Corazón de niño. Imagine

Fortrait #4 "Subterranean Breakfast Nook" from Encyclopedia Pictura on Vimeo.

Fortrait #1 "Driftwood Cabin" from Encyclopedia Pictura on Vimeo.

Fortrait #2 "Camping Rafts" from Encyclopedia Pictura on Vimeo.

Fuente: Cabin Porn

Biblioteca y jardín

via Cabin Porn

"Si tienes una biblioteca con jardín, lo tienes todo." 

(Cicerón)

"La idea de remedar el Paraíso se respira en todos los jardines del mundo"

(Aurora Egido)

(...) El jardín es el lugar donde se consuma la reunificación del hombre y las cosas, de la naturaleza y la cultura. La pérdida de esa unidad original es la pérdida del jardín o paraíso, Paradise Lost*, la generación de la muerte, el comienzo de la memoria como forma de supervivencia, la nostalgia de los dioses, el deseo y la promesa de inmortalidad. (...)

(José Ángel Valente en el Elogio del Calígrafo)

*Paradise Lost. Poema de John Milton

El viejo árbol muerto

El zen del árbol muerto

En el silencio, la soledad se desvanece

Un silencio, un trueno

CABAÑAS INSUMISAS. LIBERTAD GASEADA. INDIGNACIÓN

¡¡¡YO TAMBIÉN SOY DE ISTANBUL!!!

¡¡¡TODOS SOMOS TURQUÍA!!!

Ante el despertar de las conciencias 
La belleza y dignidad del pueblo turco en lucha
Un pueblo gaseado
La vejación de un pueblo

RESISTANBUL

'La mujer de rojo', símbolo de las protestas en Istanbul

Turkey protests: Istanbul erupts as Gezi Park cleared

CABAÑAS URBANAS DE INSUMISIÓN

(reapropiación de espacios de libertad):

Tiendas de campaña instaladas en el parque Gezi de Istanbul

La policía turca se ensaña con armas químicas contra manifestantes pacíficos:

TAKSIM GEZI PARK HELICOPTER VIEW / TAKSIM GEZI PARK HELIKOPTER CEKIMI [HD] from Jenk K on Vimeo.

DURAN / Kısa Film 2013 from themanproduction on Vimeo.

Take a Breath - Nefes Al English Subtitled Altyazili from Süleyman Demirel on Vimeo.

Leer más: 

http://periodismohumano.com/en-conflicto/sobre-la-republica-popular-de-la-plaza-taksim.html

La cabaña de Frances Wisner, pionera autogestionaria y ambientalista de Idaho

(1913-1986)

Frances Coyle Zaunmiller Wisner

Added by: Alice Brandt

Frances Wisner's cabin at Campbell's Ferry Ranch. Layne Parmenter 

Historical Museum's Idaho Characters Collection

Frances Wisner (1913-1986) arrived in Idaho in 1940. Through a marriage, she lived and worked at Campbell’s Ferry. In 1945 she contacted the editor of the Idaho County Free Press in Grangeville who agreed to give her a weekly column through which she was able to share her daily experiences and observations along the river. She continued to write her column for some 40 years. She used the column to advocate for issues which she believed in, including prohibiting air spotting (hunting from aircraft) and radio-detected hunting as well as promoting the eventual placement of the Campbell’s Ferry Bridge. She was a true pioneer ecologist who composted garden waste, hiked miles of remote trails, protected wildlife, and tread lightly on the soil long before these ideas were popular. Her book, My Mountains, details her life on the Salmon River. The book, Haven in the Wilderness by Carol Furey-Werhan, tells Frances’ life story.

