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Gary Hill

Gary Hill (born April 4, 1951) is an American artist who lives and works in Seattle, Washington. Often viewed as one of the foundational artists in video art, based on the single-channel work and video- and sound-based installations of the 1970s and 1980s, he in fact began working in metal sculpture in the late 1960s. Today he is best known for internationally exhibited installations and performance art, concerned as much with innovative language as with technology, and for continuing work in a broad range of media. His longtime work with intermedia explores an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity. The recipient of many awards, his influential work has been exhibited in most major contemporary art museums worldwide.

Main themes and works
Gary Hill's work has often been discussed in relation to his incorporation of language/text in video and installation, most evident in a work like Incidence of Catastrophe (1987–88). In the late 1960s, he began making metal sculpture and, in Woodstock, New York, engaged by wire sculpture's sounds, explored extensions into electronic sound, video cameras and tape, playback/feedback, video synthesizers, sound synthesizers, installation-like constructions, video installations, interactive art and public interventions. Later in the 1970s, living in Barrytown, New York, interacting with poets/artists George Quasha and Charles Stein, he extended his growing interest in language to a level of poetics and complex text, as well as performance art and collaboration. Initially "language" for him was not specifically words but the experience of a speaking that emerged inside electronic space (certain sounds "seemed close to human voices"), which he called “electronic linguistics” (first in the transitional non-verbal piece, Electronic Linguistic [1977]). From that point, irrespective of whether a given piece uses text, his work in particular instances inquires into the nature of language as intrinsic to electronic/digital technology as art medium. Verbal language soon enters this electronic focus co-performatively, as an intensification of a dialogue with and within the medium, yet with a new language force all its own, its own unprecedented poetics. Highly realized single-channel works in this process include: Processual Video (1980), Videograms (1980–81), and Happenstance (part one of many parts) (1982–83), another stage of the dialogue with technology as a language site where machines talk back. Here the artist's path moves to the celebrated language-intensive works of the 1980s: Around & About (1980), Primarily Speaking (1981–83), ''Why Do Things Get in a Muddle? (Come on Petunia) (1984), URA ARU (the backside exists) (1985–86), and Incidence of Catastrophe'' (1987–88).

Art historian Lynne Cooke summarizes:
 * "A pioneer in his embrace of the then novel medium of video, Hill distinguished himself through a radical approach that both literally and conceptually deconstructed it. Single channel works were soon followed by installations in which video screens were unhoused, suspended, multiplied, miniaturized, or otherwise manipulated. On other occasions, video tubes mysteriously projected unframed images in dark fields; or from oscillating beacons panning an empty room, text and figure swiveled in anamorphic distortion. No artist of Hill's generation probed this medium with such invasive scrutiny, and none deployed it with such protean irreverence. And when his restless curiosity led him to computer based technologies and virtual space in the early Nineties, few of his peers proved so avid or dedicated in exploiting this uncharted terrain for art making. Since he rarely deployed technology as a tool in service to an exploration of the visual world, questions of representation have played a relatively minor role in his work: typically, he treats mediums as sites and enablers of languages both verbal and visual. Surveying with hindsight what now amounts to more than three decades of his activity, it's striking how far his path has veered from his peers'—and not least because it betrays so few allegiances to histories of representation.'"

The sheer richness and complexity of the artist's work over four decades is open to continual further characterization. As an artist working from a core principle, often with strong conceptual aspects, his inner focus and dialogue within a given medium allows him high variability and unpredictability. Working with one or more principles at a time (e.g., the physicality of the medium and of languaging and imaging; liminality or the intense space between contraries and extremes of appearance), he can make it happen on multiple planes simultaneously—physical, personal, ontological, social, political—without reification of any one of them. Result: a singular event of reflexive speaking that marries mind and machine beyond any notion of reference as such—no stable signifier or signified, yet intense engagement at personal, emotional, and intellectual levels. Later works in computer animation—e.g., Liminal Objects (1995-), Frustrum (2006)—challenge one's sense of "object" and mind-body boundaries and the very basis of our "reality." Major projective installations—Tall Ships (1992), HanD HearD (1995–96), Viewer (1996), Wall Piece (2000), Up Against Down (2008)—raise these issues of physicality, objectivity, polyvalent signification, and language itself to a further human dimension—a principle of torsional engagement both within one's own mind and body and up against the surface and face of the other. He was influenced by the intellectual orientation of conceptual art which dominated art of the 1970s, but he instinctively evolved beyond the conceptual as such, working into a refined domain of principle that put him in full processual and open dialog both with electronic media and the language of thinking. His reading of the fiction and philosophical literary essays of Maurice Blanchot, in particular, provided him with ideas relating to the way in which language impinges on phenomenological experience, and a notion of 'the other'. Such reading informs Hill's visual-poetic explorations of the interrelationships between language, image, identity, and the body. For example, in Cabin Fever he uses the binary opposition of light and darkness to convey the notion of an interaction between a self and an 'other'. He has also explored immersive environments, as seen in his 1992 piece Tall Ships. Hill's work thoroughly exploits the capacity of video to offer complex nonlinear narratives that encourage active engagement on the part of the viewer. In Roland Barthes' terms, Hill's video narratives can be understood as 'writerly' texts.

Single-channel works viewable online
The following works (alphabetical order) may be viewed at Gary Hill's Videos on Vimeo.com: Around & About (1980), Electronic Linguistic (1977), Equal Time (1979), Figuring Grounds (1985/2008), Happenstance (part one of many parts) (1982–83), Incidence of Catastrophe (1987–88), Isolation Tank (2010–11), Mediations (towards a remake of Soundings) (1979/1986), Picture Story (1979), Processual Video (1980), Site Recite (a prologue) (1989), Site Recite (a prologue) (1989), Tale Enclosure (1985), Videograms (1980–81), ''Why Do Things Get in a Muddle? (Come On Petunia)'' (1984).

These works are discussed in detail in An Art of Limina: Gary Hill's Works and Writings, George Quasha & Charles Stein, with a foreword by Lynne Cooke (Barcelona: Ediciones Polígrafa, 2009), which also contains detailed descriptions of Hill's major installations. Updated descriptions and new exhibitions at Gary Hill's website.

Exhibitions
Exhibitions of his work have been presented at museums and institutions worldwide, including solo exhibitions at the Fondation Cartier pour l'Art Contemporain, Paris; San Francisco Museum of Modern Art; Centre Georges Pompidou, Paris; Guggenheim Museum SoHo, New York; Museum für Gegenwartskunst, Basel; Barcelona Museum of Contemporary Art; Kunstmuseum Wolfsburg; Henry Art Gallery, Seattle, Washington; among others. His works are in the permanent collection of many museums including MoMA, New York. Commissioned projects include works for the Science Museum in London and the Seattle Central Library; and the first commissioned installation and performance work for the Colosseum and Temple of Venus and Roma, Rome, Italy.

Complete List of Solo Exhibitions Complete List of Group Exhibitions

Selected awards

 * 1979, 1985, 1987, 1993 Fellowships from the National Endowment for the Arts
 * 1981–82, 1989–90 Fellowships from the Rockefeller Foundation
 * 1986, 1990 Fellowships from the John Simon Guggenheim Memorial Foundation
 * 1995 the Leone d'Oro Prize for Sculpture at the Venice Biennale
 * 1998 a John D. and Catherine T. MacArthur Foundation Award
 * 2000 the Kurt Schwitters Preis
 * 2005 Honorary Degree of Doctor Honoris Causa of The University of Fine Arts in Poznań, Poland
 * 2011 Honorary Degree from Cornish College of the Arts, Seattle, Washington

Life chronology
1951-1968 Born April 4, 1951, in Santa Monica, California. Grows up in Redondo Beach surfing and skateboarding. National skateboard champion in 1964; performs in the Cannes Film Festival prize winner, Skaterdater  (1965). At 15 meets the artist Anthony Park, who encourages him to take up welding and sculpture. Takes first dose of LSD. Stepfather builds him a small studio in the backyard.

1969 Moves to New York State and attends summer session at the Art Students League in Woodstock, New York. Supports himself with various odd jobs, mostly washing dishes.

1970-72	Studies independently with the painter Bruce Dorfman. Encounters the work of composers La Monte Young and Terry Riley. After seeing the "New York Painting and Sculpture 1940 – 1970" exhibition at the Metropolitan Museum of Art, makes a series of mixed media constructions using copper coated steel welding rod, wire mesh, canvas and enamel. Experiments extensively with sound generating steel rod constructions and electronically generated sounds. First solo exhibition at the Polari Art Gallery in Woodstock, New York.

1973 First experiments with video through Woodstock Community Video in Woodstock, New York. Assists with local cable TV in exchange for equipment use; becomes acquainted with the Videofreeks and Earthscore video groups in upstate New York. Improvises sound-generating environmental constructions using industrial welding rods at the Woodstock Artists Association.

1973-74 First group exhibition, "Artists from Upstate New York," at 55 Mercer Gallery in New York City. Makes first video installation, Hole in the Wall, at the Woodstock Artists Association. Exhibits first videotapes at The Kitchen in New York.

1974-76 Continues working with Woodstock Community Video as Artists TV Lab coordinator supported by the New York State Council on the Arts. Begins video work correlating image with sounds. As artist-in-residence at the Experimental Television Center, Binghamton, New York, meets engineer Dave Jones.

1977 Moves to Barrytown, New York with Dave Jones and builds experimental video tools designed by Jones. Meets poets George Quasha and Charles Stein who become long time friends and collaborators.

