A very, very warm welcome. Moin. Bonjour. I'm very pleased to see so many people here to our symposium today. What looks good today may not look good tomorrow. It's like a legacy of Michel Majeros. So in order, I'm Bettina Steinbrücker. I'm the director of this institution to introduce myself. And yes, when I thought about this, I mean, this event has a longer history. Because before I also came director of this place, I worked on a show in Hamburg. That is actually the opening this Friday on the Digital Majeros. My Milan Ter took over and is opening this show. And last Sunday was the 20th anniversary of his early passing. And the estate of Michel Majeros. And I say a very warm welcome to Ruth and Monica. We are here today. Tim Neuger will come a bit later. I guess he arrives at 10.25 with the airplane from Berlin. They started something very amazing. Because Michel Majeros is an artist who defined himself of being an artist, an international artist from Berlin. He was born in Esch-Alderset in Luxembourg. And he was amazingly early in what he did. And now 20 years later, with the effort of certain institutions and also the estate, there is a huge series of exhibitions exactly around this time. There is their big exhibitions at the Kunstverein in Hamburg, the KW, Neugierim Schneider, the NBK, and the ICA in Miami. Also, Stephanie Seidel will come later on, who curates the show in Miami. And they are also in about, I don't know, I saw a last wrong number, more than 10 institutions in Germany show his work in the collection display. So this is a moment to think about his work. And I think it's a very good moment. When I thought about it yesterday, I looked at the title of an interview but von der Heide, the director of Musaion in Bootsen, was doing FAMOUS Magazine. And the title of this interview is a performance artist who performed as a painter to deliver an object which was to perform as a painting. I think this summarizes it very well when we talk about Maceros. His legacy is really interesting. And as an art historian, legacy grows and also the information about an artist grows with distance. We need distance in order to understand what he's done during his lifetime. And the distance of 20 years is extremely productive. We have to, when we reconsidered when he was working, he was working at the beginning of information age. It's a turn of the millennium in an information society and in a world that drastically changed. And this world is still drastically changing. But imagine that time the smartphone wasn't... Yeah, the smartphone was there. Like this big thing, the computer was there. But that was it. It was the time before social media. And it was when everything was still cool. Because nowadays we also know about the backside of the digital, we know about the backside of social media. When Michel was working, everything was cool. It was a very optimistic time. And one looked positively at the changes of its time. When I look at this work today, it's really we can learn so much about it today. When we look at the iconography, what did he use? He used animation, he used branding, he used advertisement. When we look at the library he has, in this library there are all these books from early digital age. It's also, I think, Marshall McLoone is also in there. But all these books, I read it. I had it in my library as well. I actually gave them away because they're a bit dated nowadays. But it's interesting to think how everything changed and what we can do out of it today. He was also one of the only ones who really put performance into place, who combined performance and painting. And we asked ourselves, what was it at that time? I attended the opening of KW. It's a very amazing show about his early work. A very well-known artist came to me and we were talking in this exhibition and he told me, you know, at that time I didn't know what it was. I didn't understand his art because it was so different to everything else that was done at that time. And I think he was actually right when he told me so because it was completely different and there are some parts of his work we only understand today from this distance. We also understand Photoshop or we understand the sneakers. We look at it completely different. It was, for me, a future-oriented practice. It was the internet as a possibility. It was painting after Kippenberger but with his newest material, with different material, with brushstrokes, with a kind of playful idea of what it could mean. And he was building his own architecture. He was very important in installation art. So what we are doing today, when I started working on this topic, I was thinking that because coming from Berlin, there are most of the people also talking about Michel, are still the people who knew him. And the people who are very close to this whole scene and I was interested in the question, what happens if we discuss the work with a younger generation, with a generation that didn't meet Michel Margeros but with a distance, looks at his work and that is what we wanna do today. And we have a tight schedule. So we have, yeah, I have some, we have a couple of talks this morning. Clementine Probi is going to do the moderation of these talks and the introductions. And you have the schedule in the booklet. You received upon arrival in your bags. There will be three talks in the morning with a 15 minute break and a lunch break at 12.45. Two talks in the afternoon, which will lead to the final panel discussion. I'm moderating and conclusion remarks by Sam Tonson, the cultural minister of Luxembourg. Water, food, coffee will be available in the auditorium and there is a lunch offer at our vegan restaurant for a smaller price. We also, there's only one person we don't really introduce but I'm gonna do it now. I'm very happy that Motoko Ishibashi is here. Thank you for coming. She's a Japanese artist based in London. She studied at the Royal College of Art London at the Slade School of Fine Arts and that's a KU university in Tokyo. She focused predominantly on painting. Ishibashi's practice amalgamates Western and Japanese visual languages through painting. Performance, installation, video photography and printmaking. Engaging with mass consumer culture as well as digital cultures, her work considers relations of power, gender, the body and selfhood within technology mediated society. Ishibashi's work has appeared in exhibitions internationally and I'm very happy that we have her here because we decided we not only have talks and lectures but we also have performances because for us it's very important how artists feel about it. We also have the second artist is Corey Ark Angel. He's unfortunately a bit sick so he will come via soon, give his lecture via soon and will also participate in the panel via soon. So at the end I really have to thank, I have to thank the whole team of Samudam. I have to thank the estate very, very much for helping us so much and being such a good partner. I thank the board. I think also the government of Luxembourg for really supporting this big time. I thank the family of Michelle. They will come later today and join us at the end of this symposium. I thank Joel Vallabriga for organizing the performance and Clementine Probi who did everything. So thank you very much and I hand over to Clementine who will introduce our first speaker. Thank you very much for your attention. Good morning everyone. So welcome to Mudam for this symposium. I'm personally very excited about so I'm Clementine Probi. I'm assistant curator here at Mudam and I've been working alongside Bettina and Joel Vallabriga for the organization of this symposium. I'm also working on the organization and on the curation of the exhibition, Michelle Magiris, Zinn Machine that will take place at Mudam in March 2023. And today I will be introducing each speaker and I will also be walking around with the mic as well as the neighbor who's just there for the Q&A's after the talks. So please just give me a sign if you have a question or a comment. They will be very, very welcome. And finally, before I introduce Karin Archie our first speaker, I have to say that I'm very proud of the incredible panel that we have today that we put together. And I would also like to thank Bettina for having me by her side on the journey throughout Magiris's work and also to explore a bit more how his work resonates in the younger generation's minds. So now our first speaker is Karin Archie. She's curator of contemporary arts at Stadelic Museum in Amsterdam. She was formerly based in Berlin and in New York where she worked as an independent curator, as an editor and art critic, rating for art forum and freeze among other magazines. She has organized major exhibitions of artists, Hito Steyer, Rineke D'Axtra and Meta Havan, as well as major group exhibitions. She heads the Stadelic's research initiative on the acquisition, conservation and display of time-based media. And I leave the floor to you, Karin. Good morning, everyone. It's super nice to be here. Yeah, I just wanted to thank Mudam, Clementine, Bettina for inviting me and also the estate also for their support and my research on Magiros. So yeah, I wanted to also start by saying that I think it's really interesting that the panel that we have here today hasn't actually met the artist. And I think that that's really kind of special in a contemporary context. And I'm really excited for today to hear more from Fabian and Ingrid and Sarah Johanna to hear their thoughts on Magiros' work. And I also was just talking to Fabian actually about how our experience of Magiros' work has been marked by the fact that living in Berlin, there are a lot of opportunities to see his work, but we're always kind of interested in a greater contextualization of it and thinking through what this work does, what it was doing at the turn of the millennium when he was at the height of his career and then also what it's doing today. Yeah, so I think that for me what, you know, in terms of my research on Magiros in the last couple of years, I think that one can read his work aesthetically. My first impressions of the work were like, okay, this is someone who's kind of pushing, painting, kind of influenced by artists like Rauschenberg towards a more contemporary standpoint, bringing in various kinds of collage and different material, but getting to know him as a person through my research has been really, really interesting. I was super interested at first to learn that he was a student of the conceptual artist, Josef Kosuth, and I initially had a kind of hard time squaring what his work looks like with the legacy of Kosuth as a conceptual artist, especially because Magiros is such a painter's painter making discreet objects. And this is of course something that, this is not necessarily a square with the history of conceptual art sinking through the anti-aesthetic and also the decommodification of contemporary art. In a lot of literature he's kind of described as not necessarily being a conceptual practitioner interested in theory. And I really, so my thoughts through this research have really evolved since then and I think that you can see the trace of a lot of