Legoland, Denmark - All Attractions in 10 Minutes
A tour of all rides and attractions in Legoland, Billund. From the miniature lego cities and the Duplo rides for small children to the extreme coasters in Polar Land. Finishing off at the fantastic Atlantis aquarium and the 4D cinema complex.
INTERVIEW: Laurence Noga - Make_Shift - Collyer Bristow Gallery. By Robert Dunt from ArtTop10.co
ArtTop10.com Founder Robert Dunt in conversation with Laurence Noga.
Collyer Bristow presents Make_Shift - Curated by Rosalind Davis
Fifty years ago, artist Richard Serra created the artwork Verb List that became a road map for his own process of making and an influence on the work of many others since. The abridged verb list emphasizes
a compelling attitude towards creativity epitomized by actions, processes and the ideas underpinning Make_Shift. The artists manipulate and modify different mediums and processes; assembling, layering and collaging both literally and conceptually to disrupt our expectations of objects and images.
Many of the works acknowledge the mechanized or inhabit its process, such as Gemma Cossey’s repeated gestural marks or Richard McVetis meticulous stitched work. There is a distinct desire by many of the artists to steer away from the artificiality of screens and the virtual such as with the work of Fran Gordon and Fiona Curran who disrupt our reading of space. Even when digital tools are used in the process of production for example in Otto Ford’s work, his outcomes evidence a strong sense of materiality and a sensual tactility related to the hand made. Many of these artists work across two and three dimensions and back again. Making, shifting and utilizing the provisional or rudimentary materials to construct their work such as Michael Samuels, Laurence Noga, Gunther Herbst and Jake Clark.
Michael Samuels’ practice can be characterised as a form of contemporary bricolage, which utilises industrially produced Modernist furniture, 1960’s Scandinavian Glass Vases and cast concrete. They are liberated from their traditional roles, reconfigured and displaced into structures that no longer have a utilitarian purpose. Dislocating these everyday objects heightens the tension between the functional role of the objects used and their immaterial value. Many of the materials used in Laurence Noga’s assemblages are linked to his own history; found items from his father’s garage. Found industrially produced material is combined with the mysterious and forgotten in a poetic construction.
Andrea Medjesi-Jones’ installation ‘PinkPaintingMachine’ was created specifically for the exhibition. Through production of material and formal variables Medjesi-Jones assembles a coded machine, whose repetitive and laborious gestures comment on disciplinarian and enclosed strategies of labour. Alan Magee’s practice is an investigation into the power or powerlessness of the individual in an increasingly controlled and organised world.
Charlie Stiven’s highly crafted, composite architectural models are derived from the form, function & condition of vernacular European street kiosks. He sees these low tech, transient structures as being representative of a broad range of social, economic & political points of tension. ‘Der Gefoulte Traum’ comes from a heading of an item found in the German tabloid newspaper ‘Bild’, concerning the extra marital activities of a certain sports personality. Günther Herbst’s works are a series of ‘fictitious monument’ sculptures and the subsequent paintings made in response to them. This allows for an intensification of play with symbols, signs and styles as a way to address issues around temporality in oscillation, hovering between commemoration and possibility, historic events and possible refolding of our present with other narratives. Jake Clark’s paintings are a response to rudimentary cardboard models and collages that he has made, influenced by suburbia and games such as crazy golf as well as influences of Brutalist architecture and a backwards look at the space race. Neill Fuller assembles, and then paints from, combinations of found or self-made objects gathered into small intimate tableaux. Some are chosen for their ability to imitate something from the real world. Many are detached from their previous lives – now coerced into new uses as they are within Peter Jones’ paintings of found vintage toys; rejected or lost playthings that reveal their own inherent uniqueness and potential for portraiture.
Both Fiona Curran and Fran Gordon are concerned with digital imagery and technologies. Digital technologies can be seen to compress and condense space and to contribute to a general sense of acceleration. Fiona Curran focuses on the impacts of new technologies on landscape space and the increasing presence of the illuminated screen in our day-to-day lives. Fran Gordon’s collage works
investigates the intersections between skin, touch and the material world through a collection of printed matter, materiality and the mediated image. Tensions are delved into by shifts in scale and use of the fixture as an indication that things could fall apart.
EXTRAS | GERMANY Vlog 52 - Wedding Day
Mark and I first met 11 years ago whilst travelling in Argentina. Him being Australian and me being German it wasn't always easy to find a country we could both stay in for a while and be together without lots of legal hurdles to conquer first.
Now we are living in Australia and after 5 long years without having been home, we have come back to visit family and friends in Germany. Today we are getting married. It's the 2nd of July 2016.
