Newport is a large village in Essex near Saffron Walden. The village has a population of just over 2,000, measured at 2,352 at the 2011 census.[1]
Is é Newport sráidbhaile mór in Essex in aice le Saffron Walden. Tá os cionn 2,000 daoine sa tsráidbhaile, maidir leis an daonáireamh sa bhliain 2011. [1]
Located approximately 41 miles (66 kilometres) north of London, the village is situated amongst the arable fields of northern Essex. With a regular train service to London Liverpool Street and Cambridge from the Newport (Essex) railway station, the village is considered to be within commuting distance of the capital and as such attracts a number of workers from the City of London. Joyce Frankland Academy, a comprehensive co-educational secondary school, is also located in the village.
Tá sé thart ar 66 chiliméadar ó thuaidh de Mondain. Tá seirbhís traenach rialta chuig London Liverpool Street.
The earliest mention of Newport is in the Domesday Book. The name is thought to be of Anglo-Saxon origin and is thought to mean new town or market, rather than a modern-day seaport.
Is é an lua is luaithe de Newport sa Leabhar Domesday. Is é an t-ainm a chreidtear a bheith de bhunadh Angla-Shacsanach.
“Port” was often a name for a market in Saxon times, and Newport did have a flourishing market in this period.
Is é an t-ainm a chreidtear a chiallaíonn baile nua nó margaidh, seachas calafoirt mhara sa lá atá inniú ann.
The village prospered until around 1300, after which it declined and its market ceased; it was overtaken in importance by the neighbouring town of Chipping Walden (known today as Saffron Walden). Until the 20th century Newport was mostly dependent upon agriculture in addition to local trade of leather, woolcombing and in later years, malting.
Bhí rath ar an tsráidbhaile go dtí an bhliain 1300.
Luzech is a commune in the Lot department in south-western France.
Is é Luzech commune sa roinn Lot in iardheiscirt Fhrainc.
It is situated on the Lot River; a dam, the Barrage de Luzech was constructed in the late 1940s.[1]
Tá sé suite ar an Abhainn Lot; tógadh an Barrage de Luzech sna 1940idí.[1]
A relatively small village of about 1650 inhabitants, it is situated in the heart of the Cahors wine making region.
Is sráidbhaile beag é de thart ar 1,650 áitritheoir. Tá sé suite i gcroílár na Cahors, réigiún an fhíon.
Luzech offers a number of sporting and social activities such as orienteering, fishing and kayaking.
Tairgeann Luzech roinnt spóirt agus gníomhaíochtaí sóisialta, Ar nós treodóireacht, iascaireacht agus cadhcáil.
The main road in the village (Place du Canal) was formerly a canal which connected to the Lot river on either side.
Ba é an príomh-bhóthar sa sráidbhaile (Plás de Chanáil) ina chanáil roimhe seo, nasctha leis an abhainn Lot ar an dá thaobh.
He studied at the Escuela Nacional de Artes Plásticas between 1981 and 1984 and at the Circulo de Bellas Artes in Madrid between 1986 and 1987. Orozco gained his reputation in the early 1990s with his exploration of drawing, photography, sculpture and installation. In 1998 Francesco Bonami called him "one of the most influential artists of this decade, and probably the next one too."[1] Within the past fifteen years Orozco has also created work in the medium of painting.
Is é Gabriel Orozco (rugadh 27 Aibreán, 1962) ealaíontóir Mheicsiceo. Rinne sé staidéar ag an Escuela Nacional de Artes Plásticas idir 1981 agus 1984, agus ag an Circulo de Bellas Artes i Maidrid entre 1986 agus 1987. Fuarthas Orozco a cháil go luath sna 1990idí lena chuid iniúchadh líníocht, grianghrafadóireacht, dealbhóireacht agus a shuiteáil. Is sa bhliain 1998 a thug Francesco Bonami an t-ainim "ceann de na healaíontóirí is mó tionchair na ndeich mbliana seo, agus is dócha don chéad cheann eile freisin."[1] Laistigh de na cúig bliana déag anuas chruthaigh Orozco obair i meán de phéintéireacht freisin.
An avid world traveler, Orozco, his wife Maria Gutierrez, and their son Simón, divide their time between Paris, New York and Mexico City.