conceptual methodologies that are very present in his work. And I would differentiate, I think it's really important to think through the fact that maybe Magiros was not necessarily interested in theory or theoretical precepts, but he was a keen student of history. And I think that that's a really interesting entrance point to his work because these things are so bound up within each other. I think also on a personal level what I found really interesting to learn about Magiros was that he had a proclivity for the newest technology. I heard that he would kind of carry around a Zach Morris style brick cell phone and lug around a laptop and he was a very avid gamer, also quite introverted, not necessarily a partier like someone like Kippenberger. And he was also a collector of things. So he would collect techno party flyers, newspaper clippings, various art books, advertisements, packing material. And when I visited the estate last year and I could peek at his bookshelf I found the art historical company that he kept very telling. So he was, I saw a lot of these books on Fragonard and Warhol and Kandinsky and Michelangelo. And so I think that it's interesting that he kind of positioned himself also in his work by sampling these artists into this canon of extremely recognized male painters. At the same time, I find it really interesting that his work could reference a Kandinsky but then also have basically be based on a Washington detergent advertising or packaging at the same time. And I'll talk a little bit more about this book, Aquarale later. But yeah, so there's a very, very concerted juxtaposition of the high and the low in his work. And his proclivity for collecting and sampling from his collection is really, I think, characteristic of this turn of millennium period. So I think of this in this generation in terms of techno and techno's proclivity for musical sampling and other digital production techniques. And so this is very characteristic of the fact that in this moment, you didn't have to kind of shuffle through records to find a certain musical sample but you could do that digitally. So yeah, this is something that I think is evidenced by techno fliers. This is also, I would think that you could actually find this graphic from this Trésor poster in his work. So I just wanna zoom out a minute and say that I'm really glad that we're having this conference because I think that the writing existing, at least in English, on Majerys' work needs to be updated. So through the kind of research that I have done, I think that the internet in these works and as Majerys was a very, very keen user of new technologies, they were kind of romantically described. So at the time of his death in 2002, the internet was just kind of a kernel of what it was today. So all of the corporatized social networking platforms like YouTube and Facebook hadn't yet existed and user-generated sites like GeoCities still dominated the web, so popular narratives about the internet cast it as a chaotic and unregulated and undefine and dangerous space and the writing on Majerys' work from that period really suffered, I think, from that romanticization of technology. So I'm not going to name names, but I wanted to share this quote with you. Similar to photography one and a half centuries earlier, the primary impact of these new technologies was mental, inspiring new approaches to subject and composition. The basic composition of Majerys' works was determined by the tools of the computer, by copy and paste, and the strong presence of the form of the computer script. His iconographic portfolio was response to the extreme profusion of chaos that we enter when surfing the internet to the ready availability of forms and symbols it offers into a cultural universe where old hierarchies have collapsed. So I think this is like a very un-chill way to describe the internet and also Majerys' work and isn't really in line with a society that has seen the rapid development of technology and industrialization and globalization and in comparison, these things are not described in those terms. So I also think that we can include the exact opposite from what is stated in this quote, which is that the internet is actually the most sophisticated kind of culmination of human knowledge and the best organized culmination of human knowledge in the history of the world. And similarly, Majerys' work represents a very, very refined practice of sampling, collecting, filtering and composing with a lot of control and intention. So it's not chaos, it's actually something that's much more refined. So yeah, Majerys was of course Luxembourgian but he lived for many years in Berlin and his notebooks contextualized his own work against the backdrop of German painting. So I'm not gonna say necessarily what German painting conjures for most people but I have just put a key for painting on the side here. But in the 1990s, of course, the scene in Düsseldorf and Cologne were known around the art world as a kind of breeding ground for new ideas about art and particularly painting and characters like Kippenberger dominated the scene which are very, in terms of his personality and Kippenberger's known as a big partier, I've heard that Majerys was very much not like that. But in terms of Kippenberger in an interview with Yodakuta in 1990, he said, simply to hang a painting on the wall and to say it's art is dreadful. The whole network is important, even Spagatini. When you say art, then everything possible belongs to it. In a gallery, that's also the floor, the architecture, the color of the walls. And so you can sense in this quote from Kippenberger, this is emblematic of a lot of artists from the 1980s that he had stakes in resting painting from its status as a dead medium or a boring medium or a too easy medium. And this is, of course, after decades of conceptual art pushing the dominant narrative of art history towards the anti-aesthetic and towards anti-commodity practices. So it was difficult at the time to reconcile painting as having any sort of conceptual apparatus surrounding it. So when I was researching Majerys, I was really trying to understand the methodology behind his practice and I inevitably came back again and again to this essay painting beside itself by David Joslit, which was written in 2009. And even though that was seven years after the kind of funny anonymous quote about the chaotic internet that I used earlier, he does still kind of admittedly hammer on about the unfathomability of the internet as a network, but in a more interesting framework that connects together painting the internet and conceptual practices. To Joslit, the internet is a modern day sublime that is exemplified in the works by Kippenberger and Krutja. And from the essay by Joslit, he says, it's worth pausing to consider how difficult it is to visualize networks, which in their incomprehensible scale, ranging from the impossibly small microchip to the impossibility of the vastly global internet, they truly embody the contemporary sublime. And then Kippenberger's quote that painting belongs in a network to include everything from the architecture and the walls to the spaghetti, highlights that the rehabilitation of painting again, from its hyper commodifiable state to conceptual form, dependent on contextual and environmental frameworks, was a shared project of the painters of this era. And then to place Majeros in this, he was born over a decade after Kippenberger and then almost a decade after Krutja, and he saw himself as part of a younger generation pushing forward painting in new directions, working more critically with scale, architectural context, and a more democratized selection of source material as well as proto-digital production practices. And if we were to consider Majeros's work in the context of Joslitz thinking on painting in an expanded network, it would be opportune to question so then what are the networks that Majeros's works envision. So I think that if Majeros's works envisions a network, it is really that of painting itself, its history, its institutions, its architectural container, its relationship to viewing experience and commodification, and I'll discuss some specific works that highlight this shortly. So the disruption of convention was one way in which Majeros sought to do this, and I don't know if I'll state this entire title, but so the disruption of these conventions include blowing up the scale of his work to absurd proportions or introducing disruptive architectural elements in the gallery using absurdly long titles, copying other artists' work in his own work, selling drawings from a spool of drawing paper in his own exhibition, introducing non-art elements into his work, and this is an example of an absurdly long title here. This particular case of construction in as much as a key image, as it almost didactically announces the irrational spatial structure, namely contradicting the usual spatial rationality of the following abstract image. As you can see, it's difficult to print this in a PowerPoint, I can't imagine what that's like for a book designer or a wall text, but I think that it speaks to his kind of cheekiness and kind of pushing these things farther and farther. So Majeros' first solo exhibition was at Neukrem Schneider in Berlin in 1994, and I think that this exhibition already laid the groundwork for his thinking in terms of scale, high and low sampling, and art historical citation. In the show combined paintings on canvas with wall-filling installations in a range of styles, you can see influences from Basquiat's, Albert Eilen, Georg Baselitz, as well as cartoons such as Busybear, and this is actually a blown-up Roger Rabbit comic, and you can see on the top it says Enlargio Ray Arm, and then this kind of seems to hint at his thoughts on the scale, creating a very wall-sized, large painting, and then there's a tiny little, you can see this tiny little canvas in the lower right that says, too big, better turn off. So it's like, I think Roger Rabbit found this kind of enlarger ray machine, and then it's kind of, I think, a comment on his own work, and of course the title of the exhibition is Gemildo or Painting, so he's very much, I think, self-reflective in terms of his relationship to painting itself. And in this exhibition, he also installed a thick layer of asphalt in the gallery, which I find super interesting because it was thick enough that it kind of made you trip. When you came into the gallery, unless you were very careful, and he also painted the kind of road stripes onto the asphalt. And then alongside the wall paintings and works on canvas, he placed a large rolled-up scroll of ink drawings depicting Looney Tunes characters like Wiley, Coyote, and Roadrunner, and he traced various scenes from Looney Tunes' episode. So the way in which the scroll worked was in a kind of almost slide, like a time-based fashion, almost like a film strip. And visitors were able to buy these works in one meter sections at an affordable price. So I think this also speaks to the fact that he wanted to democratize who drawing is for, what can it depict, who can buy it, how do you buy it? And I believe this might even be