Tarot tilly december 28 2019
This house, this land, these excellent people have been offered to us so we'll do our best to be worthy of the offering. What's next for us? Maybe a Coastal Kama Sutra? Really, we're just very excited about the growth of the Otway region into a thriving community of fine artists, artisans, and all of those who would lead a finely crafted life. Being part of that is amazing.
Our website is blackwoodandgreenstone. Apollo Inc. Apollo BayArts Arts Inc. Apollo BayBay Arts Inc. We activitiesininall allart artforms, forms,totoassist assistlocal localartists artists and and bring bring artistic artistic performances performances to We are are activities in all art forms, to assist local artists and bring artistic performances to Apollo Bay. We are 33 years old, formed in and incorporated in Over the years, the group has grown and now 33 years old, formed in and incorporated in Anyone can join and it's free.
Enquiries to apollobayarts gmail. Our funding is from grants, fundraising raffles Enquiries to apollobayarts gmail. Lorna Pitkethly and Brian Williams We have lived here for 25 years since , before that we would visit on holidays. One time we were heading back to Melbourne from our caravan trip and stopped out on the Great Ocean Road at the Museum which was newly opening at the Cable Station. For 18 years we have been part of the Apollo Bay Art Show, both in exhibiting and setting up.
Lorna works with kiln-fired transparent and opaque glass to create 2D and 3D artworks, and Brian with a wood turners lathe to create pieces from various timbers. Huon pine and Blackwood are 2 timbers he likes to use, however he uses all timbers and has also used recycled materials. Lorna and Brian were both raised in families with artistic leanings. Creativity was encouraged and they have always themselves been interested in attending art exhibitions. Lorna is inspired by the environment, natural world and history of art.
Her main interest is design and colour and the practical techniques of using a kiln and firing and slumping glass. Brian likes to produce items which are needed so that they are useful whilst at the same time ornamental. His inspiration comes from the ideas he dreams up in his mind and then tries to create in the making process.
Since this interview Brian sadly passed away. Our thoughts are with Lorna, friends and family. I then focussed on painting on canvas. I get inspired by the history of places and things, whether it be driving through rural countryside or walking around the block, and usually make works in series to explore a concept. My Hull series was inspired by old boat hulls stored around the corner from my studio. Other subjects include old dairies, canola fields, silos, the inescapable ocean, landscapes and more, some of which will be shown at the Apollo Bay Art Show.
Website: apollobaygallery. Cathy Donovan Being an artist is about being truly myself. My earliest memory as an artist was of painting over other artworks hanging in my home at 12 years old. I had faith in my art. Over my life art was a constant companion, but now it is my passionate focus.
I want to support others to take up art too, and give workshops and classes and share resources whenever I can. Until recently watercolour and textiles were my key mediums, but since moving to Apollo Bay I have extended to printmaking intaglio and collographs and other painting mediums. I expect to showcase printmaking in this years art show, but an odd watercolour may creep in! My inspiration comes from birds and the stunning colour and drama in the sea and forest around me.
Following this I worked in the arts field as a curator of visual arts exhibitions and as a programmer for art house film, preferring art that offers the viewer the freedom to interpret. Most of my works come from a specific place or topic that get pasted onto the canvas in multiple coats.
Me and my partner live in Apollo Bay and run the social enterprise of the Conservation Ecology Centre, raising funds for conservation in the Otways. These local artists and many more will be exhibiting at the 42nd Apollo Bay Art Show. Follow us on social media facebook. I always put my creative masterpieces first, these being my three children.
My living, breathing master pieces. Now that they are adults, I can indulge myself completely in my professional career as a full-time artist. The cycle of my life in art and my love of family is now complete. What are your plans and hopes for the future? I plan to make this happen through sound and light. Art changes with the evolution of life. Where can people view your art? My Salt and Pepper Gallery is open 7 days 10am-4pm.
I continue to exhibit at other venues as well as within my gallery. My Facebook page saltandpeppergallery will show current exhibitions. Please feel free to contact me if you need any information. I feel more alive, more energised, more creative, more me when I can have contact with the ocean. It might be visual or just jumping in and splashing about. I love being under the water. I paint a lot of underwater scenes. I can see a community under the water.
We are in nature as much as nature is within us. What has been your art journey up to now? It has been 42 years since my first exhibition. Since then I have had the pleasure of working with many different artists. During this collaboration I have shared and learnt. I continue to learn and share my art with this group of artisans. We exhibit annually. This means I have a solo exhibition which is continually running. What has been the biggest challenge in your life as an artist? Challenges change as I grow older.
I see each challenge as a chance to grow and change in my art form. In my earlier. Jan Stickland creates sensitive and meditative works. The core of her practice is print making, but she also works in paint, drawing and mixed media. Her work, influenced by the Japanese concept of Wabi Sabi, celebrates the beauty of the mundane object with all the imperfections, while simultaneously reflecting fragility and vulnerability.
What brought you to this part of the world? To be selected to exhibit, and help represent Australia, was a huge honour. There were 12 Australian artists involved in solo exhibitions. The atmosphere during the conference was of sharing and learning, the day my exhibition opened I was overwhelmed with the positive feedback, plus the interest and enquiries into my techniques. It was an incredible feeling to be regarded on the same level as many of the printmakers I have spent years looking up to and admiring.
We knew little of Colac and the Otways however my husband and I have loved raising our three children here. The landscapes surrounding us are magnificent, schooling and sporting opportunities fantastic, and the people are so welcoming , generous and kind hearted. I enjoy being an active committee member at Red Rock Regional Theatre and Gallery, organising and curating regular exhibitions including the annual Corangamarah Art Prize. I have participated in many exhibitions in Victoria as well as Japan, U.
Recently in Spain I was a delegate at the international printmaking conference IMPACT 10 where I was selected as a solo exhibitor, showcasing contemporary international printmaking trends. What have been the biggest challenges in your life as an artist? There are two very large challenges for artists living in a small country town. The first is to allow yourself the time to create and not let life take over. Over the years I have happily and very willingly given up the time required for art production to my beautiful family and my career.
