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Multiple Realities: Experimental Art in the Eastern Bloc 1960s–1980s, Edited by Pavel Pyś, Foreword by Mary Ceruti, Walker Art Center, Minneapolis, MN, 2023 [Photos: Kam Herndon. Courtesy Walker Art Center]

Contributors: Ivana Bago, Dušan Barok, Anna Daucíková, Michal Grzegorzek, Libuše Jarcovjáková, Daniel Muzyczuk, Alexandra Pirici, Pavel Pys, Karol Radziszewski, Kathleen Reinhardt, Natalia Sielewicz

Design Director: Mark Owens Designers: Mark Owens, Ziga Testen, and Kim Mumm Hansen Editor: Pamela Johnson Publications Manager: Jake Yuzna Indexer: Enid L Zafran Image Specialist: Sebastiaan Hanekroot,Colour & Books Proofreader: Diane Woo

Printed by die Keure, Belgium Typefaces: Balance, Magda Clean Mono, and Animo

Paper: Munken Print White 115gsm, Mono Gloss 115gsm, and Profibulk 135 gsm

Exhibitions: curated by Pavel Pyś, with William Hernández Luege (curatorial assistant, Visual Arts), and Laurel Rand-Lewis (curatorial fellow, Visual Arts), Walker Art Center, Minneapolis, MN, November 11, 2023 – March 10, 2024 / Phoenix Art Museum, Phoenix, AZ, April 17 – September 15, 2024 / Vancouver Art Gallery, Vancouver, December 14, 2024 – April 21, 2025

Exhibition Artists: Milan Adamčiak, Autoperformationsartisten (Micha Brendel, Else Gabriel, Rainer Görß, and Via Lewandowsky), AWACS (Piotr Grzybowski and Maciej Toporowicz), István Bakos, Lubomír Beneš, A.E. Bizottság, Vladimir Bonačić, Geta Brătescu, Adina Caloenescu, Zdeňka Čechová, Věra Chytilová, Lutz Dammbeck, Jan Dobkowski, Orshi Drozdik, Ľubomír Ďurček, Sherban Epuré, Barbara Falender, Lászlo Fehér, Stano Filko, Vera Fischer, Henryk Gajewski and Piotr Rypson, AG. Geige, Teresa Gierzyńska, Karpo Godina, Tomislav Gotovac, Ion Grigorescu, Wiktor Gutt and Waldemar Raniszewski, Gino Hahnemann, Heino Hilger, Károly Hopp-Halász, János Istvánfy, Sanja Iveković, Libuše Jarcovjáková, Željko Jerman, Krzysztof Jung, György Kemény, Eva Kmentová, Milan Knížák / AKTUAL Group, Július Koller, Gyula Konkoly, Jiří Kovanda, György Kovásznai, Jarosław Kozłowski, Kryzys, Katalin Ladik, Matei Lăzărescu, Natalia LL, Ana Lupaş, Jolanta Marcolla, Dóra Maurer, Florin Maxa, Simon Menner, Tomislav Mikulić, Karel Miler, Andrzej Mitan, Jan Mlčoch, Teresa Murak, Krzysztof Niemczyk, Kolomon Novak, Ewa Partum, Plastic People of the Universe, Krystyna Piotrowska, Maria Pinińska-Bereś, Polish Radio Experimental Studio, Karol Radziszewski/Queer Archives Institute, Józef Robakowski and Eugeniusz Rudnik, Jerzy Rosołowicz, Akademia Ruchu, Zbigniew Rybczyński, Jan Ságl, Bogusław Schaeffer, Cornelia Schleime, Tomasz Sikorski, Jan Slávik and Ladislav Halada, Gabriele Stötzer, Aleksandar Srnec, Zdenek Sýkora, Alina Szapocznikow, Kálmán Szijártó, Bálint Szombathy, Peter Štembera, Janina Tworek-Pierzgalska, Teresa Tyszkiewicz, Zsuzsi Ujj, Andrzej Urbanowicz, Miha Vipotnik, Jürgen Wittdorf, Krzysztof Wodiczko, Jana Želibská

Close burgonet crafted in Milan, Italy, circa 1600

from The Art Institute of Chicago

A Carlo Scarpa Vase Found in a Thrift Store Sells For $107,000 at Auction

When Jessica Vincent, who raises polo ponies on a farm outside Richmond, Virginia, was shopping at a Goodwill store in that city, she likely had no idea she might come upon a rare and perfectly intact glass vase by a renowned Italian designer that would fetch six figures at auction—but that’s exactly what happened.