shown at the new Neue Grimmischenheide exhibition this year. So two years later in 96, Meijers's first major institutional solo exhibition was held at Kunsthalle Basel. And have you guys been to Kunsthalle Basel? Yeah, yeah. If you've ever been to this space, you'll know that it's like super fancy-looking and it's like very, very decorative and ornate. It's a neoclassical building. And so I think Myero has came into that and he's like, how the hell am I gonna deal with this space? You can see, yeah, and like the ceiling and everything, all of this kind of ornate architecture. And so he disrupted this by putting in a metal scaffolding floor. And so I find that interesting also after this asphalt floor that he's bringing in these kind of like street construction materials. And it's rumored that when you step on this floor, it would creak. And then if you were wearing a heel, you would fall through the holes in the floor. So I think this is another one of these kind of cheeky gestures that he's making. And of course, he's bringing these outside materials, these street materials into the gallery. So then also the scale of these paintings is enormous. So I think that this one, Katze, is 714 by 966 centimeters. And then I think it's super interesting that he's again juxtaposing comics. And in other paintings in this exhibition, there were also kind of like corporate logos that he'd stripped down. And then there are these super like sweet scenes of a cat looking at a boot filled with sweets. And then there's also some kind of uncanny weird moments like the same comics from the Busy Bear. Like you can see on the top right corner. Yeah, no, top left corner, that the birds from this painting, like this blue bird in the kind of top right corner, is also in this picture of Isis Build. And then he also had this impetus to kind of white it out and strike it out. And then there's also, I learned from the estate, a reference to rolled up Frank Stella paintings. So I think that this is really interesting also in terms of thinking through, what does it mean to cross out in painting? What does it mean to work with white? Can this be a reference to Rhyman, for example? Is this a reference to painting itself? And so I wanted to introduce this idea of the dead suckers. So even though he may not be supposedly theoretically or conceptually motivated all the time, he was this keen student of the history of painting. And he's always writing about the kind of canonized great painters and his notebooks and his relationship to them. And so the art historian and curator Brigitte Hansen writes about how he's coined this term, dead suckers, for these paintings. And she writes, a conceptual metaphor he uses for artists who interest him as dead suckers, both in paintings as well as the notebooks. And she quotes his notebook, the best way to explain that a few things that look like Baselitz, Aylen, Warhol, Basquiat, Stella is that it doesn't matter what the painting is if the attitude that you have toward painting works, then the paintings work too. Dead suckers, so what? Everybody dies and everything stays. So I think that this quote is really interesting because it also points to the artist's attitude in terms of defining artistic material. So everyone dies, everything stays, everything can be used, recycled and sampled. So it's not any kind of surprise that Majeros brings together the high and low, specifically art historical citation with comics, advertisement, corporate logos and these kinds of things. And this I would just kind of highlight, I think is very, very new because if you look at the history of Pop, for example, Pop was only bringing below, like comics, to a high art form and making very discrete works from them, so if you look at Rauschenberg, for example, he would blow up a comic but then he would create a painting that existed as a discrete object in a market. So I wanted to talk about a few public projects. April, which I showed before, is a really monumental work. It's about 10 by 10 meters. It's a painting on cotton commissioned by Könsperheim in Hamburg and the institution had commissioned various artists to create works for this kind of glassed in facade that I'll show in another slide. And the title, Aquarelle, references Koninsky's first watercolor. I'm not going to try to pronounce that because I don't speak French. But it's from 1913 and it's thought to be the first abstract watercolor in art history. But then Majeros actually found a nachfühlpack, which is like a refill pack for laundry detergent and he thought that it looked quite a lot like the Aquarelle. So he decided to scan this. He decided to scan this nachfühlpack and superimpose it in Photoshop and create a composition in a photo editing program. And the exact production details of this are unknown, but I would speculate that he would print out this composition divided into I believe 42 parts and create a miniature and then he would either project that miniature and trace it or he would paint this by hand. So there would be these smaller canvases that he would bring from a studio to an exhibition space that's of course much larger than his studio and then see them for the first time actually altogether as one work. So he was such a master craftsman that this really worked for him. He was also a very good draftsman. So I mean, I can't imagine doing that just kind of almost working blind, but this is something that he was very, very adept at doing, creating these kind of scale models that would be first seen in the exhibition space. The other thing that I find really interesting about Aquarelle is that he had been bringing the outside in so he was bringing in asphalt and construction scaffolding and stuff like this, but this work actually brings painting out. So this is like a 10 meter large piece and then as you can see, this is viewable from the street from quite far away. So this is a ship that I think is happening around 1998 where he starts making more public projects. So I wanted to talk about a couple other public projects that were completed in 1998. So this is a billboard titled HILFA and it was commissioned on the 100 year anniversary of secession in Vienna. And for this work, he referenced or sampled Andy Warhol's camouflage series and then he embedded HILFA into the composition of the work as this kind of shrek hand pops out from the canvas. And I think that there's an interesting paradox to the gesture of using a communication platform like a billboard. Like this is the, in terms of advertising, this is a format where you wanna be as clear as possible and you wanna communicate as quickly as possible and he's embedding that into a sort of, well camouflage literally, so the legibility of the word HILFA, which is of course a kind of cry for help, is not really easily able to be seen. So I think that it's also kind of creating the stumbling block for the viewer where you have to really look pensively to understand what's going on. And once you understand that the word HILFA is there, it's I think quite easy to see it. This is also a work that was in the Munich Central Station called Beschleunigung and it's a kind of, you can see, I think that this work is very curious because it brings together things that, elements that I find to be quite alienated from each other. So there's this kind of weird photo calibration object, like this green and white thing and then also these kind of spheres that look like almost advertising elements and this kind of pink racetrack, which could almost be like a techno flyer-inspired form. So I was interested in how, in the context of a train station where it's kind of a sloppy public space where like everything comes together in a very ad hoc way, how he's kind of adding to this, like yeah, this kind of like a very loose and tactical relationship. To the train station and to the works themselves. And then this was a project that actually happened in Luxembourg from Manifesta II also in 1998. This is also another cheekly long title, yet sometimes what is read successfully stops us with its meeting, number two. And it was an installation at Utopolis Cinema and I believe the concession stand where you can buy Coca-Cola and popcorn. And I think that this is also, it's really interesting to highlight his conceptual thinking with this work because he's attempting to update the context of painting with the kind of context of advertising culture and come out of vacation and this is like, this is like, I think it's really amazing that there's this Nike shoe that's an artwork but then it's existing next to a Coca-Cola poster very, very seamlessly. So I think that this is also, I mean, I'm sure as a curator if I ever asked a artist to install next to this day to look cafe, they would kill me. They would be like, no, I'm like totally not. I'm not doing that, but I think it's super interesting that my arrow is probably actually really appreciated this space and yeah, I just find it very, very special. Yeah, so I find that, like so I wanted to end with a work that was one of Majeros's last pieces and I think that it signals a shift happening in his practice for, so this is a work from 2002 and this I think was building on the fact that he'd become known for doing these project, public projects from 1998. And for this work, Sozial Palast, Majeros was invited to create a piece that covers the scaffolding of the Brandenburg Gate because it was under renovation at the time. And he chose to print the scaffolding cover with an image of the Palaceum social housing development in Berlin-Schunabag. So this has a very, very concerted social and historical significance, which I will just talk more about. So the Palaceum is a post-war brutalist platenbau. It contains over 500 apartments and it's built around and over the Hochbunker Palastrasse which is a Nazi-era bunker that was built with forced labor from 1943 to 1945. And the street is named itself after the Bellina Sport Palast, which is a massive event hall, or was a massive event hall capable of hosting 10,000 people. And so it used to occupy these grounds and it was torn down in 1973 in order to make room for this social housing project. And the Bellina Sport Palast is famous for hosting Nazi leader Josef Gerber's speech calling for total war, which is just burned into German cultural memory. Yeah, he said, Wolde den totalen Krieg, do you want total war? The total war is the shortest war. And so the platenbau in Berlin is also kind of a very banal site. They're all over Berlin, they're all over the East. This is in the areas in Europe that were bombed in the Second World War, this was a very quick and easy to build form of architecture, kind of known as a utopian architecture that popped up like mushrooms in the decades following the war. And the reality that came in the subsequent years following the erection of such buildings is that these are actually quite difficult to live in. They're not very utopian at all. Actually, it's quite the opposite and the high population density and the current conditions are actually known to engender crime. So this is also the case with Proud Aigo in St. Louis, Cabrini Green in Chicago, and also the Belmourmere in