Electronic Arts released The Sims 2 on September 14, 2004. The sequel, developed by Maxis, takes place in a full 3D environment as opposed to the dimetric projection of the original game. Sims also age through six life stages. ♦ ³Read Me ♦ ³ →The Sims Gameplay: We meet the new characters, and move into Starlight Shores. Website: http:// Facebook: https://www.facebook.com/LifeSimmer Twitter: https://twitter.com. The Sims 2; Developer(s) Maxis: Publisher(s) Electronic Arts: Designer(s) Patrick J. Barrett Jenna Chalmers Shannon Copur: Composer(s) Mark Mothersbaugh: Series: The Sims: Platform(s) Microsoft Windows, OS X, Game Boy Advance. The freedom of The Sims 3 will inspire you with endless creative possibilities and amuse you with unexpected moments of surprise and mischief! Create over a million unique Sims and control their lives. Customize everything. Sims 2 Sims S Characters In The HobbitHow to Get Teenage Sims Pregnant in The Sims 2: 7 Steps. Press Ctrl+Shift+C on your keyboard to bring up the cheats dialogue box and enter “bool. Prop Testingcheatsenabled true”. This will enable cheats. Don’t include the quotation marks or forget any spaces, which will screw up the code. To make it easier, just copy the code from this screen and paste it into the dialogue box by pressing CTRL+V. Make two adult Sims. These will become the teenage couple. They won’t ever be "true" teens because they won’t need to go to school, but they can get jobs, "woohoo", have babies, and even drink the elixir of life to stay young forever. If you’ve already made the Sims into teenagers, don't fret: press CTRL+SHIFT+C to open the cheat menu again, then type “agesimscheat on” so you can modify their ages. Then, SHIFT+CLICK each Sim, click Set Age, and then click Adult. SHIFT+CLICK the first Sim you want to turn into a teen, then click Spawn > More > Sim Modder. A baby doll should appear. Sims 2 Sims S Characters In HamletClick on it to select Age and then Teen. SHIFT+CLICK the same Sim and go to More > Force Error > Delete. This will (temporarily) delete your Sim, enabling you to restore it in a teenage body. SHIFT+CLICK the trash can and select Reset Age Duration. Your first Sim will reappear, now fully capable of doing everything that adults do but in a teen body. You can then go into buy mode and delete the baby doll.
If your sim doesn't appear, Try clicking other sim and spawn Tombstone of life & Death and click on it, choose get family member. If you’re having trouble finding it, the trash can is in front of your Sim’s house. Repeat Steps 3, 4, and 5 with the second Sim. When you’re done, these teen Sims will be able to "woohoo", try for a baby, and get married. Press CTRL+SHIFT+C and enter “bool. Prop testing. Cheats. Enabled false” to end the cheats. The cheat could do funky things to your game if left on for too long.
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Test your Arma 2 performance - ArmAII-Mark released. News / Arma 2 / Tools (8). Arma 2: Operation Arrowhead Demo allows you to experience the unique gameplay featured in the full version of Arma 2: Operation Arrowhead including multiplayer, as. ArmA 2 Benchmarks. Citaat: More challenging for the hardware than Crysis. Als BIS het slim aanpakt, maken ze een speciale benchmark tool voor ArmA 2. ARMA 3 Benchmarked: GPU & CPU Performance. TechSpot. Trending; Reviews; Features; Downloads; Product Finder; Forums; Tech Deals; About; Login _ Welcome to TechSpot. Well if it did that it wouldn't be much of a benchmark tool. the view distances. Does that mean we need Arma 2 to run the benchmark? hhara, Jun 20, 2009. hhara. Page 1 of 9 - ArmA3Mark - Benchmark your ArmA 3 - posted in ARMA 3 - USER MISSIONS: After having waited so long for a benchmark mission, no one provided to the. Page 1 of 5 - ArmA2 FPS analyser - benchmarking tool - posted in ARMA 2 & OA : Community Made Utilities: What is it?ArmaFPSAnalyser is a tool that can show you the. GB on my system. I used ARMAII version 1. Settings: Resolution - 1. Fillrate - 1. 