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EuroTrip 2019 Day Four: Thank you Košice, Prešov 🇸🇰

After going to sleep around 3 A.M. (yay time zones), I got up and going at 9 A.M. to start yet another busy day. Today would be my last day in Prešov and Košice, as I’ll continue my World Hockey Championship tour in Bratislava.

I had some tea and a famous cake called Marlenka, which the main ingredient was honey. There is a tale of this cake, which is years ago there was a family on the brink of homelessness, needed to make money somehow. They created this cake and it had such high demand that it became famous.

It was great to spend some time with Peter and Kristína before they left, because the first day I was overtired and then got back late yesterday. They were both going to go do volunteer work, which I think is amazing; Peter is helping to make a bike path and Kristína is teaching kids about recycling. Words can’t describe the gratefulness of them opening up their home to me, and welcoming me with open arms. To have met as strangers and became friends in the end had meant a lot to me, and for the day they come to Canada again the have someone on the east coast. Thank you from the bottom of my heart.

I caught the bus to Košice at 11:25, as I knew that I would be cutting it close to the start of game time. France was playing Denmark, so it was a game I wanted to see and cheer for Denmark.

The bus arrived at 12:05, so I had 10 minutes to get to the game. The only way I could get there I time would be to take a taxi, and just like that I arrive right at the start. There was 3 minutes gone in the first period, and as I walked in they announced that France had a goal disallowed due to too many men on the ice.

France took the lead on a powerplay goal, but during some four vs four action Denmark tied up the game with less than a minute left. Frederik Storm (amazing name) drive to the net and stuffed it in tying up the game. Then with only five seconds left in the period, Denmark scored another goal to make it 2-1 after one period. The game was not as smooth as yesterday’s game, but enjoyable nonetheless.

France scores a fluky goal in the second with a shot from centre ice that went through the goalies legs. They then scored again on the power play to make it 4-2, as my poor Denmark team was getting beat around.

As soon as I wrote this, they came back with two goals to tie the game at 4-4; what a game! It ended up being tied after regulation, so it went to overtime!

Overtime was very exciting and even had a few pushing fights, but it ultimately went to a shootout. Denmark shot first and scored three times to France’s two, taking the 5-4 win.

After the game I wanted to sell my Great Britain vs Germany tickets because I wouldn’t have time to watch the game, so when someone asked if someone was selling tickets I offered. The guy’s name was Peter, who after walking and talking with him actually is friends with Tomas Tatar and a few other Slovakian players. He lives in Germany but orginally Slovak, and was leaving later tonight for the night train back home. I learned from him that the hockey players in the 80-90s would avoid service time to play hockey in city called Trenčín. He’s been to New York over 25 times and to Montreal to watch Tatar and others play.

I decided to just check out the first little bit of the Germany versus Great Britain game, because I had the tickets and I wanted to see some history. Great Britain has not been in the top group since 1993, so it’s been a while.

I had to leave five minutes into the game; I know very short time, but at least I got to see some action. Quickly walking to the train station, I bought myself some snacks and my first class ticket to Bratislava.

The train ride was spectacular, I never knew how mountainous Slovakia is, and the beautiful little towns burrowed in between them. So many open fields with the mountains in the background made for many photographs, I had to start deleting some so I could get the best pictures.

I arrived in Bratislava at 10 P.M., and it was an adventure to find the bus, then to get the right bus. Bus 93 was the one to look for, and I actually missed the first bus, but luckily I caught the next one.

By the time I got to Kristína’s apartment, the rain held off just enough so I could get inside before it unleashed its wrath. It was thunder and lightning outside, and lots of rain which was nice from the inside.

I got to meet Kristina’s boyfriend Matúš and their friends Monika and Laco, who were all super welcoming. We exchanged some information about the stereotypes of Canadians, and compared the ways of Canadians and Slovaks. It was so great to just sit in the living room with some drinks and chat and get to know peoples stories.

Monika and Laco left just after midnight, so the party was over and it was time for everyone (except me) to go to bed.

Another amazing day, met more amazing people, this trip has gotten off to a better start than what I could imagine.

More to come...

