Verdiana Albano

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	<title>Verdiana Albano</title>
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	<pubDate>Tue, 17 Dec 2024 11:01:22 +0000</pubDate>
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		<title>Home</title>
				
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		<pubDate>Tue, 21 Mar 2023 15:28:34 +0000</pubDate>

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		<title>Works</title>
				
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		<pubDate>Wed, 22 Mar 2023 17:33:37 +0000</pubDate>

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		<title>Photography</title>
				
		<link>https://verdianaalbano.com/Photography</link>

		<pubDate>Fri, 31 Mar 2023 11:23:08 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

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PHOTOGRAPHY&#38;nbsp;Photography 
Etymology Photography is the art, application, and practice of creating durable images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. It is employed in many fields of science, manufacturing (e.g., photolithography), and business, as well as its more direct uses for art, film and video production, recreational purposes, hobby, and mass communication.[1]

Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. With an electronic image sensor, this produces an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. The result with photographic emulsion is an invisible latent image, which is later chemically "developed" into a visible image, either negative or positive, depending on the purpose of the photographic material and the method of processing. A negative image on film is traditionally used to photographically create a positive image on a paper base, known as a print, either by using an enlarger or by contact printing.
The word "photography" was created from the Greek roots φωτός (phōtós), genitive of φῶς (phōs), "light"[2] and γραφή (graphé) "representation by means of lines" or "drawing",[3] together meaning "drawing with light".[4]

Several people may have coined the same new term from these roots independently. Hércules Florence, a French painter and inventor living in Campinas, Brazil, used the French form of the word, photographie, in private notes which a Brazilian historian believes were written in 1834.[5] This claim is widely reported but is not yet largely recognized internationally. The first use of the word by Florence became widely known after the research of Boris Kossoy in 1980.[6]

The German newspaper Vossische Zeitung of 25 February 1839 contained an article entitled Photographie, discussing several priority claims – especially Henry Fox Talbot's – regarding Daguerre's claim of invention.[7] The article is the earliest known occurrence of the word in public print.[8] It was signed "J.M.", believed to have been Berlin astronomer Johann von Maedler.[9] The astronomer John Herschel is also credited with coining the word, independent of Talbot, in 1839.[10]

The inventors Nicéphore Niépce, Talbot, and Louis Daguerre seem not to have known or used the word "photography", but referred to their processes as "Heliography" (Niépce), "Photogenic Drawing"/"Talbotype"/"Calotype" (Talbot), and "Daguerreotype" (Daguerre).[9].

 Precursor technologies 
Photography is the result of combining several technical discoveries, relating to seeing an image and capturing the image. The discovery of the camera obscura ("dark chamber" in Latin) that provides an image of a scene dates back to ancient China. Greek mathematicians Aristotle and Euclid independently described a camera obscura in the 5th and 4th centuries BCE.[11][12] In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments.[13]

The Arab physicist Ibn al-Haytham (Alhazen) (965–1040) also invented a camera obscura as well as the first true pinhole camera.[12][14][15] The invention of the camera has been traced back to the work of Ibn al-Haytham.[16] While the effects of a single light passing through a pinhole had been described earlier,[16] Ibn al-Haytham gave the first correct analysis of the camera obscura,[17] including the first geometrical and quantitative descriptions of the phenomenon,[18] and was the first to use a screen in a dark room so that an image from one side of a hole in the surface could be projected onto a screen on the other side.[19] He also first understood the relationship between the focal point and the pinhole,[20] and performed early experiments with afterimages, laying the foundations for the invention of photography in the 19th century.[15]

Leonardo da Vinci mentions natural camerae obscurae that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. Renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. It is a box with a small hole in one side, which allows specific light rays to enter, projecting an inverted image onto a viewing screen or paper.

The birth of photography was then concerned with inventing means to capture and keep the image produced by the camera obscura. Albertus Magnus (1193–1280) discovered silver nitrate,[21] and Georg Fabricius (1516–1571) discovered silver chloride,[22] and the techniques described in Ibn al-Haytham's Book of Optics are capable of producing primitive photographs using medieval materials.[23][24]

Daniele Barbaro described a diaphragm in 1566.[25] Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694.[26] The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography.[25]

Around the year 1800, British inventor Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance. He used paper or white leather treated with silver nitrate. Although he succeeded in capturing the shadows of objects placed on the surface in direct sunlight, and even made shadow copies of paintings on glass, it was reported in 1802 that "the images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver." The shadow images eventually darkened all over.[27]

 Invention 
The first permanent photoetching was an image produced in 1822 by the French inventor Nicéphore Niépce, but it was destroyed in a later attempt to make prints from it.[28] Niépce was successful again in 1825. In 1826 he made the View from the Window at Le Gras, the earliest surviving photograph from nature (i.e., of the image of a real-world scene, as formed in a camera obscura by a lens).[29] Because Niépce's camera photographs required an extremely long exposure (at least eight hours and probably several days), he sought to greatly improve his bitumen process or replace it with one that was more practical. In partnership with Louis Daguerre, he worked out post-exposure processing methods that produced visually superior results and replaced the bitumen with a more light-sensitive resin, but hours of exposure in the camera were still required. With an eye to eventual commercial exploitation, the partners opted for total secrecy.

Niépce died in 1833 and Daguerre then redirected the experiments toward the light-sensitive silver halides, which Niépce had abandoned many years earlier because of his inability to make the images he captured with them light-fast and permanent. Daguerre's efforts culminated in what would later be named the daguerreotype process. The essential elements—a silver-plated surface sensitized by iodine vapor, developed by mercury vapor, and "fixed" with hot saturated salt water—were in place in 1837. The required exposure time was measured in minutes instead of hours. Daguerre took the earliest confirmed photograph of a person in 1838 while capturing a view of a Paris street: unlike the other pedestrian and horse-drawn traffic on the busy boulevard, which appears deserted, one man having his boots polished stood sufficiently still throughout the several-minutes-long exposure to be visible. The existence of Daguerre's process was publicly announced, without details, on 7 January 1839. The news created an international sensation. France soon agreed to pay Daguerre a pension in exchange for the right to present his invention to the world as the gift of France, which occurred when complete working instructions were unveiled on 19 August 1839. In that same year, American photographer Robert Cornelius is credited with taking the earliest surviving photographic self-portrait.In Brazil, Hercules Florence had apparently started working out a silver-salt-based paper process in 1832, later naming it Photographie.

Meanwhile, a British inventor, William Fox Talbot, had succeeded in making crude but reasonably light-fast silver images on paper as early as 1834 but had kept his work secret. After reading about Daguerre's invention in January 1839, Talbot published his hitherto secret method and set about improving on it. At first, like other pre-daguerreotype processes, Talbot's paper-based photography typically required hours-long exposures in the camera, but in 1840 he created the calotype process, which used the chemical development of a latent image to greatly reduce the exposure needed and compete with the daguerreotype. In both its original and calotype forms, Talbot's process, unlike Daguerre's, created a translucent negative which could be used to print multiple positive copies; this is the basis of most modern chemical photography up to the present day, as daguerreotypes could only be replicated by rephotographing them with a camera.[30] Talbot's famous tiny paper negative of the Oriel window in Lacock Abbey, one of a number of camera photographs he made in the summer of 1835, may be the oldest camera negative in existence.[31][32]In France, Hippolyte Bayard invented his own process for producing direct positive paper prints and claimed to have invented photography earlier than Daguerre or Talbot.[33]

British chemist John Herschel made many contributions to the new field. He invented the cyanotype process, later familiar as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He had discovered in 1819 that sodium thiosulphate was a solvent of silver halides, and in 1839 he informed Talbot (and, indirectly, Daguerre) that it could be used to "fix" silver-halide-based photographs and make them completely light-fast. He made the first glass negative in late 1839.In the March 1851 issue of The Chemist, Frederick Scott Archer published his wet plate collodion process. It became the most widely used photographic medium until the gelatin dry plate, introduced in the 1870s, eventually replaced it. There are three subsets to the collodion process; the Ambrotype (a positive image on glass), the Ferrotype or Tintype (a positive image on metal) and the glass negative, which was used to make positive prints on albumen or salted paper.

Many advances in photographic glass plates and printing were made during the rest of the 19th century. In 1891, Gabriel Lippmann introduced a process for making natural-color photographs based on the optical phenomenon of the interference of light waves. His scientifically elegant and important but ultimately impractical invention earned him the Nobel Prize in Physics in 1908.

