In Pyrenees' cradle, where the rivers sing, Roams the Red-Face Manech, in untamed spring. His coat, a blaze against the mountain's breast, In the rugged wilds, he finds his rest. With each hoof's beat, the earth it sighs, Echoes of ancient tales, 'neath azure skies. Amidst the heather and the whispering pines, His spirit roams where freedom twines. In valleys deep, where shadows dance, He strides with grace, in nature's trance. In the heart of Pyrenees, where dreams ascend, The Red-Face Manech, eternal friend.
Seven Rooms of Hospitality: Room for Asylum Seekers
Siah Armajani, Seven Rooms of Hospitality: Room for Asylum Seekers, 2017 — Seen at Tate Modern, Londen 2024.
On August 27, 2015, a tragic discovery shook the world as seventy-one refugees and migrants from Iraq, Syria, and Afghanistan were found suffocated in the back of a truck abandoned on an Austrian motorway. Sealed within the airtight, refrigerated vehicle, they had perished during their 530-mile journey from Röszke, Hungary, to Munich. The truck, adorned with the logo of the Hyza meat company and images of neatly arranged sliced meat, presented a deceptive exterior of invitation, sharply contrasting with the horror concealed within: 60 men, eight women, and three children, all deceased.
This grim event finds a haunting echo in the art of Siah Armajani (1939), an Iranian-born American artist, whose recent series "Seven Rooms of Hospitality" includes a replica of the truck. Entitled "Room for Asylum Seekers" (2017), the miniature 3D-printed plastic model, measuring just over a foot long and about five inches tall, initially appears innocuous, even playful. However, upon reading the accompanying text—extracted from a newspaper headline—the reference to the harrowing episode becomes starkly apparent.
What a statement. What does this tell about us?
The Lapiths and the Centaurs
A Centaur fighting a Lapith, British Museum, London.
The story of the Lapiths and the Centaurs is a mythological tale from ancient Greek lore that serves as a metaphor for the struggle between civilization and barbarism, order and chaos.
According to legend, the Lapiths were a tribe of ancient Thessaly, ruled by King Pirithous. They were known for their noble and civilized ways. The Centaurs, on the other hand, were half-human, half-horse creatures, notoriously wild and unruly, often associated with drunkenness and violence.
The story begins with Pirithous's wedding to Hippodamia. During the wedding feast, the Centaurs, led by their king, Eurytion, become intoxicated and attempt to abduct the bride and other women present. Chaos erupts as the Centaurs wreak havoc, attacking guests and causing destruction.
In response, the Lapiths rise to defend their honor and guests. A fierce battle ensues between the Lapiths and the Centaurs, depicted as a struggle between civilization and savagery. The Lapiths ultimately emerge victorious, driving the Centaurs from their lands and restoring order to the wedding celebration.
The myth of the Lapiths and the Centaurs serves as a cautionary tale about the dangers of unchecked passions and the importance of maintaining civility and order in society. It illustrates the Greek belief in the virtues of self-control, moderation, and the triumph of reason over primal instincts.
The Iglesia de Santa María del Naranco and the Church of San Miguel de Lillo: Architectural Marvels of the Asturian Kingdom
The church of San Miguel de Lillo.
Perched on the lush slopes of Monte Naranco, overlooking the city of Oviedo, stand two extraordinary monuments of early medieval architecture: the Iglesia de Santa María del Naranco and the Church of San Miguel de Lillo. Constructed during the reign of King Ramiro I in the mid-9th century, these structures offer profound insights into the cultural and political landscape of the Asturian Kingdom, a bastion of Christian resistance during the Reconquista.
Iglesia de Santa María del Naranco: Originally built in 848 AD as a royal palace for King Ramiro I, this building was later consecrated as a church. It reflects the Asturian Kingdom's response to the turmoil and cultural exchanges of the time. The structure's sophisticated design, featuring ribbed barrel vaults, grand arcades, and intricate relief sculptures, illustrates a period of relative stability and artistic flourishing. The architectural style combines elements of late Roman and Visigothic traditions with innovative Asturian features, highlighting a unique blend of influences during a time when the kingdom was consolidating its identity amidst external threats.