1978 Creates first works dealing with the speaking voice in relation to the image. Receives a Production Grant from the New York State Council on the Arts, a Creative Artist Public Service Fellowship, and the first of four National Endowment for the Arts Fellowships. Directs Open Studio Video Project at the Arnolfini Art Center, Rhinebeck, NY, and collaborative performance works with George Quasha et al.

1979-1980 Moves to Buffalo, New York and teaches at the Center for Media Study, State University of New York (SUNY), Buffalo, New York. Meets Woody Vasulka and Steina Vasulka, Paul Sharits, and Hollis Frampton. First solo museum exhibition with the installation Mesh at the Everson Museum, Syracuse, New York. Produces Soundings as artist-in-residence at WNET/Channel 13, New York, New York. Also completes Around & About, Processual Video, and Black/White/Text, all focusing on the relationship between language and image.

1981 Returns to Barrytown, New York and begins work on Primarily Speaking. Visits the West Coast for the summer and renews interest in surfing. Recipient of a Rockefeller Video Artist Fellowship.

1982-83 Teaches at the summer graduate program at Bard College, Annandale-on-Hudson, New York. Invited to the American Center in Paris for a videotape retrospective and meets Anne Angelini, who later performs in several works. Influenced by readings of Gregory Bateson's Steps to an Ecology of Mind and John C. Lilly's Center of the Cyclone and The Scientist.

1984 Moves to Kamakura, Japan supported by a Japan/U.S. Exchange Fellowship and there marries Katherine Bourbonais. Returns to Barrytown, New York for the summer and produces ''Why Do Things get in a Muddle? (Come On Petunia)'' with his wife and Charles Stein performing (in the Quasha Stained Glass Studio). 1985 Returns to Japan to live and work in Tokyo. Meets Kyogan Master Don Kenny who performs along with Kathy Bourbonais in URA ARU (the backside exists). As artist-in-residence at SONY in Hon Atsugi, completes the first edit of the work. Moves to Seattle, Washington and establishes a video program at Cornish College of the Arts.

1986 Birth of daughter, Anastasia. First encounter with the writings of Maurice Blanchot, specifically Thomas the Obscure, which he draws upon for the installation In Situ. Recipient of a Guggenheim Fellowship.

1987 Commissioned by the Museum of Contemporary Art, Los Angeles, California, and exhibits CRUX as a "performance installation" in the auditorium. Visiting artist at the California Institute for the Arts, Valencia, Santa Clarita.

1988 Completes Incidence of Catastrophe, also inspired by Blanchot's Thomas the Obscure, which receives first prize at the World Wide Video Festival in The Hague and at the Montreal Independent Film and Video Festival. Travels to Paris for six months as a National Endowment for the Arts Exchange Fellow and is commissioned by the Musée national d'art moderne, Centre Georges Pompidou to produce a new work. In the first major collaboration with George Quasha, adapts selected Gnostic texts and eventually produces the installation Disturbance (among the jars). Meets Jacques Derrida who plays a central figure in the piece.

1989 Produces Site Recite (a prologue), commissioned for Spanish Television as part of the series El Arte del Video.

1991 Exhibits the video installation series And Sat Down Beside Her at Galerie des Archives in Paris. Again, fragments of Blanchot's writings appear, as well as Anne Angelini who performs for the work (and meets "Anne" in Thomas the Obscure). The Museum of Modern Art, New York, exhibits Inasmuch as It Is Always Already Taking Place. Commissioned by La Sept of Paris for Live, a series of real time videotapes proposed by Phillipe Grandieux, and produces Solstice d'Hiver, a one-hour real time recording.

1992 Commissions Dave Jones to design a computer-controlled video switcher for a number of "switch" pieces, the first being Between Cinema and a Hard Place. Meets artist Marine Hugonnier who later appears in Suspension of Disbelief (for Marine). Returns to Paris as artist-in-residence at the Hôpital Éphémère. Recipient of a second Guggenheim Fellowship.

1993 Premieres the installation Tall Ships, commissioned by Jan Hoet for Documenta 9. First of several works in which his daughter, Anastasia, as well as other family members, appear. Gary Hill, first museum survey exhibition in Europe organized by the Musée national d'art moderne, Centre Georges Pompidou, Paris. Travels to Valencia, Vienna and Amsterdam.

1994 Daughter reads Ludwig Wittgenstein for the installation Remarks On Color. "Imaging the Brain Closer than the Eyes," an exhibition of recent works, is organized by the Museum für Gegenwartskunst, Basel, Switzerland.

1994-95 Gary Hill, first museum survey exhibition in the United States organized by the Henry Art Gallery, Seattle, Washington. Travels to Philadelphia, New York, Los Angeles and Kansas City.

1995 Receives the Leone d'Oro, Prize for Sculpture at the Venice Biennale. 1996-98	Produces Reflex Chamber, the first of a number of works to utilize strobe lights in conjunction with images and spoken text; followed by Midnight Crossing, commissioned by Westfälischer Kunstverein, Munster, Germany. Collaborates with the choreographer Meg Stuart and her dance company Damaged Goods to produce Splayed Mind Out. Performed more than 50 times in Europe, South America and the United States.

1998 Recipient of a John D. and Catherine T. MacArthur Foundation Grant. While artist-in-residence at the Capp Street Project in San Francisco, California, produces 23:59:59:29 - The Storyteller's Room.

2000 Collaborates with George Quasha and Charles Stein on the performance Spring from Undertime (Awaking Awaiting); with Christelle Fillod producing sound for her performance Ship Building in a Kleinbottle; and with the Swedish artist Paulina Wallenberg-Olsson on the Black Performance, performed in Frankfurt, Paris, Hong Kong and Tokyo. Receives the Kurt Schwitters Preis 2000 through Niedersächsische Sparkassenstiftung, Hanover, Germany.

2000-01	Receives the Joseph H. Hazen Rome Prize Fellowship and lives at the American Academy in Rome. While in residence produces Goats and Sheep, the first single-channel videotape since 1990, for the publication Gary Hill: Around & About:  A Performative View, co-published by Éditions du Regard and Fabienne Leclerc of In Situ, Paris. Commissioned by the Science Museum, London, and completes permanent installation of HanD HearD - Variation.

2003–05 Commissioned by the Seattle Central Public Library, and completes permanent installation of Astronomy by Day (and other oxymorons)

2003–05 Teaches in France at the École nationale supérieure des beaux-arts, Paris, and Le Fresnoy Studio national des arts contemporains, Tourcoing.

2005 Receives Honorary Degree of Doctor Honoris Causa from The Academy of Fine Arts in Poznań, Poland. Performance tour in Poland (Wrocław, Łódź, Poznań) and Czech Republic (Prague) of Mind on the Line in collaboration with George Quasha, Charles Stein, Aaron Miller & Dorota Czerner.

2014-15 Gary Hill is the main judge for the international art competition in London Passion For Freedom London Festival at Mall Galleries (Exhibition: Mall Galleries 21–26 September 2015).

2019 Gary Hill receives representation from bitforms gallery and mounts several solo exhibitions.

Principal studies
The main books on Hill's work include An Art of Limina: Gary Hill’s Works and Writings, George Quasha & Charles Stein, foreword by Lynne Cooke (Barcelona: Ediciones Polígrafa, 2009); Gary Hill: Selected Works and Catalogue raisonné, edited by Holger Broeker (Wolfsburg: Kunstmuseum Wolfsburg, 2002); Gary Hill: Around & About: A Performative View (Paris: Éditions du Regard, 2001); and Gary Hill, edited by Robert C. Morgan (Baltimore: PAJ Books / The Johns Hopkins University Press, 2000).