Music:
Mark Bruechle - 'A Million Lights' (
Silent Partner - 'Blue Skies'
Photographer: richard-lehmann.de (Bucht ihn, bucht ihn, bucht ihn!! Er ist absolut fantastisch!!!!)
First helicopter flight of my life. Africa Travel Vlog.
We visited the beautiful Linyanti Bushcamp in Botswana. A special place far off the grid, where dreams came true..
Lots of love from Africa,
Gesa
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SAFARI SUNDAYS - The AFRICA TRAVEL VLOG by Private Guide and German Bestselling-Author Gesa Neitzel. Get your weekly wildlife fix and follow Gesa and Frank as the couple explores the African Bush! New episode every other SAFARI SUNDAY!
INTERVIEW: Rosalind Davis - Make_Shift - Collyer Bristow Gallery. By Robert Dunt from ArtTop10.co
ArtTop10.com Founder Robert Dunt in conversation with Rosalind Davis.
Collyer Bristow presents Make_Shift - Curated by Rosalind Davis
Fifty years ago, artist Richard Serra created the artwork Verb List that became a road map for his own process of making and an influence on the work of many others since. The abridged verb list emphasizes
a compelling attitude towards creativity epitomized by actions, processes and the ideas underpinning Make_Shift. The artists manipulate and modify different mediums and processes; assembling, layering and collaging both literally and conceptually to disrupt our expectations of objects and images.
Many of the works acknowledge the mechanized or inhabit its process, such as Gemma Cossey’s repeated gestural marks or Richard McVetis meticulous stitched work. There is a distinct desire by many of the artists to steer away from the artificiality of screens and the virtual such as with the work of Fran Gordon and Fiona Curran who disrupt our reading of space. Even when digital tools are used in the process of production for example in Otto Ford’s work, his outcomes evidence a strong sense of materiality and a sensual tactility related to the hand made. Many of these artists work across two and three dimensions and back again. Making, shifting and utilizing the provisional or rudimentary materials to construct their work such as Michael Samuels, Laurence Noga, Gunther Herbst and Jake Clark.
Michael Samuels’ practice can be characterised as a form of contemporary bricolage, which utilises industrially produced Modernist furniture, 1960’s Scandinavian Glass Vases and cast concrete. They are liberated from their traditional roles, reconfigured and displaced into structures that no longer have a utilitarian purpose. Dislocating these everyday objects heightens the tension between the functional role of the objects used and their immaterial value. Many of the materials used in Laurence Noga’s assemblages are linked to his own history; found items from his father’s garage. Found industrially produced material is combined with the mysterious and forgotten in a poetic construction.
Andrea Medjesi-Jones’ installation ‘PinkPaintingMachine’ was created specifically for the exhibition. Through production of material and formal variables Medjesi-Jones assembles a coded machine, whose repetitive and laborious gestures comment on disciplinarian and enclosed strategies of labour. Alan Magee’s practice is an investigation into the power or powerlessness of the individual in an increasingly controlled and organised world.
Charlie Stiven’s highly crafted, composite architectural models are derived from the form, function & condition of vernacular European street kiosks. He sees these low tech, transient structures as being representative of a broad range of social, economic & political points of tension. ‘Der Gefoulte Traum’ comes from a heading of an item found in the German tabloid newspaper ‘Bild’, concerning the extra marital activities of a certain sports personality. Günther Herbst’s works are a series of ‘fictitious monument’ sculptures and the subsequent paintings made in response to them. This allows for an intensification of play with symbols, signs and styles as a way to address issues around temporality in oscillation, hovering between commemoration and possibility, historic events and possible refolding of our present with other narratives. Jake Clark’s paintings are a response to rudimentary cardboard models and collages that he has made, influenced by suburbia and games such as crazy golf as well as influences of Brutalist architecture and a backwards look at the space race. Neill Fuller assembles, and then paints from, combinations of found or self-made objects gathered into small intimate tableaux. Some are chosen for their ability to imitate something from the real world. Many are detached from their previous lives – now coerced into new uses as they are within Peter Jones’ paintings of found vintage toys; rejected or lost playthings that reveal their own inherent uniqueness and potential for portraiture.
Both Fiona Curran and Fran Gordon are concerned with digital imagery and technologies. Digital technologies can be seen to compress and condense space and to contribute to a general sense of acceleration. Fiona Curran focuses on the impacts of new technologies on landscape space and the increasing presence of the illuminated screen in our day-to-day lives. Fran Gordon’s collage works
investigates the intersections between skin, touch and the material world through a collection of printed matter, materiality and the mediated image. Tensions are delved into by shifts in scale and use of the fixture as an indication that things could fall apart.