Amsterdam, which is actually where I live today. Yeah, so even though my arrows may not have many very overtly political works, I can't see this as being anything but extremely socially and politically motivated and I'm really fascinated by this work. I'm really fascinated by what could have come after this work had he been able to live. And I think that super imposing the image of a highly socially significant building like the Palaceum, this brings to mind the nation's Germany's past failures, specifically its history of xenophobia and genocide onto the city's kind of architectural crown jewel of the Brandenburg Gate. And so yeah, I would be, it's of course just an enduring kind of tragedy that we weren't able to see what the artist had in store after this, after these works. So yeah, I wanted to kind of just wrap up by saying that I think at its core, thinking through his networks, Mayeris' work examines the practice and histories of painting in the context of his social and historical moment. This includes the practice of technological, rather than analog sampling, as well as expanding the practice of painting beyond its canvas into the world, which also points towards societal innovations, social needs, and more. So thank you very much. That was my talk. Thank you, Karen. Maybe if you can stay a little bit for the Q&A. We don't have much time. We're running a bit late, but maybe I can start with a question. Thank you so much for this great talk. I was wondering, in your talk, if you mention how Yoselit talks about the internet as a contemporary sublime because of its overwhelming vastness, and you also mentioned this romanticization of technology. And I think at the time that Mayeris was active, the internet was very much a utopian place of opportunities and non-hierarchical relations. And I was wondering if you could identify this kind of utopian motive linked to the, or like utopian vision of the internet in the work of Mayeris and how it manifests, if it does. That's an interesting question because my first response to that is to think about how difficult access was to the internet during this period because I'm 37, so I'm not like, I'm kind of a born digital person, but I remember on my live journal or MySpace or GeoCities, you really had to know code. And so that is something that actually was not very democratic. It was very, there was a high level of entrance in terms of being able to access that. What I get the impression from Mayeris is that he had an obsession with thinking through newness and he had an obsession thinking through this kind of painting art history, like Baselitz, Kettenmerga, and kind of figuring out the puzzle of working around that and through that and with that history, but then pushing it forward. So I think that he was always looking towards new options for working, like scanning, projecting, also digital note taking. I think it's speculated that he switched from working on notebooks to working, taking notes on his laptop, maybe around 99, I guess Ruth would know more about that. And then, yeah, I think that the utopianism and the freedom that comes in that is that I think that he felt quite unburdened to use any material that he wanted and to juxtapose it in any way that he wanted. And I see a huge amount of freedom in how he worked in his studio and how prolific he was. So yeah, I guess that's what my answer would be to that. And he had a very, I think, positive relationship to technology where the quote that I read before, it was actually Nicholas Bourriot, who I respect enormously, but I find that quote really, it just didn't age well. Where did we go? This is like the opposite of the scrolling that I'm used to. You know when that happens, when you go up? Oh no, okay, here we go. But yeah, I don't think that Majira has necessarily felt that way. We're like, everything's chaos. I think that he, I mean, my speculation is that he actually felt a lot of freedom in being able to pull from anything that he wanted to and didn't feel limited by that. He just saw opportunity in all of these things. Okay, thank you. Is there any question in the audience? Yes. So thank you for your presentation. You spoke about discrete objects. You said that he worked with discrete objects and then you spoke as paintings, as discrete objects. I didn't understand what were discrete objects. Yeah, so that's a great question because I could definitely explain that a little bit more. So if you look at someone like Kossuth or a lot of the, so my specialty is institutional critique or one of them. And then within that rubric, a lot of the artists from that generation, 60s, 70s, were thinking about how to make art more experiential and not necessarily something that you buy on a market and that's it. And so trying to make work a cognitive conceptual experience rather than just purely an aesthetic experience. And that would be to kind of build on the history started by Duchamp with conceptual art and the ready made and not bringing in extra visual material that was spectral. So it was like a kind of anti visual art in a way. And so Kossuth is one of the main players in thinking through conceptual art and its status as a commodity. And it's interesting to see how Majiros is really making paintings. Like these are in discrete object, I mean by it's like something that can be put on a wall and sold and I don't have anything against that but given his tutelage, it's something that is curious. Like how do these things fit in together? And I think that he moved past that thinking through discrete objects by making installations like this. And also thinking through like, oh, okay, I'm bringing the outside in. I'm referencing outdoor space, the kind of politics of the streets and then also within the Kunsthauter Basel exhibition making the aesthetic experience also something that engaged the body by creating this floor and creating a kind of phenomenological experience that was a kind of Gesamtkunstwerk in a way. And in relation to that, would you say that everything you talked about and this use of discrete objects, would you say this was a kind of critique of painting and it's like kind of maybe somehow complicit links with the commercial world? I think that he, I mean, my just reading his notebooks, I think that he saw it as a puzzle to kind of like how do you push through this history and how do you relate to your kind of predecessors but then also build upon it? And I guess you could see that as a critique but you could also see it as a deep love and I guess the act of critique itself is holding accountable something that you love. So in that sense, yes, I think that he definitely was interested in a kind of sense of critique to some extent. Thanks, that's a great answer. Okay, thank you so much. Any other question? So I will then introduce our next speaker. Thank you.


the boston strangler i'm interested in that so we might do that one as well not making it all about me uh so the hunt for realm mode realm this is another one of those stories right and we've had a couple of these of late where we watched it and followed it as it happened and now it's become i don't remember this story somebody else was recommending it to me gassel was involved in this yes yeah that's right to the riverbank and you could download fishing poles all this i don't fully remember this story but somebody else was recommending the series to me and i was like july 2010 in newcastle um uh it's july 2010 where realm out gets out of prison okay go back there you go so he uh yeah it's a really grim horrific story that ran for a week in the national papers in the uk and i do remember some of it i remember the showdown which i think most people remember very well so this three part on itv during the week looks at the story realm mode got out of prison he had been threatening his ex-girlfriend who had been trying to move on with her life and two days after getting out of prison he tracked her down and he shot and killed her new partner he shot and injured her and then he went on a crime spree around newcastle uh and he shot and seriously injured another police officer and then he released a letter to the press well he sent it to the press they delivered to the police where he said he was going to get back at all the police who he said had ruined his life now he was in prison for four months having uh hit his own child his nine year old child so badly that he was not a nice character not a nice character said yeah bit of an anti-hero for some people this is the thing so what um i went into this because i love you know the martin clune's manhunt series so i went into this sort of blind thinking it was going to be a procedural like that and it wasn't so i was disappointed by that aspect but i did find myself really compelled to watch this because it's not so much about the police proceed aspects of it the chasing but it's about the victims and it's about the impact that rile moat had on the is that what you wanted though now that is a nice thing right and it's we're looking at it from a different angle and they did the same with dalmer i believe wasn't it was it okay so it was very victim focused victim focused and and and it's real and i have great sympathy for everything his victims went through yes but i actually probably did want to see the police and the pound yeah i agree with you i mean if i'm just i would have given it a higher grade if it had been the police exclusively or even the journalist as a good character journalist in this obviously a real person but instead you get about a third of the time is spent with the suffering of the families and it's done in a respectful way i get it it's not salacious it's not like they don't show the actual murder for instance they cut away you know they're not trying to be that way they're not trying to get viewers by doing that kind of thing but yes they do show the family of the man who died and they show the the woman in hospital who was shot on the night and how she recovered and they also look at the policeman and the effect that had on the various police i wasn't expecting that it's i read the guardian review this morning um not that many reviews out there for this which is surprising but they liked it they give it six out of ten i'd give it more but they did say that it's sad sad viewing because the casting at the start the first half hour is about the couple meeting and because you spend a half hour with them and the casting is really good you can't help but get invested yeah because i would like to see how that story unfolded from the the what we the media might focus on yes and they from my brief reading on it they went out of their way to make sure that they didn't in any way uh glorify yeah they did they did yeah he's in it uh to a lesser degree that i would have expected and you don't get his pov very much at all which is which is fine what's interesting about the story and what you alluded to and which i find quite disturbing and i don't think i knew this from from 2010 almost immediately there was a facebook group and there was a lot of online support for raul moat and a lot of people calling him you legend you're a hero you're taking on the