Selected bibliography

 * Ascending chronological order
 * Quasha, George & Charles Stein. An Art of Limina:  Gary Hill’s Works and Writings.  Barcelona: Ediciones Polígrafa, 2009.  Foreword by Lynne Cooke.
 * Ramos, María Elena. Gary Hill.  Caracas:  Centro Cultural Chacao, 2009.
 * Gary Hill / Gerry Judah. Paris:  Somogy Publishers / LTB Holding, Ltd., 2007.
 * In French : Paul-Emmanuel Odin, L'absence de livre [ Gary Hill et Maurice Blanchot – Écriture, vidéo], France, Les presses du réel, 2007.
 * Gary Hill: Resounding Arches / Archi Risonanti. (Catalogue and DVD.)  Rome:  Ministero per i Beni e le Attività Culturali Soprintendenza archeologica di Roma, and Milan:  Mondadori Electa S.p.A., 2005.
 * Gary Hill: Scritti / Interviste. Milan:  Mondadori Electa S.p.A., 2005.
 * Mind on the Line: Gary Hill, George Quasha, Charles Stein, Aaron Miller and Dorota Czerner.  Wroclaw:  WRO Art Center, 2004.
 * Unfolding Vision: Gary Hill, Selected Works 1976–2003.  Taipei:  Museum of Contemporary Art, 2003.
 * Barro, David. Gary Hill:  Poeta da percepção, poet of perception, poeta de la percepción.  Porto:  Mimesis, 2003.
 * Quasha, George. Gary Hill:  Language Willing.  Barrytown, NY:  further/art and Boise: Boise Art Museum, 2002.
 * Broeker, Holger, ed. Gary Hill:  Selected Works and catalogue raisonné.  Wolfsburg:  Kunstmuseum Wolfsburg, 2002.
 * Gary Hill: Around & About:  A Performative View. Paris:  Éditions du Regard, 2001, and Limited Edition (Edition of 100, plus 20 artist's proofs; signed and numbered).
 * McAlear, Donna, ed. Gary Hill.  Winnipeg:  The Winnipeg Art Gallery, 2001.
 * Gary Hill: The Performative Image.  Tokyo:  Gary Hill Exhibition Committee, 2001, unpaginated.
 * Morgan, Robert C., ed. Gary Hill.  Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000.
 * Gary Hill: Instalaciones.  Córdoba:  Ediciones Museo Caraffa, 2000.
 * Gary Hill en Argentina: textos, ensayos, dialogos.  Buenos Aires:  Centro Cultural Recoleta, 2000.
 * Gary Hill: Video Works.  Tokyo:  NTT InterCommunication Center, 1999.
 * Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999.
 * Gary Hill: Midnight Crossing.  Warsaw:  Center for Contemporary Art, Ujazdowski Castle, 1998.
 * Ceruti, Mary. Gary Hill:  23:59:59:29 – The Storyteller's Room.  San Francisco:  Capp Street Project, 1998.
 * Gary Hill: HanD HearD – Withershins – Midnight Crossing. Barcelona: Museu d'Art Contemporani de Barcelona, 1998.
 * Bélisle, Josée, George Quasha, and Charles Stein. Gary Hill.  Montreal: Musée d'art contemporain de Montréal, 1998.
 * Gary Hill: Midnight Crossing.  Münster: Westfälischer Kunstverein, 1997.
 * o lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, Centro Cultural Banco do Brasil, 1997.
 * Quasha, George and Charles Stein. Viewer: Gary Hill's Projective Installations—Number 3.  Barrytown, NY: Station Hill Arts, 1997.
 * Quasha, George and Charles Stein. Tall Ships: Gary Hill's Projective Installations—Number 2.  Barrytown, NY: Station Hill Arts, 1997.
 * Quasha, George and Charles Stein. Gary Hill:  Hand Heard - Liminal Objects. Paris:  Galerie des Archives, and Barrytown, NY:  Station Hill Arts, 1996.
 * Vischer, Theodora, ed. Gary Hill:  Imagining the Brain Closer than the Eyes. Basel:  Museum für Gegenwartskunst, Ostfildern:  Cantz, 1995.
 * Gary Hill: Tall Ships, Clover. Stockholm:  Riksutställningar, 1995.
 * Thériault, Michèle. Gary Hill. Selected videotapes 1978–1990.  Toronto: Art Gallery of Ontario, 1994, unpaginated.
 * Bruce, Chris, ed. Gary Hill. Seattle: Henry Art Gallery, 1994.
 * Gary Hill: In Light of the Other. Oxford: The Museum of Modern Art Oxford and Liverpool: Tate Gallery Liverpool, 1993.
 * Gary Hill: Sites Recited.  Long Beach, California:  Long Beach Museum of Art, 1993.
 * Gary Hill. Valencia:  I.V.A.M. Centre del Carme, 1993.
 * Gary Hill. Amsterdam: Stedelijk Museum and Vienna: Kunsthalle, Wien, 1993.
 * Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992.
 * Gary Hill: I Believe It Is an Image. Tokyo: Watari Museum of Contemporary Art, 1992.
 * Gary Hill, Video Installations. Eindhoven: Stedelijk Van Abbemuseum, 1992.
 * Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard: Centre International de Création Vidéo Montbéliard, Belfort, 1992.
 * Gary Hill: Between Cinema and a Hard Place. Paris: OCO, Espace d'Art Contemporain, 1991.
 * Gary Hill: And Sat Down Beside Her. Paris: Galerie des Archives, 1990.
 * OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990.
 * Gary Hill: DISTURBANCE (among the jars), text by George Quasha. Villeneuve d'Ascq: Musée d'Art Moderne, 1988.

title: Gary Hill


text: User talk:69.115.17.201

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title: User talk:69.115.17.201


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User talk:Neschek/archive1

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

Redirect
Why the weird juggle to get a redirect for Barry Goldwater? Why not just add the redirect? -- Jmabel | Talk 23:30, Oct 26, 2004 (UTC)
 * All you have to do is edit the page that you'd like to have as a redirect. The entire contents should be something like "#redirect target page". That's it! -- Jmabel | Talk 04:41, Oct 27, 2004 (UTC)

I meant that I thought you gave it a position of excessive prominence on the page, that it was better suited to go towards the end of the article. Not that I have any problem with it. Are you its creator? I went to the webpage and I did think it looked interesting, quite an endeavor, too. Everyking 01:27, 5 Nov 2004 (UTC)

"Insert Image Here"

 * When you took out the placeholder image on USS Tecumseh (SSBN-628), you also took out the formatting that would have allowed someone who happened to have a picture to simply drop it in. The image is kind of ugly, but it serves its purpose well enough.
 * —wwoods 02:30, 9 Nov 2004 (UTC)

 * Well, I agree--it is sort of an eyesore--but sooner or later an actual picture of the boat will turn up. Unfortunately my usual source, http://www.navsource.org doesn't have one clearly marked as having a wiki-compliant copyright.
 * —wwoods 06:02, 9 Nov 2004 (UTC)

title: User talk:Neschek/archive1


text: User talk:70.16.40.204

title: User talk:70.16.40.204


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Schlossrued

Schlossrued is a municipality in the district of Kulm in the canton of Aargau in Switzerland.

Geography
Schlossrued has an area,, of 7.22 km2. Of this area, 4.41 km2 or 61.1% is used for agricultural purposes, while 2.26 km2 or 31.3% is forested. Of the rest of the land, 0.57 km2 or 7.9% is settled (buildings or roads), 0.02 km2 or 0.3% is either rivers or lakes.

Of the built-up area, housing and buildings made up 3.9% and transportation infrastructure made up 3.0%. 28.0% of the total land area is heavily forested and 3.3% is covered with orchards or small clusters of trees. Of the agricultural land, 16.6% is used for growing crops and 41.7% is pastures, while 2.8% is used for orchards or vine crops. All the water in the municipality is in rivers and streams.

Coat of arms
The blazon of the municipal coat of arms is Azure a Tower embattled Argent roofed Gules issuant from Coupeaux Vert and in chief two Oars of the second in Saltire and between them in chief a Mullet of the same

Demographics
Schlossrued has a population of  , 6.9% of the population are foreign nationals. Over the last 10 years (1997–2007) the population has changed at a rate of -7.1%. Most of the population speaks German (96.2%), with Serbo-Croatian being second most common ( 0.9%) and Albanian being third ( 0.6%).

The age distribution,, in Schlossrued is; 77 children or 8.8% of the population are between 0 and 9 years old and 136 teenagers or 15.6% are between 10 and 19. Of the adult population, 86 people or 9.8% of the population are between 20 and 29 years old. 107 people or 12.2% are between 30 and 39, 159 people or 18.2% are between 40 and 49, and 129 people or 14.8% are between 50 and 59. The senior population distribution is 73 people or 8.4% of the population are between 60 and 69 years old, 75 people or 8.6% are between 70 and 79, there are 31 people or 3.5% are between 80 and 89, and there is 1 person who is between 90 and older.

, there were 20 homes with 1 or 2 persons in the household, 118 homes with 3 or 4 persons in the household, and 171 homes with 5 or more persons in the household. The average number of people per household was 2.76 individuals. , there were 321 private households (homes and apartments) in the municipality, and an average of 2.8 persons per household. there were 141 single family homes (or 41.0% of the total) out of a total of 344 homes and apartments. There were a total of 4 empty apartments for a 1.2% vacancy rate. , the construction rate of new housing units was 1.2 new units per 1000 residents.

In the 2007 federal election, the most popular party was the SVP, who received 54.9% of the vote. The next three most popular parties were the SP (11.7%), the CSP (8.5%) and the Green Party (7%).

In Schlossrued about 66.9% of the population (between age 25-64) have completed either non-mandatory upper secondary education or additional higher education (either university or a Fachhochschule). Of the school age population, there are 74 students attending primary school, there are 73 students attending secondary school in the municipality.

The historical population is given in the following table:

Economy
, Schlossrued had an unemployment rate of 1.59%. , there were 123 people employed in the primary economic sector and about 46 businesses involved in this sector. 97 people are employed in the secondary sector and there are 7 businesses in this sector. 79 people are employed in the tertiary sector, with 27 businesses in this sector.

there were 455 workers who lived in the municipality. Of these, 343 or about 75.4% of the residents worked outside Schlossrued while 88 people commuted into the municipality for work. There were a total of 200 jobs (of at least 6 hours per week) in the municipality. Of the working population, 7.2% used public transportation to get to work, and 51.6% used a private car.

Religion
From the, 123 or 13.6% were Roman Catholic, while 661 or 73.2% belonged to the Swiss Reformed Church. Of the rest of the population, there was one individual who belonged to the Christian Catholic faith.

title: Schlossrued


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Félix González-Torres

Félix González-Torres or Felix Gonzalez-Torres (November 26, 1957 – January 9, 1996) was a Cuban-born American visual artist. He lived and worked primarily in New York City between 1979 and 1995 after attending university in Puerto Rico. González-Torres’s practice incorporates a minimalist visual vocabulary and certain artworks that are composed of everyday materials such as strings of light bulbs, paired wall clocks, stacks of paper, and individually wrapped candies. González-Torres is known for having made significant contributions to the field of conceptual art in the 1980s and 1990s. His practice continues to influence and be influenced by present-day cultural discourses. González-Torres died in Miami in 1996 from AIDS-related illness.

