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What’s On In Costa del Sol?

Have you ever found yourself looking enviously at friends’ cheap holidays to the Costa del Sol, but asking “yes, but aside from the gorgeous weather and golden beaches, what is there to do in the region?” If you answered yes to this highly specific question, then let me be the first one to tell you that actually there are many attractions surrounding Costa del Sol.

Holidays to the Costa del Sol have something for everyone. From culture vultures to sports enthusiasts, there will be something for you! Here’s a list of some of our favourites at Search Travel Online:

February – The Carnaval de Cadiz

This Costa del Sol attraction certainly won’t be for everyone on paper, but really is a fun event once you get there! Cadiz’s carnival is a menagerie of singing, drinking, fancy dress and dancing filling a massive 10 days. Over this period, the city is filled with costumed groups (“murgas”) singing satirical songs and performing sketches. There are around 300 officially recognised murgas, so you’re sure to see a few – especially as there are countless other ‘unofficial’ groups, who try to join in the festivities. If taking a cheap holiday to Costa del Sol in February, this is well worth checking out.

March/April/May – Various Motor Racing Events

Jerez’s Circuito Permanente de Velocidad plays host to a number of motorbike and car races throughout the year, including one of the Grand Prix races in the World Motorcycle Championship. Around 150,000 Spanish spectators love to take in motorcycle racing, and it has found a home in Jerez since 1987. Racing enthusiasts should check the schedules to know when these Costa del Sol attractions are running.

August – Feria de Malaga

Music fans should aim to take a cheap holiday to Costa del Sol in August, when they will fall in love with Malaga’s Feria – a 9 day festival launched by a massive fireworks display, where the city is alive with vibrant music and dancing. During the day, you’ll find the places to be are the Calle Marques de Larios, Plaza de la Constitucion and Plaza Uncibay, but at night the music fades (slightly!) to make way for large fair grounds! Those who haven’t got their fix of exotic beats and rhythms for the day can still head to the Cortijo De Torres, which hosts nightly flamenco and rock performances.

In addition to these annual events, there are some attractions surrounding Costa del Sol available all year round…

Malaga City

Malaga City has enough of Costa del Sol’s attractions and culture to warrant several visits. Our top picks are:

The Alcazaba

This imposing Moorish fortress was built in the 8th century, and is very hard to miss right in the centre of the city. The views are stunning, and those in to their Spanish history will delight in seeing this throwback still well maintained against more modern scenery.

Gibralfaro Castle

On the hill next to the Alcazaba is the Gibralfaro Castle. The sight is again a special one for history buffs, and it overlooks Malaga’s bay and the city’s bull ring. The castle was left in ruins by the French army in 1812, but thankfully the remaining structure has been left to the delight of Costa del Sol holiday makers with a yen for architecture and historical discovery.

Teatro Cervantes

With a growing international reputation, the Teatro Cervantes is the place in Malaga to take in the best opera, concerts and plays. Although it was originally opened in 1870, it didn’t last long before it was devastated by fire. Indeed, renovations weren’t begun until the 1980s.

Malaga Cathedral

Constructed in 1528, the Cathedral’s most notable feature is that it has never been finished! One of the towers is still absent, explaining its local name as “La Manquita”. The structure is stunning, and this Costa del Sol attraction is well worth a visit for those with an interest in historical church architecture.

Picasso Museum

Perhaps Malaga’s biggest claims to fame is that it is the birthplace of one of Spain’s most renowned artists: Pablo Picasso. One of only three museums in the world dedicated exclusively to the innovative artist, this popular Costa del Sol attraction houses a great number of his works, and has the distinction of being inaugurated by King Juan Carlos and Queen Sofia.

The Roman Theatre

At the foot of the Alcazaba fortress is the city’s Roman theatre. It was actually hidden underground until relatively recently – 1951! The theatre was built during the reign of Emporer Augustus, and was in use for two centuries. This is definitely one for those interested in ancient history on holiday in the Costa del Sol.

So, don’t be fooled into thinking that cheap Costa del Sol holidays offer only sun, sea and sand. Far from being a sunnier Blackpool, you can rest assured that there is a great deal of culture and education for those who want to find it!