Frances Wisner (1913-1986) llegó a Idaho en 1940. A partir de su matrimonio, vivió y trabajó en Campbells Ferry. En 1945 se puso en contacto con el editor del Idaho County Free Press en Grangeville que accedió a darle una columna semanal a través de la cual compartiría todas sus experiencias y observaciones diarias a lo largo del río. Frances continuó escribiendo su columna durante unos 40 años. Usó dicha columna para hablar de los temas que ella creía, incluyendo la prohibición de caza desde el aire en avioneta y la detección por radar, así como la promoción de la eventual construcción del puente Campbells Ferry. Era una verdadera ecologista y pionera que compostaba los desechos en su jardín, caminó millas de remotos senderos, protegió la fauna, y todo ello mucho antes de que estas ideas fueran populares. Su libro, Mis Montañas, detalla su vida en el río de color salmón. El libro, Haven in the Wilderness  de Carol Furey-Werhan, cuenta la historia de la vida de Frances.

Frances – Frances Zaunmiller Wisner under the bridge that she lobbied to be built, replacing the ferry in 1956.

http://www.ronwatters.com/stories4.htm

http://www.panoramio.com/photo/12199566

http://blog.cascadeoutfitters.com/2008/09/02/historic-campbells-ferry-ranch-in-the-frank-church-river-of-no-return-wilderness/

El rancho de Struthers Burt, una versión romántica del vaquero del oeste

(1882-1954) 

Princeton-educated Struthers Burt was a popular writer whose book, The Diary of a Dude Wrangler, inspired a whole new generation of dude ranchers. Burt was originally opposed to the creation of a national park in Jackson Hole. However, by the 1920s, Burt used his power of the pen in national publications to lobby for the protection of the scenic qualities of Jackson Hole. Jackson Hole Historical Society and Museum.

Struthers Burt graduated from Princeton University in 1904. In 1908 he moved to Wyoming and founded the JY Ranch with Louis Joy. This ranch ultimately became the famous Rockefeller Ranch of the same name (the JY). In 1912, following a dispute with Louis Joy, he established the Bar BC Bar B C Ranch, a dude ranch. He met and married his wife, Katherine Newlin Burt an author of Western novels, in the same year. Burt's son, Nathaniel Burt, was also a published writer.[1]

Struthers was one of the people who led ultimately to the establishment of Grand Teton National Park when, in 1923, he met with other like-minded individuals at Maud Noble's cabin and began the process of gathering support to have the area come under protection by the Federal Government.

His papers are housed at Princeton University.

The Diary of a Dude Wrangler 

Published in 1924 and written by Struthers Burt, this book is dedicated to all the dudes, cow-punchers, ranchers and horses the author has met. ( by the way, a cow-puncher is another term for a cowboy!) 

Struthers Burt was a noted writer and rancher that lived in the early twentieth century. He taught writing at Princeton University. His personal papers are located at Princeton University and the collection includes various copies of some of Burt’s own works, correspondence with family and friends from his days at Princeton University, and assorted materials about his family and genealogy. 

The Last paragraph from the book is quite poignant when read in the context of our environment in 2012: 

“I have said that the old West is still there, and so it is, and I have said that in many places it will continue to exist, and that is true, also, but I am afraid for my own country unless some help is given it – some wise direction. It is too beautiful and now too famous. Sometimes I dream of it unhappily. And when my blood sirs in my dreams I think that somewhere the blood of my uncle and my great-grandfather must be stirring, too."

Imagen cortesía de Archivos de la Universidad de Princeton 

(http://findingaids.princeton.edu/collections/C0039) 

Words from the Wild

Cadre of accomplished writers discovered Jackson Hole early on

BY ELIZABETH CLAIR FLOOD

The Bar BC Ranch was established in 1912 by Maxwell Struthers Burt and his fellow Philadelphian, Dr. Horace Carncross.

(page 1 of 5)

About the time Gertrude Stein composed the romantic line “Rose is a rose is a rose is a rose”—and invited Lost Generation writers and artists like Fitzgerald, Hemingway, and Picasso into her chic Parisian salon on 27 rue de Fleurus—another significant literary get-together was taking place far away. This one was much more rustic in style; in some ways, however, just as glamorous, as a sophisticated crowd of artists and writers gathered in Jackson Hole. 