The second and probably the greatest difficulty is the feeling of creative isolation. Recently I have experienced how much easier it is to maintain inspiration and a productive arts practice when you have regular contact with other artists. Decay and Vulnerability is a quiet and contemplative work. I have used the analogy of the skeleton leaf to create a very personal autobiographical statement. It speaks of the isolation of the individual, but more emphatically, it speaks of the beauty that can be found in decay and the strength that can be gained by exposing your vulnerability.
Lino cut with chin colle. Colac Otway Performing Art Centre. It would be wonderful if the Colac Otway Shire was able to support the visual arts by renting studio spaces to artists, creating a centre and network for casual and organised inspiration.
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This is my dream for this area! I know creative isolation is a problem for many people on all levels of creative production and such a centre would help towards completing the whole picture of what Colac Otway Shire can provide for the well-being of its population. To keep creating art, and to keep challenging what I create. Contemporary landscape artist Barbara Bateman is a Melbourne artist who draws and paints the natural environment from her Otway bush and seaside property on the Great Ocean Road near Lorne.
Her paintings are autobiographical and deeply personal. They record her memories, imagination and emotional states. Barbara stands in the bush or on the beach and draws, paints and photographs what is in front of her then moves into the studio to arrange the interplay of light and colour observed and interpreted by her in a contemporary way. She does not use traditional perspective where converging lines meet a central point but places equal importance on the arrangement of forms, colours and volumes in space Otway Life Almanac Her painterly and colourful broken brushstrokes cover the entire surface space in an abstract manner.
Her artworks involve a process of interiorisation, of getting into the soul of things to reach the truth and essence. It is an ascetic exercise through which she filters out the most spectacular of what is visible. Barbara has two studios, one at Cathedral Rock on the Great Ocean Road where she does most of her plein-air work and drawings. On return to her second studio in Melbourne she often works up her paintings into their contemporary formats.
Phone 03 "Another Kind of Experience" Oil on linen, width cm x height 76cm. Here's a sneak peak Caroline Hawkins 2. Cinnamon Stephens 3. Donna Pollock 4. Peta Uthmeyer 5. Melinda Solly 6. Veronica MacDonald 7. Sharryn Jenkinson 8. Jan Francis. Moving from Melbourne to Aireys Inlet in was a touch of 'Seachange', 'Always Greener' or just plain going home to the country. I have always had an interest in tactile arts and crafts, having knitted my way through the late eighties, making teddy bears in the mid nineties. My inspiration comes from nature, colors, different mediums and textures.
The mosaics become organic, taking a shape and life of their own. My art can be placed either inside or outside. I was very fortunate to meet Cinnamon Stephens who collaborated in creates frames for my hanging mosaics. I have continued to exhibit with Geelong Sculptors Inc. In Geelong Sculptures Inc was contracted to make a moving, touchable sculpture to commemorate the year anniversary of Braille.
I am feeling extremely excited and a little daunted by this and look forward to the future of more creativity. I also will be running classes in Every Ginkoh Jewellery piece is cast and crafted in my home studio in Anglesea. One of a kind individualised jewellery to suit you and your purpose. Ginkoh Jewellery began in focusing on customised wedding rings, repairs and reworks.
I also supply original pieces to galleries and retailers locally and in Melbourne. You're welcome to visit my studio upon appointment to discuss what you need and see how they're made. Anglesea has an abundance of art! This mini art trail gives you the contacts for seven of these home studios.
Coilyline Studio 7 Ramsay st. Anglesea Artisan 11a Evans st. Ginkoh 21 5th Avenue. These are her primary subjects and her talent interest varies with the usage of different mediums, paintings, drawings and sculptures. Justine has initiated her journey through art since with advice from her doctor to fulfil her days. Diagnosed with Multiple Sclerosis this propelled her to use her creativity to the utmost. Justine teaches workshops on Acrylic Painting and also Sculptures from a cement modelling compound called Pal Tiya from her studio in Marshall. Commissions are most welcome for paintings, drawings, portraits and sculptures.
Open by appointment. T: E: juztart yahoo. Searching gloomily for inspiration, for something new to photograph one day, I wandered into my toy room. Yes, I have a toy room. And yes, I refuse to grow up!
It began many years ago when I owned a toy shop and had the opportunity to collect vintage toys. And there they were. The marionettes, the puppets, the ventriloquist dummies; all begging silently to be in the picture and eager to strut their stuff. And so began my Playful Art Prints and Cards journey. The planning and composition of my images can take quite a long time, as does the post-production. At the heart of it though is the playfulness. Always the playfulness. I create my images for that inner child in us all. I hope they arouse a childhood memory. Or a smile. A laugh perhaps. Lenora Freadrich I was born and raised on a farm in Canada.
After moving to Australia to be close to family, I fell in love with this Great Southern Land whilst living in East Gippsland where my garden became an extension of my canvas. I love to paint flowers, trees, birds I just love a challenge! While spending a year in Anglesea with daily walks on the beach, the Southern Ocean captured my heart and has been the muse for many of my paintings. In June I moved to Colac to reconnect with my love for the countryside. And have enjoyed the new challenge of building a studio This is where I would love to share my ideas with aspiring artists and continue my art journey.
Angela Baldwin Design My travels overseas as a young person, especially Scandinavia, inspired me to pursue my passion for textiles and design which lead to many happy years working as a design consultant in Melbourne. After relocating to the Otways six years ago I found a new freedom for my art expression. Then… I discovered botanical eco printing and dyeing. I am continually delighted and fascinated by the vibrant, unpredictable colours and patterns that nature can provide us. Indigo, woad, cherry ballart, eucalyptus leaves, madder, avocados and turmeric are just some of the natural and ethical substitutes for producing colours on silk, wool and linen.
There is something very special about wearing a scarf made from natural fibres and dyes. A scarf that has been created in collaboration with nature herself. Check out my Instagram for where you can buy one of my scarves or I am happy to custom design a scarf just for you or someone you love. Angela Baldwin Design angelabaldwindesign W: artsatlassw. Karen Harvey Jewellery Karen Harvey brings her love of nature and her keen eye for detail to her contemporary jewellery making. She has successfully combined her jewellery making skills with an earlier background in horticulture and landscape design.
This combined experience enables Karen to design and create beautiful handcrafted sterling silver jewellery with a focus on the natural world around her. Karen designs and creates each individual piece by hand in her studio in the foothills of the Otways in Victoria — her inspiration for her jewellery comes not only from her surrounds but from within … sentimental moments and meanings are often captured and made into a lasting memento of precious thoughts and feelings.