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Have a memorable trip with car rental service in Malaga

Explore the wonderful city of Malaga with car rental service, at per your convenience and flexibility. Malaga is located at the southernmost coast of Spain and is one of the most popular destinations in the world. Miles of beautiful and sandy beaches and warm weather throughout most of the year keeps tourists coming back year after year. Just jump in your rental car and get ready to explore!!
Malaga is situated on the Costa del Sol on the northern side of the Mediterranean Sea. Huge number of tourists visits each year to this wonderful sunny cosmopolitan city to explore the beautiful landscapes, remarkable architecture, amazing nightlife and outstanding seafood restaurants. You can also see most of the world-class golf courses in Malaga. This city is also known for its rich history and is the birthplace of the famous painter Pablo Picasso and you can admire his beautiful painting in The Picasso Museum. Car rental in Malaga is the quickest and cheapest way to get around this beautiful city so go on and have an amazing ride!!
To book a car rental service in Malaga, you will be required to hold a valid driving license and passport for identity and age proof. If needed, you can pay for the second driver. If travelling with small children, you need to book a child seat. You can also use satellite navigation systems, CD player, luggage racks and comprehensive insurance for drivers. If you have an unfortunate problem, car rental service provides 24hrs roadside breakdown cover.
Car rental service provides you all the convenience and flexibility while travelling and discovering this beautiful sunny city. You also get to choose the best quality and model of vehicles from the various car rental providers in Malaga such as small economic car, family car, sedans, convertibles, SUV’s and luxury cars. Please do specify if you need an automatic or manual transmission of the time of booking. . Car rental service offers long-term, monthly, weekly and daily car rental to get to your destination and also gives comprehensive insurance for drivers.
Car rental service in Malaga provides vehicles in excellent condition, services and maintained to the highest standard. Special discounts in rental packages are offered from time to time which make car rental service affordable and economical for all segments of tourists. You can also save a lot of money by booking early. Though most of the city sits on the water, the city is also protected by beautiful mountain ranges to the north and you can enjoy the beauty of this area in your Car rental. Malaga in known for its spectacular views across the bay and beyond which you can truly experience in your car rental

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Suzanne Vega Tickets at Cheap Price

Suzanne Nadine Vega (born July 11, 1959) is an American songwriter and singer known for her highly literate lyrics and eclectic folk-inspired music. In 2007, Suzanne Vega followed the lead of numerous other mainstream artists and released her track Pornographer’s Dream as podsafe. The song spent two weeks at #1 during 2007 and finished as the #11 hit of the year on the PMC Top10′s annual countdown. Suzanne Vega was also a judge for the 6th, 7th, and 8th Independent Music Awards.
On March 17, 1995 Vega married Mitchell Froom, a musician and a record producer. They have a daughter, Ruby Froom (born July 8, 1994). The band Soul Coughing’s Ruby Vroom album was named after her, with Vega’s approval, though she requested a slight change. Vega and Froom separated in 1998.On February 11, 2006, Vega married Paul Mills, a lawyer and a poet. They originally met each other at Folk City on West 4th Street when Michael Cera, a friend of Froom, introduced them in 1981. In their own words, Mills proposed to Vega in May 1983, and she accepted his proposal on Christmas Day 2005.

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Theoretical Priciples of De-aestheticized Art

“Art is a lie that makes us realize truth.”- Pablo Picasso

What kind of lie does contemporary art support today?

What kind of truth are we realizing through the contemporary art?

Contemporary scene of visual art resembles the space filled with broken mirrors, where images reflect each other in the multidimensional sphere of media circus. The technique of cataloguing and classification, creation of categories, could serve as the key to the mapping and understanding of complexity of the multitude of approaches and streams that exists in today’s global art scene. Criteria for both, the creation and the selection are borrowed from random structures, and theoretically are questioning relevance of the evolution of art.