INTERVIEW: Gunther Herbst - Make_Shift - Collyer Bristow Gallery. By Robert Dunt from ArtTop10.com
ArtTop10.com Founder Robert Dunt in conversation with Gunther Herbst.
Collyer Bristow presents Make_Shift - Curated by Rosalind Davis
Fifty years ago, artist Richard Serra created the artwork Verb List that became a road map for his own process of making and an influence on the work of many others since. The abridged verb list emphasizes
a compelling attitude towards creativity epitomized by actions, processes and the ideas underpinning Make_Shift. The artists manipulate and modify different mediums and processes; assembling, layering and collaging both literally and conceptually to disrupt our expectations of objects and images.
Many of the works acknowledge the mechanized or inhabit its process, such as Gemma Cossey’s repeated gestural marks or Richard McVetis meticulous stitched work. There is a distinct desire by many of the artists to steer away from the artificiality of screens and the virtual such as with the work of Fran Gordon and Fiona Curran who disrupt our reading of space. Even when digital tools are used in the process of production for example in Otto Ford’s work, his outcomes evidence a strong sense of materiality and a sensual tactility related to the hand made. Many of these artists work across two and three dimensions and back again. Making, shifting and utilizing the provisional or rudimentary materials to construct their work such as Michael Samuels, Laurence Noga, Gunther Herbst and Jake Clark.
Michael Samuels’ practice can be characterised as a form of contemporary bricolage, which utilises industrially produced Modernist furniture, 1960’s Scandinavian Glass Vases and cast concrete. They are liberated from their traditional roles, reconfigured and displaced into structures that no longer have a utilitarian purpose. Dislocating these everyday objects heightens the tension between the functional role of the objects used and their immaterial value. Many of the materials used in Laurence Noga’s assemblages are linked to his own history; found items from his father’s garage. Found industrially produced material is combined with the mysterious and forgotten in a poetic construction.
Andrea Medjesi-Jones’ installation ‘PinkPaintingMachine’ was created specifically for the exhibition. Through production of material and formal variables Medjesi-Jones assembles a coded machine, whose repetitive and laborious gestures comment on disciplinarian and enclosed strategies of labour. Alan Magee’s practice is an investigation into the power or powerlessness of the individual in an increasingly controlled and organised world.
Charlie Stiven’s highly crafted, composite architectural models are derived from the form, function & condition of vernacular European street kiosks. He sees these low tech, transient structures as being representative of a broad range of social, economic & political points of tension. ‘Der Gefoulte Traum’ comes from a heading of an item found in the German tabloid newspaper ‘Bild’, concerning the extra marital activities of a certain sports personality. Günther Herbst’s works are a series of ‘fictitious monument’ sculptures and the subsequent paintings made in response to them. This allows for an intensification of play with symbols, signs and styles as a way to address issues around temporality in oscillation, hovering between commemoration and possibility, historic events and possible refolding of our present with other narratives. Jake Clark’s paintings are a response to rudimentary cardboard models and collages that he has made, influenced by suburbia and games such as crazy golf as well as influences of Brutalist architecture and a backwards look at the space race. Neill Fuller assembles, and then paints from, combinations of found or self-made objects gathered into small intimate tableaux. Some are chosen for their ability to imitate something from the real world. Many are detached from their previous lives – now coerced into new uses as they are within Peter Jones’ paintings of found vintage toys; rejected or lost playthings that reveal their own inherent uniqueness and potential for portraiture.
Both Fiona Curran and Fran Gordon are concerned with digital imagery and technologies. Digital technologies can be seen to compress and condense space and to contribute to a general sense of acceleration. Fiona Curran focuses on the impacts of new technologies on landscape space and the increasing presence of the illuminated screen in our day-to-day lives. Fran Gordon’s collage works
investigates the intersections between skin, touch and the material world through a collection of printed matter, materiality and the mediated image. Tensions are delved into by shifts in scale and use of the fixture as an indication that things could fall apart.
Exploring Abandoned Volkswagen Graveyard - Hundreds of VW Bugs
On this explore, we are headed back to an amazing spot with some friends. Martin & Andy came into town and drove with us to an abandoned VW graveyard. Such a fun spot to visit all year round. Fran and I had been during the winter and it was beautiful. But now that the seasons have changed and summer has brought back a lot of colors to the trees, we decided to go back for another look. Deep in the woods are hundreds of old VW bugs, busses, and other models of cars left vacant and taken over by Mother Nature. We were all very excited to shoot so we wasted no time getting started. After an hour or so of shooting, our trip came to a temporary halt when the owner of the property approached me. He didn't seem very friendly at first. He started to get our info like he was calling the police. But after several minutes, he began to warm up to us and joke with us because he realized we meant no harm. He told us a back story to this location and then left us to continue shooting which was awesome. We all left there with a good amount of photos and were very satisfied with our explore. Andy & Martin left to go shoot the rest of the day as Fran & I headed home. Unfortunately Andy & Martin had their cameras confiscated later that night by police due to a failed explore. So their shots will have to wait until after court.