Work
González-Torres was trained as a photographer and his oeuvre incorporates this medium in varying ways. He is well known for works that transform commonplace materials into installations that foster meaningful responses from audiences, as well as works with which audiences can choose to physically interact, and works that may be manifested anew and can change each time they are exhibited. González-Torres stated “the only thing permanent is change,” always questioning the stability of the art object.

Throughout much of González-Torres's practices, he purposefully incorporated dissonant information and formats. Examples of these contradictions include the way he structured courses as a professor, wrote press releases and texts, gave lectures, participated in interviews, and created varying strategies for each body of work. One particular example is the way Gonzalez-Torres structured a lecture on the occasion of a solo-exhibition of his work at The Renaissance Society at the University of Chicago in 1994. Following a slide show of various artworks and exhibitions in which his work was included, Gonzalez-Torres proceeded to read a prepared statement reflecting on the current national deficit, government budget allocations for public housing versus military spending, incarceration and poverty rates, and inequitable wealth distribution. He closed the lecture with a quote from a New York Times article that establishes a legacy of contention around the separation of church and state. This methodology was intended to foster individuals’ right and responsibility to have their own point of view.

Over time the work has been interpreted through varying critical lenses, including: the subjective construction of histories, questions of monumentality and attachment to permanency; the profoundness of love and partnership, codes and resilience of queer love; the role of ownership; perceptions of value and authority; discourse around death, loss, and the potentiality of renewal; questions of display and conditions of reception, notions of disidentification; the role and subversiveness of beauty; the rewards and consequences of generosity; arbitrary delineations between private and public selves/places; social, political, and personal dimensions of the AIDS epidemic; questions of established economic and political structures; occupation of the margins and infiltration of centers of power; the instability of language and what is connoted vs. denoted; somatic responses/forms of knowledge; etc. At the core of so many of the artist’s works is the physical experience of the works and their capacity to be manifest in perpetually changing circumstances.

Gonzalez-Torres stated that his work requires an audience, following Bertolt Brecht’s theory of Epic Theatre. This is a theory that means an audience member is primed to have an individualized response to a performance that leads them to effect change in the world. Gonzalez-Torres maintained that his work should always remain open to new and changing interpretations. While Gonzalez-Torres’s work is conceptual, the formal qualities of the work are especially powerful in their ability to elicit individualized emotional responses from each viewer. “My work is about the daily dealing with events, and objects that form, transform, and affect my positioning.”

Categories and bodies of work
Categories and Bodies of Work most often reflect the way that Gonzalez-Torres commonly referred to works in his lifetime. Certain works may fit into more than one category/body of work. Some bodies of work by González-Torres's are accompanied by Certificates of Authenticity and Ownership. The certificate includes information about the parameters for installing or exhibiting the work, the conceptual nature of the work, as well as the owner's integral role in the artwork.

Billboards
The billboard works date from 1989 to 1995. The billboard works consist of specific images or texts that are installed at billboard scale. It is essential to 14 of the 17 billboard works that they must be installed in multiple, diverse, public/outdoor sets of locations (ideally 24 locations at a time). Documentation of each billboard location is an essential aspect of these works.

Birds in sky
The ‘birds in sky’ works date from 1989 to 1995. Images of birds in the sky are featured across many bodies of work in Gonzalez-Torres’s practice, including billboards, doubles, framed photographs, paper stack, pedestals/platforms, and puzzles.

Candy works
The ‘candy works’ date from 1990 to 1993. The dimensions for the majority of the candy works include an “ideal weight.” (In total there are 20 candy works. Fifteen of the candy works have ideal ‘weights’, four of these ‘ideal weights’ may correlate to an average body weight of an adult male, and three may correlate to a combined average body weight of two adult men.) The medium for each candy work includes “endless supply” as well as “dimensions vary with installation.” When candies are present in a manifestation of a candy work, it is integral that viewers must be permitted to choose to take individual pieces of candy from the work. The candies may or may not be replenished at any time. Candy works can exist in more than one place at a time and can vary from installation to installation based on the owner’s or authorized borrower’s interpretations. Each of the candy works are unique.

Curtains
The ‘curtain’ works date from 1989 to 1995. The fabric curtain work is intended to be installed on existing windows as standard curtains would typically appear. There are five beaded curtain works, each with a specific bead pattern, and one fabric curtain work. Beaded curtain works must be installed in locations where individuals would naturally have the choice to pass through them and the work’s dimensions vary with installation. Curtain works can exist in more than one place at a time.

Doubles
The ‘doubles’ works date from 1989 to 1995. Doubled objects, images, and motifs feature across the majority of the bodies of work in Gonzalez-Torres’s practice.

Framed photographs
The framed photographic works date from 1986 to 1995. The artist considered the frame to be an essential element of these works. This is one of many bodies of Gonzalez-Torres’s works that incorporate photographic methodologies. Many of the artist’s framed photographs were purposefully analog, developed and processed by hand, as opposed to other photographic works by Gonzalez-Torres which emphasized mechanical reproducibility and the overt removal of the artist’s hand.

Graphs
The ‘graph’ works date from 1988 to 1994. With the exception of one photograph, the ‘graph’ works are the only works that have hand drawn elements. The ‘graph’ works consist of both painting and drawings. While some of these works have been contextualized as representations of individuals’ medical charts, the graph works are intentionally non-specific and are also referential to other graphed data.

Image transfers
The ‘image transfers’ date from 1987 to 1992. All three of these works are made in editions. Two of these works are intended to be permanently installed directly on the wall and the third is intended to be permanently tattooed.

Light strings
The ‘light string’ works date from 1992 to 1994. The light strings were produced by an electrician in conversation with the artist and consist of commonplace electrical components. Each light string work can only exist in one place at a time; which is in contrast to Gonzalez-Torres’s manifestable works that are also made of commonplace materials. The dimensions of a light string work vary with each installation; the exhibitor’s choice of configuration for each installation completes the work. There are 24 individual light string works; 22 are unique and two are editioned works. The light strings works are intended to be displayed either with all the bulbs on or all the bulbs off; light bulbs are replaced promptly as necessary. The relative brightness of the lightbulbs for each light string work is specified but the actual brightness may vary from one installation to the next.

Mirrors
There are four individual mirror works dating from 1992 to 1994. Three of these works consist of mirrors of a specific size that are either hung on or embedded in the wall. One of the mirror works consists of a mirrored box that is displayed on the ground.

Multiples
The category of multiples represents those works made in edition sizes ranging from six to unlimited. There are 18 individual multiples in various mediums, dating from 1987 to 1995. Many of the works in this category purposefully resemble unique works, questioning notions of value and the power of the language of categorization.

Newspaper and magazine clippings
Imagery sourced from ‘newspaper and magazine clippings’ features across many bodies of work in Gonzalez-Torres’s practice including paper stacks, puzzles, framed works and paintings. These works include images and texts that pertain to politics, violence, consumerism, mass culture, and religion. Images of crowds are especially prominent in this category of works, and this motif carries its own diverse scope of meanings in the artist’s work.

Paintings
The ‘paintings’ date from 1992 to 1994. There are 15 individual paintings, and each of the works is unique. Five of the works are circular canvases painted black with circular newspaper/magazine clippings of crowd imagery adhered to the canvases. Seven of the paintings are graph works. Nine of the painting works include multiple components of the same or similar sizes and shapes.

Paper stacks
The ‘paper stacks’ date from 1988 to 1993. The paper stack works consist of a stack (or stacks) of paper. It is integral to the manifestable paper stack works that individuals must be permitted to choose to take individual sheets of paper from the work. Each paper stack work has a specific text, design, image, and/or paper color that is integral to the work. There are 45 individual paper stack works; three of the paper stack works are static (the sheets are not intended to be replenished) and four of the paper stack works have additional installation elements. The sheets used to manifest a paper stack work may or may not be replenished at any time. Manifestable paper stack works can exist in more than one place at a time and can vary from installation to installation based on the owner’s or authorized borrower’s interpretations. There are 42 unique paper stack works; four were made in an edition.

Pedestals / platforms
The ‘pedestals/platforms’ date from 1987 to 1992. There are seven individual pedestal/platform works, and each is unique. Two early sculpture works were presented on platforms, the first of the paper stack works includes a platform, one puzzle is presented on a platform, the one video work in Gonzalez-Torres’s practice includes a platform. Two works consist of platforms, one work that includes an optional performer and one of the mirror works. Strategies that identify and question the significance of modes of presentation for artworks can be traced throughout the artist’s practice.

Photostats
The ‘photostats’ date from 1987 to 1992. The photostats were made in small edition sizes ranging from one to four, typically with a single artist’s proof. The photostats consist of lines of white text reproduced on a solid black background. Each of the photostats are framed in simple black metal frames and the glazing reflects the viewer in the work. There are thirteen individual photostats. (These works have sometimes been referred to as ‘date pieces.’)

Portraits
The portrait works date from 1989 to 1994. The portrait works consist of a horizontal line (or lines) of textual entries installed directly on the wall just below the point where the wall meets the ceiling. It is essential to the portrait works that the owner has the right to change the content of the portrait at any time, which may include: adding, subtracting, editing and sequencing entries. Portrait works can exist in more than one place at a time and dimensions vary with installation. The typeface of the text for portrait works is Trump Medieval Bold Italic. The color of the text, and in some cases the optional band of background color, is specified for each work.