In the early 1900s they came to the valley to hunt, fish, write, and, in some cases, gather information for Saturday Evening Post articles or for their own books about the West. One of the big names was Owen Wister, author of The Virginian, the first true western novel. Wister stayed at the valley’s earliest dude ranch, the JY, on the banks of Phelps Lake, while building a cabin for his family. Others on the scene not long after included Ernest Hemingway, in the throes of writing A Farewell to Arms; the prominent publisher Alfred Knopf; Western writer Wallace Stegner; and historian and Pulitzer Prize-winning author Bernard DeVoto.

Jackson Hole, frequented by trappers, outlaws, big game hunters, and cowboys, was very much “undiscovered” in the early 1900s, still the Far West of Theodore Roosevelt. To get here it took four or five days by train from the East, then a few more days in a covered buckboard over dirt roads. This small group of sophisticates, philosophers, poets, and some of the top people in publishing and politics—for the most part, Philadelphia socialites like Wister—sought out this valley, a place romanticized as the last of the Old West by Roosevelt and artists like Thomas Moran, Frederic Remington, and Charlie Russell, and photographer William Henry Jackson. These were people who crossed the Atlantic on steamers and engaged in the creative movements in Europe, but also chose trail riding with cowboys, dancing the Charleston inside rough-hewn cabins, and singing “Ten Thousand Cattle” around a campfire under starry skies.

The man responsible for many of these visits to Jackson Hole was the valley’s second dude rancher, another prominent Philadelphian named Maxwell Struthers Burt. An award-winning novelist and one of Charles Scribner’s Sons top authors, he shared the prestigious editor Maxwell Perkins with the likes of Hemingway and F. Scott Fitzgerald. Burt wrote numerous popular novels, articles for The Saturday Evening Post, short stories for literary magazines, and many poems and songs. His best known books, Diary of a Dude Wrangler (1924) and Powder River (1938), became classic Wyoming histories. 

On Burt’s first ranch, the Bar BC, and later in the 1930s on his Three Rivers Ranch, he provided family, friends, and colleagues with rustic retreats where they could experience the West. The remoteness attracted the visitors. 

As one early Bar BC visitor reported, “We were so far away from home base we could have been in Tibet for all we knew."

1 2 3 4 5 Next »

This article appears in the Winter 2012 issue of Jackson Hole Magazine

Fuente: http://www.lifeinthetetons.com/Jackson-Hole-Magazine/Winter-2012/Words-from-the-Wild/

White Grass Dude Ranch interior. Jackson Hole Historical Society Museum

The Bar BC was the premier dude ranch in early Jackson Hole. Founded by Struthers Burt and Horace Carncross in 1912, it eventually encompassed 600 acres situated on the banks of the Snake River with incredible views of the Teton Range. The Bar BC gave wealthy easterners a chance to experience a romanticized version of the cowboy west. Struthers Burt and his wife Katharine, both writers, popularized dude ranching with their novels and film scripts, especially his Diary of a Dude Wrangler. The Bar BC became a literary oasis attracting many writers and other prominent individuals from industry, conservation, politics, and film. Several guests at the Bar BC were so affected by their experiences that they purchased land to start their own dude ranches in the valley. The heyday of dude ranching was the 1920s and 1930s. This unique era in the history of the valley was also the transition point from individuals homesteading or ranching the land for personal livelihood to residents providing services for area visitors as their primary means of occupation.

