https://pauio.com/coin/ - COIN카지노 /
https://pauio.com/coinko/ - 코인카지노 /
https://pauio.com/obamas/ - 오바마카지노 /
Monday, March 25, 2019
COIN카지노/코인카지노 /오바마카지노
https://pauio.com/coin/ - COIN카지노 /
https://pauio.com/coinko/ - 코인카지노 /
https://pauio.com/obamas/ - 오바마카지노 /
YES카지노/예스카지노/퍼스트카지노
https://pauio.com/first/ - 퍼스트카지노 /
https://pauio.com/yesci/ - 예스카지노 /
https://pauio.com/yeska/ - YES카지노 /
포유카지노/M카지노/월드카지노
https://custory.com/foryou/ - 포유카지노 /
https://custory.com/mcasino/ - M카지노 /
https://custory.com/ - 월드카지노 /
더킹카지노/개츠비카지노/엠카지노
https://pauio.com/mca/ - 엠카지노 /
https://pauio.com/gatsby/ - 개츠비카지노 /
https://pauio.com/theking/ - 더킹카지노 /
4u카지노/카지노사이트/트럼프카지노
https://custory.com/cass/ - 카지노사이트 /
https://custory.com/trump/ - 트럼프카지노 /
https://custory.com/4ucasino/ - 4u카지노 /
우리카지노 /트럼프카지노/삼삼카지노
https://pauio.com/ssca/ - 삼삼카지노 /
https://pauio.com/trum/ - 트럼프카지노 /
https://pauio.com/woori/ - 우리카지노 /
YES카지노/바카라사이트 /카지노사이트
https://dancesweb.com/casino/ - 카지노사이트 /
https://dancesweb.com/bacara/ - 바카라사이트 /
https://dancesweb.com/yesno/ - YES카지노 /
포유카지노/4U카지노
Paul Kindersley and company performing Ship of Fools Courtesy of Skip Gallery and Ali Tollervey
Selfridges is used to some outré types wandering its floors, but on Tuesday night the flamboyant group of exotic androgynous characters strutting around in fulsome wigs, lurid makeup and elaborately painted costumes were stopping even the most jaded shoppers in their tracks. The gathering was the first airing of artist Paul Kindersley’s latest performance extravaganza The Ship of Fools which follows on from the rumbustious carnivalesque feature film he made in response to Virginia Woolf’s novel Orlando exhibited at Charleston House last year. Kindersley is also well known to The Art Newspaper as the designated stylist for our special 2018 artist-edited daily editions at Frieze Art Fair where he contributed his six-step makeup plan for the "perfect Frieze face".
For Ship of Fools Kindersley and his eight fellow performers have taken medieval mummers plays and the allegorical paintings of Hieronymus Bosch as their starting point, adding a hefty dose of contemporary camp, all filtered through the languid linear aesthetic of Jean Cocteau. In this free-form, 30-minute production the artist was resplendent in blonde curls and black tights as The Narrator, leading a rag-tag troupe of bizarre characters including The Naked Mother, Benign Authority, The Pancake Eater and The Pearl Thief.
Paul Kindersley performing Ship of Fools Courtesy of Skip Gallery and Ali Tollervey
All the action from this motley crew took place in and around a battered industrial skip, incongruously deposited between the Gucci and Chloe outlets which Kindersley has draped with banners painted with Cocteau-esque figures to become the "Ship of Fools" itself. In another twist, the repurposed skip also doubles up as the art gallery that has commissioned Kindersley’s performance. For the Skip gallery is precisely that, a mobile art space housed in a modified skip. Founded by Catherine Borowski and Lee Baker in 2017, this antithesis to the White Cube has already collaborated with Gavin Turk, Richard Woods and David Shrigley to unleash “eruptions of art” in unexpected places from Hoxton to Bristol. With Kindersley’s Ship of Fools it continues to do so with a vengeance.
