Surprise Birthday Invitations In Spanish

The exhibition focuses on the artists’ recent trajectories and makes links to their practices through collaborative endeavours and curatorial interventions. The exhibition consists of new and current works and at times site specific. Works include drawings, paintings, videos, sculptures and installations.

Saturday, July 17, 2010

Half Head Of Highlights Or Full Head

I finally managed to take my track bike to track first time! Track was Adria , a well known track for us. We had some issues (lost a gear stick, my friend blew up the oil filter) but in the end we had a great day. Here some pics:

Finalmente I brought the bike trail ... on track. It was run at Adria, a circuit that we know well. We had some problems (I lost the gear lever, oil filter blast my friend) but in the end we had fun. Here are some photos:

Flat Plastic Cabochons

Way

Wonder how I get from my place to WHERE CDT 2010 starts?

you wonder which way I will be home to the starting point of CDT 2010 ?

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What Are The Breast Sizes Per Country

ASS TITANIUM 2010

Here we go. Finally the long awaited Ass Titanium 2010. Actually we call it CSF (Ass On France), as it will be done in France, across the western Alps and All Those peaks and high passes. I will not tell much Than leave you with the list passes, Their heights and the maps ... BTW: They Are not Any Less Than 940km ....

We Finally, the expected Ass Titanium 2010. We call CSF (Ass On France) as a path will be almost entirely in France on Western Alps and all the steps very high (that undermines my carburetor). I will not dwell: I leave you with a list of steps, the heights and maps ... However are at least 940 km .....

1 col de Cou 1117
2 col 3 col du terramont 1096
jambaz de 1027 de la Ramaz
4 col 5 col de la
1559 1416 Savolère
6 col de Châtillon
7 col de la Colombière 1613
8 col de saint-jean-de-sixt
9 Col des Aravis Col des Saisies 10
1486 1650 1605
11 col de méraillet
12 Cormet de Roselend 1967
13 Col de l'Iseran 2764
14 col de la madeleine
(14 +1 with and Lac du Mont Cenis 2084/2100)
15 1566
Telegraph Pass 16 Pass Pass 17
plan Nicolas
18 2646 Col du Galibier Col du Lautaret
19 2058
20 col Izoard 21 2360
neck plasterer 22
Cervical guardian angel
23 pass vars
2109 24 false neck Restefond
2656 25 2715 Bonette neck / top of the Bonette 2802
26 raspaillon neck (cervical barns) 2513 27
neck Couillole 1678
28 col Sainte-Anne 1550 29
valberg
neck collar Cayolle 30 2326 31 Col d'allos

32 2247 2191 pass fields
33 Col Saint-Raphael 876
34 drops of 35 rourebel
vee neck gautier
36 col saint-michel
collar Sausses 37 38 629
neck Rostan
39 Col de Turini 40 1604
neck castillon 707 (via shortcut alternative to Pass erc)
+1 (cenis)

10 extension loop (after number 39) : 1 col
saint-jean
2 col 3 col de Braus
the cable
4 col 5
the elm decline Cabanettes
6 col saint-roch
7 no Escous
the 8-9 - 10 Elm-able-Brause



Part 1:


Größere Kartenansicht


Part 2

Größere Kartenansicht


Option:

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Kidney Stone During Pregnancy

Ass saddle

We did the Sella round. 12.5 Laps in one day. We didn't really go on till darkness, as the weather was way too cold (freezing in the morning) and we were tired. We plan to do it again anyway, next year, close to the longest day we can get. Our best lap, that ofcourse it didn't include any stop, was 53min 28sec. That's pretty good if you consider traffic, men at work and whatever else we found on the way. That was 653km of high pace riding. That gave us the result of having carved 50 passes in one single day, Which is the best way We had so far:) We did

Ass saddle 12.5 revolutions a day. We did not go forward until sunset, partly because the cold (ice in the morning!) Has not helped us at all, and we were so tired. We plan to repeat next year, on a day near the summer solstice, to qualify for the maximum delal light. Our best time in a lap without stopping, was 53min 28sec. It 's a very good time considering traffic, road works and all that we found. Without a transfer to home, were 653 km of driving fast. A final result of 50 steps paths, or more than those who never made a single day.

The Machines

The Means

Mileage ounces back home

Mileage total home

Topless Bottomless Women Pic

8 May - 1 August 2010

Stephan Mörsch – Occupation

Marta Museum Web Site














The exhibition “Occupation” staged by Marta Herford is the biggest solo show by Berlin artist Stephan Mörsch (born in 1974 in Aachen) – and also his very first exhibition at a museum.  Stephan Mörsch, who attaches equal importance to Germany and Turkey in his life and for many years has travelled extensively in the Middle East, reflects in his works the various places he has visited.For example, interiors and exteriors as well as urban and rural locations emerge from the darkness in his graphite drawings. In the tradition of film noir, his long sequences of images conjure up scenes which are disturbing or melancholic. Although the powerful expanses of space in his urban views, highway journeys and interiors are often reminiscent of a camera angle or even computer games, the artist deliberately refrains from aiding the eye with a camera to capture his impressions of space. Adopting the style of early travelogues, he consciously uses the technique of drawing to intensively study places. Like snapshots he captures spontaneous impressions in swift outlines before painstakingly working on the details. Individual sections blur into the vagueness of remembered observations or the camera shake of fleeting travel reports. 