00%Texture Detail - Normal. Anisotropic Filtering - Normal. Terrain Detail - Normal. Objects Detail - Normal. Shadow Detail - Normal. Post. Process Effects- Low(view distance does not matter, mission automatically sets this)(forced vsync off - did not have an affect on performance)Specs: Q6. GHZ)4. 87. 0 5. 12. MB (7. 75/1. 05. 0)GTX2. GB (6. 94/1. 58. 4/1. GB DDR2 8. 00. Vista 6. Catalyst 9. 5. 18. WHQLthis mission runs slow on the first time through due to loading textures, etc. MB score: 3. 04. 9 (avg fps 3. GTX2. 85 1. GB score: 3. CPU limited with my Q6. Armaholic - Covering the Arma series - Arma 3 | Arma 2: Operation Arrowhead | Arma 2 | Arma 2. ArmA3Mark - Benchmark your Arma 3. News / Arma 3 / Tools (0). Arma 2 Benchmarks Video Cards. do we need Arma 2 to run the benchmark? well if it did that it wouldn't be much of a benchmark tool. Results: Arma 3 Radeon R9 295X2 8 GB. -2 Hide. ferooxidan, April 8. Unreal Engine Getting Impressive 3D Cinematic Tools, VR Editor; Tom's Hardware Around the. Puppet uses Ruby erb template which are quite powerful. Text between <% %> is executed as Ruby code. Text between <%= %> will be interpolated as a variable. This would write the operating system fact to a file <%= @operatingsystem %> This would do it. Using Templates — Documentation — Puppet Labs. Templates are documents that combine code, data, and literal text to produce a final rendered output. The goal of a template is to manage a complicated piece of text with simple inputs. In Puppet, you’ll usually use templates to manage the content of configuration files (via the content attribute of the file resource type). Templating Languages. Templates are written in a templating language, which is specialized for generating text from data. Puppet supports two templating languages: Embedded Puppet (EPP) uses Puppet expressions in special tags. Puppet supports templates and templating via ERB, which is part of the Ruby standard library and is used for many other projects including Ruby on Rails. While it is a Ruby templating system, you do not need to understand much Ruby to use ERB. Templates. I do not understand the behaviour of this Ruby code I have written inside a Puppet template (erb). It must be related to some property of instance variables that I ignore and have not been able to. Thanks @andrea. As @mark has said, I do not think 'controller. Hello, I'm trying to do set a variable on erb template. I explain with an example. I create a vhost file for apache. Error: Could not request certificate: Find /puppet-ca/v1/certificate/ca?environment=production How do I orchestrate puppet managed package. ERB is a templating language based on Ruby. Puppet can evaluate ERB templates with the template and inline_template functions.This page covers how to write ERB templates. See. Testing for Undefined Variables If a Puppet variable was never defined, its value. It’s easy for any Puppet user to read, but only works with newer Puppet versions. Embedded Ruby (ERB) uses Ruby code in tags. You need to know a small bit of Ruby to read it, but it works with all Puppet versions. Using Templates. Once you have a template, you can pass it to a function that will evaluate it and return a final string. The actual template can be either a separate file or a string value. You’ll use different functions depending on the template’s language and how the template is stored. Template Language. File. String. Embedded Puppet (EPP)eppinline_epp. Embedded Ruby (ERB)templateinline_template.
