Szabad tartásból származó tojásokat

I always buy free range eggs, for peace of mind that the the little chickens aren't laying the wee eggs with broken legs and total hellish living conditions. It's traumatising, for the chickens and I bet probably the eggs don't taste as good. I usually use a bit too much salt when making eggs, so the taste isn't my main reason for buying free range. Anyway, since being in Budapest, I haven't bothered buying free range. One, because I don't know the word in Hungarian, and also, the packaging on some eggs implies that the eggs are free range ie. terracotta or sand coloured boxes, with a sun rising over a farmhouse on the picture on the front. This makes the eggs in the box seem friendly as though they were procured through natural methods, but it might not say "free range" anywhere on the box. If the packaging reflected the true method of production, it would look like the terminator's lunchbox, or something. So how will I know for sure? That was the second reason.

So the eggs in the market, that are just stacked high behind the scales, maybe they're free range? But how do I ask my market man? I want eggs. If he says they are from battery hens then I'll probably still buy them. But enjoy them? The taste of chicken guilt. If the yolk is really really yellow, this is a happy colour for me, also the colour of butternut squash and honey soup. Very happy. But if the yolk is pale, a bit grey seeming, this is sad. I don't know what to do. I don't even know if they have free range eggs in Hungary. I mean obviously they do, but is the demand for them as widespread as in the UK? For example, the organic market here in Hungary is smaller than the organic market in the UK. It exists, but is smaller. But the traditional fruit and vegetable market is much more popular here in Hungary than in the UK.

I'm just going to have to have the awkward conversation with my market man about whether the eggs are free range or not. Will he think I'm some egg snob? Or over sensitive chicken lover? I will have to look up how to ask this in Hungarian. Easy enough, I'll just pop over to google translate. The words are:

szabad tartásból származó tojásokat

And that just means "free range eggs". There must be a simpler way. This situation is too stressful for what it's worth. I will just ignorantly buy the eggs from the market man, not the supermarket, and hope they are happy.

A Global Sense of Place – by Doreen Massey

From Space, Place and Gender. Minneapolis : University of Minnesota Press, 1994.

reminds me of andy goldsworthy wall lined with wool.

Andy Goldsworthy's work inspires me at the minute, since I saw the sheep wool on the stone wall... It reminded me so much of the white fluff that that blows from the trees here in Budapest, and lightly floats in every crack and open window. I've never seen this before, maybe it happens at other places too, but it It also clings to pavement edges and lands in puddles where it gets soaked and changes from light and fluffy to dirty and heavy.

laws, lines, rules, systems, myths

backwards projections, graveyard gravel, bodyless suits, dancing clothes

wrong animals, tools, wooden toys, camping equipment, minerals in lakes

millions of hard eggs, scratchy drawn egg people, panorama echo

lace making, pins and tools, threads and wooden polished knobs, fingers dancing

The Messy Relationship between Feminisms and Globalizations

With some exceptions, feminist scholars have written either about gender and globalizations or about transnational feminisms but rarely examined the relationship between them. In this essay, the author wants to reflect on this relationship to highlight how they have shaped each other. She suggests that feminisms are important force-shaping globalizations. At the same time, the relationship between them is fraught and in some instances has furthered inequalities among feminists. But this does not preclude other possibilities as is evident in the work of feminists around the world.

From the SWS President: The Messy Relationship between Feminisms and Globalizations

Manisha Desai

Gender and Society
Vol. 21, No. 6 (Dec., 2007), pp. 797-803

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lace making equipment

http://www.mkheritage.co.uk/cnm/html/EXHIBITS/lace/index.html

Is It Traditional? by Linda M Ballard

Lace Making in Hungary

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Early Design in Lace

Author(s): John Hungerford Pollen

Source: The Burlington Magazine for Connoisseurs, Vol. 19, No. 98 (May, 1911), pp. 73-75+78-

79

Published by: The Burlington Magazine Publications, Ltd.

To trace rapidly the development of lace work

from the earliest times to the beginning of the

sixteenth century will be sufficient for the present

purpose. The earliest foundation of lace work

was the knotting or twisting of threads by hand

or by bobbins worked in a frame. Woven linen,

with threads drawn or cut out, also served as a

foundation. The results can be seen in the darned

nets and fringes of the sculptures of Nineveh, and

in the actual lace found in Egypto-Roman tombs

of the first to the third centuries, preserved to us

by the desert sand and the wonderful climatic

conditions.

