The trailer of Light Cycles, a movie by Mike Gamble showing night riding wih riders useing LED lights to trace out paths as they shred trails in the Pacific Northwest of America.
Category: art
The Marino Waltz was written by John Sheahan, of The Dubliners.
You’d have gotten a kick out of this, Dad.
Tonight the BFI had a special event for the 40th birthday of Yes Minister.
They of had a screening of Yes Minister episode “Party Games” – in which Jim Hacker decides to run for leader of the party and makes a European issue part of his campaign – finishing with a discussion with Jonathan Lynn the co-writer of the excellent TV series.
Categories
Tauromaquia , Juan Barjola
Deposito de la Junta de Extremadura No. Inv D7.498
Museo de Cáceres
Juan Barjola (Spanish, 1919–2004) was born in Badajoz, to a family of laborers. The Spanish Civil War interrupted his teenage years, and left an indelible mark on his work. He was interested in the Spanish tradition of Diego Velásquez, Francisco de Goya, and El Greco, as well as in the Flemish artists and Hieronymus Bosch.
Another artist whose work left a lasting impression on Barjola is Francisco de Goya, whose series of canvasses and lithographs dedicated to world of bullfighting inspired Barjola’s own affinity for the subject. Other preferred themes in his work are dogs, women and judges.
The artist died on December 21, 2004, at the age of 85.
— extract Juan Barjola biographys from, Artnet, and PicassoMio
Step 1 – get a pencil
Step 2 – tap it on the window
Categories
Ich möchte
…exit.
Sitting in St. Pancras Station, waiting for the Eurostar.
Drinking a hot chocolate (lumps of cocoa dropped into hot milk).
Woman walks passed as I dreedle the last chocolate into the milk.
“Very nice, is that a Hockney”, she says.
Before Christmas, while we were having lunch in a lovely Greek restaurant, my nephews and niece imagined me as a 🦄.
I particularly appreciate the beard and sparkles.
Title: Afloat
Location: Groyne on seafront, near to the Palace Pier
Artist: Hamish Black
Date: 1998
‘Afloat’ is a huge circular donut shaped globe cast in bronze. Situated at the seaward end of the groyne, its centre at eye level allows a view of our world through the sculpture.
The donut or torus (a shape that has a continuous surface with a hole in it) has been posed as a possible model by scientists of how our universe may look.
The sculpture was generated by taking a world globe and pressing the south and north poles together to form a torus.
Now placed on its side the lines of longitude radiate from the central hole, linking the sea and sky.
Across its surface are the shrunken shapes of the major continents, adrift like dark shadows.
Los pimientos del piquillo ¡qué pimientos!,
las alubias de Sangüesa y la trucha con jamón,
cogollicos de Tudela,
la cuajada de la abuela
y el cordero al chilindrón.
¡Qué bien me sienta el marisco!
Con champán, mucho mejor.
Me río yo de Jalisco,
de mi tierra no me voy.
Las cerecicas de Echauri ¡qué fruticos!,
los espárragos de Allo y el quesico del Roncal,
el clarete de Cascante, de Cintruénigo, Murchante,
de Cirauqui hasta Mañeru y el de Olite no está mal.
¡Qué bien me sienta el marisco!
Con champán, mucho mejor.
Me río yo de Jalisco,
de mi tierra no me voy.
Y con estos arañones
nos hacemos garrafones
que bebemos en las fiestas
y en los días de labor.
¿Dónde vas con esas setas?
Que te saco la escopeta.
Nos comemos unos monguis
y nos ponemos cañón.
¡Qué bien me sienta el marisco!
Con champán, mucho mejor.
Me río yo de Jalisco,
de mi tierra no me voy.
Raising the Flag on Iwo Jima is an iconic photograph of six United States Marines raising the U.S. flag atop Mount Suribachi during the Battle of Iwo Jima in the final stages of the Pacific War.
The photograph, taken by Joe Rosenthal of the Associated Press on February 23, 1945
— excerpt from Wikipedia page
ALIEN
By David Breuer-Weil
Height: 6m (19’ 8”)
An extension of the ‘Visitor’ series, Alien is a vast 6m tall work depicting a humanoid figure crash landed in the earth. It’s circling legs suggest that this a more permanent development as the figure struggles to free itself from the ground.
“I have always been fascinated by the idea that we are not alone, that a massive Alien might suddenly land on earth. I wanted to capture the sense of wonder and shock that such an arrival would generate.
[…]
However, the title Alien also suggests something quite different: the difficulty of being an outsider.
My father arrived in England from Vienna with his parents as refugees in 1938.
My grandfather was interned as an enemy ‘Alien’, a great paradox given the reasons he had to leave Austria, something that my family often spoke about. Sometimes immigrants hide their true identity beneath the surface, like this sculpture. Many of my works, both paintings and sculptures, explore the theme of belonging or alienation. But with this work I wanted to use a vast, breathing human form to express the profound feelings associated with these themes. And I needed the massive scale to portray the intensity of these emotions.”
BROTHERS
By David Breuer-Weil
Conceived in 2015 bronze height, 6m
“This sculpture is a human arch, but the arch means something very potent: the joining of two minds. […] connections such as brothers, siblings, partners, friends and joining strangers. […] of coming together, resolution and peace. But it also offers therefore a suggestion of symbolic meanings to every bridge or arch. Every arch is a symbol of connection and resolution.
[…]
I believe that it is only a matter of time until technology allows literal telepathy. A few generations ago the idea of phoning somebody thousands of miles away would have seemed like a preposterous fantasy, but now we take that, email and social media for granted. Distances between people that were formerly unbridgeable are now connected in less than a second. I want to express that miraculous element of modernity. Now is in many ways the age of communication.”
These sculptures are in the St. Pancras Newchurch Yard grounds facing Euston Road. It is a Greek Revival church (built from brick, Portland stone, and terracota) in St Pancras, London, built in 1819–22 to the designs of William and Henry William Inwood.
In the sunshine, Tommy can’t stop peddling.
