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international surrealism now 2021

15/5/2021

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​INTERNATIONAL SURREALISM NOW 2021

11th ANNIVERSARY Exhibition
11 YEARS of the International Surrealism Now Exhibition at CAE.
​125 participant artists from 52 countries - May 5 to July 11 of 2021
​125 participant artists from 52 countries: Albania, Algeria, Argentina, Australia, Austria, Azerbaijan, Belarus, Belgium, Brazil, Canada, Chile, China, Colombia, Croatia, Czech Republic, Cuba, Denmark, Finland, France, Germany, Hungary, Iceland, Indonesia, Iran, Ireland, Israel, Italy, Japan, Latvia, Mexico, Morocco, Netherlands, New Zealand, Nigeria, Peru, Philippines, Poland, Portugal, Romania, Russia, Serbia, Slovenia, Spain, Sweden, Switzerland, Turkey, United Kingdom, United States, Ukraine, Venezuela, Vietnam, India.

​ The initiative comes from the company MatosCar, an automotive group present in the Portuguese cities of Guarda, Fundão, Castelo Branco, Portalegre, Évora and Beja. Official representatives of 24 brands.
​The  Arts and Entertainment Center (CAE) was opened in 2002. Large cultural structure (2 200 and 800 seat auditoriums - outdoor amphitheater, foyer, breakout rooms, studios, 4 exhibition halls) was thought of as a centrality with European Community funds and its programming tends to go through major national and international shows and this structure is also linked to other programming centers and events, in an anchor logic that disperses without losing continuity.
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Centro de Artes e Espectáculos - Rua Abade Pedro 3080-084 Figueira da Foz 
​Tel: 233 407 200 Fax: 233 407 209
My Artwork with INTERNATIONAL SURREALISM NOW
FOMORII POD
PARTHENOGENESIS II
TRIPPING THROUGH BOGOMIL'S MIND
Participating Artists:
Achraf Baznani, Morocco / Agim Meta, Albania-Spain / Aissa Mammasse, Algeria / Alessio Serpetti, Italy / Alvaro Mejias, Venezuela / Ana Neamu, Romania / Ana Pilar Morales, Spain / Andrew Baines, Australia / Asier Guerrero Rico (Dio), Spain / Axel Blotevogel, Germany / Brigid Marlin, UK / Bien Banez, Philippines / Can Emed, Turkey / Carlos Sablón, Cuba / Cătălin Precup, Romania / Chuang Chih Hui, China Taiwan / Cristian Townsend, Australia / Conor Walton, Ireland / Cynthia Tom, China / USA / Dag Samsund, Denmark / Daila Lupo, Italy / Dan Neamu, Romania / Daniel Chiriac, Romania / Daniel Hanequand, France / Canada / Daniele Gori, Italy / Delphine Cencig, France / Dean Fleming, USA / Domen Lo, Slovenia / Edgar Invoker, Russia / Efrat Cybulkiewicz, Venezuela / Egill Eibsen, Iceland / Erik Heyninck, Belgium / Ettore Aldo Del Vigo, Italy / Fabrizio Riccardi, Italy / Farhad Jafari, Iran / France Garrido, USA / Francisco Urbano, Portugal / Gabriele Esau, Germany / Genesis Cabrera, USA / Graça Bordalo Pinheiro, Portugal / Graszka Paulska, Poland / Gromyko Semper, Philippines / Gyuri Lohmuller, Romania / Hector Pineda, Mexico / Hector Toro, Colombia / Henrietta Kozica, Sweden / Hugues Gillet, France / Isabel Meyrelles, Portugal / Iwasaki Nagi, Japan / James Skelton, UK / Jay Garfinkle, USA / Jay Paul Vonkoffler, American / Argentine / Jimah St, Nigeria / Joanna Budzyńska-Sycz, Poland / João Duarte, Portugal / Keith Wigdor, USA / Leo Wijnhoven, Netherlands / Leo Plaw, Germany / Liba WS, France / Lubomír Štícha, Republic Czech / Ludgero Rolo, Portugal / Lv Shang, China / Maarten Vet, Netherlands / Maciej Hoffman, Poland / Magi Calhoun, USA / Marnie Pitts, UK / Maria Aristova, Russia / Mario Devcic, Croatia / Martina Hoffman, Germany / Mathias Böhm, Germany / Mehriban Efendi, Azerbaijan / Naiker Roman, Cuba / Spain / Nazareno Stanislau, Brazil / Nikolina Petolas, Croatia / Octavian Florescu, Canada / Ofelia Hutul, Romania / Oleg Korolev, Russia / Olesya Novik, Russia / Olga Spiegel, USA / Otto Rapp, Austria / Paula Rosa, Portugal / Paulo Cunha, Canada / Pavlina Boroshova, Switzerland-Germany / Pedro Diaz Cartes, Chile / Penny Golledge, UK / Peter MC LANE, France / Philippe Pelletier, France / Radhika Menon, India / Richard Shannon, USA / Roch Fautch, USA / Rodica Miller, USA / Ruben Cukier, Argentine / Israeli / Rudolf Boelee, New Zealand / Russbelt Guerra, Peru / Sabina Nore, Austria / Sampo Kaikkonen, Finland / Santiago Ribeiro, Portugal / Sarah Zambiasi, Australia / Serge Sunne, Latvia / Sergey Tyukanov, Russia / Shahla Rosa, USA / Shoji Tanaka, Japan / Shan Zhulan, China / Shia Weltenmenge, Germany / Sio Shisio, Indonesia / Slavko Krunic, Serbia / Sônia Menna Barreto, Brazil / Steve Smith, USA / Stuart Griggs, UK / Svetlana Kislyachenko, Ukraine / Svetlana Ratova, Russia / Tatomir Pitariu, USA / Tersanszki Cornelia, Romania / Tim Roosen, Belgium / Ton Haring, Netherlands / Victor Lages, Portugal / Vu Huyen Thuong, Vietnam / Yamal Din, Morocco / Spain / Yang Sumin, China Taiwan / Yuliya Patotskaya, Belarus / Yuri Tsvetaev, Russia / Zoltan Ducsai, Hungary / Zoran Velimanovic, Serbia.
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Freedom ! "DANCE AGAIN" - Flashmob