Later we have no specimens to point to, until

in the lacis or knotted thread work (Italian,

modano) and linen lace work of the thirteenth

and following centuries, we see so clearly the very

stitches and design of the earlier fabrics that it is

plain that the art was never lost. Workers,

whether Babylonic, Coptic, or Italian, could darn

exquisite patterns on net-work, or by ingeniously

cutting and sewing over threads in the linen, obtain

those beautiful and intricate effects called reticello,

now the generic term for all lace of geometric

design whether needle or bobbin made. Reticello,

as a strictly lace term, implies a foundation of linen,

and is therefore in the same class as drawn or cut

linen work; this obtains, even although the linen

threads are often completely covered by needle-

point. Fig. A [PLATE 1], represents a true reticello :

the edge shows the linen threads. Many examples

of this exist, and are depicted by Cimabue, Giotto,

and other painters of the thirteenth

and fourteenth

centuries.

Early in the sixteenth century, workers, not

satisfied with the limitation of material,

and also,

as can be shown, incited by examples from the

East, began to discard the knotted thread

foundation, and to use less and less of the linen,

and more of the unfettered needle guided only by

the heart and brain. This transition can be

observed in Fig. B [PLATE I], where the merest

threads are left as a lattice background

to the inter-

lacing strapwork

which, as well as the conventional

floral

pattern,

is worked entirely

by the needle. Thus

came into being the wonderful

punto in aria, a

name which has never been translated

into another

tongue and expresses the glory of the first lace

work created solely by the needle. Signora Elisa

Ricci speaks of the perfection of style and of the

elegance, combined with simple exactitude of

design, in the early punto in aria, which she calls

the most Italian of all laces.' At the same time it

must be said that it is more plainly inspired by the

East than any previous or subsequent fabric, and,

in fact, I claim for Persia the fame of having given to

Venice her pre-eminence in the matter of lace

design. It is uncontested that the commerce of

Venice in the fourteenth and fifteenth centuries

was largely with the East. I think the influence

of Persia is clearly shewn in the designs for punto

in aria in its first development from Oriental

sources. Photographs of Persian tiles [see Fig. c,

PLATE

I] in the Victoria and Albert Museum, and

other early fourteenth-century tiles in the Salting

Collection may be mentioned, and leave us no

doubt of this.

Madame Bovary

the description of the viscount`s cigar case embroidered with love reminded me of something i saw at lake balaton. i watched a woman making lace, actually it was a tourist attraction, she was even dresssed in traditional hungarian gear. but the way they make, or made the lace, is insane. its like driving a tractor, except like 4 tractors at a time. using all fingers, in a certain order, much like knitting but with about 8 `needles´ although they are actualy more like... batons, or spools. what great words. like pins, like bowling pins, but small with the thread on the end. and the threads are tied to a sausage dog pin cushion, which the lace is patterned onto, with the template of the lace drawn on the surface of the sausage cushion. i took some photos but its the motion of the fingers that`s mesmerising. not all needlework impresses me like this. its the time and intricacy taken over something that noone would imagine anyone sitting down to make, for hours, such a small thing. obviously now it is easy to make such things using machines. bu before machines, this is how lace was made. such effort, and time, and sweat. surely after the lace mistresses had finished their sewing, lacing, their pieces were bleached or disinfected in whatever way was custom at the time. to sell on, to i dont know who. but i need to know more about the women who made this lace. i will post pictures of the process i saw.

Fear in the Black Box

Jay Rosenblatt: Afraid So / Attól tartok, 2006, video, b/w, 3 min

Afraid So is about fear and anxiety. It is based on a poem where each line forms a question with the implied response being “Afraid so”. Impending doom permeates the film.

Paul Harrison & John Wood: 3 legged / 3 lábon, UK, 1996, video, colour, sound, 3 min

Leopold Kessler: Depot / Raktár, 2005, video, colour, sound, 4 min

Opening: 2011.01.11 19:00

On View: 2011.01.12 - 2011.02.27

Location: Trafo Gallery

Participating artists:
Roy Andersson, Martin Brand, Dominic Gagnon, Valeriya Gay Germanika, Paul Harrison & John Wood, Leopold Kessler, Krzysztof Kieślowski, Andree Korpys & Markus Löffler, Theo Ligthart, Anne Robertson, Jay Rosenblatt

Curated by:
Edit Molnár, Marcel Schwierin

In contemporary mass media, fear has a growing tangible presence. But how can we distinguish which represented fears are well grounded, and which are deliberately generated by the media? Through the language of the moving image, the exhibition investigates sources, mechanisms and effects of fear in society.
In migrating a tight selection of experimental films and videos screened at Werkleitz Festival 2010 into the exhibition space,Fear in the Black Box seeks to reflect on the existing discourse on the colonialization of the white cube by "cinema".The space of the black box - a metaphor for an archive of our collective fears - is dark but not sinister. It invites the audience to take a closer look, to analyze our contemporary condition, to revisit our social, political and existentional fears without the intention of generating them.