Glass plates were the medium for most original camera photography from the late 1850s until the general introduction of flexible plastic films during the 1890s. Although the convenience of the film greatly popularized amateur photography, early films were somewhat more expensive and of markedly lower optical quality than their glass plate equivalents, and until the late 1910s they were not available in the large formats preferred by most professional photographers, so the new medium did not immediately or completely replace the old. Because of the superior dimensional stability of glass, the use of plates for some scientific applications, such as astrophotography, continued into the 1990s, and in the niche field of laser holography, it has persisted into the 21st century.    
read more    


</description>
		
	</item>
		
		
	<item>
		<title>i aint from no east coast</title>
				
		<link>https://verdianaalbano.com/i-aint-from-no-east-coast</link>

		<pubDate>Tue, 17 Dec 2024 11:01:22 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

		<guid isPermaLink="true">https://verdianaalbano.com/i-aint-from-no-east-coast</guid>

		<description>


i ain’t from no 
east coast
2024


When you’re constantly asked where you come from, 

it leads you to think more deeply about it.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; It was the time, it was the place&#38;nbsp;

A couple in a Saxon bar,

between Cold and civil war,

between ethnicities and ethics,

between plans and economy,

between dreams and promises

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; I Have a Dream

Dismantled with the wall:

Promises,

Norms,

Patterns.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; and then – what next

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; the show is over

The dream remains

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; let’s go home

endures through generations.

I'm located at the end of two cultures.

not negative, 

neutral

and


looking towards something new,

something uncertain.
&#60;img width="1920" height="1477" width_o="1920" height_o="1477" data-src="https://freight.cargo.site/t/original/i/d6f4abd35aabb9239103b69b74e40526ab5b0ffe4bd213240393a205a7a38040/02_albano_iafnec_whats-my-name_1991_DSC7947-72-DPI.jpg" data-mid="223467606" border="0"  src="https://freight.cargo.site/w/1000/i/d6f4abd35aabb9239103b69b74e40526ab5b0ffe4bd213240393a205a7a38040/02_albano_iafnec_whats-my-name_1991_DSC7947-72-DPI.jpg" /&#62;&#60;img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/4636f084256ee8832a69c7d942893d93595ac364d33d09e56d02f8209f054a5b/Albano_iafnec_installation_hdsg-09493.jpg" data-mid="228036523" border="0"  src="https://freight.cargo.site/w/1000/i/4636f084256ee8832a69c7d942893d93595ac364d33d09e56d02f8209f054a5b/Albano_iafnec_installation_hdsg-09493.jpg" /&#62;&#60;img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/b6e43f6c0237d7ecef1247460327ab0c61815bea11d66711e744410d98b292eb/Albano_iafnec_installation_hdsg-09422.jpg" data-mid="228036687" border="0"  src="https://freight.cargo.site/w/1000/i/b6e43f6c0237d7ecef1247460327ab0c61815bea11d66711e744410d98b292eb/Albano_iafnec_installation_hdsg-09422.jpg" /&#62;

Installation view: Un/sichtbar-GENERATIONEN, 09/03 - 22/06/2025, Haus der Stadtgeschichte Offenbach, Offenbach, Germany.

Quotes: 
“Jetzt ist die Zeit, hier ist der Ort”, Brothers Keepers: Adriano (Letzte Warnung), Song, Germany, 2001.

Martin Luther King Jr.'s: "Normalcy, Never Again / I Have a Dream," speech, Washington D.C. (USA), 1963.

May Ayim: gegen leberwurstgrau – für eine bunte republik (talk – talk – show für den bla – bla – kampf), blues in schwarz weiss / nachtgesang (first published 1985 / 1997), UNRAST Verlag Münster 2023.&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/baf1b22426dc474d2c48d2b09ccb77e48448834cb2a862dcc2abbdc024c52434/Albano_iafnec_installation_hdsg-09372.jpg" data-mid="228036684" border="0"  src="https://freight.cargo.site/w/1000/i/baf1b22426dc474d2c48d2b09ccb77e48448834cb2a862dcc2abbdc024c52434/Albano_iafnec_installation_hdsg-09372.jpg" /&#62;Installation view: Un/sichtbar-GENERATIONEN, 09/03 - 22/06/2025, Haus der Stadtgeschichte Offenbach, Offenbach, Germany.&#60;img width="8403" height="6302" width_o="8403" height_o="6302" data-src="https://freight.cargo.site/t/original/i/55d5cdab9216fcb7af4c01a00e9d70a1604d096bcb89a36454619e2f827b13f0/albano_iafnec_WIFO_2025-09942.jpg" data-mid="239756916" border="0"  src="https://freight.cargo.site/w/1000/i/55d5cdab9216fcb7af4c01a00e9d70a1604d096bcb89a36454619e2f827b13f0/albano_iafnec_WIFO_2025-09942.jpg" /&#62;Installation view: Wiesbadener Fototage, 09/2025, Wiesbaden, Germany.
&#60;img width="1916" height="1920" width_o="1916" height_o="1920" data-src="https://freight.cargo.site/t/original/i/5c50a4655b147c1e69ec117f8643538716ebddcbd8fd356e2e13c9768c3e34a9/13_albano_iafnec_collage_ready-or-not_DSC08872-72-DPI.jpg" data-mid="223467611" border="0"  src="https://freight.cargo.site/w/1000/i/5c50a4655b147c1e69ec117f8643538716ebddcbd8fd356e2e13c9768c3e34a9/13_albano_iafnec_collage_ready-or-not_DSC08872-72-DPI.jpg" /&#62;Installation view: Un/sichtbar-GENERATIONEN, 09/03 - 22/06/2025, Haus der Stadtgeschichte Offenbach, Offenbach, Germany.


Using the Stasi files of her parents, as well as personal and institutional image archives, Verdiana Albano explores her own fragmented 
and secret-laden Afro-European history.
&#38;nbsp;


Dr. Franziska Kunze
Pinakothek der Moderne


&#60;img width="2637" height="1485" width_o="2637" height_o="1485" data-src="https://freight.cargo.site/t/original/i/8351ec8f059a80c78016e7735c449451932d904aca4793b9d94effafa2f2cdfd/albano_aphf_IMG_2488.jpg" data-mid="249923771" border="0"  src="https://freight.cargo.site/w/1000/i/8351ec8f059a80c78016e7735c449451932d904aca4793b9d94effafa2f2cdfd/albano_aphf_IMG_2488.jpg" /&#62;Athens Photo Festival 2026, Benaki Museum / Pireos.&#38;nbsp;
&#60;img width="4000" height="2388" width_o="4000" height_o="2388" data-src="https://freight.cargo.site/t/original/i/3d8427a6beda71d259e774f91bc172cefb820929febf29d7bc437868a6f948a4/20_robert_schittko_copyright-10.jpg" data-mid="239756886" border="0"  src="https://freight.cargo.site/w/1000/i/3d8427a6beda71d259e774f91bc172cefb820929febf29d7bc437868a6f948a4/20_robert_schittko_copyright-10.jpg" /&#62;
Installation view: Space-Time InFlexions, MARS Frankfurt, 08-09/2025, Frankfurt, Germany. Copyright: Robert Schittko.


