and make sense,” Ruck said.

Working from the center of the house outward, they made their first cut in the floor because it was so tempting.

“Not a good idea, cutting the floor that you need to work on for the next six or eight months,” Ruck said, grinning. “So we stopped that. Did the walls, and the floors came last.”

They hadn’t yet poked through the exterior walls when Harvey blasted Houston in late August. The house didn’t sustain storm damage, but really, what would it have mattered?

In some ways, the hurricane made “Ripple” seem even more relevant: It doesn’t take much imagination now for a Houstonian to visualize the effects of a deluge.

And the sculpture doesn’t have to be taken literally; social, political and personal chaos upend lives in so many ways.

Somewhat amazingly, Havel and Ruck didn’t lose the home’s air conditioning until fairly late in the process, when the weather was cooler. But they inadvertently sawed through a few other electrical lines – enough that Havel started calling himself “Sparky.”

Before “Ripple” opened to the public, they rewired the entire structure, adding lights underneath, so that at night the house glows like a lantern.

Levine hung a small show of Havel and Ruck’s lesser-known, individual works in Cherryhurst’s main house, so visitors might gain a sense of how their aesthetics combine in their collaborations.

Havel’s complex drawings throb with chaotic energy while his more raw-looking assemblages reveal his deft hand with smaller-scale sculpture. Ruck shows himself as more of a carver: His sculptural pieces, built with layers of plywood that have been burnished and pocked, look organically decayed – like rubble from a fire.

Some preservationists are not happy about “Ripple.” The quiet enclave of Cherryhurst, built around a small park in the first half of the 20th century, is succumbing to redevelopment pressure; two new, contemporary homes are under construction within a block of the art space.

Havel understands, to a point.

“When we first saw it, we thought, ‘This is too nice of a house. I could live here,’ ” he said. But he also saw the maze of old wiring in the home’s attic, which had multiple owners over many years. He could see it had other problems as well.

Levine notes that McNamara lives next door in the main house, a restored, circa 1922 brick bungalow that she saved from demolition. She won a Good Brick Award from the group Preservation Houston for that effort in 2016.

“From our point of view, this is improving the cultural life of the neighborhood,” said Levine, who lived in the frame house as a resident for two years.

“I think the house looks a lot better now,” she said. “It was an unremarkable house that they have now turned into something remarkable and inspiring. … It’s challenging; it’s confrontational. … You ask all of these questions that alter your view about what can be done, what can be recycled, what happens when you give an artist a challenge? It challenges everything we think about home and houses. That’s what art is for.”

McNamara has not decided what she will do next with the sliced-up structure. Conceivably, it could be rebuilt, although that doesn’t look practical at this point, with holes through the exterior walls.

“Our intention is to leave it up for a year, to see how nature interacts with it, how people interact with it,” Levine said. “Whatever Dean and Dan want to do with it, if they want to bring other artists in, sound or dance, it’s a springboard for inspiration, for conversation about the relationship between domesticity and nature; how vulnerable we are to the elements.”

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Ripple

[caveartfair]

Iran Sentences Gallerists to Prison, Lashes—and the 9 Other Biggest News Stories This Week

01  An Iranian-American gallery owner and his wife were handed stiff sentences by Iran’s Islamic Revolutionary Court.

(via the Wall Street Journal)

The court convicted Karan Vafadari and Afarin Nayssari, a wealthy couple known for their lavish parties in the Iranian capital Tehran, of espionage and other charges. Vafadari, who has consistently denied the allegations, was sentenced to 27 years in prison, 124 lashes, and a cash fine of $243,000, according to a letter he wrote from prison that was published online Tuesday by the Center for Human Rights in Iran. His wife, who holds a U.S. green card, received 16 years in prison. The court confiscated all of Vafadari’s assets, citing a rarely used provision of Iranian law that allows such seizures from dual citizens. The couple, who owned the Aun Gallery, were originally arrested in July 2016 for violating Islamic laws that forbid serving alcohol and prohibit men and women from mixing. But because the couple are adherents of Zoroastrianism, an ancient pre-Islamic religion, they were exempt from the Islamic rules. Tehran prosecutors subsequently added the espionage charges. Vafadari’s son, who lives in Atlanta, called the Iranian justice system “opaque” and said his father and stepmother would appeal. A U.S. official called for the couple’s release. Iranian officials said Washington was not engaging in negotiations over a potential prisoner swap.