Puzzles
The 59 puzzle works date from 1987 to 1992. In the process of making these works, Gonzalez-Torres sent snapshots to commercial photo labs that produced novelty items, such as puzzles, from personal photos. The imagery for the puzzle works ranges from photographs of Gonzalez-Torres’s personal life to re-photographed newspaper/magazine clippings. Most consist of one individual puzzle, although four works consist of multiple components. Most puzzle works are made in editions of three with one AP (55 puzzles). There are three unique puzzle works. Those puzzles that were made in an edition may not have been produced at the same time or by the same commercial photo lab; which resulted in variations in cropping and color tone within the same edition. This body of work illustrates Gonzalez-Torres’s interest in varying modes of photographic reproduction, the effects of commercial production processes on the form of the works, and his utilization of commonplace consumer products in his practice. The puzzles were received from the photo lab fully assembled with a piece of cardboard backing and sealed inside a fitted plastic bag. For the majority of the puzzle works (56 puzzles), the artist considered the plastic bags to be an important part of the works and he described a specific method of installation using map pins (originally pushed through and eventually positioned against the plastic bags). For owner’s who requested to frame these works, the artist provided a separate methodology for framing.

Dateline installations
Across several bodies of work, starting as early as 1987, González-Torres employed a strategy, described by some as a “dateline,” wherein he included lists of various events/dates in a purposeful but non-chronological order. The lists included the names of social and political figures and references to cultural phenomena or world events, many of which had political and cultural historical significance. In the body of photostat works, the events/dates are printed in white type on black sheets of photographic paper presented in basic frames with reflective glazing. The viewer’s reflection was visible when reading the line of text. These lists of seeming non sequiturs prompted viewers to consider the relationships and gaps between the diverse references as well the construction of individual and collective identities and memories. González-Torres also employed this strategy for the portraits, as in "Untitled" (Portrait of Jennifer Flay) (1993), which includes, "A New Dress 1971 Vote for Women, NZ 1893 JFK 1963" as well as for the billboards, as in “Untitled” (1989), which includes, “People With AIDS Coalition 1985 Police Harassment 1969 Oscar Wilde 1895.”

Various Installations and Interpretations
All of González-Torres's works, with few exceptions, are titled "Untitled" in quotation marks, sometimes followed by a parenthetical portion of the title. This was an intentional titling scheme by the artist. Rather than limiting the artworks by ascribing any singular title, the artist titled his works in this way to allow for open-ended interpretations to unfold over time. In a 1991 interview with Robert Nickas, González-Torres reflected on the titles of his artworks: “things are suggested or alluded to discreetly. The work is untitled because “meaning” is always shifting in time and place.”

González-Torres's manifestable works incorporate the process of change. A 1991 installation of "Untitled" (Placebo), a candy work, consisted of a carpet (roughly 20 x 30 feet) of shiny silver wrapped candies. The candies covered the floor from one side of the room to the other and extended all the way to the back wall opposite the visitor. In 2011, the same candy work, "Untitled" (Placebo), was installed at the Museum of Modern Art in two large rectangles divided by a walkway for visitors. A borrower/exhibitor may choose to install the work in any configuration and can also choose to use amounts of candies that differ from the "ideal weight". Like other candy pieces in his oeuvre, this work has an "ideal weight" that remains constant while the actual weight of the installed candy may fluctuate during the course of an exhibition and also from one exhibition to the next.

In 1989 González-Torres presented "Untitled" (Memorial Day Weekend) and "Untitled" (Veterans Day Sale), exhibited together as "Untitled" (Monuments): block-like stacks of paper printed with ambiguous content, from which the viewer is allowed to choose to take a sheet. Rather than constituting a solid, immovable monument, the stacks can be dispersed, depleted, and renewed over time.

At Roni Horn's 1990 solo exhibition at the Museum of Contemporary Art in Los Angeles, González-Torres encountered her sculpture "Forms from the Gold Field" (1980–82). González-Torres later wrote about his experience of Horn's work in "1990: L.A., The Gold Field." which was first published in Horn's catalogue "Roni Horn. Earths Grow Thick." González-Torres and Horn became acquaintances in the early 1990s, and he later created "Untitled" (Placebo – Landscape – for Roni) (1993). One of his most recognizable works, "Untitled" (1991), a billboard work which features a black-and-white photograph of an unmade bed, was installed in twenty-four outdoor public locations all over New York City in 1992. Viewers would come upon the work unexpectedly while walking the streets in the Bronx, Brooklyn, Long Island City, and Manhattan. The billboards were installed in the same manner, scale, and location as existing commercial advertising billboards. The installation, Projects 34: Felix Gonzalez-Torres, was curated and organized by Anne Umland in her role as Curatorial Assistant at the Museum of Modern Art (MoMA). The work is dated 1991, the same year as the death of his long-time partner, Ross Laycock, from AIDS-related illness.

"Untitled" (It's Just a Matter of Time) is a billboard originally exhibited in 1992 in Hamburg, reading "Es ist nur eine Frage der Zeit." Whereas the general phrase It's Just a Matter of Time remains constant from one installation to the next, the language the phrase is presented in may change depending on the local languages where the work is being installed.

In 1993, González-Torres mounted two simultaneous gallery exhibitions in Paris entitled Travel #1 (at Galerie Ghislaine Hussenot) and Travel #2 at Galerie Jennifer Flay.

In addition to his manifestable “candy works” and “paper stacks”, González-Torres created other malleable works referred to as "light strings", which consist of generally lower-wattage/dimmer light bulbs on extension cords, installed however the exhibitor chooses; eg. hung on the wall, piled on floor, strung across a doorway, etc. The body of light strings includes fifteen physically identical light strings, each has 42 light bulbs in white porcelain light sockets, the works are differentiated only by their parenthetical titles and the types of display/installation chosen by each work's owner on an ongoing basis, as well as the display/installation that authorized borrowers chose in the context of loans. Each sculpture can be arranged in any way a particular installer wishes, and thus holds the potential for unlimited variations. Over the course of any given installation, some of the bulbs may burn out but the parameters of the work specify that they have to be replaced.

In 1991 González-Torres began producing sculptures consisting of strands of plastic beads strung on metal rods, which some have interpreted to include references to the organic and inorganic substances associated with battling AIDS.

Legacy
In May 2002, the Felix Gonzalez-Torres Foundation was created. The Foundation "maintains, builds, and facilitates knowledge and understanding around the work of Gonzalez-Torres." The Foundation fields exhibition requests that include Felix Gonzalez-Torres's work or respond to the artist's practice in some way and offers ongoing guidance and support for these exhibitions. The Foundation maintains extensive exhibition and image archives and makes them accessible to anyone interested in learning about Gonzalez-Torres's work. The Foundation also facilitates publication projects and licenses copyright in Gonzalez-Torres's work.

The Foundation assisted the Cuban Research Institute at Florida International University in the organization of the Felix González-Torres Community Art Project, a three-year initiative that sponsors visits of internationally renowned contemporary artists to the campus of the school. The Foundation initiated and funded the California Institute of the Arts (CalArts) Felix González-Torres Travel Grant Program, a five-year initiative that funds travel based projects for CalArts students.

Since 1990, González-Torres's work has been represented by Andrea Rosen Gallery, which exhibited his work both before and after his death. Starting in 2017, the estate of Felix Gonzalez-Torres has been co-represented by Andrea Rosen Gallery and David Zwirner gallery, New York.

In the second decade of the 21st century the critical legacy of González-Torres's work has continued to be expanded and challenged. In 2010 Artforum published an article by artist and critic Joe Scanlan titled "The Uses of Disorder" that took a darker look at the soft power and neoliberal economics at play in González-Torres's work. In 2017 there was public outcry over the fact that David Zwirner Gallery mounted an extensive exhibition of González-Torres's work but made no mention of the role that AIDS played in the works' conceptual formation, either in the exhibition proper or its press release.

Art market
González-Torres's candy work "Untitled" (Portrait of Marcel Brient) (1992) sold for $4.6 million at Phillips de Pury & Company in 2010, a record for the artist at auction at the time. In November 2015 González-Torres's "Untitled" (L.A.) (1991), a 50 lb. installation of green hard candies, sold for $7.7 million at Christie's, New York, a new record at the time. In 2024 his light-string work "Untitled" (America #3) (1992) sold for $13.6 million, also at Christie's, a new record for the artist.

Personal life and education
In January 1970, González-Torres fled Cuba for Madrid, Spain when he was 12 with his older sister. Later that same year, he relocated to Puerto Rico.

González-Torres attended the University of Puerto Rico in San Juan from 1975-1979. He moved to New York on academic scholarship to study photography at Pratt Institute in 1979, attending the Independent Study Program at the Whitney Museum of American Art in 1981 and 1983. He received a BFA in photography from Pratt Institute in 1983 and obtained an MFA from the International Center of Photography and New York University in 1987.

He was an adjunct Art Instructor at New York University, New York from 1987-1989 and in 1992. In 1990, Gonzalez-Torres lived in Los Angeles and taught at California Institute of the Arts (CalArts). Gonzalez-Torres was a member of Group Material from 1987-1994. In 1992 González-Torres was granted a DAAD fellowship to work in Berlin, and in 1993 a fellowship from the National Endowment for the Arts.

He became an American citizen by applying for naturalization as a refugee and he chose to refer to himself as American. His name has appeared as Félix González; professionally, he chose to style his name as Felix Gonzalez-Torres and also as Félix González-Torres in languages that include diacritics.

The artist met his long-term partner Ross Laycock in 1983 in New York. González-Torres and Laycock were in a relationship from 1983 – 1991; for the majority of their relationship they lived in different cities except for a period when they lived together in Los Angeles in 1990. In January 1991, Laycock died of AIDS-related causes in Toronto. Félix González's partner towards the end of his life was Rafael Vasquez.