The initial categories for the whole system are those of matter and consciousness. They provide the trunk from which all the various branches of the other categories stem. All elements are so interconnected that, each can only be understood as an element of the whole. -Dialectical Materialism (A. Spirkin)

Determination of the significance of styles or tendencies, of the main art stream, groups or any other structures, will become irrelevant in near future. “Anything goes” was replaced by “And What?” With all the information and tools available today, everybody could become an artist. People of all professions are playing with new media. Does Garage Band make a musician, or graphic software a designer, or using digital camera a photographer? New technologies create a game where in competitive manner consequently everybody wants to win. Winning in art, means also experience “15 minutes of world-fame” and becoming a “superhero.” Consumer society deals with superficial substitution for happiness. Who is going to watch the game if everybody plays. Fortunately we can not play at the same time. Audience varies from small groups (family members and friends) to large social groups. In larger social communities, like national structures, demand for “heroes-artists” diminishes and culture is broken into small pieces of individualized performances of regional character. Researching tendencies of art scene behavior in context of contemporary philosophy of art we tend to accept a concept, that everybody is or could be an artist. The meaning, importance and consequences of such mind stream are very profound and have a great impact on cultural and social live. Why? It requires dropping the concept of conceptual thinking.

My artistic approach is created on such foundations. Not that I would be able to perform non-dualistic processes, but I am trying to pronounce a little speculative futuristic prognoses of the era after the end of art. Sooner or later this trend will be labeled as some kind of Unthinkable Art. Historically, realization of such path becomes a paradox to common sense (especially on collective level); however, similar trends are reflected in the air of the post-postmodern rain, and will soon appear on the sky as a rainbow.

Today’s curators are looking for unique and interesting angles to make their point across when using selective techniques for art shows. The usage of traditional approaches secures the system of art cycle, from creation to the distribution, and protects the capital of cultural bureau. Even the most alternative scenes (Technologies vs. Art, or other forums of so called “new media”) are not resolving the issue of foundation of the role of art on the contemporary global cultural platform, because they are based on the traditional curatorial, selective and preconceived mechanisms. What do I mean by that? I refer to the study of the designation processes of mind in relationship to the definition of what we labeled: The Art. As a reference to dialectic philosophies is an example of demonstration the potential of the idea pronounced by A.Danto, about art becoming philosophy. Such Ideas would need to be adopted, not only by artist themselves, but especially reformulated by structures that officially support the larger cultural platforms.

What are results of the conference that took place in Teheran in 2001? Art is still presented to the public in the manner of presentation from early 20 century. Structures that support such static views certainly do not elevate the public consciousness and awareness of issues of modern art world. The Artist Mark Kostabi makes allusion to the idea, of the art being a servant of market. Some curators are trilled by this statements. In the global picture of westernization, M. Kostabi’s phenomenon is becoming a guide – a hero, who is ideal combination of qualities, that contemporary artist should posses. It is also the best demonstration of lie that helps us to realize the truth about art of today.

Like a flashes of neon sign, art is reflected, from the pieces of mirrors everywhere.

Looks like a new quality of question have arisen since Arthur Danto published his ideas in book called “After the end of art, 1998. “Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time.” Art is becoming a philosophy.

I always believed in finding the answers in the space between, looking for the middle course. Neither postmodernism nor new media approaches are answers to the understanding of the positioning of the art of tomorrow. Postmodern world is a world of entertainment. It’s like an amusement park, where possibilities are endless and we feel overwhelmed for a while, but we have a need to relax from excess information and go back home.

Kostabi is one of those, who understood the art market, and because of his intelligence he penetrated the system, took advantage of it, so he can do whatever he wants. We pay for expensive tickets out of our pocket. I admire him because he realized the dream of every artist. Or is it not a dream of every artist to get recognized and sell art work all over the world?

If not, what is?

Is it still relevant to ask question, such as, what is Art? How do we deal with it? What is the nature of beauty? I would like to refere to the dialog between Einstein and Tagore from 1930.

EINSTEIN: There are two different conceptions about the nature of the universe – the world as a unity dependent on humanity, and the world as reality independent of the human factor.

TAGORE: When our universe is in harmony with man, the eternal, we know it as truth, we feel it as beauty.”

E: If there were no human beings any more, the Apollo Belvedere no longer would be beautiful?

T: No!

E: I agree with this conception of beauty, but not with regard to truth.