02  A Turkish air strike has caused severe damage to a Syrian temple that dates back to the Iron Age.

(via The Art Newspaper)

The ancient temple of Ain Dara in northwest Syria has suffered major damages following an attack by Turkish air forces that deliberately targeted the structure. The temple was discovered in 1955 and excavated thereafter, reported The Art Newspaper, with the dig unearthing the base of the structure that had “survived in relatively good condition.” But last week’s bombing caused major destruction, particularly to the temple’s massive basalt sculptures, which remained intact for over 3,000 years. The Turkish military targeted Ain Dara as part of a campaign against Kurdish separatists, despite the structure having no discernible military significance, a potential violation of protections for cultural property during armed conflict under the Hague Convention. Despite the damage, it may be possible to partially reconstruct the site, thanks to well-recorded documentation, according to The Art Newspaper.

03  Queens Museum director Laura Raicovich, who charted the museum on an increasingly political course, has stepped down after three years.

(via the New York Times)

Raicovich, an outspoken liberal who partially shuttered the Queens Museum in protest of U.S. President Donald Trump’s inauguration, cited divergence between her vision for the institution and the direction favored by the board as the reason for stepping down. Raicovich has in the past year taken to social media to critique the president’s policies, especially those on immigration, highlighting fear within the museum’s nearby immigrant community, a key constituency of the institution. Board members reportedly balked at Raicovich’s recent plan to turn the museum into “sanctuary space” that would bring immigrants and social services together. “There are so many big things that art and culture have to contend with that are so wrong in the world,” Raicovich told the Times. “That’s where my focus and energy needs to be, and at the end of the day, I just felt that my vision and that of the board weren’t in enough alignment to get that done.” Board chairman Mark J. Coleman praised Raicovich as “fearless” and said a search for a replacement would begin immediately. Curators and staff from various art institutions subsequently penned an open letter in the Times expressing continued support for Raicovich and the political engagement she brought to the Queens Museum. “Art institutions must respond to pressing issues facing our communities—this is not simply a right but an obligation, especially for those supported by public funds,” the letter read.

04  Frieze New York is now open to dealers without a permanent space, accommodating evolving gallery models.

(via artnet News and Art Agency, Partners)

Most contemporary art fairs’ criteria require participants to mount a set number of shows per year, which requires a physical gallery location. But Frieze New York this year will allow case-by-case exceptions, two of whom, Nicole Klagsbrun and Tig Sigfrid, are already planning to exhibit in May’s fair on Randall’s Island, artnet News reported. The change suggests the fair, one of the art market’s biggest, is accommodating increasingly common gallery models that don’t involve maintaining a cost-intensive physical space in pricey locales. Artnet News noted that Frieze London has not dropped its physical location requirement, while Frieze Masters has never had one. Frieze New York also added a second VIP preview day, making the fair five days in total. Subsequently, Art Agency, Partners’s Charlotte Burns reported on Thursday that Frieze is eyeing the city of Los Angeles for its third annual fair, with a potential launch in January 2019; Frieze declined to confirm the plans in a statement.

05  Manchester Art Gallery has removed a Victorian-era painting of nude adolescent nymphs from display, resulting in mixed reactions.

(via the BBC)

The 1896 painting, Hylas and the Nymphs by JW Waterhouse, shows a young man leaning over a pond with several nude adolescent women gazing toward him. The museum decided to temporarily remove the painting from view due to the ongoing reckoning around sexual harassment, sparked by the #metoo movement. According to the BBC, the decision was made both by gallery staff and artist Sonia Boyce, who plans to include a video of the removal process in her upcoming exhibition at the institution. Clare Gannaway, a curator at the gallery, said the intention of removing the painting was to “encourage debate” about the representation of women in art and how modern viewers should react to it. However, many have reacted to the removal itself as being too politically correct, with some even viewing it as censorship, a charge the gallery has denied. As art historian Liz Prettejohn, who once curated a show on Waterhouse, told the BBC, “Taking it off display is killing any kind of debate that you might be able to have.” The decision diverges from one made by the Met late last year, when it refused the demands of an online petition to take down a painting by Balthus that depicted a young girl in a sexualized pose.