Karen works with her clients to create individual pieces which reflect the personality of the wearer, or have deeper personal meanings for them. Karen offers courses in jewellery making and special workshops for couples to make their own wedding rings. Chris Hoggard Ceramics It is two years since Chris Hoggard decided to take a leave from her teaching career of thirty odd years to run pottery classes at her studio in Warncoort.
She runs morning, afternoon and evening classes two days per week and her students work at their own pace on projects that interest them individually. Her students come from as far as Apollo Bay, Lorne and Camperdown to attend. This year Chris has completed a Graduate Diploma of Ceramics at Federation University, Ballarat to further develop her own skills in this medium. In following her passion, Chris says she has been able to offer a creative outlet to a wide range of people who live in and around the district.
By offering fun, social and creative classes morning, afternoon and evening she is offering everyone who is interested the opportunity to fit classes in around their family and working commitments. If you are interested in learning more about these classes go to: W: chrishoggardceramics. Contact Karen for further details: E: karen karenharveyjewellery. Cinnamon's Art Custom designed Studio 66 - Anglesea Cinnamon and Rowan Stephens live and create in a tiny studio in a shady corner of their backyard in Anglesea.
Her artwork manifests itself in many shapes and forms; from large gates, security doors and window screens, to indoor and garden sculpture, mirror frames and now a jewellery range. Inspired by the natural environment around her, Cinnamon loves using birds, flowers, feathers, leaves and spirals in her designs. The period of Art Nouveau is also a constant source of design consultation for this artist.
I then sketch out designs and concepts that seem to spring straight into my mind, occasionally even while the client is talking! A design may start from a beautiful tree the client may have in their yard, or it may be the number of people in their family that dictates the direction of a design It is quite an honour to know that they trust you as an artist to create an artwork that will mean something special to them and be in their home or garden for a very long time The best part is delivering the final piece.
Occasionally, in between custom jobs, Rowan even gets a chance to create his own sculptures! His artwork often conveys a strength and balance that comes from his years devoted to Kyokushin Karate, and a love for Japanese design that he shares with Cinnamon. Cinnamons art is the name to look out for on social media and their website. You will discover the huge range of what these sculptors have created over the years. Gift vouchers are also available for those special people in your lives. Most recently, they have been working on an exciting project for the Anglesea streetscape.
Commissioned Otway Life Almanac Watch out for these distinctive creations next time you drive through Anglesea! Sisca Verwoert I came to live in Apollo Bay after a full and peripatetic life overseas with my family. In the intermittent years we had visited Apollo Bay regularly on home leave and fell in love with the place. I had visited beautiful places before, experienced wonderful locations overseas, but none brought the tall hills down through luscious valleys and green meadows to the waters edge in such a dramatic and pristine way.
When the time came to choose a place to settle, I decided this was it. The natural beauty provided by my new home has furnished me with many years of inspiration. My eyes have become so full that my canvases have become larger and dense with birds and flowers, richer than I could ever have imagined, and still the images come. There is nothing abstract or simple about nature. Simplicity is not my aim, nor is it my satisfaction.
I had been an abstract painter in the seventies but found I was drawn increasingly to a more communicative and representational style. Abstraction became too self indulgent and meaningless to me. Whom was I painting for? I did, however retain the love of accidental effects and where they might lead me, never abandoning the process completely. The act of painting and the hours spent involved with the process has a meditative quality about it and with music pumping while I work, I can express my joy of life.
The materials I use matter and I have learned that only the best quality canvas and paint are sufficient to my needs and for the effects I crave. My method has evolved over the years. I start my paintings with loose splashes and gestures, oils thinly applied. I allow forms and figures to present themselves without. My images densely fill the canvas, my relation to nature being whimsical, with strange plant and animal forms emerging. Colour remains central to everything, melding with sensuous form.
The whole of art history has influenced me and therein lies the dilemma. How and what does a contemporary artist paint? Modernity has directed us to abstraction, but after abstraction, what? Anything goes. Everything is Art. Do not misunderstand me, I love Pollock and Rothko but they ended up suicides. Few pull it off. I return often to my collection of books on the old Masters because I loved their beautifully crafted details and rich oily surfaces.
I lament that there are so few great women artist who have survived from that time and look forward to a time when women are valued along side of men. The fact that a three hundred year old painting by a Artemisia Gentileschi is valued at one quarter of a Caravaggio at a recent Christies auction speaks volumes. In saying this, there are contemporary women I must acknowledge for having inspired me and there are so many more: Margaret Woodward, Paula Rego, Georgina Beier and Barbara Rae to name a few.
We live in one of the most naturally beautiful places in the world. We must care for it and protect it. I am a great admirer of the folks working at the Conservation Ecology Centre- Cape Otway and I regularly donate paintings to help raise funds for them. P: I regularly visit my daughter in Kuching, Malaysia where my paintings are known by some. Last year I was interviewed on the radio station Tea FM about my background and it developed into a wide ranging discussion and the direction I thought painting was going. I am sometimes visited in Australia by several interested artists from Kuching and this time was invited to demonstrate my painting style to a group of children and their teachers.
I have seen some magnificent work by local artists and am reminded of my years in Indonesia where I became good friends with an artist named Eddie Hara who over the last twenty years has become a highly respected artist in Switzerland fetching huge prices in Hong Kong and Singapore as well. His work is extraordinary and defies definition. The Colac Otway Arts trail runs over the the third and fourth weekends in October In at the inaugural trail, over 35 venues and up to local artists were involved in open studios, displays, demonstrations and delivering workshop. Organised by a dedicated committee of volunteers, the weekend had some very positive feedback in particular was the better weather after the March trial where bushfires and bad weather caused the cancellation of the event on the Sunday.
Some venues reported as many as visitors over their weekend openings. In the Colac Otway Arts Trail was fortunate to receive funding from the Colac Otway Shire which enabled them to contract a graphic artist to create and print a brochure filled with maps and details of artists and venues. The bus had some fantastic feedback an it is hoped that it will run both days in Karen rlie jewellery design. Th r background in ma horticulture king skills is design an combined experien and landsc d create ce enables ape beautiful jewellery Karen to handcrafte with a foc d sterling us on the silv natural wo Lindy Fu rld aroun er llarton d her.