https://stylebet77.com/4uca/ - 포유카지노/
슈퍼카지노/트럼프카지노/개츠비카지노
슈퍼카지노 ART MARKET
Controversial auction of Hertfordshire council's art collection sells out for £444,000
Important art world figures and institutions condemn the move
22nd March 2019 15:16 GMT
John Tunnard's Brandis .44 (1944) Courtesy of Cheffins Fine Art Auctioneers, Cambridge
An auction of works from the collection of the Hertfordshire County Council, which raised more than £444,000 in total, has drawn criticism from arts bodies and cultural figures. Just over 150 works consigned to Cheffins auction house in Cambridge all found buyers at a sale held yesterday. The top lot, a Surrealist work by John Tunnard entitled Brandis .44 (1944) sold for £37,000 (hammer price; est. £10,000-£15,000). Cheffins will offer another 300 works from the Conservative-run council collection in its interiors sales on 25 April and 23 May.
The UK artist Bob and Roberta Smith protested the sell-off last month. He tells The Art Newspaper that he will continue campaigning against the council art sales, adding: “I worry that there are many more councils who will look at local collections as treasure houses after this sale. The public realm is under a new and pervasive threat of erosion.”
The works are drawn from the Hertfordshire Schools Art Loan Collection—launched in the 1940s and comprising 1,496 works—which enabled children across the region to access works of art. “The service [school loan collection] has become less relevant to the evolving curriculum as students have had the opportunity to experience art in new ways, such as gallery visits or through modern technology. It was suspended in 2012 and permanently discontinued in 2017,” the auction house says in a statement.
Last month, the council’s decision was also criticised by the Art Fund charity, which asked for reassurances that most of the proceeds will go towards conserving the works retained by the council.
The councillor Terry Douris, the council’s cabinet member for education, libraries and localism, says in a statement: “It’s fantastic that [the] sale has raised more than we expected [around £300,000]. The money raised can be used to improve the condition and public visibility of the nationally significant sculptures we hold.” The council will also invest in its retained collection and is developing plans to increase accessibility, and improve the collection display and interpretation, he adds. More than 1,000 works will also be donated to regional organisations, the council says.
But a spokeswoman for the Art Fund says: “The Art Fund, the national charity for art, still has serious concerns with Hertfordshire County Council’s suggestion that only a proportion of the monies raised from these sales will be invested into the remaining collection, and we still await an answer to our question over where the proceeds will go.” A council representative was not immediately available to comment.
https://como79.com/trump/ - 트럼프카지노 /
https://como79.com/gatsby/ - 개츠비카지노 /
바카라사이트/개츠비카지노/33카지노
Parthenon sculptures in the British Museum © Marie-Lan Nguyen
At the end of January, the Director of the British Museum, Hartwig Fischer, got lambasted from certain quarters for his comments regarding the Parthenon Marbles. In an interview with the Greek paper Ta Nea, he referred to the displacement of cultural heritage from its original location to a museum as a “creative act”. He then stated categorically that he would not accept that Greece was the legitimate owner of the Marbles. “The objects in the collection of the British Museum,” he said, “are owned by the museum’s trustees”.
Most of the vitriol was aimed at his referring to the controversial removals from the Parthenon as “creative”. “What was so creative in the destruction of the temple and looting and pillage of a nation’s keys to its ancient history?” asked George Vardas, Secretary of the International Association for Reunification of the Parthenon Sculptures, on Twitter. But the Director’s point about ownership deserves consideration as well.
The position outlined by Fischer on this point is nothing new. Representatives of the British Museum have reaffirmed this stance time and again, going back at least as far as the 1980s. The position is that the trustees hold title in the museum’s collection, which consists of over eight million objects, even though the law strictly circumscribes what they are allowed to do with it.
