"We generally do not discuss anything related to the movement of art. There are lots of reasons for this, ranging from the obvious (security) to the obscure (proper protocols and handling).
We rarely if ever actually photograph art being moved. This is [a] field where mistakes are not an option, and a great work of art being damaged because somebody tripped over a photographer just can’t happen.” (Chrysler Museum of Art)
"DOHA.- Foreign workers shine a bronze sculpture by French Algerian born artist Adel Abdessemed during its installation on October 4, 2013 on the Corniche in Doha after it was bought by the Qatar Museums Authority. The statue, titled "Coup de Tete" immortalizes the "headbutt" given by the French former football champion Zinedine Zidane to Italian player Marco Materazzi during the World Cup final in 2006." (artdaily)
A massive minaret, some 175 feet high, spirals skyward above the ruins of Islam’s largest mosque, in the Ninth century capital of Samarra.
A thousand butterflies fall into the fire, but there is only one phoenix, which rises from death. … For those not born a bird, flying is a miracle and falling is customary. — from Händel’s secular cantata Tra le fiamme, libretto by Cardinal Benedetto Pamphilj.
01. Sinfonia duodecima, Op. 4: IV. Grave, Giovanni Battista Bononcini
02. Ariette a voce sola, Op. 6: V. “Miei pensieri”, Barbara Strozzi
03. Cessate, omai cessate, RV 684: III. Recitativo, Antonio Vivaldi
04. Concerto RV 551 in F major: II. Andante, Antonio Vivaldi
05. L’incoronazione di Poppea: “Pur ti mio”, Claudio Monteverdi
06. Aria di Fiorenza, Giovanni Battista Buonamente
07. Sonata duodecima: IV. Aria allegro, Isabella Leonarda
08. Tra le fiamme, HWV 170: “Tra le fiamme”, Georg Friedrich Händel
— 8tracks; download; on the occasion of a birthday pertaining estrangera.
Hangar 16 Matadero-Madrid Iñaqui Carnicero Architecture Office
"A former restored slaughterhouse in Madrid offers space for a variety of cultural and creative activities, such as exhibitions that utilize defunct carcass-hanging hooks to display delicate pieces of art.
Given a limiting budget, we reduced our architectural decisions into two unique actions. The first one uses a particular industrial element: doors. By manipulating their position, the functional possibilities of the design were multiplied. For example, the main space could be transformed into smaller spaces to celebrate different activities simultaneously. The second move was to recover the brickwork to establish a distinct atmosphere within the building. The execution of these two simple ideas reinforced the scale and proportions of the interior, while at the same time, it revamped the character of the building.”
Jason Martin: Elemental, Painting
Edvard Munch, Snow Falling in the Lane 1906
Perspectivae Pictorum atque Architectorum (1709), Andrea Pozzo