coppers it's great that you're and if my woman did to me what that what his woman did to him oh man i wish i had the strength to go after all this kind of scary scary that some like 30 000 followers on the facebook page before it was and can you imagine if that was now all to be worse yeah agreed i saw that you can multiply that multiply it yeah so that aspect comes up and i thought they dealt with that very well in the story and they the family of the victim seeing this online and coming to terms with the fact that there was widespread support for this guy there's even a scene in a pub where people are having a sing song where they've chained they've put raul moat's name into a song and they're all kind of rousing the support it was yeah um so that's bleak i mean i was chatting about this with my housemates in the kitchen and i was coming downstairs going man i'm watching a really heavy show up there and this is really heavy because you're kind of looking my god it's it's a bleak side of human nature that they would embrace a guy like this and before we get to the conclusion really of your review yes often you know the criticism of program and film makers is that it exploits the victims you know and we talked about that an awful lot here and yet here i am arguing that i would probably like to watch it you know that sort of way but it's what's entertainment and it's what yeah exactly i didn't mean as this was a drama a drama mentory or whatever they call it and yeah where they do the things together but no i mean you were talking about the jeffrey darmer one and that is one thing that came out that a lot of people were saying that it went it went too far in the darmer police and didn't give enough attention you know i might be mixing up with there's been so many there's been a lot of them but the latest one i think that was on and i'm gonna say netflix that might not be it could have been on disney it was on one of the streaming channels probably the better way to phrase it there was a lot of talk on that that they went for the gore they went for you know the way they went for that kind of like they presented that that that was what the victims went through and we often don't realize it so i know but i think it was you know if you're a family member whatever it's like that but so i don't know but i'm looking forward to seeing this like i said it was a family yeah i think i'm slightly less looking forward to it now than i was before um okay you started talking about it and that's why like honest interviews i probably still will watch it but i was looking forward to this because i wanted the police aspect you know the it's like it's like well i don't want to sound insensitive here but it might as well best speak like i would here as a one-off radio yeah you know like say for instance uh the time of the the boston marathon bombings you know what i mean i found that how they tracked them down yes um and how they they they got them into custody that you know what i mean that's from a watching a tv show perspective or watch that and yeah that's how i feel about that sort of the procedure in real life of how they got me feel about the the martin clune show manhunt i mean i've given that 10 that's based on real stories there's that's real stories as well i'm hoping there'll be a third series of that but in that show and it doesn't sound exciting but you do just see him looking at hours and hours of videotape reading through hundreds of files and it's done in a way that's gripping and i read a review of manhunt again during the week because i really missed that show and somebody said it is the best show on tv because unlike the fictional detectives he doesn't use 17th century poetry to solve his crimes he's not an opera fan he's not anyway quirky he's a guy who sits down and looks at videotapes and he keeps at it and keeps at it and that's what Colin Sutton the real man whose memoirs the series is based on did by all accounts so yeah that box wasn't ticked for me so what are you giving it out of 10 then i give this an eight because it was sobering it's intelligent it's well made but it's heavy going three hours like i split it over a couple of nights three hours might be a lot yeah seriously i mean it's heavy going i had to watch luther in two parts there you go so i had to talk about how this has changed man when we first met this one i didn't watch documentaries documentary i was just watching cartoons last week he had a documentary as well and like it's just it's it's beyond the beyond what we've given him greg i know it's a natural it's a natural you couldn't you couldn't enjoy the financial figure on it so there you go it's true exactly there you go right okay come here so so far we've got a six or seven out of ten in luther the fallen sun uh it was it you're not trying to drag someone to the tv to watch it but i think we both recommend watching it if you like that stuff yeah and the hunt for rowl mode on itv something a little bit different now often too we comment things with our own perspective someone might watch this of course and and get something completely yeah i'd be interested to hear from someone who had a different take on why we do this because it's subjective all right please your text coming into us 08 660 25 000 what's absent text that number give us a call on 07 491 25 000 if you're watching on social media feel free to drop in a comment there as well back with more from michael and the fenula after we take these messages the county's number one talk show the nine till noon show on highland radio the nine till noon show with letter kenny credit union simplify your debts with a debt consolidation loan from letter kenny credit union call us on 07 4910 2126 or apply online via our app or in office today red hot wienling prices for more in your farmers journal is hall mooney find out what's driving wienling prices up by 200 euros ahead farmers rush to transfer farms before shin fame take power co-ops and agri businesses targeted by credit card fraudsters we analyze how milk prices will change in the coming months the slurry additive that could slash ireland's meathen emissions plus in our country living don't miss our top tips for managing farm finances and tax inside this week's irish farmers journal on sale now at centra we have great offers this week like centra fresh arch whole chicken 1.5 kilo only five euro andrex 16 roll ariel and fairy non-bioliquid 51 wash 10 euro each and wines we love don simon tempranillo and sovignon blanc eight euro each smart choices choose centra centra live every day enjoy cosens play preparing for a special occasion sorento shoes has the finishing touch shoes and bags in pastel shades bling or classic neutrals sorento shoes available in all leading shoe stores by choosing dunigall creamery's milk you're supporting over 200 dairy farming families across dunigall in doing what they do best producing delicious fresh milk every day for over 100 years dunigall creamery's milk has been brought to you dilly from our dairy at crossroads killy gordon the longest established creamery in the region support local farms local families and local jobs by choosing dunigall creamery's milk dunigall begin the roaster championship this sunday afternoon against down in urie join oshing kelly and martin mcqueen for full match commentary on sunday at park estler from the two o'clock throw in live coverage of dunigall and this year's senior football championship is brought to you by highland motors and edder kenney travel in style and comfort class in the citron c5 aircross available for immediate delivery in diesel petrol and hybrid highland radio time checks with expressway travel route 32 from letter kenney to doblin expressway bringing you the time at okay the time is 25 past 11 obsessed on netflix very steamy okay we'll have to see hi granny can't see if that will pass the uh granny test no i can't watch in bold activities on netflix yes but i mean i don't mind what's the name of that again obsessed figure out how you manage your viewing history ob s e s s obsessed e s s e d watch blue lights on bbc police drama set in belfast thought it was very good i recommend you watch i heard good things about this i missed it and then i caught the second one or third one in i think it was and i was like i've seen a couple of viewers say that it's way better than you would expect a show like this to be that is actually you know way better than they were expecting going in because it's like just a procedure isn't it it's about cops on the beach cops on the beach like but four rookies that are just like after coming out of whatever is the equivalent of the academy the equivalent of the police yeah the police academy all right kevin's been on to us luther nothing without his jacket cape i'm too late for bond i think we agree there is a superman costume going spare though i'm told by the way did you know that yesterday was national lookalike day oh who would you and tv2 resemble what a brilliant question that is a great question now this is i'm here for the content people we couldn't come up with that that's a great question i know uh i don't know i we have to say who we we are something or who we think but i would like the listeners maybe to get involved but i don't know if my feelings can go with it so but if you want to i only ever get mary harnie oh you always get mary harnie you look like mary harnie the hair was a little bit did you ever use that to your advantage try and get in somewhere how could you i definitely want to have a conversation with you about how i would use that to me and a bit of political history might do you know i'm okay so if you think any of us and i'll put the other two on camera as well have a celebrity lookalike uh please i know i'm embarrassed to get absolutely hammered on this if people can be bothered to take their phones out i'm gonna get hammered on it uh 08 660 25 000 who are our duple dangers reminds me to say he says that dead ringers on apple is on tonight with rachel welse playing twins from a show that originally had cork native and just happens to live in a pink castle as you do jeremy irons from the same name of the film kevin as always thank you uh for that right okay so come here before we move on uh we have uh and the majority of people listening of course won't know what we have uh it is beautiful hard blue bottle shop lk love shopping that are kenny that are kenny tidy towns um caring for our local environment it's a reusable water bottle and it's of really really high quality that's about 15 to 20 quid's worth to me although i don't really buy i don't know but i so but why are we holding this uh we are holding this anybody might have seen it if they don't see i'm seeing it online they might see it in the local papers it was launched a few weeks ago when um the tidy towns that are kenny tidy towns launched their um agenda and and projects for 2023 into 2024 so this is one of the things the chamber commerce always gets behind the tidy towns and one of the things that we've done this year is we have uh produced this water bottle which we are which we are giving away for free and it's just really to try and get people