Is maith le hOrozco taisteal ar fud an domhain, lena bhean chéile Maria Gutierrez, agus a mhac Simón. Roinnt Siad a gcuid ama idir Páras, Nua-Eabhrac agus i gCathair Mheicsiceo.
Overview
Achoimre
Orozco was born in 1962 in Veracruz, Mexico to Cristina Fèlix Romandía and Mario Orozco Rivera, a mural painter and art professor at the Universidad Veracruzana. When Orozco was six, the family relocated to the San Àngel neighborhood of Mexico City so that his father could work with artist David Alfaro Siquieros on various mural commissions. His father took him along to museum exhibitions and to work with him, where Orozco overheard many conversations on art and politics.
Rugadh Orozco sa bhliain 1962, i Veracruz, Meicsiceo go Cristina Fèlix Romandía agus Mario Orozco Rivera, péintéir múrmhaisiú agus ealaín ollamh ag Veracruzana Universidad. Nuair a bhí Orozco sé bliana d'aois, bhog an teaghlach go dtí an gcomharsanacht San Aingeal an gCathair Mheicsiceo, ionas go bhféadfadh a athair in ann a bheith ag obair leis an ealaíontóir David Alfaro Siqueiros ar coimisiúin múrmhaisiú éagsúla. Thóg an t-athair Orozco chomh maith leis chun taispeántais músaem, agus a bheith ag obair leis, áit nuair a chuala Orozco go leor comhráite ar ealaín agus polaitíocht.
Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984, but found it to be a conservative program of study; in 1986 he moved to Madrid and enrolled at the Circulo de Bellas Artes.
D'fhreastail Orozco an Escuela Nacional de Artes Plásticas idir 1981 agus 1984, ach fuair sé a bheith ina clár staidéir coimeádach; Sa bhliain 1986 bhog sé go Maidrid agus cláraithe a bhí sé ag an Circulo de Bellas Artes.
Here his instructors introduced him to a broad range of post-war artists working in non-traditional formats.[2] He has stated of his time in Spain,
Is anseo a thug na teagascóirí chuig an réimse leathan d-ealaíontóirí i ndiaidh an chogaidh, ag obair i bhformáidí neamhthraidisiúnta.[2] Nuair a bhí sé sa Spáinn, dúirtear,
"What's important is to be confronted deeply with another culture.
"Is é un rud atá tábhachtach ná a bheith lonnaithe go mór i gcultúr eile.
And also to feel that I am the Other not the resident. That I am the immigrant.
Agus freisin a bhraitheann go bhfuil mé an Duine eile agus nach bhfuil an Cónaitheoir.
I was displaced and in a country where the relationship with Latin America is conflicted.
Go bhfuil mé an t-inimirceach, agus i dtír ina bhfuil an caidreamh le Meiriceá Laidineach atá ina stát na coimhlinte.
I came from a background that was very progressive.
Tháinig mé ó chúlra go raibh an-fhorásach.
And then to travel to Spain and confront a very conservative society that also wanted to be very avant-garde in the 1980s, but treated me as an immigrant, was shocking.
Agus ansin taisteal go dtí an Spáinn agus aghaidh a thabhairt maidir le sochaí an-coimeádach, gur theastaigh chomh maith le bheith an-avant-garde sna 1980í, ach déileálfar dom mar inimirceach, bhí creathnach.
That feeling of vulnerability was really important for developing my work.
Ba é sin mothú leochaileachta a bhí tábhachtach i ndáiríre chun mo chuid oibre a fhorbairt.
I think a lot of my work has to do with that kind of exposure, to expose vulnerability and make that your strength."[3]
I mo thuairimse, tá a lán de mo chuid oibre ana tábhachtach chun an chineál sin a nochtadh, leochaileacht a nochtadh agus é sin a dhéanamh chun neart."[3]
In 1987 Orozco returned from his studies in Madrid to Mexico City where he formed weekly meetings with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years and over time the artist’s home became a place where many artistic and cultural projects took shape.[4]
Sa bhliain 1987 chríochnaigh sé a chuid staidéar i Maidrid agus chuig ar ais go Cathair Mheicsiceo. Is ansin a bhunaigh sé cruinnithe seachtainiúla le grúpa ealaíontóirí eile, lena n-áirítear Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas agus an Dr Lakra. Tháinig an grúpa seo le chéile uair amháin sa tseachtain ar feadh cúig bliana; agus le himeacht ama ba é sa bhaile ealaíontóra an áit, a raibh go leor tionscadal ealaíne agus cultúrtha a mhúnlú .[4]
Orozco’s nomadic way of living began to strongly inform his work around this time, and he took much inspiration from exploring the streets.[5] His early practice was intended to break away from the mainstream work of the 1980s, which often incorporated huge studios with many assistants and elaborate techniques of production and distribution.