The church of San Miguel de Lillo: Situated nearby, this church also commissioned by King Ramiro I, served as a royal chapel. Despite being partially in ruins, San Miguel de Lillo retains its historical significance and showcases the architectural ingenuity of the era. The church's three-aisled basilica layout, adorned with horseshoe arches and intricate carvings, demonstrates the continuation and evolution of pre-Romanesque art forms. The detailed frescoes and sculptural work reveal a sophisticated understanding of religious iconography and artistic expression, reflecting the spiritual and cultural aspirations of the Asturian people.
Built during a period marked by both conflict and cultural synthesis, the Iglesia de Santa María del Naranco and the Church of San Miguel de Lillo stand as enduring symbols of the Asturian Kingdom's resilience and artistic achievements. These architectural marvels not only encapsulate the spirit of their time but also offer a timeless legacy of Spain's medieval heritage.
Iglesia de Santa María del Naranco.
Baeza (Spain)
The Santa María Fountain and the Cathedral of the Assumption of the Virgin in Baeza.
In the heart of Andalusia, Spain, the historic town of Baeza exudes charm and elegance, offering visitors a glimpse into its rich cultural heritage and architectural splendor. Steeped in history dating back to Roman times, Baeza flourished during the Islamic era before becoming a prominent Christian stronghold in the Middle Ages.
At the heart of Baeza's cultural landscape stands the majestic Baeza Cathedral (Cathedral of the Assumption of the Virgin), a stunning example of Renaissance architecture that dominates the town's skyline. Built atop the site of a former mosque, the cathedral showcases intricate facades, soaring arches, and ornate chapels, embodying the town's religious and artistic legacy.
Adjacent to the cathedral lies the picturesque Santa María Fountain, a symbol of Baeza's enduring vitality and prosperity. Dating back to the 16th century, this beautifully crafted fountain features sculpted figures and intricate detailing, serving as a gathering place for locals and visitors alike.
Together, the cathedral and the Santa María Fountain stand as iconic landmarks in Baeza, inviting travelers to explore their storied past and immerse themselves in the town's timeless beauty. Whether wandering through its winding streets, marveling at its architectural wonders, or savoring its rich culinary delights, Baeza offers a truly unforgettable experience steeped in history, culture, and tradition.
Laon (France)
Laon, situated in the Hauts-de-France region of northern France, has a rich and storied history dating back to ancient times. Founded by the Gauls, it later became an important Roman settlement known as Augusta Viromanduorum. However, Laon truly rose to prominence during the medieval period as a key political and religious center.
In the early Middle Ages, Laon became the capital of the powerful Carolingian dynasty under Charlemagne's rule. The city prospered as an important administrative, cultural, and economic hub. It was during this time that Laon Cathedral, a masterpiece of Gothic architecture, was constructed atop the city's imposing hill, dominating the skyline and symbolizing the city's importance.
Throughout the medieval period, Laon remained a significant player in the political landscape of France. It served as a royal residence and hosted several important ecclesiastical councils. The city was also a center of learning and scholarship, with its renowned cathedral school attracting students and scholars from far and wide.
In the 12th century, Laon became embroiled in the power struggles between the French monarchy and various noble families. The city witnessed numerous sieges and battles, including the famous Battle of Laon in 1112, which saw King Louis VI of France defeat an alliance of rebellious barons.
Despite its tumultuous history, Laon continued to thrive as a center of commerce and craftsmanship. Its textile industry, in particular, flourished, contributing to the city's prosperity.
During the Renaissance, Laon experienced a period of cultural and artistic renewal, with the cathedral and other historic buildings undergoing restoration and embellishment.
In the centuries that followed, Laon endured periods of decline and resurgence, but it remained an important regional center. Today, Laon retains much of its medieval charm, with its well-preserved old town, imposing ramparts, and stunning cathedral drawing visitors from around the world. The city's rich history and architectural heritage continue to captivate and inspire all who visit.
Introduction to Repair Cafés: Fostering Community and Sustainability through Collaborative Repair
Volunteers at the Repair Café Roermond.