Fuente: http://www.greateryellowstonescience.org/node/3184

The Bar BC Ranch was a dude ranch that today sits inside the boundaries of Grand Teton National Park. Established in 1912, the ranch's founders Struthers Burt and Dr. Horace Carncross catered to literary figures of the day offering them an authentic Western experience in these rustic cabins along the Snake River, which lies just beyond the golden leafed cottonwood behind the cabins. Burt, and his new business partner Irving Corse, sold the ranch to the philanthropist John D. Rockefeller, Jr. in 1929 on condition that they be granted a life estate permitting them to continue operating the dude ranch until both they and their wives passed. Rockefeller bought the land with the intent of it becoming part of a national park in Jackson Hole. A small Grand Teton National Park was created in 1929 but excluded Rockefeller's holdings, including the Bar BC Ranch. Eventually in 1950 the park was expanded including the ranch within the park boundary. The Park Service took ownership of Rockefeller's donated holdings, including the provision for a life estate for Burt, Corse and their wives. Corse later bought out Burt's interest in the life estate, but he died in 1953. His wife Margretta, however, continue to operate the dude ranch until 1985. The land finally passed to Park Service control upon her death in 1988. Since then, the ranch has been in a state of decay as the Park Service had to navigate several legal issues regarding the ownership and taxes on the property's buildings. Plans are currently underway to restore the dude ranch as an interpretive site and one interpretive marker has been erected at the top of the hill overlooking the property. While many of the cabins such as these two are in decent exterior condition, the interiors will need to be 

This cabin, numbered 18 on the jamb, is one of the buildings on the property that was recently stabilized to preserve it for future restoration. 
The cabin has a new roof and several new support timbers for the roof while the walls still show the wear of their age.

http://en.wikipedia.org/wiki/Bar_B_C_Dude_Ranch

http://en.wikipedia.org/wiki/Maxwell_Struthers_Burt
http://www.greateryellowstonescience.org/node/3184

http://blogs.pugetsound.edu/125books/category/1918-1927/

http://www.cr.nps.gov/history/online_books/grte2/hrs14.htm 

http://pdfhost.focus.nps.gov/docs/NRHP/Photos/90000624.pdf 

Georgia O'Keeffe. Cabin to my Heart

Georgia O'Keeffe (1887-1986)
Photograph of Georgia O'Keeffe by Alfred Stieglitz in 1918.

#Georgia O’Keeffe #Maria Chabot #Maurice Grosser

“Georgia O’Keeffe hitching a ride to Abiquiu, Ghost Ranch, 1944″ AKA ”Women Who Rode Away.” –Image by Maria Chabot @Georgia O’Keeffe Museum. The painter, Maurice Grosser, visited his friend O’Keeffe’s ranch in 1944. Maria Chabot photographed O’Keeffe and Grosser on his 1938 Harley-Davidson Knucklehead. It’s an amazing image that celebrates denim, machine, and the joy of the open road. That look on O’Keeffe’s face says it all. 

GEORGIA O'KEEFFE HOME AND STUDIO AT ABIQUIU

Georgia O'Keeffe is one of those artists I loved during high school because she painted beautiful flowers, turned away from in college because I would never like anything as uncool as those stupid flowers, then rediscovered in grad school when I realized she was one hell of an inspirational woman (she continued to produce work well into her 90s). O'Keeffe truly loved living and working in New Mexico, and no wonder - just look at that view from her large studio window. Open, minimal, and stunning, just like her studio/home. 

Georgia O'Keeffe - John Loengard

Photo: Herbert Lotz; Abiquiu House Studio, 2007; copyright Georgia O'Keeffe Museum, reprinted by permission

 Estudio y casa de Georgia O'Keeffe en Nuevo México. La habitación sin techo con  esculturas de O'Keeffe

Photo: Herbert Lotz; Abiquiu House Studio, 2007; copyright Georgia O'Keeffe Museum, reprinted by permission

Georgia O'Keeffe

Retrato de of Georgia O'Keeffe por Alfred Stieglitz, 1918.

Georgia O'Keeffe (Sun Prairie, Wisconsin, 15 de noviembre de 1887 - Santa Fe, Nuevo México - 6 de marzo de 1986), fue una artista estadounidense. Fue pionera en el campo de las artes visuales y famosa residente de Nuevo México.