Many thanks to the supporters who have seen the vision
&#60;img width="1162" height="226" width_o="1162" height_o="226" data-src="https://freight.cargo.site/t/original/i/4e05d9d1b346b164067deb3b366fe52c9b90afed2349edb3f6837d1ed92db115/Logo_Deichtorhallen_followup.png" data-mid="223467685" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/4e05d9d1b346b164067deb3b366fe52c9b90afed2349edb3f6837d1ed92db115/Logo_Deichtorhallen_followup.png" /&#62;


&#60;img width="900" height="547" width_o="900" height_o="547" data-src="https://freight.cargo.site/t/original/i/76c63f396fc5b2dbcf37983aa3e57f7a3f25ac9787c468f2ecaded2ba1777de0/Logo_DDRM.jpg" data-mid="223467683" border="0" data-scale="23" src="https://freight.cargo.site/w/900/i/76c63f396fc5b2dbcf37983aa3e57f7a3f25ac9787c468f2ecaded2ba1777de0/Logo_DDRM.jpg" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#60;img width="300" height="156" width_o="300" height_o="156" data-src="https://freight.cargo.site/t/original/i/3ae09eaeccdbf51f93bba7b4b494aeb6b7e19c11bb4b52863593da32933795a5/Logo_DDRMuseum_Malchow.png" data-mid="223467684" border="0" data-scale="23" src="https://freight.cargo.site/w/300/i/3ae09eaeccdbf51f93bba7b4b494aeb6b7e19c11bb4b52863593da32933795a5/Logo_DDRMuseum_Malchow.png" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="606" height="240" width_o="606" height_o="240" data-src="https://freight.cargo.site/t/original/i/e6e13a65ac726fb07c9af1c9674ad0f5724c275c0a3df1082f26ed04542f45b8/Logo_Domid.png" data-mid="223467686" border="0" data-scale="44" src="https://freight.cargo.site/w/606/i/e6e13a65ac726fb07c9af1c9674ad0f5724c275c0a3df1082f26ed04542f45b8/Logo_Domid.png" /&#62;

&#60;img width="4896" height="2706" width_o="4896" height_o="2706" data-src="https://freight.cargo.site/t/original/i/091ae82f0ea2462bf3cd0e2f82c8f056d0d087a33315fc43e00e880252b10b86/Robert_Schittko_Copyright_mirella-12.jpg" data-mid="228036909" border="0"  src="https://freight.cargo.site/w/1000/i/091ae82f0ea2462bf3cd0e2f82c8f056d0d087a33315fc43e00e880252b10b86/Robert_Schittko_Copyright_mirella-12.jpg" /&#62;Opening: Un/sichtbar-GENERATIONEN, 09/03/2025, Haus der Stadtgeschichte Offenbach, Offenbach, Germany.&#38;nbsp;© Robert Schittko.

&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/a21def5d5d05a4ff4e9a3d77f892f8bcbe49d56f0d29daea2e70fa505110b44d/20_albano_iafnec_clear-perspectives---klare-perspektiven_2024-72-DPI.jpg" data-mid="223467614" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/a21def5d5d05a4ff4e9a3d77f892f8bcbe49d56f0d29daea2e70fa505110b44d/20_albano_iafnec_clear-perspectives---klare-perspektiven_2024-72-DPI.jpg" /&#62;This photo was created in co-operation with the GDR Museum Berlin.


</description>
		
	</item>
		
		
	<item>
		<title>statusreport</title>
				
		<link>https://verdianaalbano.com/statusreport</link>

		<pubDate>Thu, 23 Mar 2023 16:50:00 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

		<guid isPermaLink="true">https://verdianaalbano.com/statusreport</guid>

		<description>


status report
2022/23


Research and documentary trip about the Belt and Road InitiativeToday, the world is globally connected as never before. Over centuries, trade routes have developed between countries that are now permanent fixtures. Now a famous trade route has been rehabilitated and redeveloped. The New Silk Road has been celebrating its existence since 2013. This&#38;nbsp;One World One Belt (一带一路)&#38;nbsp;project is an unprecedented linkage of more than 65 countries starting from China. In contracts, the expansion of railroad lines, roads, ports and airports were assessed. The overall project already affects more than 60% of the world's population and 35% of the world's economy. In the process, the&#38;nbsp;Belt and Road Initiative (BRI)&#38;nbsp;has significantly expanded its route network. Generally, there are two maritime routes and three land routes for the trade of goods. All routes start or end in China. By the time a container ship reaches Germany, it has already covered 6,835 miles. The&#38;nbsp;Chinese Dream&#38;nbsp;has already made it far beyond the country's own borders. Countless products are not only exported from the country, but also imported into it. These are the products that influence our current lives and determine our future.&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/7655d99f7035375e9452eafdbcfcfa6cfe30c50ba47bd800895c87ada43a7ff8/verdiana_albano_statusreport_DSC5083-Edit.jpg" data-mid="172842608" border="0" alt="status report: port khalifa two in the united arab emirates" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;status report: port khalifa two in the united arab emirates&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/7655d99f7035375e9452eafdbcfcfa6cfe30c50ba47bd800895c87ada43a7ff8/verdiana_albano_statusreport_DSC5083-Edit.jpg" /&#62;

&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/fea3cfc705da332c2e9ddcc40aa9280950a0bfb4d19621e3a8e73b6dae1c1d7f/verdiana_albano_statusreport_DSC4796.jpg" data-mid="172842607" border="0" alt="status report: construction site in azerbaidjan" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;status report: construction site in azerbaidjan&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/fea3cfc705da332c2e9ddcc40aa9280950a0bfb4d19621e3a8e73b6dae1c1d7f/verdiana_albano_statusreport_DSC4796.jpg" /&#62;Why is this interesting for contemporary art?Art conveys thoughts, feelings and circumstances, and at the same time it is traded as a commodity in various price ranges. Beliefs, great powers and trade always have been determining factors for Arts and they have always been used as a demonstration of the power of institutions and entire empires.
China is famous for extraordinary professionalism and attention to detail in painting and pottery. Ceramics and porcelain were previously transported via the Historical Silk Road and have had a lasting influence on our households. However, a legitimate question arises: what influences does the BRI have on our direct future? How are the physical trade routes and the trade goods themselves controlled? Who decides which goods are imported and exported? In addition to the meaning of these products in terms of content, it is equally about the materials used to create the crafts. Brushes, paints, hardware - how big is the influence of corporate interests and trade agreements on contemporary art?
Explicitly in photography, the focus should be on the leading manufacturers. It is the juxtaposition of technical possibilities and the question of availability in art that form an interesting factor, one that has been increasingly brought into focus by industrialization in the past century. Artworks such as those made by Jordan Wolfson (Female figure, 2014), Sun Yuan and Peng Yu (Can't help myself, 2016), and Darek Siusta (Cone, 2017) further highlight the question of access to innovation and financial expenditure of artists. Art can quickly be placed in the category of luxury goods and is increasingly shaped by immense production costs and exorbitant prices.
&#60;img width="2875" height="1920" width_o="2875" height_o="1920" data-src="https://freight.cargo.site/t/original/i/0086a95f4aebd4904c592fb461ed3d7f92fe299d094a7698ab81be8644e17dec/spedition-3-0_albano_statusreport_Robert_Schittko_Copyright-120.jpg" data-mid="201071346" border="0"  src="https://freight.cargo.site/w/1000/i/0086a95f4aebd4904c592fb461ed3d7f92fe299d094a7698ab81be8644e17dec/spedition-3-0_albano_statusreport_Robert_Schittko_Copyright-120.jpg" /&#62;
&#60;img width="1820" height="1213" width_o="1820" height_o="1213" data-src="https://freight.cargo.site/t/original/i/32e485f72a5eb9b63fd78ead68a82d6cf56a7c19ba5e6d7e82b276bc4bd03591/verdiana_albano_statusreport_07-2022-04284.jpg" data-mid="172842606" border="0" alt="status report: new and historical silk road in uzbekistan" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;status report: new and historical silk road in uzbekistan&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/32e485f72a5eb9b63fd78ead68a82d6cf56a7c19ba5e6d7e82b276bc4bd03591/verdiana_albano_statusreport_07-2022-04284.jpg" /&#62;


In status report, the extent to which the artistic goods traded through the Belt and Road Initiative are affected will be examined. During the research the topic will be thoroughly evaluated with the help of statistics, excerpts from contracts, and comparisons to historical trade contracts.
The first research trip will start in June 2022 and will focus on countries in East Asia, Central Asia, and Oceania that are linked to China through the BRI, such as Thailand, Singapore, Qatar, Kyrgyzstan, and New Zealand. The aim is to explore people's access and relationship to artistic objects, as well as the interventions in nature associated with them. In the status report, an art photography "qualitative study" will be produced, serving as a subjective report of photographic nature.

With a fast-moving and open journalism approach, the focus of the work is to capture a contemporary and holistic impression of our world, the influence of digitalization, and our role as humans in the 21st century.