T: Why not? Truth is realized through men.

E: I cannot prove my conception is right, but that is my religion.

T: Beauty is in the ideal of perfect harmony, which is in the universal being; truth is the perfect comprehension of the universal mind. We individuals approach it through our own mistakes and blunders, through our accumulated experience, through our illumined consciousness. How otherwise can we know truth?

- by Dmitri Marianoff, published in NewYork Times, August 10, 1930

“Contemporary artists would never approach new horizons. One of the reasons of this failure seems to be the separation of artistic activity from speculative thinking.“

2001 Tehran Museum of Contemporary Art, International Conference on the Philosophy of Art.

What happened since the time of the conference? How to overcome speculative thinking, if it arises as a cultural result of values supported by society we live in?

How to identify or place individual art work into the world of already so complicated and diverse art scene, without compromising originality, respecting evolution in art? How do we deal with the fast passing, minute to minute changing tendencies of art? How the individual artist contributes to the art of its lifetime, and not just contributes to the 15 minutes type of history? What are the values, reasons of art of tomorrow? Is there analogy in art history to the situation of our era? What are the future forms of the visual exploration? What will the production of art going to be in near future, 10 years from now? What is the role of new media? Does artist have to be involved in the philosophy of art? Could individually created piece of art be created in isolation? If so, how are art processes structured on individual level and on the global level?

It is intriguing to think about becoming a pioneer of the new Era of Art. My motivation is to explore the field of possibilities. In have no interest in inherent aspect of art rather I am interested in the evolution of possibilities of artistic thinking. In 1999 I have graduated in Academy of Fine Arts in Bratislava, with installation inspired by I. Kabakov, where I exhibited my workspace with drawings and prints on floor and the white canvases, with intention to question the meaning of the art itself. White canvas was there to raise the question of reason for continuation of mark making and the End of art narratives. I have seen closed circle of possibilities. If anything was possible, and everything was an art; than nothing was an art anymore, so Art was Death. But as I realize today, that was just the beginning of my long journey to the realization of truth about art.

The Incredibles (2004) refreshed feelings about the End of Art.

“When everybody is a superhero than nobody is superhero”.

In order to continue in activities leading to product that is labeled as an art, I had to formulate and reconsider following facts:

1. Analysis of situation.

2. Underlying misconception of self and wrong motivations.

3. Formulating the solutions and strategies.

4. Continual fabrication and visual symbioses with reality.

1. ANALYSIS OF SITUATION

From the Teheran’s conference: Post-Modernism & Contemporary Art,

27 April – 1 May 2002

The Problems of Contemporary Art:

- Aesthetics in Contemporary Art

- The Fine Line between Artistic & Non-Artistic Work

- The Language & Expression of Contemporary Art

- Contemporary Literature & Art

- Contemporary Art & Technology

- Globalization & Contemporary Art

- Post-Modern Art: Features & Characteristics

- The End of Art

Post-Modernism & Trends of Contemporary Art:

- Minimalism

- Conceptual Art

- Land Art

- Video Art

- Body Art

- Anti-Art

- Local Art

- Feminism

- Post-Modern Architecture

Theoretical Origins of Post-Modern Art

Theoretical Principles of Modernism from the viewpoint of Modern Philosophers:

- Humanism

- Rationalism

- Subjectivism

- Nihilism

- Aesthetics

- Enlightenment

2. UNDERLYING MISCONCEPTION OF SELF AND MOTIVATION

I have slightly touched topics of traditional dilemmas of dualistic mind. The acceptation of dual aspect of things, leads to judgmental thinking, not only in art. Creation of categories is beginning of the tragedy of the era after the end of art. This is why Beauty and any other category could be defined, which leads to the continual labeling.

Definition of other reasons of misconception is based on juxtaposing Nietzche’s and Malraux’s models of art and processes of creation.

Nietzche

a. One seeks for oneself a less artistic public. The superstitious belief in the “genius”

b.One harangues the obscure instincts of the dissatisfied, ambitious, self-disguised spirits in a democratic age: importance of poses.

c. One transfers the procedures of one art to the other arts, confounds the objectives of art with those of knowledge or the church or racial interests (nationalism), or philosophy.

d.One flatters women, sufferers, the indignant, etc. False “intensification”.