With a Template File: template and epp. You can put template files in the templates directory of a module. EPP files should have the . ERB files should have the . To use a template file, evaluate it with the template (ERB) or epp function as follows: # epp(< FILE REFERENCE> , [< PARAMETER HASH> ]). Loads /etc/puppetlabs/code/environments/production/modules/ntp/templates/ntp. While trying to do search for a variable with defined? in ERB template we always get nil: $ cat test.pp $foo = 'bar' $defined = inline_template('. Var DNS_SERVERS <% if has_variable?('dns_servers') then %>[<%= dns_servers.flatten.join(',') %>]<% else %>$HOME_NET<% end %>. FILE REFERENCE> , [< ADDITIONAL FILES> , ..]). Loads /etc/puppetlabs/code/environments/production/modules/ntp/templates/ntp. Referencing Files. The first argument to these functions should be a string like '< MODULE> /< FILE> ', which will load < FILE> from < MODULE> ’s templates directory. File Reference. Actual Filentp/ntp. MODULES DIRECTORY> /ntp/templates/ntp. MODULES DIRECTORY> /activemq/templates/amq/activemq. EPP Parameters. EPP templates can declare parameters, and you can provide values for them by passing a parameter hash to the epp function. The keys of the hash must be valid local variable names (minus the $). Inside the template, Puppet will create variables with those names and assign their values from the hash. With a parameter hash of {'service_name' => 'xntpd', 'iburst_enable' => true}, an EPP template would receive variables called $service_name and $iburst_enable.)If a template declares any mandatory parameters, you must set values for them with a parameter hash. If a template declares any optional parameters, you can choose to provide values or let them use their defaults. If a template declares no parameters, you can pass any number of parameters with any names; otherwise, you can only choose from the parameters requested by the template. The template function can take any number of additional template files, and will concatenate their outputs together to produce the final string. With a Template String: inline_template and inline_epp. If you have a string value that contains template content, you can evaluate it with the inline_template (ERB) or inline_epp functions as follows: $ntp_conf_template = @(END). TEMPLATE STRING> , [< PARAMETER HASH> ]). TEMPLATE STRING> , [< ADDITIONAL STRINGS> , ..]). In older versions of Puppet, inline_template was mostly used to get around limitations — tiny Ruby fragments were useful for transforming and manipulating data before Puppet had iteration functions like map or puppetlabs/stdlib functions like chomp and keys. In modern versions of Puppet, inline templates are usable in some of the same situations template files are. Since the heredoc syntax makes it easy to write large and complicated strings in a manifest, you can use inline_template and inline_epp to reduce the number of files needed for a simple module that manages a small config file. EPP Parameters. EPP templates can declare parameters, and you can provide values for them by passing a parameter hash to the epp function. The keys of the hash must be valid local variable names (minus the $). Inside the template, Puppet will create variables with those names and assign their values from the hash. With a parameter hash of {'service_name' => 'xntpd', 'iburst_enable' => true}, an EPP template would receive variables called $service_name and $iburst_enable.)If a template declares any mandatory parameters, you must set values for them with a parameter hash. If a template declares any optional parameters, you can choose to provide values or let them use their defaults. If a template declares no parameters, you can pass any number of parameters with any names; otherwise, you can only choose from the parameters requested by the template. The inline_template function can take any number of additional template strings, and will concatenate their outputs together to produce the final value. Validating and Previewing Templates. Before deploying a template, you should validate its syntax and render its output to ensure it’s producing the results you expect. Puppet 4 includes the puppet epp command- line tool for EPP templates, while Ruby can check ERB syntax after trimming the template with its erb command. EPP Validationpuppet epp validate < TEMPLATE NAME> The puppet epp command includes an action that checks EPP code for syntax problems. The < TEMPLATE NAME> can be a file reference or can refer to a < MODULE NAME> /< TEMPLATE FILENAME> as the epp function. If a file reference can also refer to a module, Puppet validates the module’s template instead. You can also pipe EPP code directly to the validator: cat example. The command is silent on a successful validation. It reports and halts on the first error it encounters; to modify this behavior, check the command’s man page. EPP Renderingpuppet epp render < TEMPLATE NAME> You can render EPP from the command line with puppet epp render. If Puppet can evaluate the template, it outputs the result. If your template relies on specific parameters or values to function, you can simulate those values by passing a hash to the - -values option: puppet epp render example. You can also render inline EPP by using the - e flag or piping EPP code to puppet epp render, and even simulate facts using YAML. For details, see the command’s man page. ERB Validationerb - P - x - T '- ' example. You can use Ruby to check the syntax of ERB code by piping output from the erb command into ruby. The - P switch ignores lines that start with ‘%’, the - x switch outputs the template’s Ruby script, and the - T '- ' sets the trim mode to be consistent with Puppet’s behavior. This output gets piped into Ruby’s syntax checker (- c). If you need to validate many templates quickly, you can implement this command as a shell function in your shell’s login script, such as . P - x - T '- ' $1 | ruby - c. You can then use validate_erb example. ERB template. When to Use (and Not Use) Templates. Templates are more powerful than normal strings, and less powerful than modeling individual settings as resources. Strings in the Puppet language already allow you to interpolate variables and expressions into text. So if you’re managing a short and simple config file, you can often use a heredoc and interpolate a few variables, or even something like ${ $my_array. However, if you’re doing complex transformations (especially iterating over collections) or working with very large config files, you might need the extra capabilities of a template. Finally: Sometimes you end up in a situation where several different modules need to manage parts of the same config file, which is incredibly difficult to coordinate with either templates or interpolated strings. For shared configuration like this, you should try to model each setting in that file as an individual resource, with either a custom resource type or an Augeas, concat, or file_line resource. This approach is similar to how core resource types like ssh_authorized_key and mount work.). 1 RAR Association. Home primary menu. Home; For Sale. STOLEN / MISSING. Townsville; Fiji Morrisdance; Links; Guestbook; Return to Content. (1 RAR) but does hope to. Australian War Memorial. ID number. F0. 42.