06  The Louvre is exhibiting 31 Nazi-looted artworks in the hope of finding their rightful owners.

(via the Telegraph)

The Paris museum decided to put a selection of the 296 Nazi-looted pieces stored at the institution—including pieces by Eugène Delacroix and Théodore Rousseau—on permanent view so that “heirs may see these works, declare that they belong to them, and officially ask for their return,” Sébastien Allard, head of the Louvre’s paintings department, told the Telegraph. Those wishing to claim a work must provide proof it belonged to a relative, and the verification of a claim can take years, said Allard. The Nazis looted an estimated 100,000 artworks during their occupation of France, many from Jewish families, and over 2,000 still remain unclaimed today. As more time has elapsed, the pace of restitution has slowed: Only around 50 pieces have been returned to their rightful heirs since 1951.

07  The Massachusetts Attorney General’s Office asked the state’s Appeals Court to extend an injunction barring the Berkshire Museum from descassioning 40 artworks amid speculation of a resolution.

(via the Berkshire Eagle)

The ongoing legal battle over the deaccessioning of 40 works in the Berkshire Museum’s collection might be heading towards resolution, but some involved in the case urged that it too early to say for certain. In a motion filed on Monday, the Massachusetts Attorney General’s Office asked for an injunction barring the museum’s sales to be extended to February 5th. In a Monday statement, a spokeswoman for the Attorney General said they are “hopeful that a brief extension will allow us to fully analyze the information we have received in our investigation, in the hope of finding a way forward to secure the future of the Museum and ensure it is able to thrive in the years to come.” The museum also issued a similarly hopeful statement this past weekend, saying it “is eager to resolve these issues to secure [its] long term future.” The proposed sale, which would have included paintings by Norman Rockwell, among other well-known artists, drew intense criticism across the art world and beyond when it was announced last July, resulting in several lawsuits, including one from Rockwell’s heirs. Despite the newfound optimism, a lawyer representing the plaintiffs in one lawsuit kept a realistic stance on this week’s statements and warned against reading too much into them, reported the Berkshire Eagle.

08  A U.S. Treasury Department list of prominent Russians linked to the Kremlin includes several art world figures.

(via The Art Newspaper, the AP, and the Washington Post)

The Treasury drew up a list of oligarchs and politicians connected with Russian President Vladimir Putin as part of its obligations under the Countering America’s Adversaries Through Sanctions Act, passed by Congress last year.  The list, which was released late Monday night, includes Dmitry Rybolovlev, the Russian billionaire who is embroiled in a long-running fraud suit against a former advisor and who consigned Leonardo da Vinci’s record-breaking Salvator Mundi (c. 1490s) to Christie’s. Other art-world figures on the list include Alexei Ananyev, founder of the Institute of Russian Realist Art, and Boris Mints, who founded the Museum of Russian Impressionism. None of the 114 Russian politicians and 96 oligarchs named by the document will face any immediate legal repercussions. According to the Washington Post, the list appears to be primarily sourced from a Forbes ranking of wealthy Russians and officials named on the Kremlin’s public website (the Treasury list even replicated a mistake from the Forbes ranking). “One does not have to be very smart to make this list,” Mikhail Fedotov, head of the Kremlin Human Rights Council, told reporters. President Putin lambasted the list but said Russia would not retaliate.

09  A Manhattan district court has ruled that Fred Dorfman, the art dealer who sold several stolen works by Jasper Johns, is eligible to face criminal charges.