Fear in the Black Box forms a collaboration between the Werkleitz Association in Halle (Germany) and the Trafo Gallery.

Theorem Pier Paolo Pasolini, 1968

From Time Out Film Guide

In Theorem, Pasolini achieved his most perfect fusion of Marxism and religion with a film that is both political allegory and mystical fable. Terence Stamp plays the mysterious Christ or Devil figure who stays briefly with a wealthy Italian family, seducing them one by one. He then goes as quickly as he had come, leaving their whole life-pattern in ruins. What would be pretentious and strained in the hands of most directors, with Pasolini takes on an intense air of magical revelation. In fact, the superficially improbable plot retains all the logic and certainty of a detective story. With bizarre appropriateness, it was one of the last films made by Stamp before he virtually disappeared from the international film scene for some years.

Author: DP

Hilary Pecis

I like the similarity of this collage by Hilary Pecis to the digital print by Ho-Yeol Ryu.

All Inclusive: A Tourist World

I researched this exhibition from 2008 for my Critical Review of Sources. It was extremely interesting to see the phenomenon of tourism used as a theme.

HO-YEOL RYU

Flughafen, 2005

Ca. 100 x 150 cm

Digital Print

Courtesy Ho-Yeol Ryu

All-Inclusive. A Tourist World presents works from 30 artists depicting and commenting on various phenomena influenced by the continually growing tourist industry.

Tourism has long since become a crucial phenomenon of today’s mobile world society. The traces left by travelers all over the Earth give evidence of a continually growing tourist industry and mark the beginning of a global movement that drastically transforms present-day man and the spaces he passes through. The exhibition “All-Inclusive. A Tourist World,” on show at the Schirn from 30 January to 4 May 2008, presents numerous works depicting and critically questioning various tourist phenomena. Documentations, parodies and defamiliarizations of traditional tourist motifs, and dream images interlink with subjects like migration, tourist industry, and global communication. The project curated by Matthias Ulrich assembles works by about 30 internationally renowned artists such as Michael Elmgreen and Ingar Dragset, Ayse Erkmen, Peter Fischli and David Weiss, Tracey Moffatt, Jonathan Monk, Santiago Sierra, and Thomas Struth.

Tourism is a desideratum full of steadily recurring images of beauty, longing, recreation, and adventure. The tourist is on his way to these images to confirm, to duplicate, and to archive them as the résumé of his vacation. The British artist Martin Parr’s photographs, for example, depict tourist patterns of behavior frozen to clichés, as it were, and unfold a picture of the vacation activities of an underprivileged class primarily centered on his native Britain. The artificial tourist landscapes of the Austrian artist Reiner Riedler’s photo series “Fake Holidays” are based on similar stereotypes. They too confirm Peter D. Osborne’s theory that tourist photography mainly serves the purpose of confirmation and not of discovery.

Yet, the pictures’ appeal also changes their subjects. In accordance with the prevailing images, trite places turn into interesting destinations, and famous sights are used for whatever objective: there are world parks like the Shenzhen Window of the World with sights from all over the Earth or projects like in Las Vegas and Dubai with cliché elements from famous cities and cultures. Perfectly orchestrated places where you can ski in summer and get some Caribbean sun in winter are no less artificial and, at the same time, serve as bearers
of desires.

Tourism is of global importance, mobilizing by calling for mobility and making it possible – from the individual setting out into the unknown and making new experiences to entire regions transformed into sights such as the Basque city of Bilbao under its Guggenheim Museum’s influence. The comical, sometimes absurd mise-en-scène of a Nepalese landscape untouched by tourism in the American artist Stuart Hawkins’s film “Souvenir” or one of the provocative works by the Spanish artist Santiago Sierra realized on the vacation island of Mallorca in 2001 are set against this background.