That vase, the so-called “Pennellate” vase or Model 3664, by famed architect and designer Carlo Scarpa (1906–78) hit the block on December 13 at Wright Auction House, tagged with an estimate of $30,000–$50,000. It sold for $107,100.

“It’s an amazing story, that this very sophisticated piece of glass finds its way to Virginia,” said Richard Wright, founder of the auction house, in a phone interview. “It was expensive, not mass-produced, and it falls through the cracks all the way down to the Goodwill. It’s not even chipped.”

He added: “And this very charming woman who raises polo ponies finds it, and she isn’t sure what she’s found but she’s smart enough to do her research. She finds the Italian glass group on Facebook, and is smart enough not to sell it for the first offer she gets, of $10,000.”

Standing about 13½-inches high, the object dates from about 1947 and is made with pieces of applied opaque and transparent glass that mimic brushstrokes across the glass’s surface (pennellate means brushstroke in Italian). Scarpa designed it for the Italian art glass maker Venini, located on the Venetian island of Murano.

Wright Auction House described the vessel as one of the rarest pieces the house has offered in a decade of auctions, and in fact only one other vase with this exact color combination is known to exist, in what the house calls an established private collection. The vase was included in its “Important Italian Glass” sale, which also offered examples by designers including Ercole Barovier, Tomaso Buzzi, and Dino Martins.

The current auction high for a Scarpa vase is also a Venini piece, a Laccati Neri e Rossi from 1940 that fetched about $309,000 at Christie’s Paris in 2012, soaring past its high estimate of about $64,000, according to the Artnet Auction Price Database.

Trained as an architect and designer, Scarpa is known for his architectural renovations, his glass, and his industrial design. He has come in for a renewed round of attention in recent years, for example in an exhibition organized by contemporary sculptor Carol Bove and pairing her own work with his, at the Henry Moore Institute in Leeds, England and at Museion in Bolzano, Italy.

“Venini Glass by Carlo Scarpa: The Venini Company, 1932-1947” appeared at the Metropolitan Museum of Art in 2013–14. It was while working with Venini, the museum said, that Scarpa “redefined the parameters of glassblowing in terms of aesthetics and technical innovation.” He created two dozen styles of vases, “pioneering techniques, silhouettes and colors that thoroughly modernized the ancient tradition of glassblowing.” In the 1930s and 1940s, their collaborations were on display at venues including the Milan Triennale and the Venice Biennale.

By Brian Boucher.

What do these true educational resources, from which we may learn collectively, have in common and how do they differ from the mainstream pedagogical approaches based on competition, separation and control? When and with the help of which tools can active care become a communal social and political instrument, providing voice and agency, rather than depriving of it? How can notions such as attention, observation, dialogue and listening become key strategies leading towards the creation of new shared ontologies, opening up new scenarios and providing different horizons?

This series of talks will explore the topic in collaboration with invited guests as well as the community around the David Graeber Institute.

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …

1870 – Magnus Enckell (d.1925) was a Finnish painter. Enckell was born in Hamina, a small town in eastern Finland, the son of a priest. He was the youngest of six sons.

In 1889, at the age of 19, he began his artistic studies in Helsinki, at the Drawing School of the Finnish Art Association. In 1891 he went to Paris for the first time. There he was drawn to the Symbolist movement, and was influenced by the painter Pierre Puvis de Chavannes as well as Symbolist literature.

Enckell was homosexual, as seems indicated in some erotic portraits which were quite uninhibited for their time. As Routledge's "Who's who in gay and lesbian history" puts it, "His love affairs with men have not been denied ... Enckell's naked men and boys are openly erotic and sensual."

The Awakening

In 1894 and 1895 Enckell traveled to Milan, Florence, Ravenna, Siena and Venice, where his inner conflicts were reflected in his art. In 1898 he taught himself fresco and tempera techniques in Florence, by studying the work of Masaccio and Fra Angelico.

The years in Italy gave his work a greater range of colors and a more optimistic foundation. In the first years of the twentieth century, under the influence of Post Impressionism, he developed a brighter, more colorful palette. An example of this is the series, The Bathers, in dark, lively colors. Together with Verner Thomé and Ellen Thesleff, Enckell founded the group 'Septem', in which artists who shared his beliefs came together.

In 1907 Enckell executed the commission for the altarpiece of Tampere Cathedral. The fresco, more than 10 meters wide and 4 meters high, shows, in subdued colors, the resurrection of people of all races. In the middle of the painting two men walk hand in hand.