Bhí Orozco ina chónaí cosúil le fánaí; Is sé an stádas seo a mhúnlaithe a chuid oibre thart ar an am; ghlac sé inspioráid i bhfad ón iniúchadh na sráideanna.[5] Bhí sé i gceist aige a chleachtas luath a bhriseadh ar shiúl ó na hoibrithe príomhshrutha na 1980í, Cuimsíonn sé go minic stiúideonna ollmhóra, agus go leor cúntóirí, agus teicnící ilchasta comh maith le táirgeadh agus dáileadh.
In contrast, Orozco has always worked alone or with one or two other assistants.
I gcodarsnacht leis sin, ba mhaith le hOrozco a bheith ag obair i gcónaí ina n-aonar.
His work revolves around many repeated themes and techniques that incorporate real life and common objects.
San obair, caithfidh sé go leor téamaí a úsáid, arís agus arís eile, agus teicnící. Is sé iniúchadh a n-ábhar a roghnaíodh, a cheadaíonn samhlaíocht an lucht féachana.
The exploration of his chosen materials allows the audience's imagination to explore the creative associations between oft-ignored objects in today's world.
The exploration of his chosen materials allows the audience's imagination Dá bhrí sin, tá spreagadh chun iniúchadh a dhéanamh ar na cumainn cruthaitheach de na rudaí, neamhaird go minic ar an lá atá inniu ann.
"For him [Orozco], the decentralization of the manufacturing practice mirrors a rich heterogeneity of object and material.
"Maidir le Orozco, is é dílárú an chleachtas monaraíochta atá ina mhacasamhail de ilchineálacht saibhir, réad agus ábhar.
There is no way to identify a work by Orozco in terms of physical product.
Níl aon bealach ann chun saothar Orozcoa a aithint ó thaobh táirge fisiciúil.
Instead it must be discerned through leitmotifs and strategies that constantly recur, but in always mutating forms and configurations." – Ann Temkin[6]
Ina áit sin, ní mór dúinn é a fheiceáil trí na leitmotifs., ach i gcónaí i bhfoirmeacha agus Cumraíochtaí." – Ann Temkin[6]
“What is most important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again”.- Gabriel Orozco from an interview with Benjamin H. D. Buchloh[7]
“Is sé an rud is tábhachtaí, nach bhfuil é an méid a fheiceann na daoine sa ghailearaí nó músaem, ach an méid a fheiceann daoine tar éis féachaint ar na rudaí seo, agus conas is féidir leo aghaidh a thabhairt orthu mar réaltacht arís ”.- Gabriel Orozco, ó agallamh le Benjamin H. D. Buchloh[7]
Gabriel Orozco married Maria Gutierrez on August 2, 1994 at City Hall in New York. They have one son, Simόn, born in November 2004.
Phós Gabriel Orozco le Maria Gutierrez, ar an 2ú Lúnasa, 1994 ag Halla na Cathrach i Nua-Eabhrac. Tá mac amháin acu, Simόn, a rugadh i mí na Samhna 2004.
Orozco lives and works in New York, Mexico and France.
Tá Orozco ina chónaí agus ag obair i Nua-Eabhrac, Meicsiceo agus an Fhrainc.
Selection of works
Roghnú na n-oibreacha
Recaptured Nature, 1991
Nádúr Athghabháilte, 1991
Recaptured Nature is one of Orozco’s earliest sculptural works and is constructed entirely from the vulcanized rubber made to create the inner tubes of truck tires.
Is é Nádúr Athghabháilte ar cheann de na hoibreacha dealbhóireachta is luaithe a rinneadh Orozco. D’usáid sé na feadáin rubair bholcáinithe a bhí le fáil istigh de bhoinn trucail.
Orozco cut the rubber down the middle, then opened it up, cut two circular lid shapes from another inner tube, and welded them together at a tire shop.