Hija de Francis Calyxtus O'Keeffe y Ida Totto O'Keeffe, nació en Sun Prairie, Wisconsin en una familia de granjeros. Estudió pintura en el Instituto de Arte de Chicago y en la Liga de Estudiantes de Arte en Nueva York. Ejerció como profesora en Amarillo, Texas en 1914, y en 1916 en Carolina del Sur.Trayectoria 

No salió de los Estados Unidos hasta que fue anciana y por eso se le considera la primera artista puramente estadounidense.

Mientras estaba en Carolina del Sur, un amigo suyo mostró algunos de sus trabajos a Alfred Stieglitz, fotógrafo y dueño de una galería de arte, quien quedó impresionado por su trabajo. Luego de algunas negociaciones, O'Keeffe autorizó a Stieglitz para exhibirlos. Stieglitz quedó especialmente impresionado por sus pinturas de paisajes del Oeste americano. Él vivió con O'Keeffe por un tiempo cuando regresó a Nueva York, pero ella quiso viajar al oeste y Stieglitz no compartía sus planes. Durante su estancia en Nueva York, O'Keeffe conoció a los grandes modernistas americanos, Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, Paul Strand y Edward Steichen.

O'Keeffe pasó mucho tiempo en Taos, Nuevo México, y luego de fallecer Stieglitz en 1946, se estableció allí hasta el día de su muerte, a los 98 años.

Es conocida principalmente por sus paisajes y pinturas de flores del desierto. Sus cuadros de flores se interpretan a menudo como yónicos y los contornos difuminados de sus obras evocan imágenes abstractas.

En 1997 recibió la Presidential Medal of Freedom1

(Fuente: wikipedia)

Log Cabin Amid Beautiful Scenery in Abiquiu, New Mexico. 

In Abiquiu, where Georgia O'Keeffe called home for many years. It would be easy to get inspired in such a place. 

Georgia O' Keeffe's Ghost Ranch near Abiquiu, New MexicoCabin at the entrance to Ghost Ranch.
The cabin is rumored to have been built in the 1930s and once inhabited by Georgia O’Keeffe. 

Georgia O´Keefe, The shell

“Si uno mira detenidamente una flor, tiene todo el mundo delante suyo”.

”A toda forma natural, a toda roca, a todo fruto o flor,/ incluso a las piedras sueltas que cubren el camino/ les concedí una vida espiritual, las vi sentir,/ asocié con ellas un sentimiento (…)”’

Georgia O'Keeffe

About the Painter

Among the great American artists of the 20th-century, Georgia O’Keeffe stands as one of the most compelling. For nearly a century, O’Keeffe’s representations of the beauty of the American landscape were a brave counterpoint to the chaotic images embraced by the art world. Her cityscapes and still lifes filled the canvas with wild energy that gained her a following among the critics as well as the public. Though she has had many imitators, no one since has been able to paint with such intimacy and stark precision.

Georgia O’Keeffe was born in Sun Prairie, Wisconsin in 1887. The second of seven children, O’Keeffe longed to be an artist from an early age. In 1905 she attended the Art Institute of Chicago and a year later went to study at the Art Students League of New York. Though her student work was well received she found it unfulfilling, and for a short time abandoned the fine arts. She worked briefly as a commercial artist in Chicago before moving to Texas to teach. During the summer of 1915, O’Keeffe took classes at the Teachers College of Columbia University in South Carolina, and there began her re-entry into the world of painting.

Teaching in South Carolina was Arthur Dow, a specialist in Oriental Art. Dow’s interest in non-European art helped O’Keeffe move away from the forms she had found so stifling in her previous studies. She said of him, “It was Arthur Dow who affected my start, who helped me to find something of my own.” Soon after O’Keeffe’s return to Texas, she made a handful of charcoal drawings, which she sent to a friend in New York. The friend, Anna Pollitzer, showed them to Alfred Stieglitz, a photographer and gallery owner. He was enthused with the vibrant energy of the work, and asked to show them. So, without her knowledge, Georgia O’Keeffe had her first exhibition in 1916 at Steiglitz’s “291 Gallery.”