A huge thank you to everyone involved in the Colac Otway Arts trail especially our artists and visitors, sponsors and hard working volunteers. We hope to see you all on the trail again in October The first exhibition planned at this space is COAT Tales, a celebration of the art trail and the artists involved. It is hoped that this will be open to the public by mid December An impromptu meeting with Sarah Henderson MP while on the arts trail in Forrest ended in an offer of her empty space in Murray Street Colac as a pop up gallery for a short term until they find a full time tenant.
As a landscape photographer I have perhaps the ideal location. Whilst I do use the phone from time to time, its role is usually limited to sharing online. But at the same time, being able to travel to experience different cultures is always on my mind as well.
Each of the elements require different skills and techniques. When running landscape a workshop it is common to see participants arrive, unpack and start firing away. In practice this approach generally leads to the photographer missing the smaller intimate details, and ending up with an image that is lacking good composition.
Webpage: www. Editing a photograph is an essential element in process of creating a fine art image. In JPG the photograph saved on the camera has been processed using the computing power of the camera. When shooting in RAW format the camera simply captures the scene, and does not do anything more. Shooting in RAW gives the photographer the chance to edit the image themselves, creating the mood and.
Once an image has been created, now it is time to decide how it is going to be viewed - on a device or printed. When printing, the print medium needs to be taken into account. Prints will always look different to onscreen viewing, and often the screens are much brighter than printed images. Understanding what print media best suits the image is vital to getting the best results. Each has a role, but it is the image the dictates the media that is used. The editing process usually starts by setting white and black points, investigating the details in the shadows and looking at the contrast in the scene — with the aim to create some depth in the image.
The next steps involve looking at unwanted elements, the small things that grab the viewers eye and detract from the scene. The original image had a lot of eye-catching bright spots on the water, but removing them the image is better balanced, and the composition vastly improved.
If you are interested in this process, or are looking at print options then please get in touch. I will guide you through the steps to create and print your own images, something that you will be proud to hang on your walls. You can sleep under the stars of the Milky Way, by a camp fire or snuggle into a cosy cabin. Whatever your desire or budget, Otway Sleepovers are the stuff of dreams.
So come A renovated Airstream Caravan including outdoor Star gazing Bath with spectacular rural and bush views. Experience and embrace beautiful gardens and outdoor sculptures with an abundance of birdlife and animals. Indulge with packages prepared with local produce. Enjoy spectacular views over rolling hills and the Otways, all within close proximity of the Great Ocean Road, Lorne and Birregurra. Return transfers available to local restaurants. King Parrot is a popular destination for romantic getaways, family holidays or large family celebrations.
The architecturally designed accommodation is fully self-contained, ranging in size from single to four bedrooms, accommodating between two and fourteen people. Each offers comfort, character and privacy in a rustic bush land setting, including stunning valley views. Activities include the salt-water swimming pool, games room with table tennis, fuse ball, air hockey, darts, board games plus mini golf course, suitable for all ages. Bush-walking tracks and waterfalls abound in the immediate vicinity and within close reach are the beautiful beaches along the Great Ocean Road, the wonders of the Otway National Park and the gourmet trail of berry farms, fine foods and farm produce.
King Parrot is very popular wedding venue. Please give us a call to discuss options and obtain rates. Most pets are welcome by prior arrangement only. Our cottages are fully self contained with everything you will need to have a most amazing and relaxing holiday. If you want privacy, an open fire, sensational views, a spa bath, comfy beds and a balcony with a BBQ Add to this your own private beach, a window seat with ocean views, lots of bush walks and koala viewing and then only ten minutes to Apollo Bay Bookings online at www.
Stay a few nights in our beautiful cabin overlooking the Otways, explore the hinterland, the Great Ocean Road GOR and relax in your peaceful, quiet, romantic self contained cabin style accommodation for two. Included is a breakfast basket each morning featuring fresh farm free range eggs, a loaf of freshly baked bread and a selection of farm preserves. Local bacon is also provided. Your cabin comprises of a comfortable queen size bed, beautiful ensuite with full shower and a seating area with couch, table and chairs and a small kitchenette.
There is an abundance of birdlife around the area and photography enthusiasts will love the photo opportunities. If you are enjoying a meal at Brae Restaurant, or Bespoke Harvest, we can provide transport to and from the restaurant, please check on booking. Countrywide Cottages offer dog friendly self-contained four star holiday cottages on the edge of the Otways, 25 minutes inland from Lorne. We were delighted to be rated in the top ten of the Gold List of Australian Accommodation by Star Ratings Australia in and are consistently rated 5 stars on Trip Advisor. Just 90 minutes drive from the Westgate Bridge in Melbourne, the journey to your amazing dog friendly holiday is an easy one after a long week at work!
Where your dog is as welcome as you are. Cosy log fires Pillowtop beds Electric blankets Dogs welcome inside Home made treats Free range eggs Huge fenced yards Off leash areas Wild birds Bushwalks from your door. A favourite haunt of locals from as far afield as Gellibrand, Lavers Hill and Johanna, it also welcomes tourists and day trippers with its focus on good old fashioned country hospitality. Under the management of Myles and Gwynneth Cowley since December , the enthusiasm and attention to detail they bring to the running of the newly refurbished pub will ensure that your visit is a memorable one.
A central wood burning heater roars throughout the winter months providing ambiance and warmth, whilst the views to the south from the expanse of windows are simply spectacular. The hotel accommodation comprises 4 rooms, each including a comfortable queen size bed and a set of single bunk beds. The Terminus is a real country pub where there are no pokies and you can still get an affordable, delicious home cooked meal. Dinner available every night and lunch and dinner Saturday and Sunday.
We are family friendly, and that includes the fur-kids as well with hitching posts and fresh drinking bowls outside. The view and the Wifi is on us. We strive to create the best beer possible using the best ingredients with water being the key. Located in the Otways we are blessed with pure Otway rainwater, it is well known that you need good water to make good beer and there's nothing better than water from the lush rainforest.
At Prickly Moses Handcrafted Beer, we believe that beer is diverse in its colour, aroma and flavour and is not just limited to "yellow fizzy stuff". We create beers to match an appearance, aroma and flavour profile - not a budget - so we use the best ingredients we can find. Our repertoire of exciting beer recipes continuously grows and we're always keen to try something new.
