o wizualiach, o fotografii
niedziela, 23 września 2007

znajdź wszystkie błędy...

error seek...










sobota, 22 września 2007
gevabox II




lens: Meniscus 11/105 

(Kadlubek's Kamera Catalogue)






wtorek, 18 września 2007
i jeszcze o Targówku
grzechy główne

Patryk i Patrycja z TESCO przedstawiają:












fotobloki - powrót

W związku z wieszczoną przez niektórych powolną śmiercią niemieckiej szkoły fotograficznej wyrosłej spod skrzydeł Thomasa Ruffa stwierdziłem, że ze mną nie będzie tak łatwo. Tylko co będzie z Niemcami?


Plus skandynawski wkład do dyskusji o fotografii architektury. Kamera: Nokia 6280


niedziela, 16 września 2007

Manfred Stuhm z Dortmundu, propagator pozyskiwania energii z biomasy.  W tym celu przebrał się (kiedyś) za warzywo i został sfotografowany. Niesamowite zdjęcie. Nie wiem kto robił. 




środa, 05 września 2007
Loaded landscapes

Loaded Landscapes

August 16 – October 13, 2007

Museum of Contemporary Photography
Columbia College Chicago
600 S. Michigan Ave
Chicago, IL 60605

Loaded Landscapes offers a peculiar type of landscape photography, one concerned with place, but place laden with human experience. 

Work by:
Ayreen Anastas
Alan Cohen
John Duncan
Isabelle Hayeur
Atta Kim
Shai Kremer
New Catalogue (Luke Batten & Jonathan Sadler)
Simon Norfolk
Paul Shambroom
Anna Shteynshleyger
Joel Sternfeld



 Isabelle Hayeur, Excavations (started in 2005) - Blindsight, 2005, 105" X 60"

poniedziałek, 03 września 2007
piosenki warszawskiej ulicy

Słuchałem Stanisława Grzesiuka i jak zaśpiewał o Targówku taki fotosik mi się przypomniał był:




Transportowy Design day

Nawet w Polsce powolutku przekonujemy się, że transport publiczny i przeciąganie worka z ziemniakami to nie to samo. Tymczasem na świecie pojawiają się kolejne zupełnie fantastyczne inicjatywy, które dowodzą że jazda metrem czy autobusem może dostarczać wrażeń estetycznych, może być frajdą po prostu. Świat się zmienia, w Dubaju o sieci tramwajowej myśli się w kategoriach atrakcji turystycznej. A w Wwie atrakcją będą nowe tablice informacyjne na al. Jerozolimskich, a projektujący stacje metra za wszelką cenę starają się nie wychylić ponad koncepcje proponowane przez twórców centrów handlowych.

Trzeci Design Day organizowany przez Międzynarodowy Związek Transportu Publicznego odbędzie się w Lizbonie.

A to co do powiedzenia o wizerunku stacji ma zarząd lizbońskiego metra:

Art as you travel Ever since the construction of the first stations in the 1950s, it has been our aim to make the underground environment more and more amenable to the user. The adoption of this policy was, to a large extent, the achievement of Francisco de Mello e Castro, then President of the company, whose approach revealed an understanding of how public spaces should be administered at a time in which budgets were more restricted.

The reference point for the first generation of stations, as far as the overall architectural and artistic concept is concerned, are the names of the architect Keil do Amaral and the artist Maria Keil who, despite the financial limitations of the era, accomplished work of outstanding quality and transformed the Lisbon underground into a classic example of how public spaces should be managed.

Keil do Amaral already had considerable experience in designing public spaces and facilities for transport operators; he was responsible for the first terminal building at Lisbon's Portela Airport (replaced on the 1970s by a new one). He designed the prototype station for the Lisbon Underground, which was used with only slight modifications until 1972, when the line extension to Alvalade station was completed.

Maria Keil designed artistic wall coverings for the Lisbon Underground over a period of roughly 25 years - from her first commission in 1957 to her final work in 1982. She provided the designs for a total of 19 stations (practically all stations in construction phases I and II, with the exception of Avenida station which Rogério Ribeiro was responsible for). Her work for the Lisbon Underground is of particular importance in that it marked a turning point in the revival of the Portuguese art of the glazed painted tile or "azulejo", which had gone through a long period of decline from the 19th century until the first half of the 20th century. Indeed, from the early 1950s onwards Maria Keil became the principal driving force in the discovery of new artistic possibilities for the azulejo and thus helped to revive and reinstate many traditional techniques that had long fallen into disuse.

The most important pieces from her remarkable body of work for the nineteen stations are the designs for the stations of Intendente (considered by critics to be a masterpiece of contemporary tile art), where she used the "dry cord" technique, Restauradores where antique and contemporary motifs were combined to perfection, and Anjos which featured a revival of Art Nouveau decoration.