(via The Art Newspaper)

Dorfman, who runs a Chelsea gallery called Dorfman+, is alleged to have been involved in an illegal ploy with James Meyer, a former assistant to Johns. Meyer was sentenced to 18 months in prison in 2015 for stealing dozens of works that the American Pop artist had discarded over a 20-plus-year period and gave them to Dorfman to sell. Dorfman never faced criminal charges, only a civil suit from a Canadian gallery, Equinox Gallery, to whom he sold a stolen Johns painting in 2008. As a result of the January 25th ruling by the Court for the Southern District of New York, Equinox can now file a racketeering claim against the dealer and sue Dorfman for up to $2.4 million in damages plus legal fees. The ruling further suggests that it was Dorfman’s idea to sell the stolen works, not Meyer’s, and to pass them off as gifts given by Johns himself. The dealer, however, denies any wrongdoing. “It is a very triable case since Dorfman was not part of a fraud,” his lawyer told The Art Newspaper.

10  Christo will unveil a floating “mastaba” in Hyde Park’s Serpentine lake this summer.

(via the New York Times and The Art Newspaper)

Christo said he has long been intrigued by the mastaba, a structure originating in the Middle East that was often built atop tombs. His version for London’s Hyde Park will float in the Serpentine lake, in an “incredible vegetation and open area,” the artist told the Times. The sculpture will debut alongside an exhibition of the artist’s work at the Serpentine Galleries. It will be built out of 7,506 oil barrels, and will be red, white, and blue, the colors of the United Kingdom’s flag, as well as purple, a color Christo called “very royal.” He is making a similar structure in Abu Dhabi that will be 50 times larger and potentially the largest art project in the world. The Hyde Park project will be funded through the sale of his artwork. Meanwhile, the Serpentine Galleriesannounced on Wednesday that it will be opening a Liu Jiakun-designed space in Beijing this upcoming May.

from Artsy News

[wmrmarketinsights-blog]

Surgical Robots Market - Global Industry Insight, Trends, Size, Share, Outlook, and Opportunity Analysis, 2017-2025

Worldwide Market Reports added Latest Research Report titled " Global Surgical Robots Market by Manufacturers, Regions, Product Type and Application, Forecast to 2025 " to it's Large Report database. Surgical Robots is a new and futuristic technology in medical world that affirm significant potential. Robotic surgery would be an inevitable tool in near future. Robotic surgery, also known as computer assisted surgery requires partial or complete dependence on exclusively devised equipment that are programmed specifically for certain surgical methodologies. Surgical robotic systems are a fusion of mechanical equipment, accessories, computer aided software, and services as well that support diverse micro and macro, invasive surgeries such as cardiac, neurological, gynecological, and orthopedic. Robotic systems permit surgeons to automatize the surgical act, thereby enhancing the efficacy and accuracy during the procedure, and curtail down post-surgical intricacy. Also, they assist surgeons to work on inaccessible intricate body part. Consecutively, robotic surgery minimize the possibility of blood loss and infection, results in faster recovery period, and leave minimal scar as compared to the conventional open surgery. Request Sample Copy of the Business Report@ https://www.worldwidemarketreports.com/sample/70698 Wide scale research activities to explore the applications of surgical robots The increasing demand for automatized healthcare sector and least-invasive surgical procedures or pint-sized robotics are key driving sources behind the computer-aided surgery and robotics market. In case of disease conditions such as colorectal cancer, cardiac arrest, gastrointestinal, transplants, neurological disorders, and gynecological diseases, it is expected to encourage the adoption of robotic surgical systems. However, these computer-aided robotic systems tend to offer least post-surgical complexity and involve minimal labor cost as well. According to a data published in 2015, Rosa Robots has mastered and performed several brain encephalopathy surgeries in the U.S. and with the implication of Rosa spine robot, the surgical complexities level is anticipated to decrease over the period of time. Increasing adoption of the robotic technology to treat cancer is highly predicted over the next few years. For instance, ‘Nanobots' have been prototyped recently by a group of scientist from Bar-Ilan University, Israel, 2016. They are programmed to diagnose 12 contrasting forms of cancer cells and can invade them with remarkable accuracy and precision. On the other hand, scientists from Jewish General Hospital, Montreal, 2017, created ‘Bacteria-based' nanorobots that can deliver chemotherapy drugs to the tumor site with the guidance of magnets. These robots are anticipated to offer visceral control, extended resolution, and higher proficiency along with cost-efficiency as compared to the currently available products, thereby enhancing the need for computer-aided surgical robots. Request For Discount@ https://www.worldwidemarketreports.com/discount/70698 Factors Driving the Surgical Robots Market Rising cases of chronic diseases Need for minimally-invasive surgeries Micro and nano robots for intricate surgeries (in research) Global Surgical Robots Market Taxonomy The global surgical robots market is segmented on the basis of by product type, application, end users, and geography. By Product