 


However, Mörsch does not draw foreign, exotic worlds, preferring instead everyday or peripheral locations: motorways, the beach at Calais, street scenes in Istanbul, Hamburg or Berlin, and even the idyllic town of Quedlinburg. Like shadows of memory, the artist arranges his exquisite drawings to create a curious cosmos. The different atmospheres with their undertow suggest physical movement and continuous travel, culminating in the enigmatic graphite surface of the dynamic lines. Although Stephan Mörsch’s sculptures partly deal with the same content, unlike the vague drawings they are accurate 1:10 reproductions of real buildings. Seemingly inconsequential forms of architecture such as raised hides, beach huts, air-raid shelters and allotment buildings bring home the principles of the simple buildings which increasingly shape our everyday life outside the realm of professional designs. 
In the exhibition, Stephan Mörsch is for the first time presenting two models of mosques based on the structures used in American army camps where soldiers are trained for missions in Iraq or Afghanistan. The buildings are immediately recognisable from afar as mosques thanks to pronounced details such as the crescent moon, minaret and dome. Yet on closer inspection, the buildings merely turn out to be stereotypical mock-ups. 




Car park operators entangled in Mafia-like structures aggressively occupy both public and private areas to expand their economic interests. As a result, more parking space is created at the cost of personal outdoor space. Sometimes reinforced huts made out of corrugated iron or concrete develop which are parasitically annexed to existing structures and have become a recurring feature of the urban environment. The hides come from Hürtgen Forest near Aachen, the artist’s hometown. The models, which are shown as a group for the first time in this exhibition, demonstrate the different ways in which these raised hides are built. Even if certain shared structural features can be made out, the details of the platform and the different interior furnishings testify to individual subtleties. The same forest also used to contain one-man bunkers. These curious buildings were used in World War II to protect one or two people during air raids. Now almost completely disappeared, a few have been preserved as listed buildings. As accurate reproductions, Stephan Mörsch’s models don’t just demonstrate the structures of peripheral architecture but also develop an atmospheric denseness. Half-open doors and windows grant a glimpse inside shady interiors. And the scale of 1:10 enables visitors to enter the empty shells of abandoned buildings, revive them – and hence occupy our space inside them. The juxtaposition of architect-designed houses and creative DIY, of icons and improvised shelters that confront us everywhere begs the question of whether the DIY store, the new dictate of form, is replacing modernistic traditions. Are official and private construction drifting farther apart? Who do certain spaces be–long to – and who controls them? 

For example, the minaret has been built out of oil drums for training exercises while the simple wooden structures somewhere between an American suburban house and Disneyworld merge curiously with Oriental architecture. The row of red and white wooden huts comprises reconstructions of Lebanese guard houses. In the Lebanon, every checkpoint builds its own guardhouse. What all the different de–signs have in common is the use of the colours of the Lebanese flag and the national symbol of the cedar on the façades. The long row made up of variations of what is basically the same small hut embodies the shared determination of different interest groups to create a nationstate. Allotments in Germany date back to the nineteenth century. They were used not only for recreation by the urban population but also as a source of fruit and vegetables in times of shortages. Mörsch’s models of allotment buildings based on examples from Quedlinburg in the region of Saxony-Anhalt in eastern Germany continued to grow organically over the years. Whereas the basic structures consist of the simple, solid materials available before German reunification, the later structures can be seen to be typical products sold ‘off the shelf’ at DIY stores. In stark contrast to the highly structured organisation of allotment gardeners in associations, these proliferating buildings reflect a clear need by owners to shape their own private space and to mark out their territory. Stephan Mörsch focuses attention on his model-making activities with his decorative wells of the type found in German front gardens. These non-functional garden decorations based on historical castle wells reveal the romantic yearning of homeowners. The widespread need to create a second idyllic world in miniature is ironically undermined by the decision to hang them in rows. The beach at Calais in northern France with its numerous bunkers was deemed the Atlantic Wall designed to protect the area from British invasion. Following the war, the bunkers sometimes served as platforms for simple wooden beach huts. The group of small white and blue huts epitomises the recurring culture of entertainment at these places in times of peace. Despite their simple structure, the wooden buildings feature some ingenious architectural details. Apart from their bright colours, in particular the pitched roofs and the windows with their original shapes make the small huts seem surprisingly modern. Positioned on wooden steles which become increasingly exposed as the sand is eroded, the huts often have to be accessed by outdoor steps. In the recent past, these huts have occasionally been used as hiding places for refugees on their way to England – as a result of which some of them were burned down. Moreover, a few years ago further repairs to the beach huts were officially prohibited, prompting them to disappear from memory. “Otopark” is based on the situation concerning car parks in Turkey.