&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/0cc52ab89dd5a2c2701f5fb0db57365e5857666811861339b82baf3799734eab/verdiana_albano_16.jpg" data-mid="201071363" border="0"  src="https://freight.cargo.site/w/1000/i/0cc52ab89dd5a2c2701f5fb0db57365e5857666811861339b82baf3799734eab/verdiana_albano_16.jpg" /&#62;&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/464b6797bc29142a9c4e5460a2cf29e0c66677bd2fea5def507f8686d907ac7f/verdiana_albano_statusreport_DSC5508.jpg" data-mid="172842609" border="0" alt="status report: child on streets in rwanda" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;status report: child on streets in rwanda&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/464b6797bc29142a9c4e5460a2cf29e0c66677bd2fea5def507f8686d907ac7f/verdiana_albano_statusreport_DSC5508.jpg" /&#62;&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/737b71e67c0dc1591b52753ea334f546fb12da27f5cabce9b33902ae7d7d5e41/verdiana_albano_statusreport_DSC5521.jpg" data-mid="172842610" border="0" alt="status report: streets in rwanda" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;status report: streets in rwanda&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/737b71e67c0dc1591b52753ea334f546fb12da27f5cabce9b33902ae7d7d5e41/verdiana_albano_statusreport_DSC5521.jpg" /&#62;
Thanks to the supporters of this project
&#60;img width="1323" height="1295" width_o="1323" height_o="1295" data-src="https://freight.cargo.site/t/original/i/49efb406fa5df1523d02fbf0e426f4cdcbd2b44d43443e6f964621b86ff0e45a/BKM_Neustart_Kultur_Wortmarke_neg_RGB_RZ.png" data-mid="172843636" border="0" data-scale="25" src="https://freight.cargo.site/w/1000/i/49efb406fa5df1523d02fbf0e426f4cdcbd2b44d43443e6f964621b86ff0e45a/BKM_Neustart_Kultur_Wortmarke_neg_RGB_RZ.png" /&#62;&#60;img width="1944" height="832" width_o="1944" height_o="832" data-src="https://freight.cargo.site/t/original/i/cf66b42ee434e39f60cf437725aa18ad4a46cbb1997546738338133297ac943c/BKM_2017_Office_Farbe_de.png" data-mid="172843635" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/cf66b42ee434e39f60cf437725aa18ad4a46cbb1997546738338133297ac943c/BKM_2017_Office_Farbe_de.png" /&#62;&#60;img width="315" height="80" width_o="315" height_o="80" data-src="https://freight.cargo.site/t/original/i/1955f33b6f411915c96994b21b673ae2564adc2d9291b1a3a00bf1207bf0c43e/VG-WORT-Logo--315-x-80--24-bit--Transparent.png" data-mid="172843410" border="0" data-scale="23" src="https://freight.cargo.site/w/315/i/1955f33b6f411915c96994b21b673ae2564adc2d9291b1a3a00bf1207bf0c43e/VG-WORT-Logo--315-x-80--24-bit--Transparent.png" /&#62;&#38;nbsp;
</description>
		
	</item>
		
		
	<item>
		<title>surrounded</title>
				
		<link>https://verdianaalbano.com/surrounded</link>

		<pubDate>Thu, 23 Mar 2023 08:52:28 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

		<guid isPermaLink="true">https://verdianaalbano.com/surrounded</guid>

		<description>


surrounded&#38;nbsp;围
2019
&#60;img width="1456" height="1820" width_o="1456" height_o="1820" data-src="https://freight.cargo.site/t/original/i/5eb25b65f0c99317c01fb0c291f81d93ba343612003b15b45ba7d4240838be7b/verdiana_abano_surrounded_2924-11.8--N-10629-58.8--E.jpg" data-mid="172781592" border="0" alt="surrounded: Foggy Landscape with Bridges in Chongqing, China - 2019 " data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;surrounded: Foggy Landscape with Bridges in Chongqing, China - 2019 &#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/5eb25b65f0c99317c01fb0c291f81d93ba343612003b15b45ba7d4240838be7b/verdiana_abano_surrounded_2924-11.8--N-10629-58.8--E.jpg" /&#62;

Chongqing is known as the biggest city in the world. The city was extended just 40 years ago and is now a similar size than the whole area of Austria itself. Subsidized and precisely planned, the city develops at dashing speed. This planned city with a long traditional background was put into the middle of a mountain pass. Crossed by two rivers, the Jialing and the Yangtze, heavy layers of fog form almost throughout the year, into which the new cityscape with hundreds of high-rise buildings blends perfectly.
&#60;img width="1820" height="1213" width_o="1820" height_o="1213" data-src="https://freight.cargo.site/t/original/i/10d532336ed12058677d86625e4e79d0897fed94e148a3b4a6f4e408dd5e3415/verdiana_albano_surrounded_beyondtheedge_ansicht.jpg" data-mid="172781804" border="0"  src="https://freight.cargo.site/w/1000/i/10d532336ed12058677d86625e4e79d0897fed94e148a3b4a6f4e408dd5e3415/verdiana_albano_surrounded_beyondtheedge_ansicht.jpg" /&#62;
"Rather, Albano succeeds in creating an atmospheric image of the city in almost monochromatic color.", Anne-Marie Beckmann, Curator of the Deutsche Börse Photography Foundation (2020). It seems that the city is surrounded by fog, rivers, mountains and in addition in the geographical center of the “empire of the middle”.

This series is part of the Deutsche Börse Photography Foundation Collection since 2021.


&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/d6b4f61524444e6066dde8d0b1aa7fcd5b18f83639f579801fea00b3635afb7b/albano_surrounded_Les-Rencontres-d-Arles_DSC7251-2.jpg" data-mid="201071461" border="0"  src="https://freight.cargo.site/w/1000/i/d6b4f61524444e6066dde8d0b1aa7fcd5b18f83639f579801fea00b3635afb7b/albano_surrounded_Les-Rencontres-d-Arles_DSC7251-2.jpg" /&#62;&#60;img width="1920" height="1319" width_o="1920" height_o="1319" data-src="https://freight.cargo.site/t/original/i/a629ac1c8109d9b4042d5e72c7a120897cb47e8abc0d98b4a2e78616a427b160/albano_surrounded_Les-Rencontres-d-Arles_DSC7214.jpg" data-mid="201071413" border="0"  src="https://freight.cargo.site/w/1000/i/a629ac1c8109d9b4042d5e72c7a120897cb47e8abc0d98b4a2e78616a427b160/albano_surrounded_Les-Rencontres-d-Arles_DSC7214.jpg" /&#62;
&#60;img width="1456" height="1820" width_o="1456" height_o="1820" data-src="https://freight.cargo.site/t/original/i/f4da9182ea0e0fd047fecffaa6ccfc24d39b67647313cd85caf5785642400f01/verdiana_abano_surrounded_2933-00.0--N-10634-00.0--E.jpg" data-mid="172782244" border="0" alt="surrounded: Foggy Landscape a boat on the River in Chongqing, China - 2019 " data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;surrounded: Foggy Landscape a boat on the River in Chongqing, China - 2019 &#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/f4da9182ea0e0fd047fecffaa6ccfc24d39b67647313cd85caf5785642400f01/verdiana_abano_surrounded_2933-00.0--N-10634-00.0--E.jpg" /&#62;&#60;img width="1456" height="1820" width_o="1456" height_o="1820" data-src="https://freight.cargo.site/t/original/i/8cb2af44432acc5044f1df1b33c7a16566973287476dc5c2757857ecf9b90651/verdiana_abano_surrounded_2923-06.9--N-10630-04.1--E.jpg" data-mid="172782166" border="0" alt="surrounded: woman on bridges Chongqing, China - 2019 " data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;surrounded: woman on bridges Chongqing, China - 2019 &#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/8cb2af44432acc5044f1df1b33c7a16566973287476dc5c2757857ecf9b90651/verdiana_abano_surrounded_2923-06.9--N-10630-04.1--E.jpg" /&#62;&#60;img width="1456" height="1820" width_o="1456" height_o="1820" data-src="https://freight.cargo.site/t/original/i/30fb61247cfcc8a2d8f4949b9d9bc891705b4945dfaae9ea78ea0dcf001dd8ce/verdiana_abano_surrounded_2933-33.5--N-10634-32.4--E.jpg" data-mid="172781801" border="0" alt="surrounded: front of a house in Chongqing, China - 2019 " data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;surrounded: front of a house in Chongqing, China - 2019 &#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/30fb61247cfcc8a2d8f4949b9d9bc891705b4945dfaae9ea78ea0dcf001dd8ce/verdiana_abano_surrounded_2933-33.5--N-10634-32.4--E.jpg" /&#62;&#60;img width="1456" height="1820" width_o="1456" height_o="1820" data-src="https://freight.cargo.site/t/original/i/e2f04d560bf980ef1d3c8ef45e23c68f7d6dce5278bb1fa95f4b796980bec338/verdiana_abano_surrounded_2933-16.3--N-10632-48.8--E.jpg" data-mid="172781799" border="0"  src="https://freight.cargo.site/w/1000/i/e2f04d560bf980ef1d3c8ef45e23c68f7d6dce5278bb1fa95f4b796980bec338/verdiana_abano_surrounded_2933-16.3--N-10632-48.8--E.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Food 4.0 - The Czekalinski Metamorphosis</title>
				