We hope you enjoy our beer as much as we enjoy brewing it for you. Pennyroyal Raspberry Farm is the oldest working berry farm in the south west of Victoria, within easy access of the famous Great Ocean Road. The Ciderhouse offers seasonally inspired lunches and snacks which you can complement with a glass of our award winning Crucible Cider, Perry or Berry Gins during the season as well as weekends up to and following the season.
Our cosy, self-contained cottage accommodation for couples is available year round. And a challenge it was when I received a phone call from Xav at Barongarook Pork a few weeks ago. It was common to share a pig, steer or sheep with extended family. What followed was usually a communal evening of cutting up said meat and preparing some form of charcuterie that would be shared amongst the families who helped with the work.
I had a week or two to search for a recipe before the heads would be available. So on a Friday afternoon, I received the call to say the heads were ready for collection. His pigs have a wonderful life. Perfect for a pig. In fact, the morning I was there, Xav had bogged his tractor in the paddock! He handed me a big box, with the lid closed, and off I trundled back through the forest to my little farm in Gerangamete just ten minutes away. Staring out at us were two snouts and four eyes. That was the general response. I decided on using the smallest head for a recipe that required slow cooking on top of the stove.
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I had a huge pot that was usually used for processing chooks and ducks that happened to be just the right size. The recipe I chose for cooking the head on top of the stove was for braun. The head was covered with water and I added a number of spices. Juniper berries very common in cooking wild boar in Italy , peppercorns, cinnamon sticks and bouquet garni all went into the pot. Since it was winter and our kitchen Rayburn was lit, I sat the pot on the cool edge of the stove and let it do its thing.
It simmered very slowly over the next 12 hours. The following morning after allowing. Gloves on, I carefully separated the cooked meat from the cheeks and other parts of the head and set them aside. What amazed me was how much meat I was able to retrieve from the head. There was also a LOT of fat, which I discarded.
I then chopped the meat, seasoned it all and added a little of the liquid and spooned the mix into small lined loaf trays to set. The second head was going to be roasted slowly. I wanted to make rillettes with this one. Sounds disgusting, but it is truly delicious when spread on a fresh piece of baguette or slice of sourdough toast and eaten with pickles and mustard. I had to use my oven for this purpose, as I wanted to cook it slowly. I stuffed all the crevices including the mouth! It cooked slowly overnight and on the Sunday morning I pulled it out to see what the result was.
They were just like the ones you buy at the pet shop, only these were super tasty and chemical free! After shredding the meat and salting it, I added back a little of the fat and packed it into some jars. The verdict was an 8 out of Perhaps a little more seasoning next time we decided. I learned that when you serve something cold or at room temperature, you require more salt.
We remedied the situation with a little black garlic salt, which was just perfect. So, would I do this again? Yes, absolutely, but for a special occasion like Christmas or a family celebration. It is a very time consuming exercise for not a huge volume of product at the end. Xav Meade can be contacted via his Facebook page Barongarook Pork, and sells his ethically raised pork at various markets and box programs around the region.
Sustainable Table The temperate climate and typography of the Otway Ranges provide an ideal setting for the sustainable production of food and other products for the local community. Please support these local industries and be healthy at the same time! The Calvert family has deep roots in Irrewarra.
A Western District farming area near Colac, Calverts first farmed here in the s. The bakery is in the restored stables of Irrewarra House — once filled with the aroma of horses and straw, it now exhales the heavenly aromas of freshly baked bread. Traditional home of the Kolak clan, Irrewarra is now famous for sourdough bread and Irrewarra biodynamic ice-cream. This is artisan bread at its finest. Rustic and pure, our bread is not tainted with commercial yeast or preservatives and is created in a time honoured tradition.
Never heavy or sour, our bread is the culmination of a hour fermentation and proofing process. But the real proof is in the tasting. Experience chocolate a little differently … Platypi Chocolate is the latest great reason to take a break in the Otways. With canopy views of the Otway bush and birdsong for company, Platypi Chocolate is an ideal place to sit a while and reinvigorate the senses.
All chocolates are handmade on site from natural ingredients, including berries, fruits, nuts and our homemade honeycomb and marshmallow. Choose from specialty ganaches, then grab some packaged options to get you through the rest of your day. Enjoy a wine, beer or locally roasted coffee or go for our specialty, a deconstructed hot chocolate! Open 10am to 5pm daily on the Apollo Bay side of Forrest, drop in and take a breather.
Platypi Chocolate 73 Grant Street, Forrest www. Otway Artisan Gluten Free is a small, regional, gluten free bakehouse dedicated to the production of the finest quality gluten free breads and pizza bases. We use a specially blended combination of premium quality gluten free flours which help give our breads and pizza bases that soft fluffy texture on the inside and golden crust on the outside. Come and visit our bakery for some amazing, fresh out of the oven, gluten free bread and pizza bases. Here we love to see strangers chat over a panini and locals regularly come in for a good coffee and good service.
We are proud to be part of the rich tapestry of the Otway region and are truly passionate about creating handmade, healthy and wholesome gluten free products. They are sure to delight and even surprise those customers who are gluten intolerant, wheat intolerant, coeliacs or are just health conscious and enjoy great flavours! The beautiful Otway region with its cool, pristine, high rainfall environment provides the perfect backdrop for our farm business.
Long growing seasons and plentiful water allows livestock to graze peacefully in paddocks sheltered by the national park. Over the years, Otway Prime has remained true to its original ethos of producing quality over quantity, valuing the land, the environment, being sensitive to animal welfare concerns and transparent with our customers. We are pleased to offer our customers the highest quality produce, both tender and full of flavour. It is meat as it used to be, before the days of overcrowded feed-lots and it is absolutely true that you can taste the difference.
Keep an eye out for us. At these markets we proudly sit alongside some particularly talented local farmers and artisan producers. We serve coffee, drinks, milkshakes, homemade pies, sausage rolls, pasties, cakes, slices, biscuits, bread, soups and salads, local produce, newspapers, milk, cheeses, butter, groceries, local meats, vegetables, fruit, handmade regional giftware and local homewares.