From 1901 onwards Enckell spent many summers on Suursaari Island, where he painted his "Boys on the Shore" (1910). He organised exhibitions of Finnish art in Berlin (1903) and Paris (1908), and of French and Belgian art in Helsinki (1904). He chaired the Finnish Arts Association from 1915 to 1918, and was elected a member of the Fine Art Academy of Finland in 1922.

Enckell died in Stockholm in 1925. His funeral was a national event. He was buried in his native village in Finland.

1905 – Erika Mann (d. 1969), was the daughter of Thomas Mann and Katia Mann and led one of the most eventful lives you've probably never heard of. She was born in Munich and had a privileged childhood. The Mann home was a gathering-place for intellectuals and artists. She was hired for her first theater engagement before finishing her Abitur at the Deutsches Theater in Berlin.

On July 24, 1926, she married German actor Gustaf Gründgens, but they divorced in 1929. In 1927, she and her brother Klaus Mann, a homosexual, undertook a trip around the world, which they documented in their book Rundherum; Das Abenteuer einer Weltreise.

The following year, she began to be active in journalism and in politics. She was involved as an actor in the Lesbian film Mädchen in Uniform (1931, Leontine Sagan) but left the production before its completion. In 1932 she published the first of many children's books.

Shortly thereafter she became involved in several Lesbian affairs in her private life. Her first noted affair was with actress Pamela Wedekind, whom she met in Berlin, and was who engaged with her brother Klaus. She later became involved with director Therese Giehse, and journalists Betty Cox and Annemarie Schwarzenbach, whom she served with as a war correspondent during World War II. As was later written, her relationships were both sexually passionate and intellectually stimulating. Mann enjoyed being in the company of women who were intelligent, and with whom she could converse with on any number of international topics.

In 1933, she, Klaus, and Therese Giehse had founded a cabaret in Munich called Die Pfeffermühle, for which Erika wrote most of the material, much of which was anti-Fascist. Erika was the last member of the Mann family to leave Germany after the Nazi regime was elected. She saved many of Thomas Mann's papers from their Munich home when she escaped to Zurich. In 1936, Die Pfeffermühle opened again in Zurich and became a rallying point for the exiles. In 1935 she undertook a marriage of convenience to the homosexual English poet W. H. Auden, in order to obtain British citizenship. She and Auden never lived together, but remained friends and technically married until Erika's death.

In 1937, she crossed over to New York, where Die Pfeffermühle (as The Peppermill) opened its doors again. They lived (with Therese Giehse and her brother Klaus Mann and Miro) in a large group of artists in exile with people like Kurt Weill, Ernst Toller, and Sonja Sekula.

In 1938, she and Klaus reported on the Spanish Civil War, and her book School for Barbarians about Nazi Germany's educational system was published. The following year, they published Escape to Life, a book about famous German exiles.

During the war, she was active as a journalist in England. After World War II, Mann was one of the few women who covered the Nuremberg Trials. Following the war, both Klaus and Erika came under an FBI investigation into their political views and rumored homosexuality. In 1949, becoming increasingly depressed and disillusioned over post-war torn Germany, Klaus Mann committed suicide. This event devastated Erika.

In 1952, she moved back to Switzerland with her parents. She had begun to help her father with his writing and had become one of his closest confidantes. She became responsible for his works and the works of her brother Klaus after death and worked on them intensely. She died in Zürich in 1969.

1953 – Steve Clark Hall is a retired United States Navy submarine officer and documentary film maker. He is the first openly gay senior U.S. Navy officer who is a graduate of the U.S. Naval Academy.

Steve Clark Hall was born in San Francisco, and attended high school in Eureka, California. He was nominated to the U.S. Naval Academy by Senator John V. Tunney of California. He graduated with honors in the Class of 1975 with a Bachelor of Science in Systems Engineering and rowed all four years on the Navy Lightweight Crew team. After completing his 20-year career as a nuclear submariner, he retired from Naval Service and returned to his home in the Castro District of San Francisco.

Hall was one of 35 LGBT Naval Academy alumni who sought official recognition from the U.S. Naval Academy Alumni Association as the USNA Out Chapter. In July 2007, Hall began the Out of Annapolis Project which included a detailed study of the LGBT alumni of the Naval Academy. He produced and directed the documentary film Out of Annapolis, which opened at the SVA Theater in New York in June 2010.

In January 2009, after a front-page article in the Annapolis Capital brought significant awareness to the Out of Annapolis Project, Hall worked with LGBT alumni of the U.S. Military Academy to establish an association similar to USNA Out, Knights Out.