		<link>https://verdianaalbano.com/Food-4-0-The-Czekalinski-Metamorphosis</link>

		<pubDate>Tue, 21 Mar 2023 15:28:36 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

		<guid isPermaLink="true">https://verdianaalbano.com/Food-4-0-The-Czekalinski-Metamorphosis</guid>

		<description>


Food 4.0&#38;nbsp;The Czekalinski Metamorphosis2022


When considering Verdiana Albano’s clinical-looking images and abstract-looking augmented reality objects, a connection to the 1951 Life Magazine photograph entitled The Czekalinski Family would perhaps not immediately occur to most. But what at first seems like an arranged advertising photograph for a supermarket turns out to be as much an all-around staged visualization of a research result. Based on statistics from the U.S. Department of Agriculture, the typical amount of two and a half tons of food that an average working class family of the 1950s consumed in a year was built up in one place for the photograph. Following this model, Verdiana Albano also calculated, in cooperation with a mathematician and on the basis of the GENESIS database of the Federal Statistical Office of Germany, an exemplary basket of goods of an average German household for the year 2022. For each of the fifteen food subgroups a representative was chosen. In the analog photography laboratory Verdiana Albano directly projected onto photographic paper. The results are enlarger derived artistic-looking photograms without the use of a camera, into which the foodstuffs were indexically inscribed. Generously passe-partured in the aluminum frame, however, the images lose their documentary-illustrative character and become mere signs of human research. What in reality is the enlarged light imprint of a foodstuff on photographic paper now appears to us like a zoomed-in, microscopic photograph. It becomes a part of a whole that can no longer be identified, and thus gets the effect of a display of the scientific gaze. This impression is reinforced by the delicate technical image designation embossed into the passe-partout, which only allows experts to assign the respective food category of the Federal Statistical Office. Frame dimensions and the choice of cut-outs are also based on calculated variables such as percentages of average food purchases or the golden ratio.
&#60;img width="1820" height="1257" width_o="1820" height_o="1257" data-src="https://freight.cargo.site/t/original/i/82f9f5309f517762108ea87b47da35e795873a5a4b791cafbdeaa3fc807b7863/albano_food-4-0_DSC09939-Edit.jpg" data-mid="172546121" border="0" alt="exhibition view food 4.0 the czekalinski metamorphosis text ingrediences of an all natural egg plus framed analog chemigrams of food " data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis text ingrediences of an all natural egg plus framed analog chemigrams of food &#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/82f9f5309f517762108ea87b47da35e795873a5a4b791cafbdeaa3fc807b7863/albano_food-4-0_DSC09939-Edit.jpg" /&#62; 

&#60;img width="1820" height="1141" width_o="1820" height_o="1141" data-src="https://freight.cargo.site/t/original/i/08dbafb1e516a3c85acd77d9f487f902002e7e5cd322189716ba528f78f72fbc/albano_food-4-0-DSC00019-Edit.jpg" data-mid="172545966" border="0" alt="exhibition view food 4.0 the czekalinski metamorphosis maxiprint" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis maxiprint&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/08dbafb1e516a3c85acd77d9f487f902002e7e5cd322189716ba528f78f72fbc/albano_food-4-0-DSC00019-Edit.jpg" /&#62;
&#60;img width="1365" height="1820" width_o="1365" height_o="1820" data-src="https://freight.cargo.site/t/original/i/4abff1a688b66cfe80e3bed8a9692a7e037e4c308cf171fe7036b4ccdcf3d3f7/albano_food-4-0_metamorphosis-09828.jpg" data-mid="172680983" border="0" data-scale="65" alt="exhibition view food 4.0 the czekalinski metamorphosis details on test tubes" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis details on test tubes&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/4abff1a688b66cfe80e3bed8a9692a7e037e4c308cf171fe7036b4ccdcf3d3f7/albano_food-4-0_metamorphosis-09828.jpg" /&#62;


Art thus becomes completely decomposable into its scientific reference values.As with other artists who have used food as a point of departure for their work, such as William Henry Fox Talbot (A Fruit Piece, 1845), Dieter Roth (Kleiner Sonnenuntergang, 1968), Peter Fischli and David Weiss (Wurst Series, 1979), or Andreas Gursky (99 Cent, 1999), this is also used in Verdiana Albano’s work as the basis for a discussion about the changing needs of an evolving society. The seemingly almost clinical presentation puts the exploratory gaze on display and thus raises the question of value in our modern world. The Augmented Reality level reinforces this effect: viewers are invited to actively relate to what is presented.Especially in contrast to the shiny digital surface of the Augmented Reality objects, the photograms once again gain in terms of haptic expressiveness. The closeness to the historical technique of Anna Atkins’ cyanotypes, which are now considered the world’s first photographic works, when juxtaposed with contemporary digital technology seems like a reference to historical processes of industrialization that can also be applied to food production itself. Here the complexity of the series Food 4.0. The Czekalinski Metamorphosis becomes clear, which is evident in the scientific methodology, the subject matter, the technology, as well as the art historical references, without having to loose aesthetic qualities.Lara Bader - art historian, 2022


&#60;img width="1291" height="1820" width_o="1291" height_o="1820" data-src="https://freight.cargo.site/t/original/i/66c38b9447ea26a7adc68cafc150f7d9059dafc48436daa17825f606a741d86a/albano_food-4-0_DSC09959-Edit.jpg" data-mid="172546117" border="0" data-scale="65" alt="exhibition view food 4.0 the czekalinski metamorphosis 3d Augmented reality wall honeystratus" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis 3d Augmented reality wall honeystratus&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/66c38b9447ea26a7adc68cafc150f7d9059dafc48436daa17825f606a741d86a/albano_food-4-0_DSC09959-Edit.jpg" /&#62;&#60;img width="1365" height="1820" width_o="1365" height_o="1820" data-src="https://freight.cargo.site/t/original/i/41b46badab3448e664683cadd04a00d181beebf7db1dae638e83fae403031099/albano_food-4-0_metamorphosis-09838.jpg" data-mid="172546112" border="0" data-scale="65" alt="exhibition view food 4.0 the czekalinski metamorphosis detail historic print" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis detail historic print&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/41b46badab3448e664683cadd04a00d181beebf7db1dae638e83fae403031099/albano_food-4-0_metamorphosis-09838.jpg" /&#62;&#60;img width="1209" height="1820" width_o="1209" height_o="1820" data-src="https://freight.cargo.site/t/original/i/ca954681d046e83e864d7ec1982a2f697ecb99713ec502a8d3a53b6745d598ec/albano_food-4-0_DSC09980.jpg" data-mid="172682710" border="0" data-scale="66" alt="exhibition view food 4.0 the czekalinski metamorphosis detail " data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis detail &#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/ca954681d046e83e864d7ec1982a2f697ecb99713ec502a8d3a53b6745d598ec/albano_food-4-0_DSC09980.jpg" /&#62;
&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/2578f5587ac6b294708ea199f09304d623f46dff1287c365d015c02b603f9b48/albano_food-4-0-DSC09964-2.jpg" data-mid="172682523" border="0" data-scale="65" alt="exhibition view food 4.0 the czekalinski metamorphosis" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/2578f5587ac6b294708ea199f09304d623f46dff1287c365d015c02b603f9b48/albano_food-4-0-DSC09964-2.jpg" /&#62;
&#60;img width="1820" height="1106" width_o="1820" height_o="1106" data-src="https://freight.cargo.site/t/original/i/c25c60891b97c3a564bad1f7592df52b038b1d15d2471ee32bf59dcac64b9a66/albano_food-4.0-DSC09928-Edit.jpg" data-mid="172545987" border="0" alt="exhibition view food 4.0 the czekalinski metamorphosis whole exhibition" data-caption="&#38;lt;span style=&#38;quot;opacity: 0;&#38;quot;&#38;gt;exhibition view food 4.0 the czekalinski metamorphosis whole exhibition&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/c25c60891b97c3a564bad1f7592df52b038b1d15d2471ee32bf59dcac64b9a66/albano_food-4.0-DSC09928-Edit.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Nothing half, nothing whole</title>
				
		<link>https://verdianaalbano.com/Nothing-half-nothing-whole</link>

		<pubDate>Thu, 30 Mar 2023 11:48:31 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

		<guid isPermaLink="true">https://verdianaalbano.com/Nothing-half-nothing-whole</guid>

		<description>


Nothing half, nothing whole
2021


The series "Nothing half, nothing whole" by Verdiana Albano deals with a search for identity and the origins of a multicultural woman. The performative and sculptural interventions in the hybrid landscape are intended to give her an answer to the search for home, identity and culture. She deliberately uses a vegetative translation of herself: an island between the European and African mainland. Far away from civilization, human and nature want to unite narratively, seek a partnership and a common ground. 