Malraux Andre

Art is a display of universal creativity of individual. Through art work man was, and is, opposing and transcending limitations of his physique, his personal and social (historical) destiny. Malraux refuted to explain art works in relation to the biography of their creators, and was against this method in explaining motives and contents of art.

3. FORMULATING THE SOLUTION AND STRATEGY/ VISION-UTOPIA

a. Revival of Iconic Quality.

Because of the degenerated Era of Spiritual Values and the End of time of Old Gods; which migration and multicultural blend is responsible for, I am looking for Possibility of New Sacral Form. This is not a creation of transcendental art. It is a search for artistic form that allows the content to respect dialectic evolution of social wisdom, where an essence of sacral secrecy is highly respected. It is a new level of the sphere of new colors, shapes and structures. Renewal of art forms is based on reevaluation of sacral attributes from history and than elevating the forces of modern era which define motives and perspectives of redefined sacral forms. It is revival of existing symbols, on global level. It is not a creation of a new religion, but it is a new level of social consciousness. Form remains the same, mind is different. Technology, art and philosophy are integrated into continuous symbioses.

b. Role of the Artists, Galleries and Cultural Industry. Combination of Two Worlds. New Cultural Wisdom. Utopia.

This would be the end of “…marketing game governed by art dealers, Gallerists and publishers, who have to run the business of Cultural Industry.”

The society on global level would be governed by New Cultural Wisdom. Creation of art is not considered anymore as the act of creation. “The art will be spontaneous as breathing.” Artist is producing form, that is instantly and naturally blending into the environment, so the sub-consciousness is directed by wisdom that eliminates the dilemma of hierarchic model. Gallery space is no more required and the whole space is becoming a showcase. The whole space does not require the poses. It is an art of conscious depiction of picture plan, from retinal experience, or selection of the picture frame in consciousness and placing the required aesthetics upon it. Artists are fabricating art that is already blended into environment as natural portion of space and serves as perceptive potential for public depiction. Cultural Wisdom is defined by human consciousness that provides unlimited potential for defining the pictorial framing of reality, and its limits are limits of understanding the phenomenon of reality.

c. Clash of Civilizations. Global Culture. Meta-code, and New Artistic Religion.

We experience on global level formation of new cultural qualities that are based on cultural clashes. (Example: Global cultural experience is formed in LA house, with my Persian and Mexican friends listening to the Japanese techno music, eating Bulgarian cheese with Arabic bread, Russian pickles and drinking French wine while discussing Slovak culture, or latest fashion trends in London.) East meets west or south meets north processes are not completed yet and it is hard to predict the results from the cultural clashes. But we need to look at the presence as the formation of the universal space, where cultural identities will be redefined. This will result in temporary crisis of individual identities but eventually will lead to the identity of global consciousness.

Americanization of world can serve as model of globalization of globe with its positive and negative aspects. Migration to caves is limited. S.J.Lewy

4. CONTINUAL FABRICATION AND VISUAL SYMBIOSES

I would like to scratch the surface beyond the point of A. Danto’s philosophical questions about the end of art. Not that I would have “the guts” to elaborate on his ideas from philosophical perspective, but I just want to reflect on some fragments and articulate them strictly as an artistic vision.

“A philosophical question arises whenever we have two objects which seem in every relevant particular to be alike, but which belong to importantly different philosophical categories.

…and this is no less the case when seeking to account for the differences between works of art and mere real things which happen exactly to resemble them.