Selected exhibitions
González-Torres staged many solo exhibitions, installations, and shows at galleries and museums in the United States and internationally during his lifetime. His notable solo shows include Felix Gonzalez-Torres (1988), New Museum, New York; Untitled: An Installation by Félix González-Torres as part of the Visual Aids Program (1989-1990), Brooklyn Museum, New York; Felix Gonzalez-Torres (1993), Magasin III Museum for Contemporary Art, Stockholm; Felix Gonzalez-Torres: Traveling (1994), originating at the Museum of Contemporary Art, Los Angeles; and Felix Gonzalez-Torres (1995-1996), originating at the Solomon R. Guggenheim Museum, New York, exhibited as Felix Gonzalez-Torres (A Possible Landscape) at Centro Galego de Arte Contemporánea, Santiago de Compostela, and as Felix Gonzalez-Torres (Girlfriend in a Coma) at Musée d'Art Moderne de Paris.

The artist also participated in numerous group shows during his lifetime, including the Whitney Biennial (1991); the 45th Venice Biennale (1993); and the Biennale of Sydney (1996).

Felix Gonzalez-Torres (1997)
Immediately following the artist's death in 1996, the Sprengel Museum in Hanover, organized a career retrospective of his work, in conjunction with the publication of a two-volume catalogue raisonné covering nearly all of the artist's output.

U.S. Pavilion at the 52nd Venice Biennale (2007)
In 2007, González-Torres was selected as the United States' official representative at the Venice Biennale, curated by Nancy Spector. The artist's previously controversial status influenced the 1995 decision to reject him for the Venice pavilion in favor of Bill Viola. His posthumous show (the only other posthumous representative from the United States was Robert Smithson in 1982) at the U.S. Pavilion featured, among others, "Untitled" (1992–1995).

Felix González-Torres. Specific Objects without Specific Form (2010–2011)
Between 2010 and 2011, a traveling retrospective, ''Felix González-Torres. Specific Objects without Specific Form'', was shown at Wiels Contemporary Art Centre in Brussels, the Beyeler Foundation in Basel, and the Museum für Moderne Kunst in Frankfurt. At each of the stages of the exhibition tour, the show was initially installed by the exhibition's curator Elena Filipovic and, halfway through its duration, is completely reinstalled by a different selected artist whose own practice has been influenced by González-Torres. Artists Carol Bove, Danh Vo, and Tino Sehgal were chosen to curate the show's second half.

Felix Gonzalez-Torres: The Politics of Relation (2021)
In 2021, the Barcelona Museum of Contemporary Art presented Felix Gonzalez-Torres: The Politics of Relation. The exhibition was curated by Tanya Barson.

Felix Gonzalez-Torres (2023)
In 2023, David Zwirner Gallery in New York staged its second posthumous solo exhibition of work by González-Torres, including two works that had never been executed as the artist envisioned. The first, "Untitled" (Sagitario) (1994-1995), is a variant of the double pools of water the artist had sketched before his death: two large pools of water were embedded in the gallery floor directly adjacent to one another. This work had first been executed posthumously as two outdoor pools embedded in the ground at the Museo Nacional Centro de Arte Reina Sofía in Madrid, in 2001 in conjunction with the group exhibition No es sólo lo que ves: pervirtiendo el minimalismo, but the artist had originally envisioned the pools to be installed indoors. The second newly exhibited work, "Untitled" (1994-1995), consists of a series of indoor billboard installations that the artist had originally designed for his unrealized exhibition at the Musée d'Art Contemporain in Bordeaux.

Awards

 * 1988 Artist Fellowship, Art Matters, Inc.
 * 1989 Cintas Foundation Fellowship Pollock-Krasner Foundation Grant Artist Fellowship, Art Matters, Inc.
 * 1989 Artist Fellowship, the National Endowment for the Arts (NEA)
 * 1991 Gordon Matta-Clark Foundation Award
 * 1992 Deutscher Akademischer Austauschdienst Fellowship (DAAD) Artists-in-Residence Program, Berlin
 * 1993 Artist Fellowship, the National Endowment for the Arts (NEA)

Notable works in public collections

 * "Forbidden Colors" (1988), Museum of Contemporary Art, Los Angeles
 * "Untitled" (1989), Art Institute of Chicago; Brooklyn Museum, New York; Museum of Modern Art, New York; Whitney Museum, New York; and Williams College Museum of Art, Williamstown, Massachusetts
 * "Untitled" (1989), Art Institute of Chicago, and San Francisco Museum of Modern Art (jointly owned)
 * "Untitled" (The End) (1990), Museum of Contemporary Art, Chicago
 * "Untitled" (1990), Fonds national d'art contemporain, Centre national des arts plastiques, Paris
 * "Untitled" (Death by Gun) (1990), Museum of Modern Art, New York
 * "Untitled" (Perfect Lovers) (1987-1990), Dallas Museum of Art; Glenstone, Potomac, Maryland;  and Wadsworth Atheneum, Hartford, Connecticut
 * "Untitled" (Perfect Lovers) (1991), Museum of Modern Art, New York
 * "Untitled" (March 5th) #2 (1991), Art Institute of Chicago; Cleveland Museum of Art; Museum of Contemporary Art, Los Angeles; Nelson-Atkins Museum of Art, Kansas City, Missouri; Tate, London; and University of Michigan Museum of Art, Ann Arbor
 * "Untitled" (Ross in L.A.) (1991), Institute of Contemporary Art, Miami; and National Gallery of Art, Washington, D.C.
 * "Untitled" (L.A.) (1991), Crystal Bridges Museum of American Art, Bentonville, Arkansas
 * "Untitled" (Implosion) (1991), Whitney Museum, New York
 * "Untitled" (Go-Go Dancing Platform) (1991), Kunstmuseum St. Gallen, Switzerland (permanent loan)
 * "Untitled" (Double Portrait) (1991), Buffalo AKG Art Museum, Buffalo, New York, and Tate, London (jointly owned)
 * "Untitled" (Public Opinion) (1991), Solomon R. Guggenheim Museum, New York
 * "Untitled" (Portrait of Ross in L.A.) (1991), Art Institute of Chicago
 * "Untitled" (1991), Museum of Modern Art, New York
 * "Untitled" (Petit Palais) (1992), Philadelphia Museum of Art
 * "Untitled" (For Jeff) (1992), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
 * "Untitled" (Republican Years) (1992), Sprengel Museum, Hanover, Germany
 * "Untitled" (For New York) (1992), Beyeler Foundation, Riehen, Switzerland
 * "Untitled" (Placebo - Landscape - for Roni) (1993), Staatliche Kunstsammlungen Dresden, Germany
 * "Untitled" (Last Light) (1993), Art Institute of Chicago; Barcelona Museum of Contemporary Art; Harvard Art Museums, Cambridge, Massachusetts; Israel Museum, Jerusalem; Musée National d'Art Moderne, Centre Pompidou, Paris; Museum of Contemporary Art, Los Angeles (2 versions); National Museum of Art, Osaka; and Walker Art Center, Minneapolis
 * "Untitled" (Ischia) (1993), Astrup Fearnley Museum of Modern Art, Oslo, Norway
 * "Untitled" (Portrait of the Cincinnati Art Museum) (1994), Cincinnati Art Museum
 * "Untitled" (Golden) (1995), Art Institute of Chicago, San Francisco Museum of Modern Art, and Solomon R. Guggenheim Museum, New York (jointly owned)
 * "Untitled" (Water) (1995), Baltimore Museum of Art
 * "Untitled" (1995), Berkeley Art Museum and Pacific Film Archive, California; and Des Moines Art Center, Iowa
 * "Untitled" (1992-1995), Glenstone, Potomac, Maryland

title: Félix González-Torres


text:
Gifted Education Programme (Singapore)

The Gifted Education Programme (GEP) is an academic programme in Singapore, initially designed to identify the top 0.25% (later expanded to 0.5%, then 1%) of students from each academic year with outstanding intelligence. The tests are based on verbal, mathematical and spatial abilities (as determined by two rounds of tests). Selected students will then be transferred to schools offering the GEP. GEP classes are designed to fit the students' learning ability, and may cover subjects in greater breadth and depth. The curriculum is designed by the Gifted Education Branch and eschews the use of textbooks for notes that have been prepared by GEP teachers. The programme has now been expanded to 1% of the students from each academic year.

History
The Gifted Education Programme was first implemented in Singapore in 1984 amid some public concern. It was initiated by the Ministry of Education (MOE) in line with its policy under the New Education System to allow each student to learn at his/her own pace. The MOE has a commitment to ensure that the potential of each pupil is recognised, nurtured and developed. It was recognised that intellectually gifted pupils should be given apter classes to reach their full potential. From its inauguration in two primary schools and two secondary schools, the programme has now expanded to nine primary schools (as of October 2004) and was at its peak before the introduction of the Integrated Programme (IP).

Primary Schools offering GEP
As of 2020, nine primary schools offer GEP.

 * Anglo-Chinese School (Primary)
 * Catholic High School (Primary)
 * Henry Park Primary School
 * Nan Hua Primary School
 * Nanyang Primary School
 * Raffles Girls' Primary School
 * Rosyth School
 * Saint Hilda's Primary School
 * Tao Nan School

Impact of the Integrated Programme
In 2004, five secondary schools started implementing Integrated Programmes with their affiliated Junior Colleges, and are officially no longer offering the GEP. However, they still have programmes within their respective Integrated Programmes to cater to gifted students. While the secondary schools that have implemented the Integrated Programme remain generally unaffected by the change, Victoria School, which continued to offer the GEP, saw a drastic decrease in enrolment.