to reuse recycle that kind of thing a lot of people don't like even the plastic bottle water bottles yeah you know the hard plastic bottle water bottles that come out with the best one in the world they do get a wee taste off them well after what i think after what if i i found as well you get a great one maybe for six months or whatever with them and then they don't i'm not dissing them i'm just saying it's my own personal opinion no well this one is part of is the start of a campaign what we're hoping to do is to put actual taps in certain spots around letter kenny so that when people are out walking or even just out and about at their general day that they can fill them up as they're going as they're going so that is the plan as part of a larger campaign so we have a couple of them here and i just want i'm supposed to be drinking out of it but to be honest i had tea instead this morning yeah we'll go with the full-on plug rather than the casual exactly so they are if you want to give away yeah well definitely with uh we we definitely uh will um if you want to uh win one of them we'll give two away yeah yeah just just take if you're interested in it just text your name and where you're from we won't ask a question and they're really high quality and they are available or people might see them at the chamber and you'll see them in a lot of different places where they have left a really high quality like i'm surprised just uh yeah oh i definitely think they could have sold them if they wanted to but they are giving them away yep they're lovely blue color a little black top and they have the lovely hook that you can if you're out walking or if you are you can hook them onto your bag if it's going even for going to work on school different things that's just the instructions that's inside you see caroline put water in mine oh but left the instructions i'm not going to try that i'm not sure you're supposed to drink the instructions i'm assuming not okay but listen that's great i think that's a really really nice initiative and i really like the idea and i think i heard this at a town council meeting quite some time ago of uh access to public water public water access this is what they're hoping to do yeah this is what it is brilliant idea as a pedestrian and who does make sure it takes a while to get it over the line but of course talking about it that's a great sound well you have to make sure because obviously for health and safety and that kind of thing you have to make sure that everything is done fine but this is the start of it and hope well we're hoping that before the end of the year that there'll be at least one kind of i think at the moment and forgive me tony if i'm wrong they're looking at the kind of community center area because you've so many people there going to sports you know doing events different things it's very much part of the circle a lot of people meet there and then do a circle of the town and that kind of thing with a lot of people but not you or me now i see that i go oh michael does loads of walking yeah i clean the windows so i can see them clearly out i drive around and admire them for their for their for their strength and endurance you're giving moral support all right okay so listen just text in your name where you're from and we'll select two of you to win one of these reusable shop lk water bottles of really high quality or if you think i look like a really good celebrity yeah exactly i'm a complimentary celebrity can i just say by the way let them be very clear to add on to what fun we're saying there we are very open to bribes incredibly open to bribes so any complimentary suggestions as to who we might look at also yes believable and complimentary so these are the two that i would definitely get my vote there's no point saying michael looks like gal gado or whoever is wonder woman currently there's not we you know i hear that a lot great it's what you should pick that out yeah uh you look a lot like jennifer garner but i suppose you heard that too i do yes i do indeed okay so as i say any actual text at this point you will win one of these bottles uh we have two uh thanks to el presidente uh two to give away as part of this shop okay um letter kenny tidytown's initiative and i suppose the whole idea of it is is to try as much as we can i think to get our minds in the the reusable space to get the plastic bottles off the streets which uh sit around for forever effectively um they just don't go away right uh more after these watch the show live now on youtube facebook and at highland radio dot com the nine till noon show is brought to you by letter kenny credit union digital loans now available apply online or via our app today and get your loan transferred directly to your current account i've lost my car keys lost my car once in a multi-story lost my patience my hair lost that a while back but this week i found things i thought had gone forever the crackle of needle on vinyl leaves crunching i found them all at spec savers i got free hearing aids with prsi and now those sounds are back so's my drad to vive i still can't find those keys though book a free hearing test today terms and conditions apply see our website for details i've just had the eclipsed 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more for you connelly's volswagen letter kenny your only official volswagen passenger and commercial vehicle dealer for county dunny gall pop in to visit our showroom on canal road letter kenny speak to them of our friendly team and drive away in your dream volswagen book a test drive on 07491223 or check out our full new and used range at connelly's.ie red hot wienling prices for more in your farmer's journal his paul mooney find out what's driving wienling prices up by 200 euros a head farmers rush to transfer farms before shin fain take power co-ops and agri businesses targeted by credit card fraudsters we analyze how milk prices will change in the coming months the slurry additive that could slash Ireland's methane emissions plus in Irish country living don't miss our top tips for managing farm finances and tax inside this week's irish farmers journal on sale now all right more from michael and fenula shortly but the examination is an award-winning production by broken talkers exploring mental health and human rights in the prison system it's performed by broken talkers gary keegan and stand-up comedian and former prisoner willy white the latter i'm delighted to welcome on to the program today good morning to you willy how are you keeping all good Greg how are you good it's good to have you with us right okay so how long have you been a comedian and former prisoner is what i've been given to describe you as i mean are you comfortable with that were you a comedian before or or or what well i think i was a comedian in prison also um started getting paid for it when i got out of prison would be probably the best way to describe it uh yeah so i was on it i was originally on a program uh from des bishops joy in the hood which he done he went around to all disadvantage the areas uh i say that very loosely and taught people comedy workshops and then they went in in front of their friends in a local community centre a community hall and performed a bit of stand-up so that's really how i got into the stand-up and that was after being released from prison in 2001 yeah what was your i mean you speak quite openly about you know your life before prison uh prison and the purpose of prison really is the ethos of it really is about rehabilitation isn't it you pay your you you do your time for for for your crimes but the whole idea i presume is that you come out a better person for it but maybe society doesn't view prisoners like that no i think there's a completely different view on prisoners i think there's always that stigma and there's always that kind of cliche once a once a prisoner always a prisoner and you know i would be probably the force to say that a lot of prisoners do not get reformed a lot of prisoners come back out of prison with the revolving door syndrome is that they come back out and they very soon with no rehabilitation no skills of how to come back come back in again end up going back into the prison system and i'm sure you've seen people as well that have gone into prison willy for relatively you know for not necessarily very serious crime but leave prison perhaps to go into a life of more serious crime in that you know it doesn't necessarily rehabilitate people it can actually uh tool them off up for a life of more serious crime yeah definitely most definitely i've also seen lads go into prison with no addiction issues come out with addiction issues and with addiction issues comes crying because you need to feed that addiction and one of the ways to feed that addiction if you're not holding down a really good full-time job is to commit crime and when you commit crime criminality you know is is is what does that and with criminality and crime unfortunately prison prison ensues you know and what was your your your experience like i mean obviously we can't go through it all now but i mean your life before prison your time in prison and since you've been released how do you could you summarize that that journey for yourself i mean do you feel you were so society left you with on a path that would end up you being in prison if that is the case how was prison and and your time since i wouldn't go so far as the blame in society for for my problems and my issues were prison i came from a decent enough background regarding my mother and father having jobs excuse me and my father unfortunately like to drink and there was a lot of violence at home and there was a lot of dysfunction which led to childhood trauma on my behalf and when i started taking drugs at a very young age it was a blanket of comfort and it took me away from everything that was going on at home so that was really why i started to take drugs i never had any intentions and grown up and you know pursue in the life to be a full-time drug addict or criminal i had different dreams and different aspirations and probably to be on stage more so and you know performing whether it was acting or whether it was singing or something like that i was always quite a very talented as a young kid well unfortunately the drugs snatched that and took that all away from me and then later on in life i ended up on my drug of choice which would have been heroin and black cocaine and then put me down a really really bad path i ended up in numerous psychiatric hospitals i ended up homeless on the streets i ended up in a lot of prisons and my life just went into complete turmoil from me taking drugs so realistically at the end of the day the drugs were just the short-term solution to a long time and as you've indicated your time in prison could have been the end of you effectively but you've come out the other end what was different for you compared to the other people you'd have seen that that perhaps their life their addiction their mental health declined and then they're released from prison and their life just either ends or goes nowhere what was different for you do you think willy that