…for example, regards paintings as very complex perceptual objects. So they are, but since objects can be imagined perfectly congruent with those which are not art works, these must have equivalent complexity at the level of perception. After all, the problem arose in the first place because no perceptual difference could be imagined finally relevant. But neither can possession of so-called “aesthetic qualities’ serve, since it would be strange if a work of art were beautiful but something exactly like it though not a work of art were not. In fact it has been a major effort of the philosophy of art to de-aestheticize the concept of art. It was Marcel Duchamp, a far deeper artist than Warhol, who presented as “readymades” objects chosen for their lack of aesthetic qualities – grooming combs, hat racks, and, notoriously, pieces of lavatory plumbing. “Aesthetic delectation is the danger to be avoided,” Duchamp wrote of his most controversial work, Fountain, of 1917. It was precisely Duchamp’s great effort to make it clear that art is an intellectual activity, a conceptual enterprise and not merely something to which the senses and the feelings come into play. And this must be true of all art, even that most bent upon gratifying the eye or ear, and not just for those works which are regarded as especially “philosophical,” like Raphael’s School of Athens or Mann’s The Magic Mountain. Were someone to choreograph Plato’s Republic, that would not, simply because of its exalted content, be more philosophical than Coppelia or Petrouchka. In fact these might be more philosophical, employing as they do real dancers imitating dancing dolls imitating real dancers!

Where are the components for a theory of art to be found? I think a first step may be made in recognizing that works of art are representations, not necessarily in the old sense of resembling their subjects, but in the more extended sense that it is always legitimate to ask what they are about.

Now of course not all representational things are works of art, so the definition has only begun. I shall not take the next steps here. All I have wished to show is the way that the philosophy of art has deep questions to consider, questions of representation and reality, of structure, truth, and meaning. In considering these things, it moves from the periphery to the center of philosophy, and in so doing it curiously incorporates the two things that give rise to it. For when art attains the level of self-consciousness it has come to attain in our era, the distinction between art and philosophy becomes as problematic as the distinction between reality and art. And the degree to which the appreciation of art becomes a matter of applied philosophy can hardly be overestimated.” – A. DANTO

I believe that art should reach the level, where its own representation would be representation of the pure existence. What do I mean by pure existence? Ii is purification on the level of non creation. All creation is pregnant by its causes. Consequently purifying the causes of creation will purify the act of creation itself.

Global consciousness on the level of cultural wisdom will create the platform, where all representational things will become work of art. It would be consciousness and its possibility to frame the fragment of reality and apply the aesthetic quality upon it. The reality in cultural wisdom level is ultimately de-aestheticized. Marcel Duchamp’s idea of the danger of aesthetic delectation would be eliminated and his vision completed.

Every aspect of reality could become art, but Wisdom Culture does not allow the reality in dualistic (judgmental) sense to become the art neither on collective level, nor on any regional level. It would only exist as a potential view, on the level of one’s consciousness. However in later stages of development of wisdom culture, in the stage of ultimate equanimity, the nonjudgmental aesthetic experience of reality as ultimate art could be realized simultaneously in more than one person. Evolution of collective experience could follow. The result of such parallel experience manifests the evolution of human kind toward the subtle spiritual qualities and realization of inseparable quality of beauty from the existence itself. It is experience of highest aesthetics. This will lead to the formation of new social structure, where “shamans” will protect the global Sanctum.

The essence of the Sanctum is present in every aspect of reality, which holds the door to the potential creation, where the seed of the nature of beauty could be found.

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Malaga's Best Beaches

Playa de la Malagueta
The most well known and most popular beach in Malaga – part of the Malagueta beaches – this beach is 1200 metres long! The beach is located to the east of the Morro de Levante Pier. There is a wonderful promenade located close by called the Pablo Ruiz Picasso which has plenty of café bars, restaurants and ice cream parlours! The restaurants along the coast here are renowned for their wonderful fish dishes.

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Art Appreciation 101

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Art is the embodiment of culture and contemplation. We see it art in different incarnations and media. Almost everything can be defined as ‘art’ if it can be experienced or visualized. Many art critics agree that appreciation for art is hardwired into the brain. If one comes from an estranged parental relationship or from a dysfunctional lifestyle, that person would likely be more appreciative of surrealist paintings and quirky objects. And, a person with a goal-oriented mindset would rather instigate positive interest on paintings of real-life objects. But the focal point of art is to express, not to impress – and, in the past century, painters have become more adaptive of the technology and political issues that shroud the world – thereby incorporating different ‘depictions’ of politics and futurism into their work.