1994 – Collin Martin is an American professional soccer player who plays as a midfielder for San Diego Loyal in the USL Championship. He has played for D.C. United and Minnesota United FC in Major League Soccer, and for Richmond Kickers and Hartford Athletic in the United Soccer League. He came out as gay in June 2018, making him at the time the only out man in any of the big five American sports leagues or any top-division professional men's national soccer leagues.

Born in Chevy Chase, Maryland, Martin joined the D.C. United Academy during the 2009–10 season as a 14-year-old in the under-16 category. In his second season with the u16s, Martin led the team in scoring with 13 goals while leading the side to finish top of its group in the U.S. Soccer Development Academy. Then, the next season, Martin was promoted to the under-18s where he led the team in scoring with 11 goals. He impressed the coaching staff enough that season to earn playing time with the D.C. United Reserves in MLS Reserve League action.

Martin then choose to attend Wake Forest University where he would play for the Wake Forest Demon Deacons soccer team for the 2012 season in which he scored one goal and registered six assists. At the end of the season, Martin earned All-ACC Freshman Team honors.

In February 2020, Martin was signed by San Diego Loyal for its inaugural season. During a home match against Phoenix Rising FC on September 30, 2020, Martin was the target of a homophobic slur by Phoenix midfielder Junior Flemmings during first-half stoppage time. Flemmings called him a "batty boy", a homophobic slur in his native Jamaica. After he went to the referee to report the incident, Martin was shown a red card that was later rescinded after the referee admitted he was confused. After Phoenix manager Rick Schantz declined to apologize and remove Flemmings, San Diego walked off the field and forfeited the match in protest. A week earlier, the Loyal had forfeited a match against the LA Galaxy II after a racial slur was used against one of their players. Flemmings was banned for six games and fined an undisclosed amount.

1975 – The Saskatchewan Human Rights Commission rules that "sex" in Human Rights Act includes sexual orientation and begins formal proceeding against University of Saskatchewan for discriminating against teacher Doug Wilson who had been fired after coming out.

"There are tendencies in modern history that produce the Kafkan in the broad social dimension: the progressive concentration of power, tending to deify itself; the bureaucratization of social activity that turns all institutions into boundless labyrinths; and the resulting depersonalization of the individual."

Milan Kundera (The Art of the Novel)

Maria Gaetana Agnesi (1718-1799): A Very Short Biography

Maria Gaetana Agnesi was born in Milan, then the capital of a Duchy under Austrian rule, on 16 May 1718. She was the daughter of Pietro Agnesi (1690-1752), the scion of a family of wealthy merchants who traded in luxury textiles. At the age of five, Maria Gaetana was already known in her native city as a prodigy, well versed in languages, memorizing lengthy Latin speeches, and performing effortlessly in front of an audience in her family palazzo. Available descriptions of her skills may contain symbolic elements —for example, her alleged ability to speak seven languages fluently— but it is clear that the young girl was highly talented, and most intriguingly for her contemporaries, she would soon excel in the typically masculine art of philosophical disputation. A booklet dated 1727 celebrated Agnesi's wit and the female intellect through a collection of poetry composed within a circle of family friends, and included a Latin oration in defense of the right of women to pursue any kind of knowledge. That oration had been written in Italian by one of Agnesi's tutors, and she had translated and memorized it as part of her studies. In the following years she studied natural philosophy and mathematics with prominent local scholars. Her studies were interrupted in the early 1730s by a mysterious and persistent malady, coincident with a period of repeated performances, the departure of her favorite tutor, and the death of her mother. Her "convulsions" eluded any diagnosis or treatment until about 1733, when she apparently recovered and returned to her studies. Her healing was attributed to the direct intercession of Saint Cajetan (San Gaetano), for whom the family had a particular devotion, as evidenced by her name, Maria Gaetana. Saint Cajetan was the founder of the Theatine order, to which Maria Gaetana kept a lifelong, profound spiritual connection. In 1738, aged twenty, Agnesi concluded her studies with the publication of her thesis, under the title Philosophical Propositions (Propositiones philosophicae), thus mimicking the academic path of male students in contemporary colleges. By this time she had achieved the status of a minor celebrity in northern Italy and was the protagonist of the conversazione (literally, "conversation") that met regularly at palazzo Agnesi. A year later, at the height of her career as a filosofessa (woman philosopher), Agnesi expressed the desire to abandon the very public life, in which she could dedicate herself entirely to the study of mathematics, as well as to charitable activities and devotional practices. After initial resistance, Pietro eventually accepted his daughter's requests. On her part, she promised she would still participate in the conversazione, although only sporadically. The following decade of intense mathematical study culminated in the publication of the Analytical Institutions (Instituzioni analitiche), a remarkable introduction to the new techniques of differential and integral calculus "for the Italian youth" and the first book of mathematics to be authored by a woman. Institutions was well received in Italy and was later translated into French and English. In the aftermath of its publication, Agnesi was invited to join various literary and scientific academies, and in 1750 she was offered an honorary lectureship in mathematics at the University of Bologna, then under the control of the pontifical government. However, she did not accept the position, considering her work in mathematics concluded with the Institutions.