The titles of the pictures indicate that the twelve-part series was created within 24 hours. This temporal limitation with regard to the multifaceted motifs is a homage to the beauty in the island's rich diversity, which can be projected onto multiculturalism and the positive in the coming together of differences. At the same time, questions arise of identity and origin, conflict and harmony. It is also a story about vulnerability and despair.

Sourced in ecofeminist approaches and borrowing from works such as Earth Body by Ana Mendieta, the way the body and landscape are juxtaposed changes the meaning of the human being itself. In some cases, the body is only recognisable after a closer look. Physical boundaries are ignored by the body during the encounter.The impression is created that the sculptural foreign body becomes an indispensable part of the landscape and at the same time competes with an entitlement to be there.


Dr. Ellen Wagner
&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/50d49f960c9522d1da7446e58e8bbda6e558f68fedc813a74608a3567506b0af/albano_nhnw_futurium_DSC7876.jpg" data-mid="201071642" border="0"  src="https://freight.cargo.site/w/1000/i/50d49f960c9522d1da7446e58e8bbda6e558f68fedc813a74608a3567506b0af/albano_nhnw_futurium_DSC7876.jpg" /&#62;
&#60;img width="1820" height="1215" width_o="1820" height_o="1215" data-src="https://freight.cargo.site/t/original/i/1f2d2e14955f7d2b3d7b62edf079179b7008af1e630b863fb9938f73f6a5e9a8/Nothing-half-nothing-whole_Copyright_LauraBrichta-5096.jpg" data-mid="173664123" border="0" alt="exhibition view nothing half nothing whole ledermuseum deutsche bahn bauzaun prints dessert motifs" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view nothing half nothing whole ledermuseum deutsche bahn bauzaun prints dessert motifs&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/1f2d2e14955f7d2b3d7b62edf079179b7008af1e630b863fb9938f73f6a5e9a8/Nothing-half-nothing-whole_Copyright_LauraBrichta-5096.jpg" /&#62;&#60;img width="1820" height="1215" width_o="1820" height_o="1215" data-src="https://freight.cargo.site/t/original/i/2830f9e3c034bf4798b5759ae31dbb493e01f23391b5e8f948c2ba7a61206a3d/Nothing-half-nothing-whole_Copyright_LauraBrichta-5110.jpg" data-mid="173664124" border="0" alt="exhibition view nothing half nothing whole ledermuseum deutsche bahn bauzaun prints" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view nothing half nothing whole ledermuseum deutsche bahn bauzaun prints&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/2830f9e3c034bf4798b5759ae31dbb493e01f23391b5e8f948c2ba7a61206a3d/Nothing-half-nothing-whole_Copyright_LauraBrichta-5110.jpg" /&#62;&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/1f9f85c466d21b9923ac52991a742e3b069430732876ddc56ab9a93750c1e913/albano_nothinghalf_nothingwhole_12-59-01.jpg" data-mid="173664120" border="0" alt="nothing half nothing whole afro european woman lying on a colourful stone" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;nothing half nothing whole afro european woman lying on a colourful stone&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/1f9f85c466d21b9923ac52991a742e3b069430732876ddc56ab9a93750c1e913/albano_nothinghalf_nothingwhole_12-59-01.jpg" /&#62;&#60;img width="1820" height="1025" width_o="1820" height_o="1025" data-src="https://freight.cargo.site/t/original/i/121b04f65c2e5ec3e275fad9d37dfd82b9dd8f739f4822909854c86734d9f5b3/verdiana_albano_nothinghalf_nothingwhole_2021-opelvillen-open-air_1.jpg" data-mid="173664126" border="0" alt="exhibition view: nothing half nothing whole, alu dibond print in water" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: nothing half nothing whole, alu dibond print in water&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/121b04f65c2e5ec3e275fad9d37dfd82b9dd8f739f4822909854c86734d9f5b3/verdiana_albano_nothinghalf_nothingwhole_2021-opelvillen-open-air_1.jpg" /&#62;&#60;img width="1440" height="1920" width_o="1440" height_o="1920" data-src="https://freight.cargo.site/t/original/i/81f1cdc29e2056c97aad24cd287855222ac305ae71e157fd5540d677a54a1377/albano_nhnw_futurium_IMG_2357s.jpg" data-mid="201071646" border="0"  src="https://freight.cargo.site/w/1000/i/81f1cdc29e2056c97aad24cd287855222ac305ae71e157fd5540d677a54a1377/albano_nhnw_futurium_IMG_2357s.jpg" /&#62;&#60;img width="1820" height="1210" width_o="1820" height_o="1210" data-src="https://freight.cargo.site/t/original/i/9315f057efbad05aba0cacc1e962d130bacd10b94419e1f91f29b0fa1a38dca2/Nothing-half-nothing-whole_A.Grabold_T017857_beb.jpg" data-mid="173664122" border="0" alt="exhibition view: nothing half nothing whole, gallery prints at the wall" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: nothing half nothing whole, gallery prints at the wall&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/9315f057efbad05aba0cacc1e962d130bacd10b94419e1f91f29b0fa1a38dca2/Nothing-half-nothing-whole_A.Grabold_T017857_beb.jpg" /&#62;&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/df4ffcaed1d1c795aff96684b27f2754356e6dc4eea2ba6baed254f5ddda2755/albano_nothinghalf_nothingwhole_11-42-51.jpg" data-mid="173664119" border="0" alt="nothing half nothing whole afro european woman lying in the desert" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;nothing half nothing whole afro european woman lying in the desert&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/df4ffcaed1d1c795aff96684b27f2754356e6dc4eea2ba6baed254f5ddda2755/albano_nothinghalf_nothingwhole_11-42-51.jpg" /&#62;
&#60;img width="1213" height="1820" width_o="1213" height_o="1820" data-src="https://freight.cargo.site/t/original/i/396d59a8576cfd41b2cb4f7f7eb999e4c03255e56683aa0027809764db7f96da/verdiana_albano_nothinghalf_nothingwhole_19.32.11_2021.jpg" data-mid="173664125" border="0" alt="nothing half nothing whole afro european woman lying in a red canyon" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;nothing half nothing whole afro european woman lying in a red canyon&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/396d59a8576cfd41b2cb4f7f7eb999e4c03255e56683aa0027809764db7f96da/verdiana_albano_nothinghalf_nothingwhole_19.32.11_2021.jpg" /&#62;</description>
		
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	<item>
		<title>hybridized</title>
				
		<link>https://verdianaalbano.com/hybridized</link>

		<pubDate>Thu, 30 Mar 2023 12:19:36 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