Collection type. Film. Title. 2 RAR party's arrival at Lavarack Barracks Townsville DPR/TV/1. Measurement. 1 min 1. Object type. Actuality footage. Television news footage. . The Royal Australian Regiment Association extends our condolences to. A soldier’s lost war Opinion Article from Ross Eastgate -Townsville Bulletin 1 March 2016 John. THE RAR CORPORATION IS A MEMBER OF. 2nd Battalion The Royal Australian Regiment Association, Inc Leo Van De Kamp President ‘Second to None. 1st Battalion, Royal Australian Regiment. 1 RAR was officially relieved by 5 RAR on 15 February 1969 and it departed Vietnam the following day. A' Company 1 RAR deployed from Townsville in mid-May on HMAS Manoora. 2nd / 4th Battalion Royal Australian Regiment Association What's New. ANZAC Day 100th Anniversary - Townsville. ANZAC Day 100th Anniversary - Brisbane. ANZAC Day 100th Anniversary - Adelaide. 20th Anniversary of the. _____ Noticeboard _____ The Royal. 3RAR Colours Parade Townsville 23 November 2015. L-R: 1, 2, 3. RAR Association (Qld). The Royal Australian Regiment Association Banner. The Association is 'Keeping the Spirit Alive'. It recognises that the Regiment's binding force is that welded by its men who in serving Australia in the Regiment developed an. ID number: F04282: Collection type: Film: Title: 2 RAR party's arrival at Lavarack Barracks Townsville DPR/TV/1009: Measurement: 1 min 17 sec: Object type: Actuality footage; Television news footage; Place made: Australia. Place made. Australia: Queensland, North Queensland, Townsville. Date made. January 1. Descriptor. 16mm/b& w/silent. Access. Open. Description. Australia's second Battalion is starting to settle into its new home at Lavarack Barracks, Townsville. The Battalion, commanded by Lieutenant- Colonel J. M. Church, is moving from Enoggera camp, Brisbane to the massive multi- unit complex at Lavarack on the outskirts of Townsville. Parties are arriving in chartered buses at two- day intervals from Brisbane. The first party of 3. Support and C companies, was commanded by Lieutenant Mike Wyeth. By the end of the month, about 4. Battalion will be at Lavarack. There is accommodation at Lavarack Barracks for three complete infantry battalions. Each battalion complex is self- contained. The 2 RAR lines are located next to 6 RAR's Long Tan lines. RAR was the first major unit to move into the area. Other units in the Lavarack area now include 4 Field Regiment, Royal Australian Artillery, and 1. Field Squadron, Royal Australian Engineers. Also identified: Pte Alan Bullis, cook of Admin Coy, of Beenleigh, Qld; Pte George Keleios, butcher, of Tully, Qld; (front) Pte Ray Lunt of Corryong, Vic; Pte Bob Wittleton of Alstonville, NSW; (at rear) Cpl Frank Clancy of Brisbane, Qld; RSM of 2 RAR WO1 Len Williams of Bondi, NSW; Sgt Reg Latemore (left) of Redcliffe, Qld; Sgt Frank Mc. Lean of Maryborough, Qld). Please note. The film and sound collections of the Australian War Memorial includes items which may contain: historically or culturally sensitive images and terms, confronting depictions of the consequences of warfare, and/or, human suffering or death. This material does not reflect the viewpoint of the Memorial, but rather is representative of the social attitudes and circumstances of the period or place in which it was created and also the reality and human cost of warfare. To enquire about purchasing a copy of this item, please contact. CAO 2. 01. 1- 2. 01. CAO$1$april$2011$tot$enmet$31$oktober$2013$ $ $ $ $ $ $$$$$Pagina1$van$34$ Detailhandel$in$verf$en$behang $ $ $ $ $ $ $ $ $ $. CAO_verf_behang_detailhandel_2011-2013. Detailhandel in Bloemen en Planten vallen vanaf 1 april 2004 ook onder. De looptijd van deze CAO is van 1 april 2011 tot en met 31 maart 2012. 