[universallyladybear]

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Cubicles platforms and screens ramaya tegegne opening september 17 2015 from 5pm on this occasion and among others launch of voilà by. Was founded by gallimard in 1931 and distributed until world war ii amongst the contributors were writers such as albert londres joseph kessel georges. Paper voilà was founded french weekly paper voilà leonardi the french weekly miriam laura leonardi the voilà by miriam laura launch of. Occasion and from 5pm 17 2015 opening september blanc and ramaya tegegne in 1931 beck tiphanie blanc and by géraldine beck tiphanie a project by géraldine.

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I had early 1960s books photography photographs posted in illustration periodicals statement and counter-statement is the first-ever publication on the work of experimental jetset documenting almost two decades of graphic design.

Mole’s living photographs patriotism arthur mole’s living titled photographic patriotism arthur kaplan’s essay titled photographic by louis kaplan’s essay is accompanied by louis. Mole’s photographs the book is accompanied real influence poet whether it was a performance or a painting they did what arose in their minds and made. The reader to reinterpret mole’s photographs and sculpture and dance and music i said to myself if these artists can do it why can’t i do. Poetry john giorno ugo rondinone i love john giorno until january 10 2016 palais de tokyo paris is the first retrospective. It for poetry john i do it for why can’t do it artists can if these to myself i said and music and dance behind painting and sculpture.

It was five years behind painting was seventy five years that poetry was seventy to me that poetry it occurred to me it happen. Their minds arose in did what painting they or a a performance to reinterpret reframings invite the reader ugo rondinone men into the chosen shapes along. Statue of liberty and a profile portrait of woodrow wilson among others the book living photographs brings together these avant-garde propaganda photographs which mole. Marines the statue of the emblem of the oeuvre or a shield the emblem shape of a shield american flag in the shape of. Included the american flag the compositions included the the ground the compositions shapes along the ground the chosen thousands of men into a profile and positioning thousands of.

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[scottfraserphotography]

This photograph is for the five year old child I once was. This man, Brian Wilson is the reason I started playing music when I was five. Little Deuce Coupe was the song that started it all. As a child when things were shitty at home, I would go to my room (In My Room) and put on my records and my crappy headphones and play them to escape the yelling and bullshit. Brian's music got me threw so much as a kid and to this day I still love harmonies. His genius as a musican can't be denied and he changed music forever with the album Pet Sounds. So for young Scott - here you go. 

Here's you photographing your hero. 

You did it. You got out, and you lived. The third day of Rock the Shores was not exactly what I had planned going into the weekend. I spent the day dealing with the theft of my camera bag and phone while like other people in Victoria, dealing with the heat. I wasn't stressed, more so sad. My camera backpack/bag and I have been through so much together, it's an old friend. And yeah, I am missing it. There was a point where I turned to my assistant and friend and said, I'm not going tonight. Another good friend asked me what time I was going and I said I might bail. His response was, "It' Brian Wilson" - he's a Brother who understands and gets and appreciates who Brian is like I do. I said, bro after last night - i just don't have it in me. Well, the people who love me, weren't about to let me not go. My assistant told me she would drive me out and I need to go if for nothing else than to check Lost & Found and see if maybe the bag had shown up there. I didn't need to shoot. Just Go. Friends and peers throughout the day had offered up gear for me to use, but I had a body and my trusty 50mm f/1.4 - I would take the camera with me, just in case. So here it is - my first photograph of Brian Wilson and his band including the ledgend and orginal Beach Boys member Al Jardine. 'Harmonies in Colour" Brian Wilson and his band Rock The Shores On behalf of Absolute Underground Magazine © Scott Fraser Photography prints.scottfraserphotography.com #SFP #Heros #ScottFraserPhotography #Nikon

#sfp #rocktheshores #ScottFraserPhotography #brainwilson #al jardine #beach boys #nikon #CaptureOne #heros #inmyroom

[lorrainecparker]

Filmmaker Friday featuring Filmmaker Joseph Adams

With hundreds of careers and opportunities, the filmmaking industry can be a unique experience for a filmmaker. Filmtools decided to take a deeper look into the world of a filmmaker. This week, we had the opportunity to speak to filmmaker Joseph Adams about his work. This is what he said:

    What is your name and where are you from?