Pietro's sudden death in 1752 made it possible for Agnesi to cut her last ties with the world of the conversazioni, give up her wealth and inheritance rights, and devote the rest of her life to charitable activities - such as teaching children in parish churches and assisting infirm women at the Ca' Granda, the ancient city hospital. In 1771 the archbishop of Milan, Giuseppe Pozzobonelli (1696-1783), offered Agnesi the directorship of the female section of the Pio Albergo Trivulzio, a new institution created to house invalid and chronically ill patients from the lower urban social strata. She took up the job with her usual determination, steering the Albergo through the jurisdictional conflicts that characterized the reformist age and the turbulent close of the century. Maria Gaetana Agnesi died of pneumonia in the rooms of the Albergo on 9 January 1799. Milan was under French occupation at the time, and she died a citizen of the Repubblica Cisalpina. All forms of public ceremony had been prohibited to avoid confrontations between French troops and the local population. Agnesi was buried hurriedly in an unmarked mass grave outside the city walls, together with fifteen other women from the Albergo.

- Massimo Mazzotti ("Maria Gaetana Agnesi: Science and Mysticism")

Lucio Fontana, Concetto Spaziale, 1955. Oil and glass on canvas, Signed and dated (lower right): “L. Fontana, ’55“; signed, titled and dated (on the reverse): L. Fontana, Concetto Spaziale.

Lucio Fontana (1899-1968) founded his poetics of “Spatialism” on the analysis of the virtual space (the space of the artwork), which the artist tries to intersect with the real space. This process is oriented in two different directions: one is the informal, multi-material “baroque,” which inverts the space of the work towards the spectator. In such series - such as “Pietre” (“Stones,” 1952-56) - the surfaces are enriched with fragments of glass and precious stones.

The second one is the essentiality of the “cuts,” monochromatic and rigorist. During this period, Fontana’s works begin to have a simpler and more linear geometry, as seen in the series “Buchi” (“Holes,” 1955-68) and “Tagli” (the first “Cuts” are from 1958), his most perfect incarnation of purity and rigour, able to suspend time into a gestural instant. “Concetto spaziale” (1955) on display presents a perforated surface enriched with a “constellation” of glass fragments, which create a further implied spatial dimension: jutting out they contrast with the hollows created by the holes and open up new imaginary paths. This work has been exhibited in a number of important institutions, such as the Stedelijk Museum in Amsterdam, Louisiana Museum of Modern Art in Humlebæk, and Palazzo Reale in Milan.

Courtesy Alain Truong

Hey do you remember how a million years ago I came across a portrait in Wikimedia labeled as being Princess Luisa Carlota of Bourbon that I believe is actually Ludovika of Bavaria? Well back when I was looking into that I needed to know the eye color of Luisa, so I searched for other portraits of her and in all she had brown eyes, except for this one in Wikimedia:

This miniature was made by Pietro Nocchi in 1823. The source of the picture was the auction website Cambi, where the painting was auctioned in 2015. This is the description of the item (automatic translation from Italian, emphasis by me):

Famous painter from Lucca, Pietro Nocchi worked as a portraitist for Elisa Baciocchi and her court; from 1812 he directed the Institute of Fine Arts of Lucca. With the Restoration he continued his activity for the Bourbons, both in large and small formats. Maria Luisa Carlota of Bourbon (Barcelona, 1802 – Rome, 1857), daughter of Prince Ludovico I of Bourbon and the infanta Maria Luisa of Bourbon-Spain, is portrayed here at the time of her marriage to Duke Maximilian of Saxony, which took place on 15 October 1825 by proxy and on 7 November in person. An engraving published by Comandini (L’Italia nei Cento anni del secolo XIX, Milan 1900-1901, p. 109) dated September 1825 and derived from this important portrait bears the inscription: “P. Nocchi made from life; R. Marsili lit.”. Another precious miniature signed and dated “Pietro Nocchi, 1818”, which portrays his mother, Maria Luisa di Borbone (1782-1824), Duchess of Lucca, is preserved in the Sinigaglia collection at the Pinacoteca Ambrosiana in Milan, while a small portrait of Carlo Ludovico, Duke of Lucca (1799-1883), initialed “P.N.” it is included in the Ceci collection exhibited in the Royal Palace of Pisa.