OPEN for breakfast, lunch and takeaway dinner 7 days a week. Sharing the passion Cheeselinks is an Australian business that is both familyowned and operated. The company was established in as Home Cheesemaking Supplies, specifically to provide quality cheesemaking ingredients and education to people who wanted to learn to make cheese in their own homes.
Over time we have expanded and we now supply many of Australia's cheese factories with cultures, baskets, and other equipment. The name was changed to Cheeselinks in , to reflect the increasing service provided to commercial manufacturers. Cheese-making is more than an art There are few past-times more fulfilling than creating your own produce. At Cheeselinks, we help you explore the world of cheese-making to discover just how easy it is to produce delicious cheeses and dairy products in your own home.
We stock a wide selection of cheese-making tools, equipment and ingredients to help you prepare delectable cheese products. Come share our passion. Cheese and yoghurt making kits, cheese and yoghurt making cultures, rennet, recipes, hoops and baskets, wraps, cheesemaking workshops, basically everything you need to make sensational dairy products in your own kitchen.
Cheeselinks is a family-owned business supplying everything you need to make delicious cheese and yoghurt in your own home! It's cheap and easy to start —check out www. It was a fabulous day and we went home proudly bearing our very own delicious cheese and bubbling with enthusiasm to have a go at home. The instructors were knowledgable, friendly and more than ready to answer questions and share all those handy hints you wont get on a YouTube video. There's something special about sharing the excitement of learning a new skill with a group of like-minded people, it was so good I signed up for another course!
Gillian Brew, Forrest resident. Share the passion As well as our standard workshops, there are a number of other workshops in our repertoire available on special. A corporate or private workshop is the perfect opportunity to customise your workshop and learn to make the cheeses that you most want to learn! Stretching from Moriac to Port Campbell, the trail promotes visitation to the region by offering visitors and those living within the region authentic local experiences. A vibrant community of producers, makers, growers, artisans and sellers promote the produce of the region.
The bounty of the Otways is celebrated in four main categories: eat, drink, stay and play. Our members, Ravens Creek Farm in Moriac and The Farmers Place in Freshwater Creek, grow their own produce, raise their meat and offer education to our next generation by holding regular kids story times and holiday activities. Brae Restaurant is a firm fixture on the world stage where Chef Dan Hunter creates seasonal tasting menus with location in mind and reflecting a close connection with the land and the pristine natural surrounds of the Otways.
Pick up a paper, buy a coffee and some local olive oil from Maluka Estate or local preserves by the talented folks at the Otway Kitchen. Whatever your preference, there is something for you. Craft breweries, wineries, cider and gin makers all offer superb local bevvies. While away a Sunday afternoon sipping wine and listening to live music at Gosling Creek winery.
Visit cellar doors for wine tastings of delicious cool climate wines. Relax at the Forrest Brewery with a delicious glass of cold beer. Watch the brewer at work. Visit local markets during the summer months. Visitors from near and far come for the food, drinks and fabulous entertainment. This event has become a firm fixture on the local calendar. Chat with Pete from DK Potatoes, well known for his purple potatoes, sample hand made chocolates made by Jason from Gorge Chocolates, talk with Justin from Otway Artisan about his delicious gluten free breads.
The Otway Harvest Trail is a member-driven, volunteer run group. Visit the official website www. For the safety of visitors some businesses may choose not to operate on days of Very High, Severe, Extreme or Code Red fire alert days. Check emergency warnings at www. Art education is widely extolled for its virtues in preparing us for a changing world, according to Prof. Ted, a cultural leader and advisor on the Arts in Australia, states that visual literacy and education in communication via the arts is as fundamental in today's world as language and numeracy.
He affirms the necessity of students to make and learn about art at all levels of the school system in order to have a well-rounded education. Visually adept students will be well -placed for a Fourth Industrial Revolution with skills developed and honed through an engagement with the visual arts. The West Australian The first impulse to seek out a different way of socialising with and rearing our children came from a local Homebirth midwife.
She spoke from personal experience with a group of parents in Apollo Bay at a day on Natural Parenting in late The joyful routines and rhythyms of a Steiner-run playgroup and the benefits to our children of experiencing this gentle approach in their early development were discovered and a spark was lit. A committee of interested families set about collecting and making simple toys and furniture from natural materials, learning seasonal songs and discovering crafts skills to share with each other.
Playgroup Leaders from Geelong Rudolf Steiner School now based at Steiner education aims to convey knowledge skills and Freshwater Creek ran a playgroup session for us in May attitudes via an artistic or creative vehicle. Rudolf Steiner The parental role is to provide a worthy environment for this to occur, one that is safe, caring and harmonious.
A group of families in Apollo Bay decided to start what is now Playgroup by the Sea -Steiner inspired, in and continues to meet with a small group of families each Tuesday — here is our story… Otway Life Almanac Each week we follow a similar rhythym, we bake bread,welcome the Seasons with songs, share fruit salad for morning tea, and make crafts with our families. We have crafted items from all sorts of natural treasures including fleece angels from local wool and Autumn Fairies from Forrest leaves.
On our seasonal table we light a candle and bring in flowers and a shell or stone from the local area. We finish with a story about nature,animals, gnomes, giants or even fairies and have been taken on many magical adventures together. Seasonal festivals are special occasions which offer the opportunity to share food drinks and music. We have celebrated Autumn Harvest, Mid-Winter Solstice, Spring, and Christmas and Summer Solstice with time given to reflect the on natural beauty of the changing world around us. Some of our local families have moved away over the years to follow their dreams in different places but we have many fond memories of creating supportive nurturing community for each other as young families.
Our children have a foundation in this creative way of being and retell stories of their playgroup mornings with varying degrees of fondness and sentimentality. We currently have a Steiner Study group which meets every 2nd Thursday in a home in Marengo, We cannot expect our children to be clear in thought, balanced in feeling and assured in action if we have not taken on the inner work of adult development ourselves.
This awakening is the task we all share as human beings journeying in community together. Our playgroup is on every Tuesday 10am noon of school terms run by our wonderful leaders Gabby Moore and Nat Morrow. The children involved in the initial groups back in are all now either finished school or completing Year 12 in the next little while.. Thank you to all those who have taken on leadership and committee roles it is because of you that we are today still a vibrant and growing group. We are grateful we have continued to receive generous support from Playgroup families and community members — Including Otway Life for sharing our story!