In 1988, with the opening of the line extensions Sete Rios - Colégio Militar and Entrecampos - Cidade Universitária, a second generation of stations emerged and, thanks to the efforts of the then Chairman of the Board of Management, Pestana Bastos, the original idea of decorating the public spaces of the transport system using work by renowned artists was revived. Four artists were commissioned for this purpose: Rolando Sá Nogueira, Júlio Pomar, Manuel Cargaleiro and Maria Helena Vieira da Silva, whose works now embellish the stations of Laranjeiras, Alto dos Moinhos, Colégio Militar and Cidade Universitária respectively.

In Laranjeiras station Rolando Sá Nogueira chose to elaborate on a theme derived from the literal interpretation of the station's name: orange trees. The Alto do Moinhos station pays homage to four greats of Portuguese literature (Almada, Bocage, Camões and Pessoa). At Colégio Militar the "azulejo" tradition is revived, and at Cidade Universitária the painted tile panel "Le Métro" forms the central theme for the whole artistic concept.

In 1990 the Network Expansion Plan was approved to remain in force until 1999. In association with this plan, and motivated by the need of the older stations for refurbishing and general restructuring works (construction of new concourses and interfaces) to accommodate the growing need for intermodality among the different means of transport of the city, a renovation programme for the stations of construction phases I and II was put into practice.

The President of Metropolitano de Lisboa at the time was Consiglieri Pedroso, whose term of office left an indelible mark on the expansion of the company. He placed special emphasis, amongst other things, on the intensification and dynamization of the cultural and artistic aspects of the company operations. The construction of new infrastructures serving the public could never again fail to take the socio-cultural aspect into account. The aesthetic dimension is an indispensable factor, not as mere art for art's sake, but as a motor for more general artistic and cultural vitalization and in view of the fact that the embellishment and vitalization of public spaces is also a means of dissuading vandalism and violence, thus contributing towards the quality of life in the city.

Entre Campos station was the first to benefit from renovation work, the artist Bartolemeu Cid dos Santos was commissioned to deliver a design in engraved stone that pays homage to Portuguese literature.

At the Jardim Zoológico station (previously known as Sete-Rios) Julio Resende's artistic concept is centred around the theme of tropical fauna and flora.

The artists invited to refurbish Parque station were Françoise Schein and Federica Matta. They interpreted the themes of the Portuguese Discoveries and the Rights of Man in tile and sculptures.

Marquês de Pombal (formerly Rotunda) station underwent extensive restructuring work to accommodate the disconnection of the lines that used to converge at the station into two separate cross-connecting lines. Three artists were commissioned for the artistic decoration: João Cutileiro, Menez and Charters de Almeida. The first two elaborated themes connected with the historical figure who lent his name to the station;

there is a panel in engraved stone from Charters de Almeida.

In Picoas station Martins Correia's work in tile and sculpture takes the city of Lisbon and its people as its theme.

Saldanha station saw the artists Jorge Vieira and Luís Filipe de Abreu work the theme of "The universal Characteristics of Man" in individually distinct tile and stone sculpture works.

Francisco Simões created two groups of sculptures in homage to the women of Lisbon and marble panels depicting bullfighting scenes for Campo Pequeno station.

The design for Martim Moniz station (formerly known as Socorro) also features two artistic concepts. Whereas the merging of cultures, that is so characteristic of the area, inspired the tile work of Gracinda Candeias, José João Brito used the Christian reconquest of Lisbon and the death of Martim Moniz as the theme for his sculptures.

Campo Grande station was opened in 1993. Its walls were covered in painted tiles by Eduardo Nery, whose work represents an interpretation of the typical 18th century tile motifs known as figuras de convite or welcoming figures.

The stations of Carnide, Pontinha and Rato were opened in 1997. In Carnide, José de Guimarães integrated tiles, Byzantine mosaic and neon lighting in his artistic composition. At Pontinha station, Jacinto Luís chose to place his own oil paintings in niches along the walls of the two platforms. Rato station features two painted tile panels by Arpad Szènés and Vieira da Silva which also serve as reminders to visit the nearby museum of the Arpad Szènés-Vieira da Silva Foundation for which the station is the most convenient stop.

In 1998, 500 years after the voyage of Vasco da Gama to India, the Expo '98 - the World Exhibition of Lisboa whose theme was "The Oceans" was one of many clebrations which marked the event. For the first time since it first started up the Metropolitano de Lisboa opened an independent new line - "Oriente" Line. This line serves seven new stations and, apart from being a privileged access to the the Expo '98 site, will constitute an important structuring factor in the rehabilitation of the eastern zone of the city of Lisbon. Public Art has been given special consideration once again on this line.