Secondary Schools that are offering GEP, or SBGE
The Gifted Education Programme came to a close in secondary schools in 2008 and was replaced by the School-Based Gifted Education (SBGE) programme. All of the secondary schools that offer the SBGE are IP schools. There are generally two classes per cohort/year/level for SBGE students, but sometimes there may only be one class per cohort, depending on the cohort size.

 * Anglo-Chinese School (Independent)
 * Dunman High School
 * Hwa Chong Institution
 * Nanyang Girls' High School
 * NUS High School of Mathematics and Science
 * Raffles Girls School (Secondary)
 * Raffles Institution

Beginning in 2006, the MOE started to phase out the secondary school GEP due to the impact of the IP. However, GEP pupils who do not wish to take up the Integrated Programme after 2008 can enroll in schools with school-based special programmes at Secondary One. Examples of such schools are Anglo-Chinese School (Independent), Catholic High School, Methodist Girls' School and St. Joseph's Institution.

Selection Process
At Primary Three (P3), all students, except those who opt-out, will take the first round of admission tests, the Screening Test. About 10% of students identified based on the Screening Test results will be invited to participate in the second round, the Selection Test. Based on the Selection Test results, the top 1% of the cohort will be identified and invited to join the Gifted Education Programme, usually by November of that year.

English and Mathematics papers are included as part of the Screening Test, while another two papers, General Ability I and General Ability II, are included in the Selection Test.

Before 2003, there was a third round of testing to allow entry for pupils who missed the chance in P3, after the PSLE. This last round of testing was offered to students who achieved 3 or more A*s for the PSLE. Students who enrolled at this stage were referred to as Supplementary Intake students. However, this practice was discontinued in 2003. The IP schools and the new NUS High School, specialising in Mathematics and Science, opened up opportunities for more pupils who were not already part of the primary school GEP, thus, there were ample opportunities to join these schools and therefore no need for a supplementary exercise to select students for the GEP at secondary schools.

Progress in the Programme
The pupils will have to study in this programme from Primary 4 to 6, and after that, the pupils can choose to continue studying in the programme only, in the Integrated Programme, or in the mainstream (not the GEP). Students also have a variety of top secondary schools to choose from depending on their PSLE results. Once the school is chosen, they will automatically enter the Express stream unless they choose otherwise.

Distinction
Research Project Studies (RPS) starting in Primary 4, is a program to teach skills needed in research. Individualized Study Options (ISO) is a compulsory programme for pupils in Primary 5, wherein pupils do research on a specific topic. The students are asked to choose their own projects in Primary Five under Teacher Mentors. The student-teacher ratio is normally from 4:1 to 5:1. The Study Options given were:
 * Individualized Research Studies (IRS) → research and present your findings
 * InnoVation Programme (IvP, formerly IP) → students invent or improve things to solve everyday problems
 * Future Problem Solving (FPS) → Students solve future problems we may face in society

Pupils in the GEP have to take Social Studies as a graded subject. Based on the mainstream textbook syllabus, students will have to study in-depth content. Lessons in the GEP are conducted with no textbooks or workbooks, with the exception of Chinese and Higher Chinese; lessons are more discussion, worksheet, and project oriented.

Pupils in GEP learn poetry and literature (A Single Shard in Primary 4, The Giver in Primary 5, and Friedrich in Primary 6) as part of the Concept Unit under the English Language subject.

A Wrinkle in Time was used as the literature book for Primary 5 students until 2014 when it was replaced with The Giver. The main purpose is to show students how a dystopian society functions.

For English, students have to do different process writings based on the genres they have studied, including mysteries and fairy tales.

In Primary 6, a graded Mathematics Alternative Assessment (Math AA) is given. The pupils will have to choose from six or seven projects that GEP branch officers in the Ministry of Education (MOE) create. These projects are individual and include research, a product to be made and reflections. They will also be required to do a biography unit, of which one is an oral assignment, with the latter a written assignment.

Integration with mainstream
In an article in The Straits Times on 3 November 2007, the MOE announced its new scheme to "encourage" greater integration between GEP and mainstream students, to combat elitism and encourage socialisation. GEP students in the nine primary GEP centres would spend up to 50% of their lesson time with the top 2% to 5% of the cohort, or the top mainstream students. Non-core subjects such as art, music, and physical education are conducted with the mainstream cohort. The announcement of the integration provoked much buzz in the blogosphere.

title: Gifted Education Programme (Singapore)


text:
HKG

HKG can mean the following:

 * Hong Kong International Airport or Chek Lap Kok Airport, IATA code
 * Kai Tak Airport, former Hong Kong International Airport
 * Hong Kong, ISO 3166-2:HK country code
 * Port of Hong Kong, the seaport of Hong Kong

title: HKG


text:
Eutopia (EP)

Eutopia [Noun] ‘A place of well-being, as a practical aspiration (compared with utopia as an impossible concept).” 10 July 2020

Eutopia is a 2020 EP by British trip hop group Massive Attack, released on July 10, 2020 on the band's YouTube account as a collection of three music videos; as of July 2024, it remains unavailable on Music streaming services. The EP represents the band's first work in four years, following the 2016 releases of the Ritual Spirit EP and the single "The Spoils".

Recorded during the early months of the COVID-19 pandemic, the three tracks feature spoken word passages from influential academics calling for action on climate change, tax havens and universal basic income.

Background
During the spring of 2020, Robert "3D" Del Naja worked on a politically-themed audio-visual Massive Attack EP called “Eutopia”, consisting of three tracks created across five cities during the COVID-19 global lockdown period, with documentary filmmaker Mark Donne, AI Art pioneer Mario Klingemann and vocal collaborations with Algiers, Young Fathers and US poet Saul Williams. The spirit of the EP was inspired by Thomas More's 16th century book Utopia to address the need for global change amid COVID-19 pandemic.

Each of the tracks of Eutopia discusses a political issue –the climate crisis, tax havens, and universal basic income –accompanied with relevant commentary by public academics Christiana Figueres, Guy Standing, and Gabriel Zucman.

Professor Standing of the SOAS University of London said in an interview on the university website: "The collaboration began when Massive Attack contacted me after the pandemic hit, which was shortly after my new book came out in March. I think they had read or at least seen my earlier book, which is my analysis of the ethical and economic foundations of basic income."

Visuals
The visuals for the music videos were co-written and co-produced by Robert Del Naja and documentary filmmaker Mark Donne, using artificial intelligence manipulated by Mario Klingemann. He has previously collaborated with Massive Attack and filmmaker Adam Curtis on the Mezzanine XXI show.

Personnel
Massive Attack Additional musicians
 * Robert "3D" Del Naja
 * Euan Dickinson – Sound Engineer
 * Algiers
 * Franklin James Fisher– vocals
 * Ryan Mahan– bass guitar
 * Lee Tesche– guitar
 * Matt Tong– drums
 * Saul Williams
 * Young Fathers
 * Kayus Bankole
 * 'G' Hastings
 * Alloysious Massaquoi

Spoken word
 * Christiana Figueres
 * Guy Standing
 * Gabriel Zucman

Visuals
 * Robert Del Naja
 * Mark Donne
 * Mario Klingemann

title: Eutopia (EP)


text: File:Stravinsky, The Rite of Spring, Sacrificial Dance.PNG


text:
Talk:Downtown Houston

Untitled
anybody have pictures of the new development?

Major additions:
Made the Hotel and accommodations section to better list the hotels and updated the list of hotels. Added section for the court system and listed courts. added section in transportation section for Taxi's.

added small section about Houston Pavillions and Discovery Green since it now had a name.

Some buildings need to be renamed and links cleaned up, will do later this week. --Hourick 18:39, 2 June 2007 (UTC)

Downtown office space
Seems that we're having a slight disagreement concerning office space. The source I gave (>40 million sq. ft.) from downtownhouston.com (CoStar Group, Inc.) as well as CB Richard Ellis  and Stream Realty  all report over 40 million sq. ft. in the CBD. Another editor reduced this to >37 million sq. ft using Colliers as a source. Why would there be such a discrepancy between these sources and Colliers? Which number/source to use? Thanks, Postoak 07:43, 4 September 2007 (UTC)
 * It may depend on which numbers they're using. Could it possible they're only using CLASS A office space (high Rises) or are they including ALL office space?  Another factor could be are they also including FUTURE office space that is currently under construction, while another could be using the ones that haven't broke ground yet.  There is also depending on when the studies were done.  It's maddening because I've been trying to get a straight answer on this as well on this and other bits of information.

