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fact, that is an already receding form of shepherding, practiced yet în nearby Cevennes mountains and în the Alps. And here these animals are brought to the urban jungle, to the cheers of happy crowds with their cameras. An appropriation of a dying Provençal identity turned into a street show. This apocaliptic scene stroke some aș delightful, others aș terrifying. The title of the documentary, which hâș recently entered cinemas, «La fête est fini» can be translated aș "The fete is
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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the inhabitants, apart from the handful of memories and several wedding-party bottles? Who and what was the party for? The next urban entertainment, the Football Cup, is coming right up, în 2016. The Stadium is ready. And the European Capital of Culture will then be moved to Wroclaw - „The City of Encounters, of many cultures, of tolerance”?* * The original title: "A European Capital of Culture with a burning effigy of a Jew în the background" refers to the next în
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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Who and what was the party for? The next urban entertainment, the Football Cup, is coming right up, în 2016. The Stadium is ready. And the European Capital of Culture will then be moved to Wroclaw - „The City of Encounters, of many cultures, of tolerance”?* * The original title: "A European Capital of Culture with a burning effigy of a Jew în the background" refers to the next în line ECC, Wroclaw, which bases its promoted identity on multiculturalism. În reality
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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în 2016. The Stadium is ready. And the European Capital of Culture will then be moved to Wroclaw - „The City of Encounters, of many cultures, of tolerance”?* * The original title: "A European Capital of Culture with a burning effigy of a Jew în the background" refers to the next în line ECC, Wroclaw, which bases its promoted identity on multiculturalism. În reality, Wroclaw hâș been criticized for years of neglecting their minorities, including Romas whose encampment was brutally evicted în
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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to the next în line ECC, Wroclaw, which bases its promoted identity on multiculturalism. În reality, Wroclaw hâș been criticized for years of neglecting their minorities, including Romas whose encampment was brutally evicted în 2015. The same year, during one of their many marches through the city, Polish neonazis used the Old City square to burn an effigy of a Jew, în the style of pre-war hitlerites, thus showing to what extent Wroclaw's multicultural coexistence is real and not pretentious
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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been criticized for years of neglecting their minorities, including Romas whose encampment was brutally evicted în 2015. The same year, during one of their many marches through the city, Polish neonazis used the Old City square to burn an effigy of a Jew, în the style of pre-war hitlerites, thus showing to what extent Wroclaw's multicultural coexistence is real and not pretentious. The city, like several others în Poland, hâd hosted the Euro Cup of 2012, when similar makeover projects
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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square to burn an effigy of a Jew, în the style of pre-war hitlerites, thus showing to what extent Wroclaw's multicultural coexistence is real and not pretentious. The city, like several others în Poland, hâd hosted the Euro Cup of 2012, when similar makeover projects to the one în Marseilles took place. References: Nicolas Maisetti, Opération culturelle et pouvoirs urbains. Instrumentalisation économique de la culture et luttes autour de Marseille-Provence Capitale européenne de la culture 2013, Paris 2014. Philippe Pujol, French
O carte poștală din Marsilia - fragmente* () [Corola-website/Science/296108_a_297437]
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și de felul în care te raportezi la viitor - (anti)aging, apoi contexte care adresează anumite întrebări și raportări sociale: care este rolul artistului în societate, ce pune el la dispoziție, care este „expertiză” lui, ce poate oferi - The Agency of Touch.<b> </b></spân></spân></p> În The Agency of Touch mă interesează să activez noțiunea de „serviciu”, care sunt serviciile pe care artistul le pune la dispoziție, în cazul de față vorbesc de conștientizare corporală și de faptul că
”Abordez tactilitatea și corporalitatea într-o societate care le marginalizează” - Interviu cu Mădălina Dan (2) () [Corola-website/Science/296147_a_297476]
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aging, apoi contexte care adresează anumite întrebări și raportări sociale: care este rolul artistului în societate, ce pune el la dispoziție, care este „expertiză” lui, ce poate oferi - The Agency of Touch.<b> </b></spân></spân></p> În The Agency of Touch mă interesează să activez noțiunea de „serviciu”, care sunt serviciile pe care artistul le pune la dispoziție, în cazul de față vorbesc de conștientizare corporală și de faptul că sunt foarte multe resurse în corpul nostru de care nu
”Abordez tactilitatea și corporalitatea într-o societate care le marginalizează” - Interviu cu Mădălina Dan (2) () [Corola-website/Science/296147_a_297476]
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corporală în afara frame-lui de o oră? Am facut proiecte care au ținut de zonă de performare „invizibilă” pe strada sau de maraton performativ de opt ore în care „spectatorul” e mai degrabă martor care însoțește un parcurs. În The Agency of Touch mă interesează zona de reacție imediată, pentru că participantul devine spectatorul propriilor senzații. În acești termeni, lucrarea nu se judecă numai în termeni estetici. Există o ramură destul de clară care se cheamă tactile, sensorial art și care are legătură cu
”Abordez tactilitatea și corporalitatea într-o societate care le marginalizează” - Interviu cu Mădălina Dan (2) () [Corola-website/Science/296147_a_297476]
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Ioseph CotnăreanuI have hâd a lot of different domiciles because my father hâd this habit of not paying the rent. At a very young age I moved from Delea Veche street, where I was born, on the Elisabeta boulevard. [...] The first house I remember is the one
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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Ioseph CotnăreanuI have hâd a lot of different domiciles because my father hâd this habit of not paying the rent. At a very young age I moved from Delea Veche street, where I was born, on the Elisabeta boulevard. [...] The first house I remember is the one on Nicușor street [Bucharest ed.n.] în which we lived
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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area. Can you imagine just how much “hide and seek” we would play among those houses under construction, piles of bricks and sand?... it was amazing, such a bliss! [...] The oldest toy I can remember was a handcar; a sort of bicycle that hâd a sidecar similar to those used on motorcycles. I used to take the family dog for a ride în it. I didn't have many more toys. When I was much older, meaning eight o nine years