Repair Cafés represent a global grassroots movement that marries sustainability with community engagement. These events, like the one held in Roermond, are free and open to everyone, offering a space where individuals can come together to repair broken items. The philosophy behind Repair Cafés is simple yet profound: rather than discarding and replacing, people are encouraged to repair and reuse, thereby reducing waste and promoting environmental stewardship.
At a Repair Café, participants bring in broken items from home—whether it's clothing, furniture, electrical appliances, bicycles, or toys—and work alongside skilled volunteers to fix them. These volunteers, who possess a wide range of repair knowledge and skills, provide guidance and support, transforming what might otherwise be a frustrating experience into an educational and rewarding one. The act of repair becomes a shared endeavor, with visitors learning new skills, gaining confidence in their ability to fix things, and contributing to the collective knowledge of the community.
Even those who arrive with nothing to repair find value in the experience. They can enjoy a cup of coffee or tea while observing the repair process, offer help to others, or simply gain inspiration from the books on DIY repair and crafting available at the reading table. The atmosphere at a Repair Café is one of collaboration and creativity, where the focus is not only on fixing items but also on building relationships and fostering a sense of community.
Repair Cafés are more than just places to mend broken objects; they are vibrant hubs of learning, sharing, and sustainability. They challenge the throwaway culture and emphasize the importance of resourcefulness, all while bringing people together in a spirit of cooperation and mutual support. Through these gatherings, Repair Cafés empower individuals to take an active role in reducing waste and preserving the environment, one repair at a time.
Some more volunteers at the Repair Café Roermond.
Posterholt's plowing contest
In the heart of Limburg in the village Posterholt, the community gathers each year for a special tradition: the plowing contest organized by KPJ Posterholt (Catholic Rural Youth Posterholt). This event, deeply rooted in the region's culture, offers both young and old a chance to showcase their skills in working the land. What began as a simple competition to see who could plow the straightest furrow has grown into a celebration of craftsmanship, cooperation, and pride in the farming way of life.
A unique aspect of this competition is the diversity of tractors that are used. Both historic and modern machines are used, each with its own charm and challenges. Old, carefully restored tractors bring the nostalgia of bygone days to life, while the latest models demonstrate technological progress and innovation in agriculture. Participants, often farming families who pass this tradition down from generation to generation, compete with passion and precision for the title of best plower.
Amid the scent of freshly turned earth and the hum of both old and new tractors, the event becomes not only a sporting contest but also a vibrant display of agricultural history. For spectators, it is a special experience to witness the meeting of past and present on the fields of Posterholt. The plowing contest serves as a reminder of the importance of tradition, the power of innovation, and offer a moment of connection for the entire community.
All images above: Participants of the 2024 Plowing Contest in Posterholt (The Netherlands).
Jacob Janszoon Graswinckel: A Miracle to the Poor
On July 25, 1536, in the stately building at Oude Delft 205, a wealthy brewing family welcomed a new member. Jan Janszoon Graswinckel, Treasurer of the city of Delft, and his wife Geertje Jacobsdochter became the proud parents of a son named Jacob, after his maternal grandfather. The name Graswinckel was likely derived from a piece of grassland in Den Hoorn, triangular in shape, that the family had owned for centuries. The name Ruytensteyn was also used for a time, referencing the brewery ‘De Ruyt’ on the Koornmarkt, which was owned by the family. The Graswinckel family was a patrician family in Delft, with members serving as regents, brewers, and merchants.
However, Jacob would achieve fame and recognition in a completely different manner. The residents of Delft gave Jacob the nickname Boot, referring to his father’s brewery "De Boot." As an adult, Jacob lived a secluded life in a part of the parental home, deeply concerned about the fate of his less fortunate fellow citizens. He helped wherever he could, cultivating numerous herbs in the large garden behind the house that extended to the western city wall. In the back house where he lived, he dedicated himself to the self-taught study of medicine and herbalism to better serve the poor.
Jacob Graswinckel, also known as the "Israelite of Delft," was renowned for his exceptional humility, frugality, charity, piety, and other virtues. Saved from death at a young age, he decided to show his gratitude through a life full of good deeds. Despite his frugal lifestyle (managing to live on thirty guilders a year), he made a significant impact on his community. He was 88 years old when he passed away on March 10, 1624, and was buried in the Old Church in Delft. His tombstone bears the inscription:
"In this grave rests Jacob Jansz. Graswinckel, called Boot, born July 25, 1536, a miracle to the poor, rich to them, poor to himself. Died March 10, 1624, at the age of 88."