7/5/2021

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A  series of protests against unreasonable Corona restrictions - Flashmobs in various places:
Paris
Liberté ! "DANSER ENCORE" - Flashmob - Le Sénat - 1 Mai 2021
Flashmob organisé le 1er Mai 2021 à Paris, dans les Jardins du Sénat.​
One of the comments under this video:
​Bravo. Merci de rappeler à nos sénateurs qu'il existe encore un peuple en France, dont ils sont les serviteurs. Aidons le dictateur Castex à retrouver ses lunettes pour voir le peuple. Aidons le tyran Macron à choisir entre la banque Rotschild dont il est la marionnette et la France. J'ai envoyé cette vidéo à un grand nombre de sénateurs. Voici la réponse que j’ai reçue de Vincent Delahaye, Vice président du sénat : « Je partage votre souhait de sortir au plus vite de cette dictature sanitaire et de retrouver la liberté d’aller et venir. Je n’ai pas voté les prorogations de l’état d’urgence et ne voterai pas la prochaine. J’espère être suivi par des collègues sénateurs de plus en plus nombreux. Mais ce n’est pas gagné. Bien cordialement. ». Si nous étions des centaines à écrire à nos parlementaires, peut-être verraient-ils le peuple, sous leurs fenêtres ? Faudra-t-il organiser des flashmobs devant chaque permanence de chaque député LREM ou autre qui ont voté l'état d'urgence pour qu'ils voient le peuple ?
​Well done. Thank you for reminding our senators that there is still a people in France, of which they are the servants. Let's help dictator Castex find his glasses to see the people. Let us help the tyrant Macron to choose between the Rotschild bank of which he is the puppet and France. I have sent this video to a large number of senators. Here is the response I received from Vincent Delahaye, Vice President of the Senate: "I share your wish to get out of this health dictatorship as quickly as possible and to regain the freedom to come and go. I did not vote on the state of emergency extensions and will not vote on the next one. I hope to be followed by more and more fellow senators. But it is not won. Best regards. ". If there were hundreds of us writing to our parliamentarians, perhaps they would see the people under their windows? Will it be necessary to organize flashmobs in front of each office of each LREM deputy or other who voted for the state of emergency so that they can see the people?

More Videos from around Europe:
Brussels
​Bruxelles veut danser encore. Still Standing for Culture. Flashmob 1/5/2021 gare Bruxelles Central

​Munich
​Flashmob "Danser Encore", München 01.05.2021

Bologna

​"Danser encore" FLASHMOB Bologna (Danzare ancora - Italian Version) - 25 Aprile 2021

Berlin

​Wieder tanzen gehn - Flashmob Berlin 17.04.20021 - Danser encore
Madrid
Flashmob "Danser Encore" en España -- Madrid,
​3 de mayo de 2021 -- Seguir Bailando!!