The trustees’ title does not rely on the quality of Lord Elgin’s title when he acquired the marbles in the early nineteenth century in Athens. There were, as is well known, dubious circumstances surrounding that initial acquisition, which relied upon a series of permissions given to Elgin by the ruling Ottoman Turks. But legally speaking, the title held by the British Museum trustees derives not from Elgin, but from a specific Act of Parliament, dating from 1816, that vested title in the trustees. This came as the result of a vote by Parliament to acquire the marbles from Lord Elgin for the price of £35,000 (a mere £1 million today). Title in this collection has continued to vest in the trustees through subsequent Acts of Parliament.
But title is a funny thing. As one London solicitor said to me recently, the problem with title is once you try to pin it down, it slithers away. What the trustees have in defence of their title is an Act of Parliament, which only serves as a guarantee of title within the UK. There is no such thing as international title, or indeed title that is automatically guaranteed around the world. As an example of this, one can consider the way in which American courts have refused to recognise title in artworks that have been stolen or looted abroad, even if such title was duly acquired in an intermediary country.
The recognition and admission of title has long been a sticking point in reaching a settlement in the long-standing saga of the Parthenon Marbles. As Fischer reiterated during his interview, if the British Museum were ever to consider a long-term loan of the pieces, Greece would need to first accept that the trustees hold title, an acceptance successive Greek governments have never been willing to make.
But title need not be so contentious. Perhaps the Greek government could accept the simple premise that the trustees hold title under English law, but go no further? This would not have to relate to the circumstances of acquisition in Athens. It need only be a recognition that a run-of-the-mill Act of Parliament settled the question of English title back in 1816. Likewise, the British Museum would need to understand that title is a nationally derived right and does not automatically guarantee rights at an international level. This could perhaps allow the parties to put the question of title aside.
In such a scenario, certain possibilities for the sculptures would begin to open up. The idea of a long-term loan to Greece of some of the major pieces from the Elgin collection has been floated by commentators in the past. This might be a nice place to start, as a sign that the rancor of the disagreement need not continue forever. The British Museum lent out thousands of pieces from its collection last year. Why couldn’t a scattering of marbles count among them for the next?
For Fischer, as for any director of the British Museum, the prospect of a loan from the Elgin collection to Athens is daunting. But it need not be. There are ways of protecting against worst-case scenarios. A reciprocal request could be made for Greece to lend certain choice items from its national collections while the Elgin pieces are in Athens. Italy offered a similar quid pro quo when New York’s Metropolitan Museum returned a number of antiquities to the country in 2006, and the arrangement has worked well ever since.
Fear that the pieces would never be returned could be assuaged by a combination of factors. A reciprocal loan to the British Museum could serve as a type of collateral, to ensure that everything makes it back in the end. And an “anti-seizure” law could easily be adopted by Greece in advance of such a loan. This law would prevent anyone from seizing or confiscating the items during the loan, including the Greek government. In fact, the UK passed such a law in 2007 in order to guarantee the safety of certain items on rotating loan from Russia to Somerset House. Greece could simply model its law on the British precursor.
The benefits of such a loan are obvious. While it might not give Greece the permanent restitution it has so ardently craved, it would at least see some of the pieces returned and placed in their original context. And while it wouldn’t last forever, it could extend long enough to give meaningful access to those in Greece desirous of seeing them on display. It could mark a memorable event and perhaps form the beginning of a long and productive dialogue between London and Athens. Right now, not much dialogue exists.
As for the British Museum, it would benefit from having a rotating series of loans of the best pieces of ancient Greek art. Large bronze gods, intricate Mycenaean jewellery and sculptures from archaic temples could for the first time feature in the halls of Bloomsbury, on loan from a grateful ally. A true exchange treaty, a cultural free trade of sorts. And no one would have to utter that pesky word “title”.
• Alexander Herman is the assistant director of the Institute of Art & Law. He is currently writing a book on the Elgin Marbles dispute.
https://custory.com/gatsby/ - 개츠비카지노 /
https://custory.com/bacara/ - 바카라사이트 /
Subscribe to:
Comments (Atom)