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An overview of Make_Shift at the Collyer Bristow Gallery with curator Rosalind Davis and ArtTop10
ArtTop10.com Founder Robert Dunt in conversation with Rosalind Davis.
Collyer Bristow presents Make_Shift - Curated by Rosalind Davis
Fifty years ago, artist Richard Serra created the artwork Verb List that became a road map for his own process of making and an influence on the work of many others since. The abridged verb list emphasizes
a compelling attitude towards creativity epitomized by actions, processes and the ideas underpinning Make_Shift. The artists manipulate and modify different mediums and processes; assembling, layering and collaging both literally and conceptually to disrupt our expectations of objects and images.
Many of the works acknowledge the mechanized or inhabit its process, such as Gemma Cossey’s repeated gestural marks or Richard McVetis meticulous stitched work. There is a distinct desire by many of the artists to steer away from the artificiality of screens and the virtual such as with the work of Fran Gordon and Fiona Curran who disrupt our reading of space. Even when digital tools are used in the process of production for example in Otto Ford’s work, his outcomes evidence a strong sense of materiality and a sensual tactility related to the hand made. Many of these artists work across two and three dimensions and back again. Making, shifting and utilizing the provisional or rudimentary materials to construct their work such as Michael Samuels, Laurence Noga, Gunther Herbst and Jake Clark.
Michael Samuels’ practice can be characterised as a form of contemporary bricolage, which utilises industrially produced Modernist furniture, 1960’s Scandinavian Glass Vases and cast concrete. They are liberated from their traditional roles, reconfigured and displaced into structures that no longer have a utilitarian purpose. Dislocating these everyday objects heightens the tension between the functional role of the objects used and their immaterial value. Many of the materials used in Laurence Noga’s assemblages are linked to his own history; found items from his father’s garage. Found industrially produced material is combined with the mysterious and forgotten in a poetic construction.
Andrea Medjesi-Jones’ installation ‘PinkPaintingMachine’ was created specifically for the exhibition. Through production of material and formal variables Medjesi-Jones assembles a coded machine, whose repetitive and laborious gestures comment on disciplinarian and enclosed strategies of labour. Alan Magee’s practice is an investigation into the power or powerlessness of the individual in an increasingly controlled and organised world.
Charlie Stiven’s highly crafted, composite architectural models are derived from the form, function & condition of vernacular European street kiosks. He sees these low tech, transient structures as being representative of a broad range of social, economic & political points of tension. ‘Der Gefoulte Traum’ comes from a heading of an item found in the German tabloid newspaper ‘Bild’, concerning the extra marital activities of a certain sports personality. Günther Herbst’s works are a series of ‘fictitious monument’ sculptures and the subsequent paintings made in response to them. This allows for an intensification of play with symbols, signs and styles as a way to address issues around temporality in oscillation, hovering between commemoration and possibility, historic events and possible refolding of our present with other narratives. Jake Clark’s paintings are a response to rudimentary cardboard models and collages that he has made, influenced by suburbia and games such as crazy golf as well as influences of Brutalist architecture and a backwards look at the space race. Neill Fuller assembles, and then paints from, combinations of found or self-made objects gathered into small intimate tableaux. Some are chosen for their ability to imitate something from the real world. Many are detached from their previous lives – now coerced into new uses as they are within Peter Jones’ paintings of found vintage toys; rejected or lost playthings that reveal their own inherent uniqueness and potential for portraiture.
Both Fiona Curran and Fran Gordon are concerned with digital imagery and technologies. Digital technologies can be seen to compress and condense space and to contribute to a general sense of acceleration. Fiona Curran focuses on the impacts of new technologies on landscape space and the increasing presence of the illuminated screen in our day-to-day lives. Fran Gordon’s collage works
investigates the intersections between skin, touch and the material world through a collection of printed matter, materiality and the mediated image. Tensions are delved into by shifts in scale and use of the fixture as an indication that things could fall apart.
Coasters of the 2018 World Cup
Today I will be talking about the best coasters from the main countries involved in the 2018 World Cup.
Babymoon Hawaii 2018
Big Island