2011 2013 CAO SBD 1 april 2011 tot en met 31 oktober 2013 CAO voor personeel in de detailhandel in dierenspeciaalzaken, aquariumspeciaalzaken en.The Central Applications Office (CAO) processes applications for undergraduate courses in Irish Higher Education Institutions. CAO 1 januari 2009-31 maart 2011 Pagina 1 van 29 Ambulante detailhandel Collectieve Arbeidsovereenkomst voor personeel werkzaam in de. CAO voor de Elektrotechnische Detailhandel 2009 - 2012 d.d. 27 januari 2011 5 degene die, hoewel voorkomend op de salarislijst van de werkgever, in hoofdzaak. CAO Gespecialiseerde Detailhandel in Bloemen en Planten 2009 - 2011 6. In december 2009 en december 2010 ontvangt de in dienst zijnde werknemer. Projects DRAF – David Roberts Art Foundation. Exhibition Date: 2. Nov — 2. 3 Nov 2. Contemporary Artists Power Point 1st Day 1. <ul><li>Artists are using their work to investigate issues important to our world. </li></ul><ul><li>Their work can express outrage or hope. </li></ul><ul><li>Contemporary. Jenny Holzer (* 29. Juli 1950 in Gallipolis, Ohio) ist eine US-amerikanische Konzeptkünstlerin.
The Harder You Look is a temporaryart institute that takes inspiration from and follows the procedures of scientific research as a tool for thinking and producing collaboratively. Students and specialists meet in London to discuss the specificity of perception in its relation to contemporary artworks. What are the parameters that come into play when looking at a work of art? What does instigate or affect its reading? How and when does the work reveal itself? What does its context or history bring? What about its location or its position as part of a collection? What is it that we have in front of our eyes and what happens when we look harder? Truisms Jenny Holzer Pdf Editor![]() The Harder You Look focuses on the various aspects of the context that generates a work and traces its relation back to the viewer. WHO WE ARECollecting Matters is a partnership between three Foundations that marks a collective commitment to encouraging new ways of thinking, sharing and producing knowledge about collections. Founded in 2. 01. Kadist Art Foundation (Paris), Nomas Foundation (Rome) and David Roberts Art Foundation (London), Collecting Matters wishes to develop an exchange on notions of collection/collecting through an interdisciplinary curatorial fellowship. Contemporary Art Heritage Flanders (CAHF) is a research environment and knowledge platform built around the collections of the 4 leading contemporary art museums in Flanders, Belgium: S. WOLFGANG TILLMANS. www.tillmans.co.uk www.betweenbridges.net. 1968 Born in Remscheid, Germany; 1987–1990 Lives and works in Hamburg; 1990–1992 Studies at Bournemouth and Poole College of Art and Design, Bournemouth, UK. Modern art after 1940 1. Modern to Contemporary Art European and American After 1945 2. World War II and Its Aftermath <ul><li>Understand the shift of the Western art center from Paris to New York as a result of. Jenny Holzer (born July 29, 1950) [1] is an American Neo-conceptual art artist who utilizes the rhetoric of modern information systems so as to address the politics of discourse. In 1989 she became the first female artist to. Truisms Jenny Holzer Pdf WriterM. A. K. (Ghent), Mu. ZEE (Ostend), M HKA & Middelheimmuseum (Antwerp). Through a series of projects and actions (workshops, symposia, publications, exhibitions) CAHF both questions and strengthens the institutional practice of collecting, by accommodating dialogue and collaboration between its 4 partner museums and an international community of art professionals. The Harder You Look is curated by Nicoletta Lambertucci (DRAF) & Pieternel Vermoortel (CAHF) in collaboration with the participating institutions. PROGRAMMEEVENTS AND TALKS ARE FREE. ALL WELCOMEWEDNESDAY 2. NOVEMBER FROM 6. 3. TO 9. 3. 