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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the family dog for a ride în it. I didn't have many more toys. When I was much older, meaning eight o nine years old, I hâd something called “matador”. Similar to nowadays “lego” but much more primitive, made of wooden sticks. My favourite was the “geography game”. I would never have enough of it! I would play with a friend that I still have now, more than eighty years later. When I was a kid we would only give
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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toys. When I was much older, meaning eight o nine years old, I hâd something called “matador”. Similar to nowadays “lego” but much more primitive, made of wooden sticks. My favourite was the “geography game”. I would never have enough of it! I would play with a friend that I still have now, more than eighty years later. When I was a kid we would only give books aș presents - never shirts or shoes. That was the rule. Șo with eight
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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dark blue chenille upholstered chairs. The walls were embellished with two impressive paintings. One was an oil painting of a child biting into an apple. The second one, very original, long and narrow, showed an ostrich with one wing made of fabric prominently coming ouț of the picture frame. [...] My parents' bedroom was spacious. The main furniture consisted of two large beds placed next to each other [...] and a black piano, actually a pianino, that my mother and some guests used
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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of a child biting into an apple. The second one, very original, long and narrow, showed an ostrich with one wing made of fabric prominently coming ouț of the picture frame. [...] My parents' bedroom was spacious. The main furniture consisted of two large beds placed next to each other [...] and a black piano, actually a pianino, that my mother and some guests used to play. There were also two large closets and a dressing table made of three parts: two side
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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There were two gates în the fence: a simple one for the people and a double one that would only open în autumn to let în the traps and the necessary for heating the house în wintertime. We hâd lots of trees în the yard: a linden, pear trees, a wax cherry tree and fours plum trees. My mother would make plum jam în a big laundry cauldron that a Romă tin-man would prepare every year. She would fill it up
(English) A Subjective History of Housing in Romania as Seen by the “Moses Rosen” Rest Home Residents. THE INTERWAR PERIOD: 1920-1930 (part II) () [Corola-website/Science/296138_a_297467]
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regizoral, ci va trata posibilitatea folosirii unei instituții teatrale ca actant în contextul general al spectacolului social.” Spectacolul lui Oliver Frljić, </em><strong><em>Violența noastră și violența voastră </em></strong><em>(inspirat de cartea lui Peter Weiss, The Aesthetics of Resistance)</em><em> a fost prezentat tot în cadrul <strong>Festivalului Temps d’Images.</strong> I-am rugat pe câțiva dintre participanții de la atelier </em> să-mi vorbească despre spectacol și despre întâlnirea cu Frljić . Publicăm aici prima parte a unei
Instituțiile publice de cultură - niște frigidere în care cultura stă la rece? () [Corola-website/Science/296170_a_297499]
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sunt inspirate sau parafraze din Marx, Jason este mai degrabă fatidic și împăcat cu soarta underclass-ului: ”<spân style="font-size: medium;">Silent dreams are a blag on time/ They get away with the worst crimes/ You fall fast în a void of pain/ Only to remember that you still remain” (</spân></spân><spân style="font-size: medium;">Silly me). Vampirismul clasei de mijloc în a imita și poză în masculinitatea și dress code-ul subculturilor de odinioară este condamnat în </spân><spân style
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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He’s still with uș/ În our arses, în our food, în our brains and în our death/ În our failure to grab hold of what fucking little we have left/ We have lost the sight and în the loss of sight/ We have lost our fucking minds, alright/”. </spân></spân></spân></p> În În quite streets, refrenul ”That’s the angle” fotografiază neromanțat și fără floricele străzile prea liniștite ale claselor de jos, al ”</spân><spân style="color: #222222;"><spân
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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Suburbie rezidențială a Nottingham-ului 3 Referință la Alex James, basistul de la Blur, cunoscut și ca producător de brânzeturi 4 Dave Rowntree, bateristul de la Blur a fost și canditat fără succes la Parlamentarele din marea Britanie [:en]Dinu Gutu A couple of months ago, Sleaford Mods front mân Jason Williamson announced he was no longer allowed to vote în the UK Labor leadership election, after he called Dan Jarvis, one of the candidates for Parliament, a “posing cunt” în a public post
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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and tackle current issues, just like The Streets and Half Mân Half Biscuit do. Aesthetics aside, the boys are more or less a post-punk band, considering their avant-garde spirit and politically-charged caustic lyrics. The lyrics are laced with the ambiguity of a beatnik talking to a neighborhood lad; Jason cusses heavily and it’s hard to make ouț how privileged his position actually is. His stream-of-consciousness type lyrics require listening multiple times, first because of his Midlands slang and accent, and
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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inspired or paraphrased from Marx, Jason is more fatalistic and hâș come to terms with the fâțe of the underclass: ”Silent dreams are a blag on time/ They get away with the worst crimes/ You fall fast în a void of pain/ Only to remember that you still remain” (Silly me). The vampirism of the middle class emulates the masculinity and dress codes of past subcultures and is given an earful în Cunt Make It Up: ”Wannabes never change/, it’s
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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shit/ And leather jacket, motorbikes from the 50’s/ You live în Carlton, you twat”. Sleaford Mods take on capitalism aș a whole: ”New build, new bricks/ New methods, old tricks”, comparing life în such a world with a theft of daily life: ”This daylight robbery is now șo fucking hateful/ It’s accepted by the vast majority/ În chains years from now”. The lyric ”Passive articles on political debate/ Its implications are fucking meaningless, mate” talks about the television hoax
No one’s bOthered () [Corola-website/Science/296153_a_297482]