Instruments & Accessories

Surgical Robot System

PROBOT

THE ROBODOC

ORTHOPILOT

ACROBOT PRECISION SURGICAL SYSTEM

The RIO Robotic system (MAKO)

The da Vinci Surgical system

Zeus surgical system

By Application

Laparoscopy

Orthopedics

Neurology

Cardiology

Urology

Gynecology

Others

By End Users

Hospitals

Ambulatory care

North America is estimated to dominate the global surgical robots market over 2017-2025 with a prime endowment by the U.S region. This is owing to the fact that this region offers the desire for adopting new technologies, is economic stab and has an advanced healthcare infrastructure to support new technologies. Demand in emerging economies such as India, China, and Brazil is expected to increase with the availability of skilled healthcare practitioners and improved healthcare investments and infrastructure during the forecast period. Competitive Landscape of Global Surgical Robots Market Due to increasing demand and the emergence of scientifically as well as mechanically robust systems, key players are continuously developing novel technologies such as SurgiBot, Amadeus, and Single Port Orifice Robotic Technology (SPORT) and upgrading their current products, in order to boost the global surgical robots market growth. Some of the key players in the global surgical robots market are:

Intuitive Surgical, Inc.

Mazor Robotics

Accuray

Medrobotics

Medtech

MAKO Surgical Corp.

Stryker Corporation

Hansen Medical

Blue Belt Technologies Ltd.

Think Surgical Inc.

Renishaw plc.

Robotic surgery is an upcoming new technology that is taking the surgical procedures to the next level. Additionally, surgical robots have become the enroot cause for excellence in minimal-invasive surgery in spite of lack in practical utilization. However, demand for robotic devices will increase into a more efficient and feasible role in the near future. Check the Trending Report of Global surgical robots Market: https://www.worldwidemarketreports.com/market-insights/surgical-robots-market-global-industry-insight-trends-size-share-outlook-and-opportunity-analysis-2017-2025 About WMR Worldwide Market Reports is your one-stop repository of detailed and in-depth market research reports compiled by an extensive list of publishers from across the globe. We offer reports across virtually all domains and an exhaustive list of sub-domains under the sun. The in-depth market analysis by some of the most vastly experienced analysts provide our diverse range of clients from across all industries with vital decision making insights to plan and align their market strategies in line with current market trends. Worldwide Market Research’s well-researched inputs that encompass domains ranging from IT to healthcare enable our prized clients to capitalize upon key growth opportunities and shield against credible threats prevalent in the market in the current scenario and those expected in the near future. Contact Us: Mr. Shah Worldwide Market Reports 1001 4th Ave, #3200 Seattle, WA 98154, U.S Tel: +1 415 871 0703 Email: sales@worldwidemarketreports.com

[qknlevi85726-blog]

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[apsbicepstraining]

8 Famed Parties That History Got Almost Exactly Wrong

Look, it’s not our operation here to prove that record is bullshit. It’s precisely that what the hell are you memorize in institution tends to be boiled down to a few highlights that can be plowed through in one period, and what you read in movies is the product of some screenwriter pounding it out over a coke-fueled weekend. We change real human being into heroes, rogues, and crude stereotypes.

The truth is more complex, as proven by the fact that …

# 8. Mother Teresa Accepted Money From Criminals And Deliberately Neglected Patients

Is there anyone whose honour is more bulletproof than Mother Teresa? The Catholic nun dedicated their own lives to helping the impoverished in India, and her run not only prevailed her the Nobel Peace Prize but made her the fast track to legitimate sainthood. But some people have come out of the woodwork to question Teresa’s integrity, including atheist pot-stirrer Christopher Hitchens, who released a documentary about her provocatively entitled Hell’s Angel .