Joseph Adams: Joseph Adams, Los Angeles.

Primary role on set?

Joseph Adams: Behind the scenes photographer and videographer, but I was once called Cinematographer of the Behind the Scenes. I like that title a little more.

Person in the industry that is on the top of his or her game in your role.

Joseph Adams: This is a hard question. I feel like a lot of BTS is being that fly on the wall. You don’t hear much about many individual people who work in this field. People like  Nicole Wilder, Helen Sloan or Justin M. Lubin, you have seen so many of their pictures but might not know who they are.

If you had to impress someone with your work, what would be the most “well-known” content that you’ve worked on? 

Joseph Adams: I’ve worked on a few unbelievable projects this last year. We just wrapped one of my favorite projects so far MGM’s “Stargate Orgins” This is a prequel to the 1994 movie “Stargate” I was hired to do BTS stills and video by an amazing production company, Vanishing Angle. We shot for 24 days and  just wrapped last month.

  Best craft services food?

Joseph Adams: I am a sucker for dried mangos. I try and eat healthy but they make it so difficult to do  so.

What’s the coolest project you’ve worked on before?

Joseph Adams: I have worked on some super cool projects. Every time I think it can’t get any better then the last, the next film set always raises the bar.  But if I had to choose it has to be a tie between a Sia music video with Maddie Zigler or a music video with violinist Lindsey Stirling. Lindsey Stirling was the sweetest and most fun person I’ve ever met. We traveled up to Vasquez Rocks, had little robots, dancing, and all the cast and crew were a blast to work with.

  The set for Sia was unreal. We had a giant projection, the floor was all water, we even had water raining down and watching Maddie Zigler dance with all these elements was breathtaking.

When you arrive at set, What’s the first thing you do?

Joseph Adams: When I first arrive on set, I like to walk around to explore the space and introduce myself while getting to know anyone that I have not worked with before. This gives me a better idea of what and who  I am working with. This also helps to  make few new friends.

Whats the first thing you do on set?

Joseph Adams: Pretty similar to what I said above. I also like to find breakfast. I’m a grumpy person if I don’t eat.

How did you break into this industry?

Joseph Adams: I’ve always known I would work in this industry. I moved to Los Angeles three years ago after I graduated from college in Ohio . I only knew a few people out here including my roommates, funny enough ALL five of us went to high school together. I have always been one to jump in the deep end so when I got out here I bought a 5D Mark III in hopes to create my own content and see where that goes. I knew a couple people who were working on productions at UCLA that asked if I wanted to help out with their film thesis. I was eager to help out and thought, why not bring my camera to document everything? From there everything just came together, I was gaining more experience, creating more connections and figuring out where I wanted my path to take me.

What challenges have you faced?

Joseph Adams: This could be a huge list, but I’ll try and keep it simple. Every day is a challenge. I come from absolutely nothing but the passion of wanting to work in this industry and trust me working in this industry isn’t glamours as people normally think. There are so many ups and down, long hours, and time is always against you. The biggest issue is finding work and the grind can wear you down,  but take all those challenges and learn from them no matter how good or bad things get. Finding the balance between what you can do and should do.

Do you have a piece of essential gear that you don’t leave without?

Joseph Adams: Besides the necessary equipment I need to do my job I wouldn’t leave home without a good camera bag. I actually got my cinebag from Filmtools. Staying organized is key on set. Time is against you and even wasting a moment looking for something can mean not getting that shot you wanted. A great Cinebag makes all the difference.

Current TV obsession?

Joseph Adams: I have recently found Mr. Robot and can’t get enough of this show. I love the  cinematography and the overall script is amazing.

Do you binge-watch new shows or pace them out?

Joseph Adams: I try and pace them out just so I can really digest and appreciate what happens.

What piece of gear do you have your eye on?

Joseph Adams: I have been looking into a set of anamorphic lens by Atlas. I am hoping to develop my  own look and start new career path into the director of photography world.

Camera – Should you own or rent?

Always rent an expensive camera. Technology quickly changes so by the next year rolls around its already outdated. It always depends on your situation but from my experience you should rent.

Lenses – Should you own or rent?