Station Alameda has been transformed in a double station in order to enable the transfer between the Green Line ("Caravela") and the Red Line ("Oriente"), the older station (Green Line) required total overhaul after fire damage in 1997. The original ceramic tiles of Maria Keil were kept in the new station together with the contributions of four other artists. Costa Pinheiro, with a series of ceramic tiles named "Navegadores" (navigators), Noronha da Costa, with an unusual set of paintings on stone slabs; Alberto Carneiro brought Nature to the underground environment with his sculptures representing trees while Juhana Bloomstedt produced a floor pattern made of marble of different colours.

At Olaias station, apart from the contribution of the architect Tomás Taveira, one can see the sculptures of Pedro Cabrita Reis and Rui Sanches and the wall coverings of Graça Pereira Coutinho and Pedro Calapez.

For Bela Vista station Querubim Lapa created a covering with ceramic tile based on geometric patterns and special tile format and cutting for most of the station walls.

At Chelas station a perfect fit between architecture (Ana Nascimento) and artistic design (Jorge Martins) with brightly coloured, three-dimensional ceramic wall covering creates an almost scenic atmosphere.

Olivais station theme reflects the original environment of the place ("olivais" – fields of olive trees) depicted by Nuno Siqueira and Cecília de Sousa along the walls of the station.

At Cabo Ruivo station, David de Almeida created stone engravings with pre-historic style influence.

Oriente station is part of the Gare Intermodal do Oriente (Intermodal Orient Station) which at the of its opening served the World Exhibition of Lisbon – Expo '98. The universality of the theme chosen for this exhibition, "The Oceans", determined its choice for the artistic treatment of the underground railway station. Internationally renowned artists representing the five continents were invited – five Europeans, three Asians, one African, one American and one Australian. From Portugal, Joaquim Rodrigo with a ceramic tile panel named "Praia do Vau"; from Austria, Hundertwasser with a ceramic tile panel named " Submersão Atlântida"; Yayoi Kusama from Japan, also with a ceramic tile panel covering the North wall of the station; from India, Raza with a panel named "Les Océans"; from Iceland, Errö with a ceramic tile panel mixing real and imaginary episodes from History and maritime Mythology; from Argentine, António Ségui in a panel covering the South wall of the station gives us a detailed description of elements related with the sea; Zao Wou Ki from China, conveys through his ceramic tile panel the serenity of the imensity of the oceans; Abdoulaye Konaté from Mali, gives us his understanding of the sea based on his stylistic traditional roots; Sean Scully from Ireland, presents a work with abstract components; from Australia, Arthur Boyd with a ceramic tile panel representing a maritime view in soft tones and subtle strokes; and from Poland, Magdalena Abakanowicz with a large sculpture in brass named "Fish".

Investment in the artistic side of public spaces under our administration is thus an unequivocal act of management of the company which also contributes to an increase in its profitability.

Two further areas of activity linked with this internal orientation of the company should also be highlighted:

  • a policy of cultural exchange between undergrounds was developed, with the International Union (Association) of Public Transport (UITP), organization of which the Lisbon underground is a member, providing the background and serving as an interconnecting factor. This policy is mainly based on the exchange of artistic work. The Lisbon underground has received several works from abroad and in turn offered various pieces by Portuguese artists which contribute to spread Portuguese art and culture to several underground railway networks around the world (such as Brazil, France, Canada, Australia, among many others);
  • gifts of art works have been made to the city of Lisbon with a view to increasing the value of its cultural heritage. These gifts are closely linked to important dates and events in the life of the Lisbon Underground such as the celebration of its 30th anniversary and the arrival of this means of transport to the riverbank areas of Cais do Sodré and Ribeira das Naus.
Zdjęcia z www.metrolisboa.pt

Detail of the ceramic tile covering the station walls, by Ana Vidigal. Photo by A. Sousa.

Detail of the ceramic tiles covering the station walls, by Rogério Ribeiro. Photo by Paulo Cintra and Laura Castro Caldas.

Detail of the ceramic tiles covering the station walls, by Álvaro Lapa.
Photo by A. Sousa.


Detail of the ceramic tiles covering the station walls, by Maria Keil (dismantled in 1977).
Photo by Arnaldo Sousa.

Sculpture by Jorge Vieira.
Photo by José Carlos Nascimento.


piątek, 31 sierpnia 2007
przepiękne australijskie mug shoty






Tradycja fotograficzna, która stworzyła np tego pana http://www.photoarts.com/Visavis/Keita/Keita5.html

przepiękne australijskie mugshoty z poczatku wieku do znalezienia tu: http://www.pictureaustralia.org/apps/pictureaustralia


(za yourdailyawesome.com)



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