For those not very well known Hitchens, he’s that person you always find vaguely like an asshole for come to terms with .

Among the charges against Mother Teresa are that the conditions in her hospital were actually downright appalling, with some medical professionals likening it to a concentration camp. Since then former members of the religious order she founded have come forward to reveal that the money donated didn’t inevitably go toward the poor, and the people lives in horrifying provisions where nurses organized drug with their bare mitts and reused weaken needles, because apparently you can pray away cross-contamination.

Apparently, Mother Teresa wasn’t too concerned about the poor conditions in her infirmary because, according to her, suffering brought people closer to Jesus, and she avoided from expending anesthesia because alleviating people’s hurting was less important than proselytizing them to Christianity. Apparently that didn’t apply to Teresa, because when she fell ill herself, she tried care in a modern American hospital. But, hell, she already knew about Jesus.

“So how’s about we get a little less prophetic and a bit more anesthetic.”

But pundits also point out that Teresa wasn’t too concerned about who she took gifts from, and so she became a lightning rod for offenders and tyrants who wanted to represent themselves look better by being able to say that they donated to Mother Teresa. Among her top donors were Jean-Claude Duvalier, harsh dictator of Haiti, and banker Charles Keating, who was convicted in the 1990 s for cases of fraud and racketeering. On crown of everything else, in 1991 it was revealed that simply a small amount of the money donated to Mother Teresa’s organisation could be accounted for. The remain likely moved immediately into the Vatican’s bank vault, because if there’s anyone who needs money more than the poor people of India, it’s the pope.

# 7. Leonardo Da Vinci Was A Muscular Male Model

If Hollywood made a movie about Leonardo Da Vinci and cast, respond, The Rock in the lead role, you’d likely believe that this is amusing. After all, when you imagine Leonardo Da Vinci, you’re most likely picturing a wizened old bearded guy. While this is the epitome that has existed through the centuries, the truth is that, in his time, Da Vinci was in fact known for being less Dumbledore and more Dwayne Johnson.

And sometimes wore his dres backwards, apparently .

Multiple accountings from Leonardo’s time had people mentioning how taken aback they were by his good looks, with some describing him as “a man of great beauty.” In knowledge, it’s thought that his first teacher, Verrocchio, probably initially hired him as a simulation rather than a student.

But Da Vinci didn’t precisely have incredible cheekbones. His particular obsession with learning the male physique came in part from his own absurd level of fitness. Gentleman in those daylights had a hard time constructing large-scale gizmoes by hand without the help of machinery, and Da Vinci’s reputation for being a master make starts with the fact that he himself was improved like a brick shithouse. It’s said that he was able to impress people at parties by stooping horseshoes with one hand.

A stunt this sauntering gym membership ad of a gentleman requirement both hands and a fair chip of grunting to pull off .

All this time, we’ve been doing Leonardo’s memory a disservice by envisioning him as an eccentric age-old tinkerer, when in reality he was like someone made the brain of Bruce Banner in their own bodies of The Hulk.

# 6. Punk Star Johnny Ramone Was A Staunch Conservative

Johnny Ramone was the guitarist for The Ramones, one of the most influential bandings in its own history of punk. Punk, of course, has been the category of alternative for left-wing revolutionaries for decades, so it ruffled a few feathers when The Ramones were inaugurated into the Rock And Roll Hall Of Fame in 2002, and Johnny took to the podium to answer, “God bless President Bush, and god bless America.” You could just about hear the record scratch resemble through the hall.

Not that there’s anything unseemly about has become a Republican, necessarily — it’s only that you don’t learn a lot of spiked collars and mohawks at a Ted Cruz rally. There’s not much overlap on that particular Venn diagram. Still, it genuinely shouldn’t have been too stunning for devotees who had followed their profession, because although his bandmates leaned to the left politically, Johnny had always been staunchly republican, a Republican voter, and an NRA member.

Despite looking like someone they are able to hunt for sport when big game got too suffering .

According to band members Joey and Marky Ramone( the surname is phony; none of the musicians were actually referred ), Johnny had considered that Ronald Reagan was the greatest president in American record and was even right-wing enough that he was one of the dozen or so beings in the two countries who guessed Richard Nixon got a raw deal.