Joseph Adams: If you are going to invest in anything I would put your money in lenses. Lenses will normally  hold their value. The biggest example is, even in the huge budget world, they still use lenses that are 30 or more years old.

What is your preferred camera system? Lenses?

Joseph Adams: For my personal use I have always been a fan of Canon. For bigger budget I love the  look and feel of Arri and a great set of anamorphic lenses.

  What are you currently working on?

Joseph Adams: I’ve always have personal projects going on. My roommate and high school friend opened an escape room last year, Evil Genius Escape rooms. This escape room is very story driven, each room is connected  like a chapter to a book. It has been very successful and we plan to create a prequel feature film involving the story. I am also working behind the scenes for Aputure starting in the new year.

What advice would you give to people interested in this industry

Joseph Adams: The biggest advice is to never give up. Learn from your mistakes and keep pushing  yourself to break boundaries. Nothing happens overnight, it takes a lot of work and if you dont see yourself doing anything different then go for it, let nothing hold you back. (Another small tip is never let anyone take advantage of you. Know your worth and stand up for yourself if that time ever comes.)

Where can people follow you on social?

Joseph Adams: You can always see my work on my Instagram @adamsjoe330 I also change my  website constantly as my skills sharpen. www.josephtadams.com

    Want to be featured as a Filmmaker?

Tell us your story to be featured as a Filmmaker online. Reach out to Filmtools via Instagram messages or tag us in your photos on Instagram, Twitter, & Facebook 

  The post Filmmaker Friday featuring Filmmaker Joseph Adams appeared first on ProVideo Coalition.

First Found At: Filmmaker Friday featuring Filmmaker Joseph Adams

#viddy find

[themargaret66-blog]

A Balancing Act - part 2

The day after arriving back from Waihi Beach I went to the Noel Leming Sale at the ASB Showgrounds in Greenlane.  It was fantastic and the bargains were amazing.  This huge complex was jampacked full of people - most were of Indian or Asian heritage.  People kept knicking my heels with their shopping trolleys - it was so crowded.  I bought an amazing back-pack for my camera for $60,00 - which I used today for the first time - the date being the 8 October 2017. The backpack - since using it, I have discovered - has very deep pockets so you can fit a lot of gear in it! GREAT BUY! Bought kitchen scales for $20,00 (usual cost $40,00), a digital phone for $20,00 (usual cost $30,00), a pack of eight AA batteries for $5,00 (cost usually $20,00), a memory stick for $17,00 - don’t know how much I saved on it - just wanted something different from my usual memory sticks - I have about 40 of them! I also have a portable hard drive which I bought at the beginning of this year - cost me $350,00.  My old one got bugged by a virus and would not work - so I went to a computer place in town - they transferred all of my photos onto a new portable hard drive - just about killed me to pay it off! It took me about two months to pay it off in stalments! Then at about the same time I thought I was paying for MyHeritage (a genealogy site) for $30,00 a week (which is how it was advertised) and much to my astonishment - I got billed $250,00 for 12 months.  I was not happy.  So this year I have devoted most of my time to my genealogy research at the library in Pukekohe in order to get my money’s worth.  Then about a month ago I entered five photographs into the Franklin Arts Show - this cost me an arm and a leg - $15 to print each photograph, $40 to place backing and matts to each photograph and $75 for the entry fee!  This cost me $350 all up! Phew - that is why I can’t save any money! When I left the ASB Show-grounds - my heart sank because it was 5.30pm and Friday and the traffic was horrendous.  It took me an hour to drive from the show-grounds to the traffic island - leading onto the Southern Motorway.  I was exhausted and so I drove around the island and then to McDonalds in order to get a cup of coffee to perk myself up.  While there I also had a chocolate muffin.  Afterwards I drove to the Manukau Mall and my first stop there - is always Millers.  I bought a jacket for $21,00 - which was orginally $35,00!  The Pacific Island sales lady chatted to me about other bargains she thought that I may be interested in.  I had to go to the toilet and told her I woud be back in 30 minutes.  While I was in the toilets I had a look in the mirror and much to my horror - there were chocolate chips stuck to my teeth!  Then it took me some time to erase the chips from my front top teeth!  Talk about a huge embarrassment! I did go back to Millers - had another look around but did not buy anything. I hung around the Manukau Mall for two hours as I was trying to avoid the traffic jams - which I did!