Ghearr Orozco an rubar i láir, ansin d'oscail sé suas é, ghearr dhá cruthanna clár i bhfoirm ciorclach ó feadán inmheánach eile, agus tháthaigh le chéile iad ag siopa bonn.
This resulted in an inflatable ball. Orozco says the work is an “exercise in topology,”[8] an area of mathematics concerned with the study of continuity and connectivity.
Mar thoradh, bhí liathróid bolgtha aige. Deir Orozco go bhfuil an obair seo mar "feidhmiú i toipeolaíocht,”[8] réimse na matamaitice a bhaineann le staidéar a dhéanamh ar contanóideacht agus ceangailithe.
Recaptured Nature plays with the idea that everything can become everything else. This piece informed future works like Elevator in which the artist reconstructed an elevator to be exactly his height.
Is é an smaoineamh atá i gcéist maidir le “Nádúr Athghabháilte” gur féidir le gach rud a bheith cosúil le gach rud eile. Oibríonn an píosa seo cosúil le hArdaitheoir mar “eolas a chuir ar fáil sa todhchaí” ina bhfuil an t-ealaíontóir a bhéadh ábalta, ardaitheoir a chruthú a bheith cosúil go díreach lena hairde.
Sleeping Dog, 1990
Madra Codlata, 1990
Orozco began working with photography around 1989.[9] An early photograph, Sleeping Dog, evidences Orozco's reverence and mistrust of the photographic medium. The print immobilizes a sleeping dog from an aerial perspective on a large rock.
Thosaigh Orozco a bheith ag obair le grianghrafadóireacht timpeall 1989.[9] Is é grianghraf luath, “Madra Codlata,” a thaispeánann an turraim agus amhras a bhí aige maidir leis an meán grianghrafadóireachta. Taispeánann an cló, madra codlata ó thaobh aerga, ar charraig mhór.
The perspective of the camera compresses the foreground and background in such a way that the dog becomes at once image and object, possessing weight and presence while simultaneously producing a memory of the event.
Is é dearcadh an cheamara a bhrúnn an réamhionad sa chaoi go mbeidh an madra íomhá agus réad ag an am céanna, A bhfuil meáchan agus láithreacht aige, agus ag an am céanna cuimhne a chuir ar fáil maidir leis an ócáid.
The overall physical impression that the image produces is suggestive of Orozco's interest in photography as a means to inform sculptural representation.[10]
Is é an tuiscint fisiceach foriomlán a mbíonn an íomhá meabhraitheach maidir le spéis atá ag Orozco i ngrianghrafadóireacht mar bhealach ionadaíocht dealbhóireachta a chur in iúl.[10]
Crazy Tourist, 1991
Turasóir Buile, 1991
Crazy Tourist was a photograph taken by Orozco in Bahia Brazil. While wandering through the town of Cachoeira, Orozco came upon an empty marketplace.
Is é Turasóir Buile grianghraf a ghlac Orozco i Bahia Bhrasaíl. Nuair a bhí se ag fánaíocht tríd an bhaile Cachoeira, tháinig Orozco ar margadh a bhí folamh.
He spied some rotting oranges leftover from the closed market and proceeded to position one on each table.
Dhearc sé roinnt oráistí lobhadh, fágtha ón margadh dúnta, agus chuir sé ceann amháin ar gach tábla.
Orozco then captured the intervention in a photograph.
Ansin gabh Orozco an idirghabháil i ngrianghraf.
The locals who were watching him called him a "turista maluco".[11] Crazy Tourist exemplifies Orozco's approach to photography. Orozco does not want his photographs to serve as documentation in the way of becoming a relic, but rather as a witness to an ephemeral event that often occurs while the artist is alone.
Ansin, is iad muintir na háite, a bhí ag breathnú air, a thug an t-ainm dó: "turista maluco".[11] Is é Turasóir Buile tipiciúil maidir le grianghrafadóireacht Orozco. Níl Orozco ag iarraidh a chuid grianghraif a bheith mar fónamh chun doiciméadú, ar an mbealach a bheith ina iarsma, ach mar fhinné chuig imeacht gearrshaolach a tharlaíonn go minic cé go bhfuil an t-ealaíontóir amháin.
You forget the photograph but see the phenomena.[12]
Dearmadann tú an grianghraf ach féachann tú na feiniméin.[12]