​Amsterdam
​Freedom Danser Encore Flash Mob - 5 May 2021 

Zurich
​Dance again Flashmob Zürich Switzerland (Zéphyr Combo & Friends) - 12. April 202

Barcelona

FLASHMOB ~ Barcelona 23.4.2021 ~ Danser encore ~ Versió catalana

There are many more - find them here:
DANSER ENCORE


The official Version started in December 2020
One comment:
It's the New World anthem! That of fraternity, of conscience, of the joy of dancing life together!​
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corona virus resources
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ERNST FUCHS MUSEUM – OPEN AGAIN

5/5/2021

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Opening again after Corona Lockdown
Wiedereröffnung nach Corona Lockdown
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​​Dear friends of the Ernst Fuchs Museum!
After one month in lockdown, we are all the more pleased to be able to open our doors again to all art lovers! 
As of May 4th, the Ernst Fuchs Museum in the Otto Wagner Villa is open again at the usual times: Tuesday to Sunday, 10am to 4pm. Reservations in advance are not necessary for a visit, tickets are available on site or in our online ticket shop.
There is also a new feature: The pandemic forces us to be inventive and so we have decided – until we are allowed to reopen our Café Esther in the garden of the Villa normally again – to offer drinks and food TO GO from now on. So when you visit the museum, your physical well-being will also be adequately catered for!
Stay healthy and we look forward to welcoming you at the museum soon! Tip: When the weather is sunny, a visit to the museum can be combined very nicely with a walk in the forest!

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​​Liebe Freundinnen und Freunde des Ernst Fuchs Museums!
Nach gut einem Monat im Lockdown freuen wir uns umso mehr, unsere Türen nun wieder allen Kunstinteressierten öffnen zu dürfen! 
Seit 4. Mai hat das Ernst Fuchs Museum in der Otto Wagner Villa nun wieder zu den gewohnten Zeiten geöffnet: Dienstag bis Sonntag, 10 bis 16 Uhr. Voranmeldungen sind für einen Besuch nicht erforderlich, Tickets gibt es vor Ort oder in unserem Online-Ticketshop.
Weiters gibt es eine Neuerung: Die Pandemie macht erfinderisch und so haben wir beschlossen – bis wir unser Café Esther im Garten der Villa wieder normal öffnen dürfen – ab sofort Getränke und Speisen TO GO anzubieten. Bei einem Besuch des Museums ist also auch für das leibliche Wohl ausreichend gesorgt!
Bleiben Sie gesund und wir freuen uns sehr, Sie bald bei uns im Museum begrüßen zu dürfen! Tipp: Bei schönem Wetter lässt sich ein Museumsbesuch sehr schön mit einer Waldwanderung verbinden!

ERNST FUCHS MUSEUM
​We have a special treat for everyone who does not have time to go on an excursion to the edge of the Vienna Woods right away! With the following link it is possible to visit the Ernst Fuchs Museum digitally and to take an online tour of the premises:
​Für alle, die nicht sofort Zeit haben, sich wieder zu einem Ausflug an den Rand des Wiener Waldes aufzumachen, haben wir ein besonderes Schmankerl! Unter folgendem Link ist es möglich, das Ernst Fuchs Museum auf digitalem Wege zu besuchen und sich die Räumlichkeiten in einem Online-Rundgang anzuschauen:

ON-LINE VIRTUAL REALITY ERNST FUCHS MUSEUM ​

About the map view: that we are open again has been submitted to Google Maps
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Will the end of the COVID-19 pandemic usher in a second Roaring ’20s?

2/5/2021

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Will the end of the COVID-19 pandemic usher in a second Roaring ’20s?

In the wake of COVID-19, the 2020s may be a time when we reconsider how we work, run governments and have fun, just as the 1920s were. This illustration of a flapper girl, created by artist Russell Patterson in the 1920s, captures the style of that era. (Library of Congress)
Agnes Arnold-Forster, McGill University

While some places remain mired in the third wave of the pandemic, others are taking their first tentative steps towards normality. Since April 21, Denmark has allowed indoor service at restaurants and cafes, and football fans are returning to the stands. In countries that have forged ahead with the rollout of vaccines, there is a palpable sense of optimism.

And yet, with all this looking forward, there is plenty of uncertainty over what the future holds. Articles on what the world will look like post-pandemic have proliferated and nations worldwide are considering how to recover financially from this year-long economic disaster.

Almost exactly a hundred years ago, similar conversations and preparations were taking place. In 1918, an influenza pandemic swept the globe. It infected an estimated 500 million people — around a third of the world’s population at the time — in four successive waves. While the end of that pandemic was protracted and uneven, it was eventually followed by a period of dramatic social and economic change.

The Roaring ‘20s — or “années folles” (“crazy years”) in France — was a period of economic prosperity, cultural flourishing and social change in North America and Europe. The decade witnessed a rapid acceleration in the development and use of cars, planes, telephones and films. In many democratic nations, some women won the right to vote and their ability to participate in the public sphere and labour market expanded.