[nofomoartworld]

Hyperallergic: Sonja Sekula’s Time May Have Finally Come

Sonja Sekula, “Ethnique” (1961), gouache on paper, 20 1/8 x 20 1/8 inches (all images courtesy Peter Blum Gallery, New York)

Sonja Sekula (1918-1963) piqued my curiosity when I first saw some of her works just a few months ago. Still, I was not sure what to expect when I went to the current exhibition Sonja Sekula: A Survey at Peter Blum Gallery (April 21 – June 24, 2017). I had known that this troubled, Swiss-born artist was part of an international circle of artists, writers, choreographers, and composers in New York in the 1940s, when she was in her early twenties, and that since her death by suicide in 1963, she and her work have largely been effaced from history. But aside from a few biographical facts and the handful of works I saw, I knew little else, but it was more than enough to bring me back.

At one point, while circling the galleries two space for the second or third time, I stopped to peer into a vitrine and saw photographs of a young woman sitting in the apartment of Andre Breton when he lived in New York during World War II. In another photograph she and sister are hugging Frida Kahlo, who is recuperating in a New York hospital room. There is a letter and drawing she sent to John Cage and a postcard she sent to Joseph Cornell. There is a photograph of a costume that she designed for Merce Cuningham, and an announcement for her show at Peggy Guggenheim’s Art of This Century in 1946.

Sonja Sekula, “7-Levels” (1958), ink and watercolor on paper, 14 3/4 x 10 1/8 inches

Sekula and her family relocated to New York from Lucerne, Switzerland when she was a child. She lived in New York, New Mexico, Mexico, and in different cities in Europe. She was friends with Gordon Onslow-Ford. She fell in love with various women, including the Mexican artist and poet Alice Rahon, who had once been married to Wolfgang Paalen. Some of her work seems to reflect her knowledge of Onslow-Ford and Paalen, who, along with Lee Mullican formed the short-lived Dynaton group, and offered another path to abstraction. Sekula was part of a number of different overlapping scenes, and she was loved and thought highly of by many. And then nearly everything about her and her work got forgotten.

Sekula’s last show in New York was at the Swiss Institute in 1996. There was an extensive catalog, but nothing seemed to happen. Perhaps the current exhibition will stir up a wider interest. It certainly would in a just world.

The works are dated 1942 to 1963, the entirety of her short-lived career. Sekula, who never worked big, also never became a gestural or a geometric painter, but this is also true of Charles Seliger (1926 – 2009), an artist who was also given his first solo show by Peggy Guggenheim at Art of this Century in 1945, a year before Sekula. Although they were both influenced by Surrealism and associated with Abstract Expressionism, neither of them fit the profile of the macho painter using a loaded brush or working on a large, post-easel scale. As the work of Thomas Nozkowski proves, orginality has nothing to do with scale and production costs, that these measures are capitalist myths.

Discussing the exhibition Abstract Expressionism, the first in-depth look at that movement to be mounted in England since 1959, which he organized for the Royal Academy in London (September 24, 2016 – January 2, 2017),  David Anfam said:

Now is the moment to see its breadth and depth afresh. It’s an art of enormous ambition and originality, with which we need to reckon once more.

Sonja Sekula, “Natica” (1946) oil on canvas, 29 7/8 x 44 1/8 inches

In Sekula’s case, the delicacy of her line and her tendency to section the surface into separate areas or, in some cases, compartments, connects her to another Swiss artist, Paul Klee, and to paintings of his such as “In the Current Six Thresholds” (1929), which is in the collection of the Guggenheim Museum, New York. At the same time, while Klee might have been an influence, Sekula made that influence into something  all her own.