		<guid isPermaLink="true">https://verdianaalbano.com/hybridized</guid>

		<description>


hybridized
2021


Ai-calculated images based on paintings and photographyin cooperation with Armin Amiri (painter), curated by Ben Livne Weitzman 
The exhibition of Verdiana Albano and Armin Amiri takes on the question of the self-preservation of civilisation, then, in an eschatological way.The artist has visualized the wall from which humanity is desperately trying to escape. The third collection of the artist shares the question of historical continuity and the prevailing racism.In other words, these artists perceive reality from a number of different perspectives, of course none of which takes the form of a judgement. If anything, by focusing on these issues, these artists are looking for reconciliation. There is no doubt that their artwork offers hope for a more peaceful future. By allowing a machine to read, interpret and fuse their works, the artists have committed to the notion that even in their art, there is room for subtext. This practice, they believe, is the basis for the democratization of culture.As for the poor depictions of the world, these pieces present visions that the ignorant might not be able to read without the aid of a machine. As for the plagues, these depict the warning signs of the collapse of civilisation. In other words, the artists, while they might not be able to reflect society with a human-centred lens, have at least, as they state, allowed a machine to.
&#60;img width="1820" height="1213" width_o="1820" height_o="1213" data-src="https://freight.cargo.site/t/original/i/1e93f4eeb276c6635534e3ff2e36433ecc79eb7c9e68c957ab5c802ce1cfb6e7/hybridized_albano-und-amiri_box_hfg-offenbach_2021_03.jpg" data-mid="173666510" border="0" alt="exhibition view: hybridized, ai generated maxiprint on a window" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: hybridized, ai generated maxiprint on a window&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/1e93f4eeb276c6635534e3ff2e36433ecc79eb7c9e68c957ab5c802ce1cfb6e7/hybridized_albano-und-amiri_box_hfg-offenbach_2021_03.jpg" /&#62;&#60;img width="1320" height="829" width_o="1320" height_o="829" data-src="https://freight.cargo.site/t/original/i/82e5b5f2c6541560dc964497065f56b7b73bf60d93f71ebe45b37d52803d728f/hybridized_albano-und-amiri_box_hfg-offenbach_2021_10.jpg" data-mid="173666520" border="0" alt="exhibition view: hybridized, ai generated maxiprint on a window, paintings and collage" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: hybridized, ai generated maxiprint on a window, paintings and collage&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/82e5b5f2c6541560dc964497065f56b7b73bf60d93f71ebe45b37d52803d728f/hybridized_albano-und-amiri_box_hfg-offenbach_2021_10.jpg" /&#62;
When I look at these hybrid works of art in which Verdiana's photographs and Armin's paintings were fed into an AI system that blended them together,&#38;nbsp;I cannot help but thinking of a computer as a marvelous and autonomous (but also biologically implausible) laboratory in which the paintings, sounds, smells, etc. of the computer's digital world can play out a different pattern each time it learns from its predecessors. Here, a new aspect of artistic creativity and design — something that has eluded AI for years — has been produced and processed, not by a human, but by software. These artworks come to life.Except for this: This very uniqueness, this singularity, is what makes the works and the process unique. It is what makes them interactive. The artist and the computer scientist might be in some sense merely two members of a collaboration, but they, like the MOCAD audience, cannot do without each other. No one enters a museum expecting to see some crazy video, but Verdiana's brightly colored animations and Armin's computer-sculptures live in real time in the exhibition space, interact with each other, react to the museum-goers, and are fixed in this strange new hybrid world.* This text was produced in collaboration with InferKit’s AI text generation tool based on three sentence fragments suggested by the curator. Ben Livne Weitzman&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/a812fffd6b21c2c8dfb935498276deed86da78da129183a5387f9a340cf54b58/hybridized_albano-und-amiri_box_hfg-offenbach_2021_08-1920w.jpg" data-mid="173666517" border="0" alt="exhibition view: hybridized, detail painting collage" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: hybridized, detail painting collage&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/a812fffd6b21c2c8dfb935498276deed86da78da129183a5387f9a340cf54b58/hybridized_albano-und-amiri_box_hfg-offenbach_2021_08-1920w.jpg" /&#62;
&#60;img width="1320" height="880" width_o="1320" height_o="880" data-src="https://freight.cargo.site/t/original/i/abcad9c12b7d1a0e34420fb40fd1837a6c0cf4b7364c253bf41b95307ca67069/hybridized_albano-und-amiri_box_hfg-offenbach_2021_06.jpg" data-mid="173666515" border="0" alt="exhibition view: hybridized, detail digital collage" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: hybridized, detail digital collage&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/abcad9c12b7d1a0e34420fb40fd1837a6c0cf4b7364c253bf41b95307ca67069/hybridized_albano-und-amiri_box_hfg-offenbach_2021_06.jpg" /&#62;&#60;img width="880" height="1320" width_o="880" height_o="1320" data-src="https://freight.cargo.site/t/original/i/c54bf46cb84c9d8db2472cfe1850348a2a260e10d946e59f87e438d7bbff4199/hybridized_albano-und-amiri_box_hfg-offenbach_2021_04.jpg" data-mid="173666513" border="0" alt="exhibition view: hybridized, detail painting and view through window" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: hybridized, detail painting and view through window&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/880/i/c54bf46cb84c9d8db2472cfe1850348a2a260e10d946e59f87e438d7bbff4199/hybridized_albano-und-amiri_box_hfg-offenbach_2021_04.jpg" /&#62;&#60;img width="1320" height="880" width_o="1320" height_o="880" data-src="https://freight.cargo.site/t/original/i/6512e2e383f75879091e613a1b57cc4e0c70950b81bae0f3b04ab2c6be9102df/hybridized_albano-und-amiri_box_hfg-offenbach_2021_05.jpg" data-mid="173666514" border="0" alt="exhibition view: hybridized, detail painting" data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: hybridized, detail painting&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/6512e2e383f75879091e613a1b57cc4e0c70950b81bae0f3b04ab2c6be9102df/hybridized_albano-und-amiri_box_hfg-offenbach_2021_05.jpg" /&#62;

&#60;img width="1320" height="1052" width_o="1320" height_o="1052" data-src="https://freight.cargo.site/t/original/i/b8fb41a66760ed2b6da4c92e40a1a175f7dddc9484e56ee59ce9cce6ce8e625e/hybridized_albano-und-amiri_box_hfg-offenbach_2021.jpg" data-mid="173667324" border="0" alt="exhibition view: hybridized, full digital collage " data-caption="&#38;lt;span style='opacity: 0;'&#38;gt;exhibition view: hybridized, full digital collage &#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/b8fb41a66760ed2b6da4c92e40a1a175f7dddc9484e56ee59ce9cce6ce8e625e/hybridized_albano-und-amiri_box_hfg-offenbach_2021.jpg" /&#62;</description>
		
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	<item>
		<title>Honey</title>
				
		<link>https://verdianaalbano.com/Honey</link>

		<pubDate>Fri, 31 Mar 2023 11:38:08 +0000</pubDate>

		<dc:creator>Verdiana Albano</dc:creator>

		<guid isPermaLink="true">https://verdianaalbano.com/Honey</guid>

		<description>
&#60;img width="1080" height="1620" width_o="1080" height_o="1620" data-src="https://freight.cargo.site/t/original/i/9c5eaaec00779b123e5016d0ebff70368efdb17f179f6fae13c706d163576e83/albano_worksoverview-taf.png" data-mid="173791359" border="0"  src="https://freight.cargo.site/w/1000/i/9c5eaaec00779b123e5016d0ebff70368efdb17f179f6fae13c706d163576e83/albano_worksoverview-taf.png" /&#62;
&#60;img width="1080" height="1620" width_o="1080" height_o="1620" data-src="https://freight.cargo.site/t/original/i/a992aa8256fd7aef9e0a047d708995d007a6cf6fea6ddda12f78d57938ba5254/albano_worksoverview-tjolg-m.png" data-mid="173791361" border="0"  src="https://freight.cargo.site/w/1000/i/a992aa8256fd7aef9e0a047d708995d007a6cf6fea6ddda12f78d57938ba5254/albano_worksoverview-tjolg-m.png" /&#62;
&#60;img width="1080" height="1620" width_o="1080" height_o="1620" data-src="https://freight.cargo.site/t/original/i/5f0b780e35a65fc952463ed83f68f61407bb84607909c1db5d2da1ba5094830a/albano_worksoverview-wihh.png" data-mid="173791362" border="0"  src="https://freight.cargo.site/w/1000/i/5f0b780e35a65fc952463ed83f68f61407bb84607909c1db5d2da1ba5094830a/albano_worksoverview-wihh.png" /&#62;
&#60;img width="1080" height="1620" width_o="1080" height_o="1620" data-src="https://freight.cargo.site/t/original/i/4feb596d6c83d9c4c0b1b864b8562b58807c1ccffbd5122ef78c5f087a047497/albano_worksoverview-tjolg-2x.png" data-mid="173791360" border="0"  src="https://freight.cargo.site/w/1000/i/4feb596d6c83d9c4c0b1b864b8562b58807c1ccffbd5122ef78c5f087a047497/albano_worksoverview-tjolg-2x.png" /&#62;


HONEY&#38;nbsp;Honey is a sweet and viscous substance made by several bees, the best-known of which are honey bees.[1][2] Honey is made and stored to nourish bee colonies. Bees produce honey by gathering and then refining the sugary secretions of plants (primarily floral nectar) or the secretions of other insects, like the honeydew of aphids. This refinement takes place both within individual bees, through regurgitation and enzymatic activity, as well as during storage in the hive, through water evaporation that concentrates the honey's sugars until it is thick and viscous.