has seen you come out of prison and move forward with your life well greg i was very fortunate on the last prison sentence that i don't i was released from prison in april 2001 and when i got released from prison in april 2001 i had in prison found the 12 step program which i attended and still do attend and i was very very fortunate that i got an understanding of my addiction i got an understanding of why i took drugs i got an understanding that i could live life without the use of any substance whatsoever and i started attending these meetings and i knew then when i asked for help in the prison which was probably the biggest thing that i'd ever done when i went and asked for the help that the help was there for me and i eventually got myself drug-free and sober and have been for the last 22 years well done yeah and there's not a lot of lads that avail of that there's a lot of lads that are very very fearful of letting go of the drug of choice they're afraid that they can't deal with life and life's terms they can't deal with stuff that has happened to them in the past be it you know physical abuse mental abuse sexual abuse or you know traumatic period in the life and i was ready to kind of face that and and get myself together and recover so so really how much how much of your life has been thankfully a good period of it since not but how much of your life then has was was difficult between what you went through in the family home with your father's drinking then then of course on the pathway with drugs and and the time in prison up until your release so how much of your life does that distressing time take up it's tight isn't it yeah it would be it would be really honestly don't get me wrong i've had periods of time where things were genuine you know genuinely okay in me life are manageable and you know that i wasn't really in the the full realms of of of of active addiction and and living a chaotic life so to speak but i mean for most of my life since since i was a young child up until i eventually got drug free at 29 there's been i've had some sort of issues going on be a family and be a internal stuff that i've had to deal with and just couldn't deal with and the only solution for me was was the you know it's the very me head in the sand with drugs and when i took drugs it just took me away from everything that was going on you know do you think we will get on to the plane a second just whilst i have you do you think then we and you only have to look under an article about someone who's been imprisoned what people think locked them up throw away the this that the others come back you know all the the usual stuff do you think we are do you think we as a general population need to sort of maybe think twice about that that that's you know there's nature and there's nurture and all that type of stuff definitely of course we do listen i'm not saying that prisons you know i'm not saying that prisons are you know a deterrent from crime and i'm not saying that prisons are the solution to everything because you know a statistic show people get out prison and they reoffend i think there needs to be more money put into the rehabilitation of prisoners or things that needs to be more money put into you know resources and rehab and and recovery for people that are dealing with addiction issues and it's it's prison serves its purpose it doesn't matter you know whether you have you know a television in your cell or it doesn't matter whatever prison the prison sentence is that you're taken away from society where you've done damage to some you know to a person or to to a facility or something like that and you're taken away from the people that you love and you're taken away from your freedom and you're locked up so it's you lose your liberty and everything and everything that goes with that it's not it's it's by far a holiday camp because we as we say in the play i mean i don't know any holiday camps that you can go in and that you're locked up at seven o'clock in the evening like you know so the examination you bring it to on green on this coming Tuesday the 25th of april and i don't have it in my notes here and i don't really like notes anyway except for you to tell me rather than me to tell you is it a one is it you is it a group of actors on stage what is the story that you're telling willy no the story basically is it's gary keegan who's one of the members of broken talkers and myself so very very quickly it was meant to be a one-man play which was myself and it wasn't really walking out to the best way that we thought was going to walk out so we got gary to read in and then it is sport that gary was himself a victim of crime in london he was a horrifically moved over there so essentially what the play amalgamated to be was that gary is an ex-victim of crime i myself am an ex-criminal he tells his story about what it was like for him and explains the history of the criminal he would talk about the mental health and and welfare of prisoners in the orish prison system and we also read extracts from people that are actually serving life sentences at the moment in mental prison and amalgamates into this amazing piece of theater the visuals and the audio that's in it as well it will just it will just blow people away it's an amazing piece of theater and we also won a lot of awards we won the the best production award 2020 from the orish times best soundscape awards 2020 the orish times we won the dublin fringe festival 2019 best production and i won best actor at the dublin fringe festival our 700 people yeah some of the some of the reviews superbly slippery piece of theater that's from the stage the orish times no easy escapes in broken talkers sly provocative play again and again says fest the examination pulls the rug out from under you so it's perhaps not everything as you as it may seem this is one of those i think you need to go along and watch as things unfold rather than not try and necessarily set it up so trust the reviews and get along to on green on this tuesday the 25th of april uh willy white uh it's been nice speaking to you thank you for joining us and i'm sure you'll have a full house on on tuesday night for that because as i say these awards aren't handed out like uh like sweets either these are these are top level level awards and great reviews as well great thanks so much and please god you'll come yourself and have a look take care willy thank you so very much indeed back with more from michael and fenula after these the nine till noon show with letter kenny credit union now offering mortgages from 40 000 to 600 000 euro with no hidden fees or transaction charges letter kenny credit union 9102 127 attention all pet lovers and owners gary's pet world letter kenny is open seven days per week offering the very best value on all pet foods accessories grooming and care products call in and let our staff help you spoil your pet today you will be amazed by the range of product for all pets with exceptional 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highland radio weather updates with ireland west airport lanzarote is back check out our new wiggly flights to lanzarote with ryanair ireland west airport don't just take off take it easy dry and mostly sunny this morning it'll stay mostly dry and sunny for the rest of the day some cloud might build up in the evening though temperatures 13 to 16 degrees two very contrasting entrants into our water bottle competition and it'll all become apparent as i read out their submissions it does it's all right it's not lookalikes you can relax and from balandrate lyford says i would love one please greg thanks no problem and you're getting one and then nyle car and fana he's also getting one but his pitch was interested in water bottle nyle don't over commit we're going to satisfy your passing interest in the water bottle and in fact if they're passing the station i have them here they can just drop into the station if they're passing by the station yet all right collin from accounts rt1 bbc2 is this a co-production no it's an australian comedy not good i might australia oh i like that just segue into that with no with no build up you didn't even realize that's years of watching home on the way well apologies to any australian australian is listening it's a half hour rom-com and i love a good rom-com like that french hookup plan and some of those american shows like flying i love a good rom-com when it's done well this is really good half hour comedy series monday night's rt2 or if you're on the rt player you can just watch all eight episodes i watched off i watched five of the episodes this week and i'll be finishing it off this weekend completely smitten with the show the couple that stars in this show they created it they wrote the episodes and they're married in real life but i don't think it's their story somehow it's amazing um i don't think it's their patrick bramble is uh the guy i watched this because it was recommended to me last week patrick bramble is on a show i love an american show called evil which is a fantastic show about priests fighting demons it's scary you would hate it fenula but he's on that as the husband of the main character i had no idea he was so funny i had no idea he was so good at comedy or that his wife was so funny or so good at comedy um starts off with a great very original meat cute as all these rom-coms have to start he's out driving she's a pedestrian they don't know each other needless to say uh something happens which i won't give out won't spoil it but he ends up uh hitting a cute stray dog it's her fault he maintains she runs back they get into a sort of a squabble about this dog which is injured they take the dog to vet called the vet uh and they get great mileage out of that so they decide they're going to take care of this stray dog after much towing and froing and they just then discover is going to cost 12 000 dollars because the dog has to be put inside a frame so they end up having to mutually take care of this dog and that's the plot that's the what drives the series of this man and this woman who don't know each other don't like each other very much at the start but she owes him six grand because he insists that she pay half and he knows nothing about dogs so he enlists her to kind of help run take care of the dog then she gets kicked out of her house where she's sharing because the landlord doesn't learn to have dogs so the two of them don't really like each other but they're thrust together and it's really very funny and the chemistry i was reading in some of the reviews uh the guardian review talks about this fantastic chemistry usually couples who are together in real life don't have great chemistry on camera i don't think they've chemistry at all on this show yeah i think they're adorable they're fabulous chemistry it's addictive um and whilst the times review said it's addictive viewing i found the show you've seen as well you've watched it i just watched the first two because um i found it on restarting it on bbc bbc on sunday sunday night sunday night and it's also on what was uh last night was tuesday it's also on uh wednesday night it's on wednesday night at