In memory, Jacob Graswinckel lives on as ‘the miracle doctor,’ a title popularized by the historical novel “The Miracle Doctor of Delft” from 1870-71 by Alkmaar writer Geertruid Bosboom-Toussaint. Historical descriptions call him ‘an example of humility.’ The Hofje van Gratie (Graswinckel) and Graswinckelstraat in Delft remind us of this remarkable family and their legacy.
‘Jacob Jansz. Graswinckel genaamt den Delftsche Israëlijt’, drawn by W. Graswinckel.
"In this grave rests Jacob Jansz. Graswinckel, called Boot, born July 25, 1536, a miracle to the poor, rich to them, poor to himself. Died March 10, 1624, at the age of 88."
Saint Raphael the Archangel
Saint Raphael at the Cathedral of Saint James in Bilbao.
Saint Raphael the Archangel holds a significant place in Christian tradition and iconography as one of the seven archangels mentioned in the Book of Tobit in the Old Testament. The name Raphael means "God heals" or "God has healed," signifying his role as a divine healer and protector.
In Christian belief, Saint Raphael is often invoked for healing, guidance, and protection, especially during times of physical or spiritual distress. He is depicted as a powerful and benevolent figure, often portrayed with symbols of healing and guidance, such as a staff, a fish, or a jar of healing ointment.
Iconographically, Saint Raphael is typically depicted as a young and vibrant angel with flowing robes, often adorned with wings and halo. He may be shown holding a staff or walking stick, symbolizing his role as a guide and protector on journeys. In some representations, Saint Raphael is accompanied by Tobias, a character from the Book of Tobit, whom he accompanies and assists on a journey of healing and redemption.
Overall, Saint Raphael the Archangel occupies a revered place in Christian theology and devotion, celebrated for his role as a divine healer, guide, and protector, whose intercession is believed to bring comfort and healing to those in need.
Maarten Baas' Grandfather Clock, Rijksmuseum, Amsterdam (The Netherlands)
Maarten Baas, a visionary Dutch designer, has carved out a unique niche in the world of contemporary design with his innovative approach and playful reinterpretation of traditional craftsmanship. Central to his body of work are the iconic Grandfather clocks, which have garnered international acclaim for their whimsical yet thought-provoking design.
Born in 1978 in Arnsberg, Germany, Maarten Baas studied at the Design Academy Eindhoven, where he graduated in 2002 with his groundbreaking project, "Smoke." This collection, which featured charred furniture pieces, catapulted Baas into the spotlight, earning him widespread recognition for his unconventional approach to design.
The Grandfather clocks, introduced in 2009 as part of his "Real Time" series, represent a bold departure from convention, blending elements of sculpture, theater, and design to create objects that defy categorization. Each clock is meticulously crafted from wood and finished with a layer of vibrant, hand-painted resin, resulting in a striking juxtaposition of traditional and contemporary aesthetics.
What sets Baas's Grandfather clocks apart is not only their visual appeal but also the narrative they embody. By subverting the familiar form of the classic timepiece, Baas invites viewers to reconsider their relationship with time and tradition, prompting reflection on the passage of time and the fleeting nature of memory and history.
More on Maarten Baas: https://maartenbaas.com/
Difference between Men and Women, by Miller Levy
Difference between Men and Women, by Miller Levy. (Seen in Paris, 2010)
Miller Levy's "Difference between Men and Women" is a thought-provoking exploration of gender dynamics, offering insights into the nuanced ways in which men and women perceive and navigate the world around them. Through astute observations and witty anecdotes, Levy delves into the complexities of gender roles, shedding light on the societal expectations and cultural influences that shape male and female behavior." is a thought-provoking exploration of gender dynamics, offering insights into the nuanced ways in which men and women perceive and navigate the world around them. Through astute observations and witty anecdotes, Levy delves into the complexities of gender roles, shedding light on the societal expectations and cultural influences that shape male and female behavior.