Present-day tourism constitutes itself through networks exceeding the borders between different cultures and nations – a fact that necessarily calls into question certain binary notions like host and guest, native and foreigner, rooted and nomadic. Travelers find themselves confronted with other people living in the global city rather than with the specific circumstances of a place.

Traveling has also become an everyday routine for many contemporary artists. Much of it finds immediate expression in their works, like in the baggage conveyor belt turning around its own axis by the Scandinavian artist duo Michael Elmgreen and Ingar Dragset or the huge archive of vacation photos by the Swiss artists Peter Fischli and David Weiss. The experience of certain places and spheres such as airports and hotels is anything but limited to tourists today. The individual’s mobility informs the character of working life in the capitalist economic system, which brings about an organization and design of large parts of the word tailored to mobility. Because of this wave of mobilization, escape as the tourist’s motive to get rid of everyday dictates and devote himself to a paradisiacal life has to be dealt with in a new context. For a different movement often occurs on the paths of tourism – a movement grounded in political and economic circumstances: migration as the stagnating traffic counter to tourism. The Moroccan artist Yto Barrada, who was born in France, has impressively captured this dualism in her photographs about Tangier and the Straits of Gibraltar, for example. The London-based Bulgarian artist Ergin Çavusoglu aims at something similar in his film “Point of Departure,” in which the transit zones and travel spaces of Stansted and Trabzon, a Western and an Eastern European airport, cross each other.

LIST OF ARTISTS: Franz Ackermann, Atelier Morales, Yto Barrada, Guy Ben-Ner, Ergin Çavusoglu, Ingar Elmgreen und Michael Dragset, Ayse Erkmen, Peter Fischli und David Weiss, Eva Grubinger, Stuart Hawkins, Mark Hosking, Richard Hughes, Christoph Keller, Won Ju Lim, Andreas Lorenschat, Kris Martin, Lee Mingwei, Tracey Moffatt, Jonathan Monk, Walter Niedermayr, NL Architects, Martin Parr, Philippe Parreno, Sascha Pohle, Reiner Riedler, Damien Roach, RothStauffenberg, Ho-Yeol Ryu, Santiago Sierra, Thomas Struth, Sislej Xhafa, Yin Xiuzhen.

Jonathan Monk

Jonathan Monk, #129, MALTA £189, (From the series: Holiday Paintings, 1992-2000). Photo: Anders Sune Berg, Copenhagen

Frieze article

Thomas Struth

Thomas Struth, Audience 8 (Galleria dell'Accademia) Firenze, 2004

Thomas Struth, Audience 1, Firenze, 2004

Thomas Struth's Museum Photographs show tourists in shorts, jeans and t-shirts with their cameras and guidebooks as they wander around museums with a look on their face that says that no matter how interested they might or might not be in the paintings hung on the walls, they just "have to" be there and be seen contemplating the works. You look at them and find it a bit repulsive then you realize you're just one of them, no matter how educated and refined you might be. Last year, for example, art travel packets -including flights, car rental, entry tickets and hotel- enabled the enlightened to tour the most distinguished event of the European art Summer: the Venice Biennale, Art Basel, documenta in Kassel, and Skulptur. Projekte in Münster.

Reiner Riedler - Fake Holidays

Fake Holidays
2004-2009

"When wishes are out of reach, simulation is taking over our leisure time and our holidays. Imaginary worlds are created, often under massive technological exertion, in order to offer us experience as reproducible merchandise. Although the quality of these adventures on demand sometimes proves to be rather dubious, the boom does shed light on one thing: the yearnings and dreams underlying people’s daily lives."

Text by Jens Lindworsky

Reiner Rieder, Indoor Pool "Tropical Islands" in Berlin Brandenburg

Reiner Riedler, Schilift, 2005

Reiner Riedler's lens focuses on artificial tourist landscapes. His photo seriesArtificial Holidays show people sunbathing on an indoor tropical island in Berlin, skying in Dubai, having dinner at the bottom of Florida's very own Mexican pyramid are based on similar stereotypes. They confirm the theory that tourist photography mainly serves the purpose of confirmation and not of discovery.

Juliana Santacruz Herrera

Since I was looking at the cracks in the roads and pavements in Budapest, I wanted to post this artist's work. I love the public filling in the cracks. It reminds me of the knitting 'yarn-bombing' I was looking at last year. I guess this instillation is pretty temporary, because the pieces of cloth are such an attractive steal, for birds or children. Also I don't know what would happen in the rain, dirt, sun etc. I love this type of fragile intervention, the material being fragile, but the colours are bold.