I tried my look and searched for L’Italia nei Cento anni del secolo XIXI on the Archive, which thankfully came forward. Here is the engraving:

That's not... that's just not the same picture. The engraving doesn't look even remotely similar to the miniature. Just in case I went through the whole year of 1825 page by page, and I could not find any other image of Luisa. So this is must be the picture the auction site is referencing. Which again, bares no actual resemblance to the miniature they sold as being Luisa: not the hairstyle, not the dress, not the jewelry, not the sitter's pose, not anything. Also the engraving is clearly not even from the time of her marriage, since those giant sleeves only became fashionable in the 1830s.

Does this means the girl in the miniature isn't Luisa? I don't know for sure, but I really hope the auction site didn't base their identification on the engraving alone, because in that case...

Artist's Guide To Pricing Paintings-Milan Art Institute

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LEGACY PROJECT: FUTURE DREAMS S006 (DEBUT BOOTCAMP CASTING RESULTS) 

SCHEDULE TYPE: TRIMESTER SCHEDULE RESTRICTIONS: Cannot be paired with another trimester schedule, unless stated otherwise

** this is just an update, there are no requirements associated with this post. **

on FRIDAY, JANUARY 5, the girls who participated in the DEBUT BOOTCAMP are made aware that they will be receiving the result of their audition for FUTURE DREAMS 6 on JANUARY 8 morning.

DREAMERS TEAM

CHA SORI

KIM NAYOUNG

KIM YUJIN

KWON SENA

NOH AREUM

WATANABE MIYU

YU MILAN

CONGRATULATIONS on passing the audition for FD6. from now these contestants will be referred to collectively as the DREAMERS TEAM ! with this news, also comes the confirmation that they will participate in the performance recordings of 'Pop? Pop!' and 'Rolex' on JANUARY 9 and 10 with SON NABI.

on JANUARY 9, before recording begins, the above trainees will be handed a contract that they will have to sign. this contract covers many grounds; from their conduct, pay, schedule and vacation. here are the main rules:

trainees must in no way take part in, or perform, illegal activities.

trainees must in no way perform acts that could cause harm to their image or the company’s,

while legacy entertainment has no control over trainees personal lives, dating is not encouraged and having a public relationship is forbidden as it could cause harm to the trainee’s image or the company,

trainees cannot own any type of social media, their image is managed and owned by the company,

legacy entertainment is the sole employer of the trainee. they also cannot take jobs without legacy entertainment’s approval (this means that a trainee taking part in the show cannot have a part time job),

cameras will roll from 10AM to 12AM from monday to friday. official working hours are from 2PM until 10PM from monday to friday.

trainees are paid 100,000 won per day, for a total of 500,000 won every week. the pay covers the show and every related activity.

trainees currently attending an education institution must comply with the company’s schedule. high school students are encouraged to transfer to arts school that allow flexible schedules and some classes to be credited.

saturdays and sundays are off and trainees are free to do what they please with their free time. however, they must let a manager know where they are at all time and still follow the above mentioned line of conduct.

legacy entertainment might follow a trainee without their consent if they have valid reasons to believe that any of the above mentioned clauses aren’t respected.

please note that following the recordings and until the official mission is posted, the girls will be following regular training schedules but kept separated from the other trainees. 

MEETING (FOR JUNG JIAE)

on SUNDAY 8, JUNG JIAE receives a call from one of the coaches asking her to present herself to the company the next day at 8AM sharp. when she comes in on JANUARY 9, KIM HYUNCHEOL himself is waiting for her at the door and invites her to follow him to his office. he seems to be in a good mood on this monday morning, and perhaps this is a good sign. as they enter the office, two other people are already present; one is the infamous LEE HYEMI, from the marketing department, and the other is FABULA's manager PARK EUNSOOK.