Near Vézelay (France)
Beneath Vézelay's sky, where raindrops gently fall, Autumn's hues blend, a tapestry for all, Fields soaked in history, where pilgrims trod, Their faith unyielding, guided by a higher God. Amidst the mist, echoes of Bernard's call, His words, a beacon, inspiring one and all, To the Second Crusade, with fervor and zeal, Their hearts ablaze, with a righteous appeal. Through rain-soaked paths, pilgrims journey on, Their souls alight, beneath a gray horizon, For Vézelay's walls hold tales untold, Of faith, of courage, of dreams enfold. In the quiet rain, whispers of the past, Remind us of struggles, of faith that lasts, Oh, Vézelay, in autumn's gentle sway, Your rural landscape echoes history's fray.
Roncesvalles / Roncevaux (Spain)
From left to right: Santiago’s chapel, Silo of Charlemagne, and the restaurant ‘La Posada de Roncevalles’.
In the misty valleys where the mountains rise, Lies Roncesvalles, 'neath the endless skies. A sanctuary on the Camino's winding trail, Where pilgrims' dreams and whispers prevail. Here, where legends dance in the ancient air, Roncesvalles stands with a storied flair. A waypoint cherished by travelers who roam, Guided by stars and hopes to find home. Yet 't was not just pilgrims who graced this land, But Charlemagne's knights with swords in hand. Among them, Roland, noble and brave, Whose tale of valor the ages engrave. In Roncesvalles' pass, a battle was fought, Where Roland's horn in defiance was wrought. Against the foe, he stood with might, In the heart of the fray, 'neath the sun's soft light. So as you tread the Camino's ancient way, Pause and ponder Roncesvalles, where echoes stay. For in its whispers and the shadows' gentle fold, The spirit of Roland, a legend forever told.
Santa María de Roncesvalles
Cathedral of Rouen, France
The Cathedral of Rouen, an architectural marvel nestled in the heart of Normandy, France, boasts a captivating history steeped in religious significance and cultural heritage. Its roots stretch back to the early Christian era, with records indicating a church on the site as early as the 4th century. However, it was during the medieval period that the cathedral underwent transformative development, evolving into the stunning Gothic masterpiece we see today.
From the 12th to the 13th centuries, ambitious architects and skilled craftsmen dedicated themselves to constructing a cathedral worthy of divine praise. Their efforts resulted in a towering edifice characterized by soaring spires, intricate stone carvings, and majestic stained glass windows, all hallmarks of the Gothic architectural style.
Beyond its architectural splendor, the Cathedral of Rouen holds a rich cultural significance as the final resting place of notable figures from French history. Among the distinguished individuals interred within its hallowed walls is Richard the Lionheart, the famed English monarch known for his valor and chivalry during the Crusades. His tomb, adorned with regal effigies and ornate decorations, stands as a poignant reminder of his enduring legacy.
As a testament to its enduring importance, the Cathedral of Rouen continues to inspire awe and reverence among visitors from around the world. Whether admiring its awe-inspiring architecture or paying homage to its revered occupants, a journey to this sacred sanctuary promises a profound encounter with history, spirituality, and human creativity.
Cadiz (Spain)
Cadiz, where sun-kissed shores unfold, History's tale in your streets is told. Phoenician cradle by the sea, A timeless dance of history. Cathedral spires grace the sky, Where Gothic whispers never die. In Carnival's joy, spirits entwine, A celebration, so divine. Moorish echoes, Christian hymn, In your heart, cultures swim. Oh, Cadiz, resilient and bright, In your embrace, history takes flight.
Het graf met de handjes (The Grave with the Little Hands), Oud Kerkhof, Roermond (The Netherlands)
Het graf met de handjes (The Grave with the Little Hands), Oud Kerkhof, Roermond (The Netherlands) —Josephine Caroline Petronella Hubertina van Aefferden (1820-1888) and Jacob Werner Constant van Gorkum (1809-1880).
"Het graf met de handjes" (The Grave with the Little Hands) is a poignant symbol of enduring love and defiance of societal norms in 19th-century Roermond. During this period, it was customary for Catholics and Protestants to be buried in separate sections of cemeteries, reflecting the saying "twee geloven op een kussen, daar slaapt de duivel tussen" (two religions on one pillow, the devil sleeps between them). This practice was challenged by the love story of Josephine van Aefferden and Jacob van Gorkum.