In the early painting “Natica” (1946), she divides the horizontal canvas into a field of different-sized diamonds, rectangles, semi-circles, triangles, and irregular geometric forms. Through this field she draws a variety of colored lines, which may outline a form, or gather a number of them together to become a diagonal plane. “Natica” is an all-over geometric painting in which no form seems to be repeated. The predominant colors are shades of dark blue, giving a nighttime feel, interrupted by somber reds, lime greens, and a few yellows. I don’t how many paintings Sekula did in this vein, but “Natica” holds its own with Lee Krasner’s “Little Image” paintings, which she worked on from 1946 to 1950. She is a decade younger than Krasner.

After she began showing at Betty Parsons, Sekula did not try to fit in. She did works on paper and did not enlarge her scale. If anything, she seemed unable to accommodate herself to the world around her. According to the biography included in the Swiss Institute catalog:

In April of 1951, the day after the opening of her third exhibition at Betty Parsons, she suffers a breakdown and has to be taken to the psychiatric clinic of the New York Hospital in White Plains by Manina Thoren and Joseph Glasco.

Sonja Sekula, “Untitled” (1958), oil, gouache, graphite, and sand on cardboard, 27 1/2 x 19 1/2 inches

For the rest of her life, until she hanged herself in her studio in Zurich, Switzerland, at the age of forty-five, Sekula went in and out psychiatric hospitals, in both America and Switzerland. Despite her suffering and feelings of isolation, she made many distinctive works, as this exhibition conveys. In “Untitled” (1958), which is done in oil, graphite, and sand on cardboard, she makes a lattice of black lines, which are drawn horizontally, vertically, and diagonally. Some of the lines do not extend all the way across to the nearest vertical. The lattice begins on both the right and left sides of the composition and extends toward the center, which is dominated by a black, vertically oriented abstract form with a narrow vertical crevice visible in the upper half. That crevice gives the form volume, makes it a thing rather than just a shape. The thickness of the lines squeezes the spaces between them. The feeling is claustrophobic, and one senses that the thing (or life force) is trapped. All of this is conveyed formally; there is nothing overtly expressionistic about her work.

In this and other works done around this time, Sekula is out on her own: her work does not fit in with Abstract Expressionism, Minimalism, Color Field painting, nor the movement towards what would become known as Pop Art. And yet, she is not looking back, not reviving a pre-modern approach. That alone is reason to look again. We have to begin to discover what is urgent and original in her work, just as we did in the 1980s with Forrest Bess, another artist who showed with Betty Parsons.

Sectioning the surface, as she does in many of her works, suggests that compartmentalization was rooted in her psyche. So while she might not have attained a signature style, there are a number of formal preoccupations running through her work. Perhaps these preoccupations are connected to a statement she made in a journal entry: “1957: I do not feel part of any country or race.” At a time when we seem to be preoccupied with identity and nationality, Sekula’s statement speaks to those who feel that they belong to nothing and nowhere. As her writing makes clear, examples of which are included in this exhibition, she never overcomes her sense of displacement and isolation. It is not a social loneliness she endures, but one that afflicts the bones of her being.

As she wrote in a long run-on sentence that can be seen in the gallery, “The heart is a bit sad on all four corners, when it’s such a clear fall day in the middle of summer and all is wide open + you hear that…” Sekula did not always possess the ability to shut out the world, and that her senses and the associations they stirred up gave her extreme vertigo. Sekula’s center did not hold.

Sonja Sekula, “The heart is a bit sad…” (ca. 1950’s), gouache and ink on paper, 11 3/4 x 9 inches

Years ago, I had the opportunity to sit next to Lee Krasner, while she was having lunch with Barbara Rose, Rosalind Krauss, Gail Levin, and other art historians. At one point, disgusted by the tenor of the conversation, she said: “You are just waiting for me to die so you can make your reputation.”  Krasner had lived long enough to know that her work was going to be seen differently, even if she would not live long enough to see it happen. The recent reevaluation of Krasner’s status, as in Anfam’s exhibitions of Abstract Expressionism in England and America, gives a ring of truth to her pronouncement. Sekula is long dead. It is time to give her work a fresh look. I think we would be surprised by what we find there. I certainly was, and I have seen fewer than twenty works.

Sonja Sekula: A Survey continues at Peter Blum Gallery (20 West 57th Street, Midtown, Manhattan) through June 24.

The post Sonja Sekula’s Time May Have Finally Come appeared first on Hyperallergic.

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