Johnny died from cancer shortly after his Dormitory Of Fame appearance, but it had the effect of inspiring other republican punk love to come out to the world. Because, really, what could be more rebellious than standing in that crowd, raising a fist in the air, and screaming for lower capital increases taxes?

“HEY! HO! LET’S GO-P! ”

Meanwhile …

# 5. Karl Marx Mooched Off His Wealthy Friends

Karl Marx is perhaps the most influential political philosopher of all time, if you consider communism to be a big deal. For someone with such a famed enmity against capitalism, you’d likely premise he had some ghastly boss in his time, sufficient to build Dilbert and Office Space mixed look like a revelry of the free market. In actuality, Marx never held down a chore. But that didn’t signify he lived the humble, impoverished life of the proletariat, either — he actually experienced an extravagant lifestyle, mooching off his aristocratic partner, whose upper-class background he often boasted about, and sending his their children to expensive private schools.

Maintenance on that beard alone cost more than most working proles acquired in a month .

But his wife’s old money wasn’t his biggest source of income. A full-time life-style of philosophizing about financial was expensive to conserve, along with the vintage wines and bathtubs full of cocaine it probably involved, so its tremendous welfare checks were cut by his significantly richer friend, Friedrich Engels, who you might recognize as the lesser co-author of The Communist Manifesto , even though he did most of the work.

Marx did eventually get a job as a reporter for the New York Daily Tribune, but he couldn’t actually speak much English, which was OK because he never actually intended to write for them — what happened was Engels wrote essays for the working paper under Marx’s name, with the checks going to Marx. It was a win-win plan, because Marx get pay money doing good-for-nothing, while Engels … got to practice his English grammar, we suspect?

“I can’t facilitate but appear I’ve recognized a mistake in your beliefs, Karl.”

That wasn’t the only scam that Marx and Engels ran together with 100 percent of potential benefits going to Marx. Engels also embezzled money from his father’s company to give to Marx, at great risk to his own career and family. Maybe Engels’ biggest one-sided advantage was after Marx knocked up his housemaid and Engels claimed himself the parent to shunned his friend standing embarrassment. All thoughts considered, Engels was probably the world’s best friend that the world’s worst sidekick was possible to have.

# 4. Charles Dickens Was Kind Of A Dick

For a scribe who is best known for romances about assholes reading the error of their roads and becoming “peoples lives” around to act the best interests of humanity, follower was Charles Dickens himself a bigger shit than any attribute he was never wrote.

According to one biography, Dickens liked to entertain himself by bothering the inferno out of parties, like your worst acquaintance in college. He would walk up to beings in wall street and irk them with absurdity pranks, and would obnoxiously hit on women in ways that would have gotten him pepper-sprayed nowadays. On one reason, he picked a woman up without her permission and carried her down the beach, insinuating that he was going to kill her. This was all great recreation for Dickens, but less recreation for his wife.

The wife who accepted she was about to be abducted and murdered likely wasn’t tittering either .

Oh yes, he was married at the time. And his wife suffered from his assholery more than anyone. From referring to her as a “donkey, ” to smacking on teenage daughters in plain sight, he was emotionally abusive enough that he’d be right at home in a Charles Dickens fiction. But, like “theyre saying”, the best writers write what they know.

Probably this symbolize he made her sweep chimneys and live on exclusively portioned gruel .

The worst chapter in their nightmare wedding was when Dickens, aged 45 and with nine teenagers, started having an occasion with 18 -year-old actress Ellen Ternan. Dickens deterred the occasion secret for fear that it would destroy his reputation. This became more difficult as time went on, due to complications such as them designing a child together.

Eventually, the deceit became too spending for him, but rather than purpose the circumstance, he divorced his wife, leaving her with a generous alimony but forbidding her access to their nine offsprings. He then spent the rest of his life talking to anyone who would listen about what a crappy mom she had been and how she was perhaps lunatic, just so he could keep the truth about his infidelity under wraps. All that is something that takes the punch out of the moral to A Christmas Carol .