Within two years, Steiglitz had convinced O’Keeffe to move to New York and devote all of her time to painting. His regular presentations of her work had begun to cause a buzz, and create for a her a small following. Six years later the two were married, beginning one of the most fruitful and well-known collaborations of the modernist era. For the next twenty years the two would live and work together, Steiglitz creating an incredible body of portraits of O’Keeffe, while O’Keeffe showed new drawings and paintings nearly every year at the gallery. Living in Lake George, New York, and in New York City, O’Keeffe painted some of her most famous work. During the 1920s, her large canvasses of lush overpowering flowers filled the still lifes with dynamic energy and erotic tension, while her cityscapes were testaments to subtle beauty within the most industrial circumstances.

In 1929 O’Keeffe took a vacation with her friend Beck Strand to Taos, New Mexico. The trip would forever alter the course of her life. In love with the open skies and sun-drenched landscape, O’Keeffe returned every summer to travel and to paint. When Steiglitz in 1946 died, O’Keeffe took up permanent residence there. More than almost any of her other works, these early New Mexico landscapes and still lifes have come to represent her unique gifts. The rich texture of the clouds and sky were similar to her earlier, more sensuous representations of flowers. But beneath these clouds one found the bleached bones of animals long gone.

Throughout the 1950s and 1960s, O’Keeffe’s fame continued to grow. She traveled around the world and had a number of major retrospectives in the U.S. The most important came in 1970 at the Whitney Museum of American Art, placing her categorically as one of the most important and influencial American painters. The next year O’Keeffe’s vision deteriorated dramatically, and she withdrew from artistic life. It was not until 1973, after meeting Juan Hamilton, a young ceramic artist, which she returned to working. With his encouragement and assistance, she resumed painting and sculpting. In 1976 her illustrated autobiography, GEORGIA O’KEEFFE was a best seller, and the next year she received the Medal of Freedom from President Gerald Ford.

In 1985 she received the Medal of the Arts from President Ronald Reagan. In March of the next year, at the age of 98, O’Keeffe passed away at St. Vincent’s Hospital in Santa Fe, New Mexico. Georgia O’Keeffe’s work remains a prominent part of major national and international museums. For many, her paintings represent the beginnings of a new American art free from the irony and cynicism of the late 20th century.

Fuente: http://www.pbs.org/wnet/americanmasters/episodes/georgia-okeeffe/about-the-painter/55/

http://chambersarchitects.com/blog.html

http://www.c-spanvideo.org/program/OKee

http://en.wikipedia.org/wiki/Georgia_O'Keeffe

http://puppypaths.blogspot.com.es/2012/09/ghost-ranch-part-2.html

http://the-inner-art.blogspot.com.es/2012/01/las-flores-de-georgia-okeeffe.html

http://oswearnotbythemoon.blogspot.com.es/2012/12/georgia-okeeffes-studio.html
http://charlotteminty.blogspot.com.es/2012/02/georgia-okeeffes-ghost-ranch-new-mexico.html
http://charlotteminty.blogspot.com.es/2012/02/georgia-okeeffes-ghost-ranch-new-mexico.html

http://www.barhopperchallenge.com/2012/01/georgia-okeeffe-maria-chabot-women-who-rode-way/

http://kaitlynfaebarrett.com/2011/04/17/sacred-southwest-georgia-okeeffes-ghost-ranch-and-the-chimayo-shrine/

https://www.artsy.net/artist/georgia-okeeffe

Los nidos de Tadashi Kawamata

Tadashi Kawamata

Nacido en 1953 en Hokkaido, Japón, actualmente vive y trabaja entre París y Tokio. Realiza instalaciones in situ, construidas en madera. Su trabajo no se limita a un estudio de arquitectura sino al contexto social en el que se presenta. Kawamata ha realizado numerosas exposiciones en Japón así como internacionalmente, y eventos mundiales como la Bienal de Venecia (1982), la Bienal Internacional de Sao Paulo (1987), la Bienal de Arte Contemporáneo de Lyon (1993) y la 4ª Bienal de Shanghai (2002).