Honey bees stockpile honey in the hive. Within the hive is a structure made from wax called honeycomb. The honeycomb is made up of hundreds or thousands of hexagonal cells, into which the bees regurgitate honey for storage. Other honey-producing species of bee store the substance in different structures, such as the pots made of wax and resin used by the stingless bee.[1][2][3]

Honey for human consumption is collected from wild bee colonies, or from the hives of domesticated bees. The honey produced by honey bees is the most familiar to humans, thanks to its worldwide commercial production and availability.[4] The husbandry of bees is known as beekeeping or apiculture, with the cultivation of stingless bees usually referred to as meliponiculture.

Honey is sweet because of its high concentrations of the monosaccharides fructose and glucose. It has about the same relative sweetness as sucrose (table sugar).[5][6] One standard tablespoon (15 mL) of honey provides around 190 kilojoules (46 kilocalories) of food energy.[7] It has attractive chemical properties for baking and a distinctive flavor when used as a sweetener.[5] Most microorganisms cannot grow in honey and sealed honey therefore does not spoil. Samples of honey discovered in archaeological contexts have proven edible even after thousands of years.[8][9]

Honey use and production has a long and varied history, with its beginnings in prehistoric times. Several cave paintings in Cuevas de la Araña in Spain depict humans foraging for honey at least 8,000 years ago.[10][11] While Apis melifera is an Old World insect, large-scale meliponiculture of New World stingless bees has been practiced by Mayans since pre-Columbian times.[2][12]

By honeybees
Honey is produced by bees who have collected nectar or honeydew. Bees value honey for its sugars, which they consume to support general metabolic activity, especially that of their flight muscles during foraging, and as a food for their larvae. To this end bees stockpile honey to provide for themselves during ordinary foraging as well as during lean periods, as in overwintering.[13][14] During foraging bees use part of the nectar they collect to power their flight muscles. The majority of nectar collected is not used to directly nourish the insects but is instead destined for regurgitation, enzymatic digestion, and finally long-term storage as honey.[13][15] During cold weather or when other food sources are scarce, adult and larval bees consume stored honey, which is many times as energy-dense as the nectar from which it is made.[14]

After leaving the hive a foraging bee collects sugar-rich nectar or honeydew. Nectar from the flower generally has a water content of 70 to 80% and is much less viscous than finished honey, which usually has a water content around 18%.[16][17] The water content of honeydew from aphids and other true bugs is generally very close to the sap on which those insects feed and is usually somewhat more dilute than nectar. One source describes the water content of honeydew as around 89%.[18] Whether it is feeding on nectar or honeydew, the bee sucks these runny fluids through its proboscis, which delivers the liquid to the bee's proventriculus, also called the honey stomach or honey crop. This cavity lies just above its food stomach, the latter of which digests pollen and sugars consumed by an individual honeybee for its own nourishment.

In Apis mellifera the honey stomach holds about 40 mg of liquid. This is about half the weight of an unladen bee. Collecting this quantity in nectar can require visits to more than a thousand flowers. When nectar is plentiful it can take a bee more than an hour of ceaseless work to collect enough nectar to fill its honey crop. Salivary enzymes and proteins from the bee's hypopharyngeal gland are secreted into the nectar once it is in the bee's honey stomach. These substances begin cleaving complex sugars like sucrose and starches into simpler sugars such as glucose and fructose. This process slightly raises the water content and the acidity of the partially digested nectar.[13][19]

Once filled, the forager bees return to the hive. There they regurgitate and transfer nectar to hive bees. Once in their own honey stomachs the hive bees regurgitate the nectar, repeatedly forming bubbles between their mandibles, speeding its digestion and concentration. These bubbles create a large surface area per volume and by this means the bees evaporate a portion of the nectar's water into the warm air of the hive.[13][15][20]

Hive bees form honey processing groups. These groups work in relay, with one bee subjecting the processed nectar to bubbling and then passing the refined liquid on to others. It can take as long as 20 minutes of continuous regurgitation, digestion and evaporation until the product reaches storage quality.[15] The new honey is then placed in honeycomb cells, which are left uncapped. This honey still has a very high water content, up to 70%, depending on the concentration of nectar gathered. At this stage of its refinement the water content of the honey is high enough that ubiquitous yeast spores can reproduce in it, a process which, if left unchecked, would rapidly consume the new honey's sugars.[21] To combat this, bees use an ability rare among insects: the endogenous generation of heat.

Bees are among the few insects that can create large amounts of body heat. They use this ability to produce a constant ambient temperature in their hives. Hive temperatures are usually around 35 °C (95 °F) in the honey-storage areas. This temperature is regulated either by generating heat with their bodies or removing it through water evaporation. The evaporation removes water from the stored honey, drawing heat from the colony. The bees use their wings to govern hive cooling. Coordinated wing beating moves air across the wet honey, drawing out water and heat. Ventilation of the hive eventually expels both excess water and heat into the outside world.

The process of evaporating continues until the honey reaches its final water content of between 15.5% to 18%.[16] This concentrates the sugars far beyond the saturation point of water, which is to say there is far more sugar dissolved in what little water remains in honey than ever could be dissolved in an equivalent volume of water. Honey, even at hive temperatures, is therefore a supercooled solution of various sugars in water. These concentrations of sugar can only be achieved near room temperature by evaporation of a less concentrated solution, in this case nectar. For osmotic reasons such high concentrations of sugar are extremely unfavorable to microbiological reproduction and all fermentation is consequently halted.[14][15] The bees then cap the cells of finished honey with wax. This seals them from contamination and prevents further evaporation.[15]

So long as its water concentration does not rise much above 18%, honey has an indefinite shelf life, both within the hive and after its removal by a beekeeper.[14]

 Human intervention 
Human beings have semi-domesticated several species of honeybee by taking advantage of their swarming stage. Swarming is the means by which new colonies are established when there is no longer space for expansion in the colony's present hive. The old queen lays eggs that will develop into new queens and then leads as many as half the colony to a site for a new hive. Bees generally swarm before a suitable location for another hive has been discovered by scouts sent out for this purpose. Until such a location is found the swarm will simply conglomerate near the former hive, often from tree branches. These swarms are unusually docile and amenable to transport by humans. When provided with a suitable nesting site, such as a commercial Langstroth hive, the swarm will readily form a new colony in artificial surroundings. These semi-domesticated colonies are then looked after by humans practicing apiculture or meliponiculture. Captured bees are encouraged to forage, often in agricultural settings such as orchards, where pollinators are highly valued. The honey, pollen, wax and resins the bees produce are all harvested by humans for a variety of uses.[24]

The term "semi-domesticated" is preferred because all bee colonies, even those in very large agricultural apiculture operations, readily leave the protection of humans in swarms that can establish successful wild colonies. Much of the effort in commercial beekeeping is dedicated to persuading a hive that is ready to swarm to produce more honeycomb in its present location. This is usually done by adding more space to the colony with honey supers, empty boxes placed on top of an existing colony. The bees can then usually be enticed to develop this empty space instead of dividing their colony through swarming.[25]

Preservation
Because of its composition and chemical properties, honey is suitable for long-term storage, and is easily assimilated even after long preservation. Honey, and objects immersed in honey, have been preserved for centuries.[28][29] The key to preservation is limiting access to humidity. In its cured state, honey has a sufficiently high sugar content to inhibit fermentation. If exposed to moist air, its hydrophilic properties pull moisture into the honey, eventually diluting it to the point that fermentation can begin.[30]

The long shelf life of honey is attributed to an enzyme found in the stomach of bees. The bees mix glucose oxidase with expelled nectar they previously consumed, creating two byproducts – gluconic acid and hydrogen peroxide, which are partially responsible for honey acidity and suppression of bacterial growth.[8]


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