In 1842, Josephine, a Catholic noblewoman, married Jacob, a Protestant military officer. Their marriage faced strong opposition from Josephine’s family due to their differing religions and Jacob’s lower social status. Despite these challenges, the couple enjoyed a happy marriage for 38 years. Jacob died in 1880 and was buried in the Protestant section of the Oude Kerkhof cemetery, next to the wall separating it from the Catholic section.
When Josephine passed away eight years later, she chose to be buried in the Catholic section, directly opposite Jacob’s grave. To symbolize their eternal love, two identical grave monuments were erected on either side of the wall, connected by sculpted hands reaching over the barrier. This touching tribute defied the religious divisions of the time, illustrating that neither societal conventions nor death could separate the devoted couple.
The inscription "Vivit post funera virtus" (virtue lives on after death) on both gravestones underscores their enduring bond. It is believed that their remains were placed beneath the wall, allowing them to rest side by side for eternity. "Het graf met de handjes" remains a powerful testament to their love and the triumph of personal devotion over rigid societal constraints.
Metropol Parasol, Seville (Spain)
The Metropol Parasol, affectionately known as Las Setas de Sevilla (Seville Mushrooms), stands as a modern architectural marvel in the heart of Seville, Spain. Completed in 2011, this wooden structure, designed by German architect Jürgen Mayer, has quickly become an iconic symbol of the city's contemporary landscape.
Rising above the historic district of La Encarnación, the Metropol Parasol is the world's largest wooden structure, consisting of six immense parasols intricately woven together to form a sprawling canopy. Its undulating, organic shapes create a striking contrast against the backdrop of Seville's traditional architecture, offering a bold and visionary addition to the city skyline.
Beyond its aesthetic appeal, the Metropol Parasol serves as a dynamic public space, housing a bustling market, elevated walkways providing panoramic views of the city, a restaurant, and an archaeological museum showcasing the Roman and Moorish remains discovered during its construction.
As a fusion of architectural innovation, cultural hub, and urban landmark, the Metropol Parasol encapsulates Seville's vibrant spirit and its commitment to embracing both tradition and modernity, making it a must-visit destination for locals and tourists alike.
San Julián de los Prados, Oviedo (Spain)
San Julián de los Prados.
San Julián de los Prados, located in Oviedo, Spain, stands as a testament to the rich architectural and cultural heritage of the Asturian Kingdom during the early Middle Ages. Also known as El Santullano, this UNESCO World Heritage Site is celebrated as one of the finest examples of pre-Romanesque architecture in Europe. Constructed in the 9th century during the reign of King Ramiro I, San Julián de los Prados served as a royal church, showcasing the religious and political significance of the period.
The church's striking exterior features a distinctive horizontal design with a series of blind arches and intricate decorative elements, including ornate capitals adorned with intricate carvings. Its interior boasts a spacious nave and a unique layout that reflects the architectural innovation of the time.
San Julián de los Prados holds profound cultural and historical significance, offering visitors a glimpse into the artistic prowess and spiritual devotion of the Asturian people. As a cherished landmark in Oviedo, it continues to captivate visitors with its timeless beauty and architectural splendor, serving as a living testament to Spain's rich cultural heritage.
The Granary, London
The Granary (2021) by Jesse Pollock (b. 1993) stands as a life-sized sculpture depicting a traditional English grain store, reminiscent of those still in use in countryside locales like the artist’s hometown in Faversham, Kent. Symbolizing agrarian and pastoral life, granaries are emblematic structures of rural existence.
Towering at an unusual height, The Granary is finished in pearlescent candy orange, a deliberate choice reflecting a nostalgic yearning for an idealized past. However, despite its romantic allure, the sculpture also embodies a sense of weariness and frustration. It serves as a stark reminder of the harsh realities of material deprivation, societal discord, class disparity, and racial prejudice.
Moreover, The Granary confronts the fears and uncertainties surrounding contemporary crises affecting rural life. It calls attention to the urgent need to address these challenges while challenging the entrenched narratives and rhetoric that shape perceptions of national identity, heritage, and our collective role within society.