0PM – A PERFORMANCE AND A PANEL DISCUSSION CHAIRED BY LOUISA BUCKWe will start the evening with a composition for percussion and voice by the American composer Frederic Rzewski, To The Earth, from 1. George Barton. It will be followed by case studies from the participating institutions, which will each address issues of responsibility to artworks within a collection. The panel will discuss amongst other concerns, de- collecting, lost works, and the tension between domestic and public spaces. THURSDAY 2. 1 NOVEMBER FROM 6. TO 8. PM – JONATHAN LAHEY DRONSFIELD IN CONVERSATION WITH IAN KIAERThe format of this evening will consist of a 4. Jonathan Lahey Dronsfield and artist Ian Kiaer. It will be followed by a question and answer session. The guests will present, with examples from their work the back- and- forth between object and theory. FRIDAY 2. 2 NOVEMBER FROM 6. TO 8. PM – MICHELE ROBECCHI AND SKYE SHERWIN ON MARCEL BROODTHAERS AND FELIX GONZALEZ- TORRES AND THE ROLE OF THE CRITICAn investigation into how critical discourse is constructed, conducted and presented in relation to the works of Marcel Broodthaers and FГ©lix Gonz. ГЎlez- Torres featured in Orpheus Twice (the current exhibition at DRAF). SATURDAY 2. 3 NOVEMBER FROM 6. TO 8. PM – WAYS OF LOOKING (HARDER) BY OSSIAN WARDOssian Ward discusses the ideas behind his new book (tentatively titled Ways of Looking: Contemporary Art Explained, published 2. John Berger: Ways of Seeing from 1. ABOUT THE HARDER YOU LOOKRunning parallel to these events The Harder You Look also incorporates a timetabled series of events for a selected group of 2. Belgium, France, Italy and the UK. Each day will focus on a binary structure: image/work, conservation/restoration, presentation/representation. DAY 1 – THE HARDER YOU LOOK…THE IMAGE OR THE WORK2. November 2. 01. 3The first day is dedicated to the investigation of the distinction between the work and its image. What is that image that we create in our mind when thinking about a work of art? How does this image corresponds to its physical reality? The highlights of the day include a presentation by artist Manon de Boer, a lecture by artist Mark Leckey, and novelist Tom Mc. Carthy in conversation with Pieternel Vermoortel. DAY 2 – THE HARDER YOU LOOK… CONSERVATION ANALYSIS2. November 2. 01. 3What does constitute the work, when does it reveal itself and what elements need to be in place for it to be able to be perceived. Be it through interpretation, through conservation, through memory, through reenactment. What is it that makes the work perceptible and what readings should be preserved. The programme of the day features a video interview with artist Artie Vierkant and presentations by curator Claire Louise Staunton, and a lecture by critic Camiel van Winkel. DAY 3 - В THE HARDER YOU LOOK… PRESENTATION OR REPRESENTATION2. November 2. 01. 3As we continously try to come closer to the actual work we look at what the context brings to it, and when representation potentially merges with its presentation. The programme of the day includes a video interview with artist Matthew Day Jackson, presentations by curator Lisa Le Feuvre, and a lecture by artist Marie Lund. ABOUT THE SPEAKERSPercussionist George Barton has studied at Oxford University and the St Petersburg Conservatoire, and is currently enrolled on the Artist Diploma course at the Guildhall School of Music and Drama. A Britten- Pears Young Artist, he has worked with the Colin Currie Group and the Birmingham Contemporary Music Group among other ensembles. Recent projects include Morton Feldman’s 4- hour trio. В For Philip Guston. В at the David Roberts Art Foundation,В Karlheinz Stockhausen’s. В Kontakte. В as the headline act of Nonclassical’s “Pioneers of Electronic Music” festival, and Iannis Xenakis’s Psappha at the Southbank Centre’s The Rest Is Noise festival. Manon de Boer (born 1. Kodaicanal, India) completed her artistic education at the Akademie Van Beeldende Kunsten, Rotterdam, and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated. Her work has been exhibited internationally, at the Venice Biennial (2. Berlin Biennial (2. Sao Paolo Biennial (2. Documenta (2. 