"first, we apologize for calling you here without more information. you're probably wondering what's happening and disappointed to not be with the other trainees who passed the audition..." hyuncheol takes a pause to give a comforting smile to the girl. "truth be told, you actually have passed the audition, however, we've been observing all the trainees at the camp, your skills and evolution during the past several months, we've been feeling like you would be a good fit in another group." he glances at the only manager present, clearly indicating which group he is referring to. "so from today onwards, you are an official member of FABULA. hopefully, you aren't too disappointed about missing future dreams now!" the three staff members offer warm congratulations to the new idol. before EUNSOOK and her new charge can leave the room, HYEMI adds: "and please; behave. we're very pleased with most of the members' actions and attitudes, don't ruin it for them." she nods in the direction of the manager who takes it as their okay to leave.

CONGRATULATIONS! JUNG JIAE will be joining FABULA! from now on, relevant trimester information will be in fabula's mission post (which will be posted next weekend)!

THE REST

unfortunately, any other debut bootcamp trainee not mentioned so far hasn't passed the audition. the girls will however be given JANUARY 9 and 10 off and then expected to return to normal trainee activities starting from JANUARY 11. 

Chiara Zonca

Blue Canyon #2

Photographic print on Hahnemühle Pearl Fine Art Archival paper   50.8 x 40.6 cm. Created in July 2021 -

Notes

This photograph was shot in Blue Canyon, Arizona. The area is part of the Hopi Indian Reservation and is known for the vibrant colours and intricate formations. 

Chiara Zonca, born in Milan, Italy, is a fine art photographer based in Vancouver, Canada. She seeks isolated landscapes as a form of exploration of self. She documents specific moments in time when solitude and open spaces alter her landscape perception.

“I am interested in barren, mystical, untinged landscapes; places that challenge my perception of the earth until it becomes somewhere completely unfamiliar. I am drawn to the idea of creating work I could have seen in a dream, the render of a hazy memory where natural and surreal meet.” - Chiara Zonca, 2021 In 2019 Chiara released her first monograph, Desert Portraits, by Scandinavian Publisher The New Heroes & Pioneers, based on her series Moon Kingdom. The book is currently part of the collection of the Ingalls library at the Cleveland Museum of Art and of The Getty Research Institute Library in Los Angeles.  www.chiarazonca.com  @shadowontherun 

via The Auction Collective

Centre for Poetry and Poetics, Sheffield Presents:

Lisa Samuels - Adam Piette - Ágnes Lehóczky& the launch of three new poetry collections

An in person event to celebrate the release and launch of three latest collections. Join us for three readings and three book launches, from 6:30pm.

Adam Piette is Professor of Modern Literature at the University of Sheffield, and is the author of Remembering and the Sound of Words: Mallarmé, Proust, Joyce, Beckett, Imagination at War: British Fiction and Poetry, 1939-1945, The Literary Cold War, 1945 to Vietnam. He co-edits the international poetry journal Blackbox Manifold with Alex Houen. Adam will be launching 'Nights as Dreaming' (Constitutional Information, 2023).

Lisa Samuels works with experimental writing, multi-modal art, and relational theory in transnational life. She is the author of fourteen books, from The Seven Voices (O Books 1998) to Breach (Boiler House 2021), many poetry chapbooks, and influential essays on theories of power, interpretation, and the body. Samuels regularly collaborates with composers and movement artists, edits literary work, and performs internationally. Her novel Tender Girl is newly published in Serbian as Mekana Devojka (2022, translator Milan Pupezin), a new poetry book, Livestream, is out in 2023 with Shearsman Books, and a book of her selected essays, Imagining what we don't know: creative theory and critical bodies, is forthcoming with punctum books. Samuels is Professor of English & Drama at the University of Auckland in New Zealand.

Ágnes Lehóczky's poetry collections published in the UK are Budapest to Babel (Egg Box Publishing, 2008), Rememberer (Egg Box Publishing, 2012), Carillonneur (Shearsman Books, 2014) and Swimming Pool (Shearsman, 2017). She has also three poetry collections in Hungarian published in Budapest: Ikszedik stáció (Universitas, 2000), Medalion (Universitas, 2002) and Palimpszeszt (Magyar Napló, 2015). She is the author of the academic monograph on the poetry of Ágnes Nemes Nagy Poetry, the Geometry of Living Substance (2011). She was winner of the Jane Martin Prize for Poetry at Girton College, Cambridge, in 2011. Her pamphlet Pool Epitaphs and Other Love Letters was published by Boiler House in May 2017. She co-edited major international anthologies: the Sheffield Anthology; Poems from the City Imagined (Smith / Doorstop, 2012) with Adam Piette and recently The World Speaking Back to Denise Riley (Boiler House, 2017) with Zoë Skoulding and Wretched Strangers (Boiler House, 2018) with J. T. Welsch. Among other collaborative projects, she recently worked with The Roberts Institute of Art, London. She is Senior Lecturer in Creative Writing, Programme Convenor of the MA in Creative Writing and Director of the Centre for Poetry and Poetics at the University of Sheffield. Her new collection Lathe Biosas, or on Dreams & Lies, part of a larger project, was published by Crater Press in 2023.

