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February Special presentation for LL. Apply by March Scholarship possibilities for studying at Leiden Law School, the Netherlands. Using a credit card to make tuition payments: New rules went into effect in November Stipend-supported summer program in Germany for Revised Web hosting policies. In the oft-replayed destruction of some buildings, a globally overwritten image, there is perhaps something potent still that leads us to a philosophy that is not just contemplation, to a sociology that is not just interpretation, to a policy engagement that is not just negotiation.
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A project and a campaign may be? Is that still possible? Is that what might be done, as a way to think about our work, and to work, on work — hi ho, hi ho? We are delighted to invite you to the launch of the book Bombing of Poems over Warsaw.
A public intervention realized in Poland on the 8th August where one hundred thousand poems printed as bookmarks from a helicopter were dropped over the Castle Square and Old town of the city. Warsaw is the 4 th city that holds a Bombing of Poems. The book gathers together a DVD, pictures, illustration and a total of the 80 poems —use in the event-written by contemporary Chilean and Polish poets translates in Spanish and Polish. During the launch we will screen a video of the performance which is included as a DVD in the book. Apparently this was then a hit at school…. There is NO point in going on if you do not do this.
Sure, in a different world you might be able to get that from television and film, but more often than not the TV and Film we have here is not going to be challenging you to think, merely to sit back and daydream. That is what reading does for me — stands out as the repository of all that is interesting and what I might want to know — even what I do not yet know I want to know.
Change is good who said that? Quite a privilege really. Imagine a world where we never read.
What comes to mind is open possibility. What makes a piece of literature — the possibility of the new. They designed it as a lightweight, low-lying one-storey structure raised on a podium, with a cantilevered roof hovering over an asymmetric open plan of planar walls allowing interior and exterior courts and pools to interpenetrate.
Only the best materials were used, including reflective grey and green glazing, green marble and yellow onyx in the walls and partitions, travertine in the paving, and chrome-plated steel in the columns. Its figure complemented and contrasted with the avant-garde exercise in geometry and bold reduction of form, even while it pointed to the classical foundations of a practice that was otherwise revolutionary.
Commissioned by the Weimar Republic, a decade after world leaders decided that they had caused enough carnage for the time being, the German Pavilion was intended to mark a commitment to modern industry in the service of housing, democracy and peace. What is more, the German Pavilion exhibited only itself, being empty of the wares and propaganda typically displayed in such pavilions. This autonomy was certainly reinforced in the famous set of photographs taken of the German Pavilion, the so-called Berliner Bild-Bericht series. Keeley and other artists who have subsequently photographed the reconstructed version of this pavilion are very likely to have known about this series, and been guided by it, albeit in different ways.
These sixteen black-and-white silver-gelatin prints were not just any architectural photographs. Produced by Wilhelm Niemann and Sasha Stone for the Berliner Bild-Bericht agency, they had been choreographed by Mies van der Rohe himself, so as to direct vision in very specific ways, show the building as he wanted it to be seen, and crop or airbrush out any signs of its mundane temporal context. Equally important, these images were published and disseminated extensively in architectural journals, books and advertisements. The reality of such architecture not to mention its ability to sell itself now positively consisted more in the photographic negative.
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What was it that caught her attention, and led her to opt for photography over any other form of engagement here? For half a century, the Barcelona pavilion had only been known through the Berliner Bild-Bericht images. Even so, over time these images ironically came to point to an absence.
Decades later it was increasingly deemed unacceptable that such a pivotal and iconic building — and one whose global reach had done so much to shape modern architecture around the world — did not actually exist.
Hence, using those images and other documentation, the City of Barcelona took its opportunity, and commissioned its reconstruction on the very spot it had once occupied. To be sure, it would not have been the first time that architectural photography served as a catalyst in the reconstruction of a building. This is not an uncommon phenomenon in the heritage industry.