El artista japonés asentado en París presentaba hace unos meses la instalación ‘Huts' como parte de la exposición ‘Carton Workshop' en el Centre Pompidou, con la que habitaba el célebre edificio con una serie de cabañas. La preparación de ésta intervención y suworkshop han dejado tras su paso una larga serie de maquetas en miniatura que datan un proceso de creación que culmina en enormes intervenciones creadas para un lugar específico.

LOS NIDOS DE KAWAMATA
Alberto García del Castillo

Tadashi Kawamata es un artista japonés, profesor de arte en Tokio y París, que desarrolla una pronta carrera participando, ya de joven, en la Bienal de Venecia en 1982. Su trabajo artístico propone monumentales instalaciones creadas específicamente para el espacio que habitan; ahora nos propone ‘Huts', dentro de la compleja intervención ‘Carton Workshop' en el Centre Pompidou, una intervención sobre las fachadas metálicas desnudas del centro e arte parisino.

Como nidos insertos en la estructura externa del edificio, Kawamata asegura que éstos "son huts, cabañas, refugios. Están en proceso de construcción. Habrá seis cuando la instalación esté terminada". Construyéndolos con tablones de madera y haciendo referencia a la cabaña original, al refugio primitivo o a la madriguera animal, el artista japonés se acerca a las proposiciones artísticas de autores del land art; rápidamente podemos sentirnos tentados a establecer la relación con los titánicos nidos de Nils Udo instalados en espacios naturales. En cambio, en el caso de ‘Huts' ha de ser tenida en cuenta la dimensión urbana y pública del espacio intervenido, haciendo ingresar en su propuesta consideraciones sociales en una reeinterpretación de las construcciones precarias que son el abrigo de muchos en las grandes urbes deshumanizadas.

Al mismo tiempo, Kawamata propone un workshop de construcción con cartón en la Galerie des enfants, donde los niños que visiten el centro de arte contemporáneo será instados a elevar estructuras partiendo de este material. Todo ello nos leva a pensar la exposición en su conjunto como una instalación a gran escala que intenta mover los límites de un espacio previamente definido dentro de la ciudad de París. 

Tadashi Kawamata, Le Passage des Chaises II, 2007, Work in situ. Sillas de madera, Vista de la instalación, Reims, 2007 / © Tadashi Kawamata, © Foto: Andreas Pluskota / Cortesía del artista y kamel Mennour, Paris

"Sillas para Abu Dhabi" es un espacio contemplativo, un espacio para la narración de cuentos, debates y talleres. La propia zona interior será un animado y mutable espacio decorado con amplios cojines para que las personas la libertad de moverse y organizar como deseen, para las distintas actividades. En los períodos intermedios, será un lugar para que las personas se reúnen, descansar y conocer más sobre la artesanía y el diseño aprenden a través de una colección de libros y revistas disponibles.

Tadashi Kawamata, Le Passage des Chaises II, 2007, Work in situ. Sillas de madera, Vista de la instalación, Reims, 2007 / © Tadashi Kawamata, © Foto: Andreas Pluskota / Cortesía del artista y kamel Mennour, Paris

http://kulturaurbana.com/los-preparativos-del-artistadh/

http://www.a-zlezingen.be/en/projects/tadashi-kawamata-j

http://myriammahiques.blogspot.com.es/2010/12/selection-of-pictures-of-tadashi.html

http://tochoocho.blogspot.com.es/2013/02/tadashi-kawamata-1953-tree-huts-cabanas.html

http://islamicartsmagazine.com/magazine/view/an_art_work_of_hundreds_of_chairs_begins_creation_this_week_for_abu