eleven fifteen and it is on sunday night act i think it's nine o'clock or something like that audience and critics love it yeah i know it's big yeah and it's done very well i don't know if it's my thing either and for no i think maybe you're the same yeah i mean if you don't like rom-coms if you don't like rom-coms i know i'm fairness i do and you know i'm constantly searching for my half hour my new half hour show there's only an episode of this if you don't come here you're giving it 10 out of 10 i i when i'm only two into it it's fine it's not that i mean i i'm not enjoying it but i wouldn't be raving about it the way people are raving about it that's a double negative something i love it yes there you go double nose yeah um i just think i find her character a little bit adorable see if you don't adorable you don't get on with the character so when all falls to bits yeah well she's scatty and she's like all over the place and she's kind of a bit rude and drinks too much and does this too much they're australian that's the job i know i mean she's also doing your doctor she stays in his house ever bought a prawn on the barbie she stays at his house in an episode no but it's a lot of beer it's a lot of beer like this doesn't give you an idea of the humor she gets she stays the first night she stays in his house she wakes up sort of half sleepwalking goes to the bathroom but she's disorientated she walks into his bedroom opens the drawer in his dresser drawer uses that as the toilet she goes back to bed hasn't the clue he wakes up horrified to find that obviously she's used his drawer well he makes up to see her i see he's her doing it yeah and then she finds out she starts about replacing it it's it's i think it's a serious situation comedy too well it is a sitcom i mean it's like you know red dwarf you know those shows where you take two characters who shouldn't really be hanging out but they're thrust together right okay that's what this is yep all right mixed views on it and so we only have um a minute or two uh and i don't know do you want to do boston's drama well just that it's one to watch i didn't really know anything about it i thought this was old and i didn't realize it brand new because i think it's on disney isn't it yes they're not going to marketing it's a documentary it's really terrible that no anus got it no no it's not a documentary and karen nightley's in it which is very strange and i assumed it was an old movie as well and i was like oh i must have missed karen nightley doing this back in the day but actually it is a brand new movie disney have done it it's another one of these stories where it's kind of a story within a story so most people will have heard something about the boston strangler or at least that word uh those two words put together mean something to people well we don't have any more time we're going to come back to that next week the funny thing is is you see it sort of tries to give credit to journalists and i just think we're kind of not in that space as society at the moment to give credit to journalists i don't know listen i feel really bad to cut across yeah exactly actually no because it is quite interesting because the you know they're all on lifestyle and reviewing vacuum cleaners and stuff and these are exactly but we'll actually maybe start off with that next week because i think a lot of people might be interested in that but for now and all through this whole hour the main thing that happened this is it started off as just a passing comment about let's go out for an indian and now it turns out that both flula and michael are going out for a lovely tomorrow indian meal at a restaurant or i should say a meal at a indian restaurant problem tomorrow night because we're going to um see an opera in the theater highly recommended war war hall i'm going to mispronounce it w-a-r-h-o-l i think or something i'm leaving that team okay well enjoy it enjoy it lovely to hear thank you take care of yourselves thank you so much to all of you who listened to the show throughout the course of the week we're back with you on monday thanks to uh leave who assisted caroline or who researched and produced the show uh and we're back as i say on monday john bresson's coming up around the north west next the night till noon show is brought to you by letter kenny credit union offering low rate holiday loans with fast approval apply online at letterkennycu.ie or in office today an apple a day keeps the doctor away yes but a joy apple keeps the sadness away crunchy juicy with a hint


Check it out y'all that's a receipt for $300. I got a prime rib here I cut up into three different sections. One of them we got marinating in a salt brown for 24 hours and then we're gonna compound butter it. We got this marinating in milk that's right injected with danos and then we got our sous vie back here. So stick around hit that follow button make sure you check out and see which one of these turns out the best.


Hello, and welcome to this presentation of the STM32 General Purpose I.O. interface. It covers the general purpose input and output interface and how it allows connectivity to the environment around the STM32 and microcontroller. The general purpose I.O. pins of STM32 products provide an interface with the external environment. This configurable interface is used by the MCU as well as other embedded peripherals to interface with both digital and analog signals. Application benefits include a wide range of supported I.O. supply voltages as well as the ability to externally wake up the MCU from low power modes. The general purpose I.O. ports provide bi-directional operation according to the input memory map. I.O. ports are directly connected to the AHB bus. This allows fast I.O. pin operations such as toggling and output with an independent configuration for each I.O. pin. They are shared across six ports named GPIOA to GPIOE and GPIOH, each of them hosting up to 16 I.O. pins. After reset, all GPIOs are set in analog mode to reduce power consumption. I.O. ports support atomic bit set and bit reset operations through the BSSRR and BRR registers. This allows I.O. toggling every two clock cycles. Most of the I.O. pins are 5 volt tolerant when supplied from a VDD above 1.62 volts. Up to three I.O. pins are supplied by externally providing a voltage within the VDD USB supply domain. This supplies independent of the VDD provided to the MCU. This functionality allows users to adapt logic levels of the MCU's I.O. pins to the levels required by external logic which may be supplied by different voltage domains without the need for external level shifters. General purpose I.O. pins can be configured for use in several operating modes. An I.O. pin can be configured in an input mode with floating input, input mode with an internal pull-up or pull-down resistor or as an analog input. An I.O. pin can also be configured in an output mode with a push-pull output or an open-drain output with an internal pull-up or pull-down resistor. For each I.O. pin, the slew rate speed can be selected from four ranges for the best compromise between maximum speed and emissions from the I.O. switching and to adjust the application's EMI performance. I.O. pins are also used by other embedded peripherals to interface with the external environment. Alternate function registers are used to select the configuration for the peripherals in this case. The configuration of the I.O. ports can be locked to increase robustness of the application. Once the configuration is locked by applying the correct write sequence to the lock register, the I.O. pin's configuration cannot be modified until the next reset. Several integrated peripherals, such as the use art, timers, SPI and others, share the same I.O. pins in order to interface with the external environment. Peripherals are configured through an alternate function multiplexer which ensures that only one peripheral is connected to an I.O. pin at a single time. Of course, this selection can be changed while the application is running through the GPIOX, AFRL and AFRH registers. The independent VDD-USB supply domain allows operation in an environment with several different logic supply voltages. It allows the STM32 to communicate with different logic supplies. Up to three I.O. pins in this domain can be used to communicate with other logic circuits. For instance, USB, which are supplied by voltage rails other than VDD. The use of independent voltage supplies may eliminate the need for external voltage shifters in the design. During and after reset, the alternate functions are not active. Only debug pins remain active in AF mode. JTAG SWD debug pins remaining in AF configuration mode are listed on this slide. When the external oscillator is switched off, pins related to this oscillator can be used as standard I.O. pins. This is the default state after a device reset. When the external clock source is used instead of a crystal oscillator, only the OSC32 in-pin is used for the clock and the OSC32 out-pin can be used as a standard I.O. pin. The STM32WB high-speed oscillator pins are dedicated to the OSC in and OSC out functions and have no standard I.O. function. A new multi-supply scheme of I.O. pins brings new I.O. pin structures. Previously used naming FTTT has been extended by abbreviation suffixes to highlight alternate supply sources for each FT and TTIO pin. Previously used name FTF for FM plus capable pins has been transformed to FT underscore F. The new underscore L suffix has been added to mark pins supplied through LCD supply, suffix underscore A marks pins supplied by analog supply, suffix underscore U is used for pins supplied from USB supply, and suffix underscore S now clearly identifies pins within the independent VDDIO2 supply domain. The absolute maximum rating for each I.O. pin is defined by the lowest voltage of the supplies listed for each I.O. pin. I.O. pins remain active in all modes except standby and shutdown, where the only available configuration is input with internal pull-up, pull-down resistor, or floating input. When exiting shutdown mode, the I.O. configuration is lost. When the MCU is under reset, I.O. pins are forced into an analog input mode.


The designated marksman's role is to accurately engage multiple targets rapidly at distances far greater than any regular rifleman can engage. It was a two week long course where we learned how to observe how to enhance the range of a normal rifleman and how to be designated marksman. We engaged targets at two 800 meters with an M27IR and an SDO scope. We went over the fundamentals and advanced shooting techniques. We learned ballistics, observation, surveillance, and land nav. We took tracking classes. I hope they utilize us how we should be utilized and that would be as a force multiplier to go out and provide early warning and precise accurate shots. We can go out in a small team of a DM and an observer and a security element and eliminate key targets and control some of the chaos in the battlefield. It enables our command to place us in better positions to observe and provide early warning and engage targets precisely. I believe I've become a much better marksman from this course.