This group attracts good will and good weather for all sorts of creative free play. It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in , and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on. It also gives a glimpse of some imagined scenarios of our future. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions.
A further chapter will thereafter be presented at Moderna Museet in Stockholm There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today. A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new.
We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see. Known categories dissolve and disparate objects and materials seem to fuse and melt into one another. New amalgamations are being formed and a future human existence appears fundamentally uncertain.
With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence. Clouds of smoke that rise up from the friction slowly blur the scene. In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance.
Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill. With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art. As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality. By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies. The conceptual structure of the exhibition concentrates on media art from the beginning of the s to the present.
As of 16 April across a total space of over 2, sq. The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures e. The exhibition takes up the Deichtorhallen tradition of presenting major collections. In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.
Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. From 16 April till 25 July , works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2, sq. Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images.
Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music. The presentation of their works is in interesting contrast to the architecture of the KIT. With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn.
Christiane Fochtmann plays with a humorous interaction between image and sound. The work Flower Power , for example, shows flower buds opening and closing in fast motion to the sound of snoring. The Driver by Andreas Korte plays inside a parking building. A person facing away from the viewer is moving towards the exit. Camerawork and distorted sounds create an atmosphere of primeval fear, turning the viewer into an involuntary pursuer. The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history.
Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf. A wild, colourful pictorial history of architecture begins to the rhythm of the music. In addition, small lines of text irritate the eye. Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox. How to find us. Advance registration for the visit during the opening hours is not required.
Public guided tours in German through the current exhibitions take place twice a month on Sundays, noon and p. Free of charge for children and young people under eighteen, as well as school children, students and trainees. If you are interested in booking a guided tour in English, please send us an e-mail to visit.
If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you. The distinctive nature of the collection carries over into the space in which it is exhibited. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds — from the closed to the open, from the dark to the light.
A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality. The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson. The building, which dates to , is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building.
Having served many different purposes over the course of its year existence, the building reflects how industry evolved during the 20th century. Before it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for — among other things — military purposes. G Conzen. Renovation work in strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space. The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows.
At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape.
Kuehn Malvezzi, founded in Berlin in by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design. The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice.
Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in Celebrate exclusively in the rooms of an internationally renowned art collection. Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA. Public guided tours in English through the current exhibitions on Saturdays, p.
Registration online through our calendar. Free of charge for children and young people under eighteen, school pupils, students and trainees. Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers access only via the staircase; no lift. In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof.
Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state. Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation. These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work.
This is also where openings and public events are held.
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The furniture, most of which was designed especially for this site, supports these activities. The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element. The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time — leaving the building open to change respectively to the collection and for subsequent use.
In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities. The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times.
At present, over artworks by more than contemporary artists and artist groups across genres and generations offer an overview of time-based art from the s to today with a strong focus on works made after The term time-based art or time-based media describes works of art that unfold in time. Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art.
These works are often allographic, meaning they are only visible when installed or projected. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural world.
The first large-scale group exhibition at the collection, Number One: Destroy, She Said —08 , was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction. Number Two: Fragile —09 focused on the body and corporality, bringing together video, performance, and body art.
Number Three: Here and Now —10 was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Thirteen: Hello Boys —16 revisited performance and feminist video, questioning the representation of female identity and the performance document. The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the next.
The inaugural exhibition in Berlin, Welt am Draht , addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization. Another group show, Jaguars and Electric Eels , explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality.
www.balterrainternacional.com/wp-content/2019-12-21/kem-danh-rang-chua.php Large-scale solo presentations supplement the collection exhibition program. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. Loan requests must be made at least 6 months before the desired start of the loan period. The request must contain the following information and documents:. Name and address of the institution submitting the loan request; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.
The conservation requirements for time-based media TBM have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just like any other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works. Yet aging is only one aspect of the problem. There are also file formats and complex technical installations that are based on computer technologies or other hardware.
All of these components can age: not only the media themselves are affected by the processes of decay, but even the content can become unreadable over of the years due to incompatibilities. Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists.
This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies have a promising future—and which digital platforms and formats are on their way to becoming obsolete.
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To this end all new acquisitions must be thoroughly evaluated and documented to determine the exact type of digital format. The files are then transferred to a digital repository. This noticeably reduces the conservation effort since only a manageable number of formats need to be regularly checked and monitored to safeguard against formats that are becoming obsolete.
This is flanked by individual solutions for artworks that do not support a standardized procedure. On a digital level, multiple backups that are independent and redundant give additional security, thus ensuring that the collection is preserved. The media art-depository is the heart of the collection.
Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the most important factors during the planning. Temperatures of around 15 degrees Celsius 59 degrees Fahrenheit and 35 percent relative humidity RF are considered optimal for storing magnetic tapes and was therefore chosen for the repository.
These conditions are also appropriate for film and slides. They can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-bearing mountings, ensures that the space is used optimally. The floor has a stove-enamel finish and was checked for leftover magnetic charge to eliminate all risks for the stored videotapes. In addition, the shelves are grounded to prevent any static electricity.
Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and after the conditioning process. Smoke and water detectors as well as an alarm system simultaneously offer comprehensive hazard protection. The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe. Menu Stroke 48 Created with Sketch.
Close up — work of the month. We look forward to your participation and your visit! Artboard Created with Sketch. Cordial invitation! Artboard Copy Created with Sketch. Group Created with Sketch. Language: English April Edited by Julia Stoschek Foundation e. Size: 20,5 x 28,5 cm.
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Softcover with flaps. Language: German. Size: Hardback with colour plastic dust jacket. Sundays, a. During opening hours: Sunday, a. Outside opening hours: Cost: EUR You are looking for a special location for a celebration or a corporate event? We would be pleased to submit you an individual offer. Photo: Simon Vogel, Cologne. JSC Berlin. Photo: Robert Hamacher, Berlin. JSC Berlin, foyer, ground floor. Cost: EUR 5. Contact: Christian Nickolai nickolai jsc.