# 3. Queen Victoria Was Just A Gigantic Person

It’s no secret that Queen Victoria was a little on the chubby side. But while nothing was ever for the purposes of the illusion that she could be mistaken for an Olsen twin, facts have recently come to light about just how big she was. Those facts involve the 2014 auction of her 52 -inch-waist underwear, who was allegedly can fit three parties comfortably.

We don’t just knowing that kind of parties were willing to shell out cold, hard cash — over $4,000, in fact — for Queen Victoria’s underthings. The purchasers opted to remain anonymous, but let’s just say that they’re now in control of a very large conversation piece or a cozy silk bed sheet.

Nothing like compensating the cost of a put-upon vehicle for captured farts from the 1860 s .

The auctioneer finely has pointed out that, by this object in her life, the queen “had eaten a lot more than most people could render to.” Apparently, the underwear was donated to her servants in her will, which is the least she could do to thank the team of people who likely had to help her into them every morning. Now your boss’ crappy Christmas cards don’t search so bad. Or they examine worse; we’re not sure.

And while we’re grossly body-shaming the monstrous of biography …

# 2. Napoleon Was A Normal-Sized Person, But He Had A Tiny Penis

We’ve already exposed that the idea of French despot Napoleon being really short is a demonstrably untrue superstition. He was actually somewhat above median in meridian and exactly took a cluster of photos alongside freakishly towering sentries that gave rise to the illusion. However, there may be another reason why Napoleon could have had a so-called “Napoleon complex.”

The artifact finely identified “Napoleon’s Item” was removed during his autopsy back in 1821 and hindered preserved by a clergyman until “its been” placed on display by the Museum Of French Art in 1927. In instance you don’t know what we’re speak about, it’s his dick. This enter is about Napoleon’s dick.

“My forwards artillery is none of your business.”

His minuscule dick, as it turns out. The British Tv line Dead Famous DNA started in search of the cherished artifact in 2014 and obtained it in New Jersey of all places, in the home of a private collector who is apparently unwilling to show it to exactly anyone, for reasonableness most people can probably understand.

Analysis of the item reveals that it is just under two inches in section. The owner admits that it is “very small” but also says that it is “perfect structurally, ” as if that’s any relief. The takeaway is that the dude was just jam-pack plural inches. No amazement he was angry all the time.

Who would’ve suspected he was trying to compensate for something .

To be fair to Mr. Bonaparte, most dicks get reasonably underwhelming on a cold day, so we can only imagine what happens after you lop them off and store them in a cup for nearly two centuries.

# 1. King Tut Was Highly Deformed Due To Inbreeding

Tutankhamun, affectionately nicknamed King Tut, is possibly the only Egyptian pharaoh other than Cleopatra that it is able to refer on a pop quiz. Even so, you probably only think of him as a person with a serpent on his hat who did The Bangles’ Egyptian tread. Tut wasn’t actually that important a figure in ancient Egyptian biography, and there are really simply two things we know about his life — he died young, likely a teenager, and he was incredibly deformed. These two facts are likely related.

Upon the uncovering of Tutankhamun’s tomb and mummy in 1922, it was noticed that all the decorates of the pharaoh pictured him carrying a stick. Although some represented him expending it as a weapon, so it was theorized at the time that he just liked making people with remains. Maybe he was just a dick that way.

Seems to fit with our experiences with busters who wander around uncovering their abs all day .

But further analysis of his body showed that he probably necessary a walking stick to get around at all, because he stood just about every physical deformity you can imagine.

Still doing better than ol’ Bonaparte, at the least .

See, the Egyptian royal family had kind of a predilection toward marrying their own siblings in order to keep the bloodline pure. This attire have all contributed to genetic deformities, and in Tutankhamun’s regrettable lawsuit, he fell out of the incest tree and slam every diverge on the way down. Studies present that he had: an extreme overbite, a club paw, a skeletal deformity announced Kohler disease, and exceptionally wide-eyed hips. On surface of that, he suffered a separated leg at some extent and contracted malaria.

No wonder his tomb contained an unusual number of statues intended as servants to help the pharaoh in the afterlife. He probably needed a dozen beings to help him get out of berth in the morning, and that was when his legs were still alive.

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