Parallels and differences

As a historian of health care, I see some striking similarities between then and now, and as we enter our very own '20s it is tempting to use this history as a way of predicting the future.

Vaccine rollouts have raised hope for an end to the COVID-19 pandemic. But they’ve also raised questions about how the world might bounce back, and whether this tragic period could be the start of something new and exciting. Much like in the 1920s, this disease could prompt us to reconsider how we work, run governments and have fun.

However, there are some crucial differences between the two pandemics that could alter the trajectory of the upcoming decade. For one, the age-profile of the victims of the influenza pandemic was unlike that of COVID-19.

Black and white image of a nurse in a hospital ward
Walter Reed Hospital flu ward during the Spanish Flu epidemic of 1918-19, in Washington D.C. That pandemic primarily affected younger people, posing an immediate risk of death to those in their 20s and 30s. (Shutterstock)

The 1918 flu — also called the Spanish flu — predominantly affected the young, whereas COVID-19 has mostly killed older people. As a result, fear probably refracted through the two societies in different ways.

Young people have certainly been affected by the COVID-19 pandemic: the virus has posed a threat to those with underlying health conditions or disabilities of all ages, and some of the variants have been more likely to affect younger people. A year of lockdowns and shelter-in-place orders has had a damaging effect on mental and emotional health, and young people have experienced increased anxiety.


Read more: COVID-19’s parallel pandemic: Why we need a mental health 'vaccine'


However, the relief of surviving the COVID-19 pandemic might not feel quite the same as that experienced by those who made it through the 1918 influenza pandemic, which posed an immediate risk of death to those in their 20s and 30s.

1918 vs. 2020

Crucially, the 1918 flu came immediately after the First World War, which produced its own radical reconstitution of the social order. Despite the drama and tragedy of 2020, the changes we are living through now might be insufficient to produce the kind of social transformation witnessed in the 1920s. One of the key features of the Roaring '20s was an upending of traditional values, a shift in gender dynamics and the flourishing of gay culture.

Josephine Baker on stage.
Josephine Baker’s verve, performance style and daring outfits made her a star in 1920s Paris. (National Portrait Gallery, Smithsonian Institution 1926), CC BY

While the prospect of similar things happening in the 2020s might seem promising, the pandemic has reinforced, rather than challenged, traditional gender roles. There is evidence for this all over the world, but in the United States research suggests that the risk of mothers leaving the labour force to take up caring responsibilities at home amounts to around US$64.5 billion per year in lost wages and economic activity.

When most people think of the Roaring '20s they probably call to mind images of nightclubs, jazz performers and flappers — people having fun. But fun costs money. No doubt, there will be plenty of celebration and relief when things return to a version of normality, but hedonism will probably be out of reach for most.

Young people in particular have been hard hit by the financial pressures of COVID-19. Workers aged 16-24 face high unemployment and an uncertain future. While some have managed to weather the economic storm of this past year, the gap between rich and poor has widened.

Inequality and isolationism

Of course, the 1920s was not a period of unadulterated joy for everyone. Economic inequality was a problem then just as it is now. And while society became more liberal in some ways, governments also enacted harsher and more punitive policies, particularly when it came to immigration — specifically from Asian countries.

The Immigration Act of 1924 limited immigration to the U.S. and targeted Asians. Australia and New Zealand also restricted or ended Asian immigration and in Canada, the Chinese Immigration Act of 1923 imposed similar limitations.

There are troubling signs that this might be the main point of similarity between then and now. Anti-Asian sentiment has increased and many countries are using COVID-19 as a way of justifying harsh border restrictions and isolationist policies.

In our optimism for the future, we must remain alert to all the different kinds of damage the pandemic could cause. Just as disease can be a mechanism for positive social change, it can also entrench inequalities and further divide nations and communities.The Conversation

Agnes Arnold-Forster, Researcher, History of Medicine and Healthcare, McGill University

This article is republished from The Conversation under a Creative Commons license. Read the original article.


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corona virus resources
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tea portrait - details

1/5/2021

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in the studio, working on the finishing touches
TEA PORTRAIT - Details
a "teaser" preview - a larger video including the process is in the works
Video by Otto Rapp  - Music by Frederick J Benjamin - "World Jam 2"  - free music from Pixabay
This is a short teaser about my fantasy drawing, showing details only.
See the full drawing here on EasyZoom in high resolution ​
This work was especially created for the Sulamith Wülfing Exhibition and Book project. More about it:
Sulamith Wülfing - eine Vorschau - a sneak preview
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    OTTO RAPP

    OTTO RAPP

    This blog is primarily art related - for my photography please go to
      Otto Rapp Photo Blog
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    Since April 2020 I have also dedicated a category of my blog to the current Corona Virus crisis.​​

    CORONA VIRUS

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