--Hourick 12:09, 4 September 2007 (UTC)
 * It might have to do with reporting area and how many buildings are included --
 * CoStar Group: (40,764,512)
 * CB Richard Ellis: (42,300,628)
 * Stream Realty: 40,637,124)
 * Colliers: (37,161,160)
 * I have three sources that indicate greater than >40 vs. the Colliers number/source, so I will use the source from The Houston Downtown Management District . Postoak 15:43, 4 September 2007 (UTC)
 * Also CB Richard Ellis is the #1 commercial real estate company and uses CoStar for data collection and reporting. Postoak 16:06, 4 September 2007 (UTC)
 * See? You answered your own question and a wise selection, I think. Now if I can only get the various entities to answer my email....--Hourick 01:05, 5 September 2007 (UTC)

Fair use rationale for Image:Heritageplaza.jpg
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If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 17:58, 2 January 2008 (UTC)

Broken Links
All of the footnotes linking to www.houstondowntown.com/something... now redirect to the main page of www.downtownhouston.org, which seems to be completely redesigned and doesn't contain the same fact sheets etc. as the old site. e.g. footnote 7 —Preceding unsigned comment added by 12.183.217.250 (talk) 21:59, 18 June 2010 (UTC) I was going to edit the math in "Downtown Houston is a 1,178-acre, 108-square-mile area" to say "Downtown Houston is a 1,178-acre, 1.8-square-mile area", but I wanted to check facts first. Unfortunately I can't find the fact sheet that is in the footnote because of the broken link. —Preceding unsigned comment added by 12.183.217.250 (talk) 22:02, 18 June 2010 (UTC)

Retail
Re: This is the only freestanding middle-market department store in a central business district in the Southern United States.[citation needed]

This statement is incorrect since Miami also has a freestanding middle market department store in their downtown areas. Therefore I removed that statement. — Preceding unsigned comment added by Kcardozo (talk • contribs) 09:03, 8 February 2012 (UTC)

Sources about hotels
I found this source about convention center-area hotels: WhisperToMe (talk) 07:27, 22 June 2013 (UTC)
 * Sarnoff, Nancy. "Value-priced hotels planned for Houston convention district." Houston Chronicle. June 21, 2013.

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Assessment comment
Substituted at 13:47, 29 April 2016 (UTC)

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External links modified
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County block book maps
Those related to the county government: WhisperToMe (talk) 14:41, 30 March 2019 (UTC)
 * Harris County Central Plant, in Downtown Houston: http://books.tax.hctx.net/BlockBooksPDF/v119/AE1997_119-1_0082.pdf and http://books.tax.hctx.net/v119/AE1997_119-1_0082.jpg - Next to a county courthouse

I removed "more citations needed" templates
I added citations where they were tagged as needed, but I think this could be a record - an article with 217 references still having more citations needed tags. Newystats (talk) 12:19, 23 May 2024 (UTC)

title: Talk:Downtown Houston


text:
Wikipedia:Articles for deletion/Greenout

Greenout was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

 * Keep. I have had many greenouts and they rendered me incapaple of rational thought, thats why i kept screwing this chick again. WOW SEXual maniac
 * Note: this is the article's author, whose only edits are the article and this vote (as pointed out below by User:Jpgordon). Pnot 03:05, 10 Oct 2004 (UTC)
 * Delete. Neologism.  Google search for Greenout and orgasm yield absolutely nothing relevant. --Neschek 02:48, 10 Oct 2004 (UTC)
 * Delete. Not even a neologism. The "keep" vote above is from the author, who has contributed nothing else. Just nonsense. --jpgordon {gab} 02:54, 10 Oct 2004 (UTC)
 * Delete. Seemingly invented by article writer (can't see any usage whatsoever on google web or groups), and even if it weren't, it would still only be a slang dicdef. Thoroughly non-encyclopaedic. Pnot 03:05, 10 Oct 2004 (UTC)
 * Delete. Neologic nonsense.  --Viriditas 03:18, 10 Oct 2004 (UTC)
 * Delete: Is that "green out" related, perhaps, to money changing hands and one of the parties leaving? Personal slang.  Delete. Geogre 04:02, 10 Oct 2004 (UTC)
 * Delete orphan neologism. -- Infrogmation 04:15, 10 Oct 2004 (UTC)
 * Delete. No evidence presented that the word is in significant use with that meaning. Not on our very, very extensive sexual slang list. Worse yet, the word is used with other meanings. It is a frequently re-created nonce word. http://www.greenout.org/info.html is a non-notable organization that politically opposes the "greens." A conservative columnist [ http://www.wnd.com/news/article.asp?ARTICLE_ID=34184 ] says that an electric blackout was really a "greenout," i.e. caused by ill-conceived environmental policies. A sports column describes an Anna Kournikova loss as a "greenout." "Greenout" is apparently a word used for the use of green paint by Caltrans and perhaps others to make deletions on road signs by painting over words to match the background color. None of these usages IMHO warrant an article.  [[User:Dpbsmith|Dpbsmith (talk)]] 14:52, 10 Oct 2004 (UTC)
 * A random synaptic firing just brought forth a totally irrelevant, obscure song lyric which I feel compelled to share, even though it is utterly irrelevant to this discussion. "Green-up Time," lyrics by Alan Jay Lerner, music by Kurt Weill. "Yesterday morning I did see/Blossoms on the apple tree/I took a breath and thought, could it be/It's green-up time! ... And sure enough the bluebells tinkled April in the glen/And sure enough I fell in love with love again/Then I started feeling bright/Had a thought that hit me right./I'll have my money dance me tonight and have a time/To welcome in the green-up time!" [[User:Dpbsmith|Dpbsmith (talk)]] 16:11, 10 Oct 2004 (UTC)
 * Also irrelevant, but my favourite "greenout" in my googles for this one was apparently coined by an Antarctic scientist: "seeing green again after having adjusted to a 100 shades of white". Presumably intended to be the opposite of a whiteout. Pnot 21:00, 10 Oct 2004 (UTC)

 * Delete this article as POV personal slang, and one suspects deliberate intent to offend. Fire Star 15:04, 10 Oct 2004 (UTC)
 * Delete. Non-word. Not Notable. 80.255 17:53, 10 Oct 2004 (UTC)
 * Delete. Neologism. --Improv 01:16, 11 Oct 2004 (UTC)
 * Comment: Fire Star, i did not intend to offend anyone when writing this article. We use the word amoung my uni mates, and i noticed that wikipedia didn't have an article, so i wrote one. Looking back i probably should have looked on the big G before i wrote the article, as it appears that since there are no Google hits it is not a word that is in common use. I now vote to delete, and possible move to sexual slang. Sorry guys. SEXual maniac 05:41, 11 Oct 2004 (UTC)
 * its now on SEXual slang, because slang is all it is. SEXual maniac 06:50, 11 Oct 2004 (UTC)
 * No, not on Sexual slang either, which is also not for neologisms. --Jerzy(t) 19:33, 2004 Oct 12 (UTC)
 * Delete. Neologism/slang dictdef.   — Gwalla | Talk 02:34, 12 Oct 2004 (UTC)
 * Del. Neologism, but my suspicion (since using the term in that sense is implausible) is that this is a camel's nose article to which "greenout" in the sense of "brownout caused by environmentalism" would eventually be added "as an alternate meaning" in an attempt to boost its acceptability. FWIW. --Jerzy(t) 19:33, 2004 Oct 12 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Talk:Higher Education Act 2004

Requested Move
Should this not be HE Act now? a HE Act page I think exists.
 * Yes, it should be at Higher Education Act 2004, but somebody's made a stub there which will need deleting first. (We should probably have a redirect at Higher Education Act as well, but the name+year format should be the target.) - IMSoP 17:44, 10 November 2005 (UTC)

 * This is the absolute antithesis of a contraversial move. You shouldn't (read: don't) need to do an RM for this.
 * James F. (talk) 22:59, 18 November 2005 (UTC)

Outcome
Move request fulfilled. Rob Church Talk 19:28, 19 November 2005 (UTC)

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title: Talk:Higher Education Act 2004


text: User talk:69.192.109.187

title: User talk:69.192.109.187


text:
Celebrity Farm

Celebrity Farm was a 2003 Raidió Teilifís Éireann (RTÉ) reality television show, based on the international TV format The Farm, produced by Strix. Held along similar lines as I'm a Celebrity... Get Me Out of Here!, Celebrity Farm required eight of Ireland's C-List celebrities to spend seven days on a farm with one being voted off every evening (or "turfed out" as RTÉ called it). It was hosted by Ear to the Ground presenter Mairead McGuinness and the prize money was €50,000 to the charity of their choice.

Results
Evictions were decided via a public televote, where the contestant getting the most votes would be "turfed out".

1st evicted: Twink, pantomime actress

2nd evicted: Paddy O'Gorman, TV presenter

3rd evicted: Mary Coughlan, jazz musician

4th evicted: Kevin Sharkey, artist

5th evicted: Mary Kingston, children's TV presenter

6th evicted: Tamara Gervasoni, then Rose of Tralee

Runner-up: Gavin Lambe-Murphy, gossip columnist

Winner: George McMahon, soap actor

The show was won by George McMahon, an actor from Fair City. He split his prize money between a children's charity, a children's hospital and a centre for those with disabilities. Kevin Sharkey had a serious disagreement with the other "farmhands", as they were called, and subsequently refused to appear with them on The Late Late Show after the series, instead appearing on rival chat show The Dunphy Show.

Legacy
Celebrity Farm left a pitiful legacy for Irish television viewers. One witness reported that it had taken until 2012 "to finally stop shuddering at the memory of such sitting room atrocities as RTÉ's Celebrity Farm".

title: Celebrity Farm


text: Category:430 deaths

title: Category:430 deaths


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HMAS Adelaide

Three ships of the Royal Australian Navy have been named HMAS Adelaide, after Adelaide, the capital city of South Australia:

 * HMAS Adelaide (1918) was a Town-class light cruiser commissioned in 1922 and decommissioned in 1946
 * HMAS Adelaide (FFG 01) was an Adelaide-class frigate commissioned in 1980 and decommissioned in 2008
 * HMAS Adelaide (L01) is a Canberra-class landing helicopter dock ship commissioned in 2015 and active as of 2022

Battle honours
Ships of the name HMAS Adelaide have earned four battle honours:

 * Pacific 1941–43
 * East Indies 1942
 * East Timor 1999
 * Persian Gulf 2001–02

title: HMAS Adelaide