Group 3 Created with Sketch. The Dusseldorf School of Photography. Andreas Weisser Time-based media conservator. Jacolby Satterwhite. Katharina Sieverding. Manuel Graf. Christian Jankowski. Christoph Schlingensief. Roxy Paine. Jeppe Hein. Charles Richardson. Wu Tsang. Relation in Space , Talking about Similarity , Breathing in, Breathing out , Imponderabilia , Expansion in Space , Relation in Movement , Relation in Time , Balance Proof , Incision , Kaiserschnitt , Charged Space , Three , There is a Criminal Touch to Art , Art must be beautiful, Artist must be beautiful , Freeing the Voice , Freeing the Memory , Freeing the Body , Helen Benigson.
Hannah Perry. Leo Gabin. Pipilotti Rist. Peter Weibel. Lutz Mommartz. David Claerbout. Matthew Buckingham. Matt Copson. Jen DeNike. Jacky Connolly. Ana Mendieta. Arthur Jafa. Vito Acconci. Colin Montgomery. Bruce Nauman. Art Make-Up, No. Cyprien Gaillard. Natascha Sadr Haghighian. Elizabeth Price. John Baldessari. Christoph Westermeier. Sigalit Landau. Ed Fornieles. Thomas Demand. Jeremy Shaw. Jon Rafman. Still Life Betamale , Mainsqueeze , Erysichthon , Clemens von Wedemeyer. Big Business , The Making of Big Business , Mary Lucier.
Paul McCarthy. Ma Bell , Painting Face Down — White Line , Spit — Not Looking at the Camera , Spinning, Short segment of minute Tape , — Whipping the Wall with Paint , Up Down Penis Show , Zippedy Doo Dance , Icicle Slobber , Pipe Shadow , Upside Down Spitting — Bat , Drawing — Semen Drawing , Spitting on the Camera Lens , Upside Down Pipe , Jesper Just.
Doug Aitken. Hannah Black. Adam Putnam. Nam June Paik. Joseph Beuys. Taryn Simon. Robin Rhode. Karl Wilhelm Diefenbach. Till Gerhard. Julius Shulman. Andreas Gursky. Richard Artschwager. Mika Rottenberg. House , Cheese , Hairwash , Milk , Concert , Chicken Soup , Brock Enright. Mark Leckey. Catherine Opie. City of Angels , Terra Degla Dea Madre , Terminal Garden , China Ring, unedited video notebook , Michael Snow.
Lucy Raven. Klaus vom Bruch. Carol Bove. Ed Atkins. Jessica Mein. Asier Mendizabal. Jan Paul Evers. Tobias Zielony. Anthony Burdin. Josh Kline. Monica Bonvicini. Frances Stark. Jana Euler. Christoph Steinmeyer. Timur Si-Qin. Joan Jonas. Chloe Wise. Chris Burden. Deadman , Bed Piece , Through the Night Softly , Icarus , Shoot , Thorben Eggers.
Sophie Calle. Thiago Rocha Pitta. Barbara Hammer. Helen Marten. Rosemarie Trockel. John Bock. Im Schatten der Made , Pi-Bean , Seewolf , Lichterloh Roh , Monsieur et Monsieur , Nichts unter der Kinnlade , Martin Honert. Ian Cheng. Paul Pfeiffer. Anicka Yi. Rob Pruitt.
Mathilde Rosier. Tony Oursler. Mike Kelley. Hito Steyerl. Patty Chang. Walead Beshty. Tracey Emin. Lynda Benglis. Moritz Wegwerth. Laurel Nakadate. Jack Smith. Keren Cytter. Aaron Young. Wolfgang Tillmans. Alex McQuilkin. Carolee Schneemann. Hannah Wilke. Bernadette Corporation. Matt Calderwood. Heike Baranowsky. Charles Atlas. Paul Chan. Aura Rosenberg. Bill Viola. Amir Yatziv. Britta Thie. Cheryl Donegan. Jon Kessler. Trisha Baga. Florian Meisenberg. Cao Fei. Kristin Lucas.
Lina Lapelyte. Sean Bluechel. Rindon Johnson. Beatrice Gibson. Philip Topolovac. David Blandy. Loretta Fahrenholz. Stephen Vitiello. Gary Hill. Lawrence Weiner. Nandipha Mntambo. TOUR , Lutz Bacher. Hernan Bas. Richard Phillips. Franz West. Mark Manders. Marcel Dzama. Marie-Jo Lafontaine. Rachel Maclean. Anthony McCall. Bunny Rogers. Mathilde ter Heijne. Kader Attia. That Self , Anima Mundi , Positive Zero , Modus Vivendi , Night See Crossing Conjunction , The Observer with Remy Zaugg , Pep Agut. Nancy Holt. Simon Denny. Multimedia Double Canvas Toshiba , Multimedia Double Canvas Thomson , Multimedia Double Canvas Tevion , Multimedia Double Canvas Hantarex , Multimedia Double Canvas Philips , Multimedia Double Canvas Samsung , Kate Gilmore.
Douglas Gordon. Ilit Azoulay. Alexander Bornschein. Takeshi Murata. Paper Rad. Seth Price. Rachel Rose. Palisades in Palisades , Palisades audio piece , A Minute Ago , Jamie Crewe. Dan Graham. Dara Birnbaum. Guerilla Girls. Ryan Gander. Thomas Ruff. Gordon Matta-Clark. Automation House , Clockshower , City Slivers , Dennis Oppenheim. Material Interchange , Identity Transfer , Rocked Hand , Pressure Piece 1 , Glassed Hand , Compression — Poison Oak , Leafed Hand , Sous-Sols de Paris Paris Underground , Conical Intersect , Substrait Underground Dailies , Splitting , Forming Sounds , A Feedback Situation , Objectified Counterforces , Shadow Project , Fire Child , Fresh Kill , Johanna Billing.
Imi Knoebel. James Richards. Kon Trubkovich. Dara Friedman. Pierre Klossowski. Trisha Donnelly. William Wegman. Andreas Korte. Sarah Lucas. Martha Rosler. Peggy Ahwesh. Die Siedlung , Ed Ruscha. Terence Koh. Robert Smithson. Carsten Nicolai. Jordan Wolfson. Olivia Walsh. Christiane Fochtmann. Christian Marclay. Melanie Gilligan. Cave , Forest , Greed , Eleanor Antin. Juan Downey. Cory Arcangel. Tape 1: Common Knowledge , Tape 2: Local Color ,