01. Hong Kong, Marseille, Rotterdam and Vienna. Her work has been the subject of monographic exhibitions at Witte de With in Rotterdam (2. Frankfurter Kunstverein (2. London South Gallery (2. Index in Stockholm (2. Contemporary Art Museum of St Louis (2. Museum of Art Philadelphia (2. De Boer currently teaches at the School of Arts in Ghent and ERG in Brussels. She lives and works in Brussels. Louisa Buck MA Cantab, MA Courtauld Institute, is a writer and broadcaster on contemporary art. Since 1. 99. 7 she has been London Contemporary Art Columnist for The Art Newspaper, and is a regular reviewer on BBC radio and TV, including Front Row, Nightwaves and BBC World Service. Other outlets include Vogue, Art Quarterly, Sotheby’s Magazine, The Guardian and The Sunday Telegraph and she is the author of a number of catalogue essays for institutions including Tate, Whitechapel Gallery, ICA London and Stedelijk Museum Amsterdam. Her. В books include Relative Values or What’s Art Worth? Philip Dodd) (BBC Books 1. Moving Targets 2: A User’s Guide to British Art Now (Tate 2. Market Matters: The Dynamics of the Contemporary Art Market (Arts Council England 2. Owning Art: The Contemporary Art Collector’s Handbook (co- authored with Judith Greer) (Cultureshock Media 2. Her latest book, Commissioning Contemporary Art : A Handbook for Curators, Collectors and Artists was published by Thames & Hudson in October 2. Louisa was a judge for the 2. Turner Prize. Jonathan Lahey Dronsfield is a philosopher and, if there is such a thing, an artist- philosopher. He has published widely in continental philosophy of art, ethics, responsibility, on Derrida, Deleuze, Ranci. ГЁre, Nancy, Lyotard, Heidegger, Nietzsche and Kant; and at the same time he has given many readings of what he calls performative texts in galleries, including Wilkinson (‘Where narrative stops’), Focal Point (‘Goldmine ten theses on music’), Stroom (‘The swerve of freedom after Spinoza’), and Extra City (‘Philosophers enowning that there be no own’); and he collaborates with artists, notably Ian Kiaer, Beno. Г®t Maire, and Gregory Maass & Nayoungim. Dronsfield is Reader in Theory and Philosophy of Art at the University of Reading, and sits on the board of the Forum for European Philosophy at the LSE. Martin Germann is senior curator at S. M. A. K., the Museum of Contemporary Art in Ghent since autumn 2. At least he organised various collection presentations as well as solo shows with Rachel Harrison and Jordan Wolfson. From 2. 00. 8 and 2. Hanover, where he worked on exhibitions and publications with artists like Micha. Г«l Borremans, Michael Sailstorfer, Elke Krystufek, Larry Sultan, Aaron Curry, Julian GГ¶the, or Joachim Koester. He was also part of the curatorial team for вЂMade in Germany Zwei’, a survey show of young international art at kestnergesellschaft, Kunstverein Hannover and Sprengel Museum (2. Prior to his position at Buero Friedrich, Berlin (2. Gagosian Gallery, Berlin, a project space of the 4th Berlin Biennial for Contemporary Art (2. At the 3rd Berlin Biennial (2. Biennial. He regularly publishes in books, exhibition catalogues and magazines, and has written on artists such as Kai Althoff, Dirk Braeckman, or Mathias Poledna. He is also a visiting lecturer at HISK – The Higher Institute of Arts, Ghent. Ilaria Gianni is a curator and writer based in Rome. Since 2. 00. 9 she has been co- director of Nomas Foundation, along with Cecilia Canziani. |
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September 2016
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