Location and Timings10th of May – 6.30pm (book launches): Diamond, - LT 5, University of Sheffield

Please note we will be launching three new collections by the three writers; books will be on sale during the evening (alas, no cards).

This is an event designed to be in person so we would love to see you there. If you can't travel, an online link will be available (see below). I

f you attend online, please do log in on time (by no later than 6.25pm so we can start the reading and recording smoothly and on time):meet.google.com/qho-ssxi-yxm

@sergeantbarnestm​ liked for a Starter Roulette and got....

“I know you’re going to hate me for this,” the blonde began as she let herself into his small Brooklyn apartment, carrying a garment bag into the room then carefully laid it on the kitchen island.  “But I don’t really care because I’m too excited.  Okay so, I may have took on the role as your spokesperson, but you were invited toooo-”  Hands drum on the counter, her eyes filled with excitement in an almost childlike matter.  “The Met Gala!  And, yes, you probably have no idea what that is, but it’s this lavish and beautiful and artistic and-and just elaborately extravagant fundraiser for the Met’s Costume Institute.  And yes, it’s pretentious and tone deaf, especially with everything going on in the world, but it’s art.  Anyways, that’s not the point.  The point is you and Sam were both invited this year.  Sam can’t go.  That would look bad politically, but you- oh my god you’d be perfect.  There’d be just enough backlash to get the positive message through that you are out, you are living, and most of all that you deserve to be here and aren’t afraid of what others think of you.  It would be a perfect way to start, especially if you were ever to throw your hat into the socialite political thunder- which I’m not saying you have to- but just out there.  But what’s most important is that I want to see it all.  I’m selfish- I know- but your ticket and table are paid for.  Ultimately it’s up to you, and I know this is so so far from your thing and probably triggers a tidal wave and anxiety, but- just in case- I got in contact with a designer I’d met in Milan and he wants to style you...so he sent a tux with some measurements I had sent him after raiding your closet just to get the base down...and then he’d glamourize it if you say yes....so....what do you think?  Other than you hate me.”

Roxanne Lowit “I paint and there were people who I wanted to sit for me but had no time, so I started taking pictures of them. I liked the gratification of getting the instant image so I traded in my paintbrushes for a camera.” - Roxanne Lowit, Photographer. Roxanne Lowit did not go to school to be a photographer. She graduated from ‘Fashion Institute of Technology’ in New York with a degree in ‘Art History and Textile Design’. It was during her successful career as a textile designer that she realised something, Lowit wanted to be a photographer. Lowit started making pictures in the late 70’s with her ‘110 Instamatic' photographing her own designs at the New York fashion shows. Before long she was covering all the designers in Paris where her friends - models like Jerry Hall - would sneak her backstage. It was here that she found her place - and career - in fashion. For over three decades the lens of Lowit has captured the faces, places and spaces. Her images witness the creation of fashion, art, theatre and film. Lowit has photographed thousands of luminaries, including Andy Warhol, Salvador Dali, Kate Moss, Yves Saint-Laurent, Johnny Depp, Madonna and George Clooney. In short, she has captured the creative classes of the last three decades in her photographs, offering unprecedented visual entrée to the beau monde of New York, Paris and Milan. Lowit has always done things differently. You could say that she really created an entirely new genre of photography - by taking her camera where nobody else wanted to go -backstage at fashion shows. Whilst everyone else was fixated on the runway Lowit was busy capturing the real action. Roxanne Lowit died unexpectedly on September 13, 2022. She was 80 years old. Roxanne Lowit 1942 - 2022. #neonurchin #neonurchinblog #dedicatedtothethingswelove #suzyurchin #ollyurchin #art #music #photography #fashion #film #design #words #pictures #love #FIT #textiledesigner #donnakaran #scottbarrie #antoniolopez #katemoss #yvessaintlaurent #newyork #photographer #fashionphotographer #editorial #backstagefashionphotographer #nightlife #backstage #models #roxannelowit https://www.instagram.com/p/CiwwL3KIwQN/?igshid=NGJjMDIxMWI=