People use different criteria for appreciating art: artist, age, cultural value, sensory excitement, geometry, accuracy of portrayal, materials used, specimen used, logical/emotional value, religious overtones/undertones, and distortion among others. Unarguably, people nowadays associate the value of a painting to its price. Our material world has finally caught up for our appreciation of art. For people who have a personal yearning to be depicted on canvas, they can commission a painter to do the job, or if they are by themselves, skilled at painting, they can make a self-portrait.

What is to be truly appreciated about handmade art though, especially paintings and sculptures, is that the human mind will only be capable of displaying the art to public viewing if he/she made the art out of inspiration. Artists who have the boldness to hold a gala of their work are handsomely paid for their masterpieces, for the value of just putting up a show to display their work adds intrinsic value to the portrait, sculpture, or any display piece they have conceived.

In the United States alone, there are nearly 200 widely-recognized local, regional and national, art organizations. While most skilled artisans prefer seclusion while doing their trade, others for educational or financially-motivated purposes, host or participate in events that teach both veterans and newbie artists the skills they invoke to finish their craft. The art capital of the world, Paris, has the most number of artists completing live portraits and sculptures on the street. There’s also Florence, Montreal, and New York. Interested buyers may request to have themselves drawn on canvas or pick from a hanging selection of that artist’s work, without the hassle of being taxed.

While art serves no direct association to business acquisitions, ventures, and mergers — notable business magnates around the world collect paintings to display in their homes and offices, and it sure does give a hint of their influence, wealth and prestige. The Rockefellers are widely known for the vast business empires they’ve built in America, and are notoriously into collecting many famous paintings from Pablo Picasso and Paul Czanne – surrealist and post-impressionist painters, respectively. Steve Wynn – who’s made his fortune cashing in on resorts, hotels, and casinos in Las Vegas – holds one of the biggest collections of famous paintings done by Cezanne, Picasso, Gauguin, Matisse, van Gogh, and Andy Warhol to name a few. You may recall Andy Warhol as being associated with the “pop art” rave he started in the 1960′s, and when he made a silkscreen reprint of Marilyn Monroe’s face, Marilyn Diptych.

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7 Reasons Why You Just Got To Be Excited About Making a Collage

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Collage making is a wonderful art form. I want you to be excited about creating a collage. Hope you will be convinced with the seven reasons below.

You can be excited about making a college because:

1. Collage making gives you an opportunity to become part of a historical legacy. Art giants like Pablo Picasso, Georges Braque and Romere Bearden have made collages famous.

2. Creative people, like yourself, are always looking for a way to add more excitement to your work. This is universally appealing to people who want different ways to express themselves.

3. The fine art of collage making is as expressive as a painting. You have the opportunity to share your hopes, vision, dreams and purpose in a powerful way.

4. Collages will give you an enormous amount of flexibility and versatility. The possibilities are infinite with a collage. You can arrange and form words, text and objects to convey different meanings.

5. Anyone can do a collage. The process can be as simple or deeply complex as you want it to be. Regardless of your age or background you can quickly be taught how to do a collage. Your experience just adds to the building of your collage making expertise.

6. Collage making is relaxing. Play your favorite music while you work and tune out the rest of the world.

7. Collage making gives you an opportunity to play while you create a masterpiece. You will enjoy the experience and the framed creation will be a long time showcase for others to see and enjoy.

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Malaga Airport Car Hire – An Idiot’s Guide to Car Hire at Malaga Airport

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If you are one of the many millions of Brits expected to fly out on holiday to the Costa del Sol this year, there is a good chance you’ll be jetting into Malaga Airport. As Spain’s 4th busiest airport, Malaga Pablo Picasso Airport sees approximately 13 million passengers through its gates each year, which results in the 2 terminals (soon to be 3) getting a little chaotic especially around peak season. With this in mind, it pays dividends to know in advance exactly where everything is. So once the luggage has been collected, the main priority for most people is getting out of the airport and to accommodation as quickly as possible so the fun can start. This more often means finding the right car hire at Malaga Airport.

Whether due to impatient kids, size-able baggage or the unfamiliar temperatures, trying to grapple with confusing airport signage and wade through golfers, foreign students, hen parties, as well as regular holiday-makers, can prove a trying way to start a holiday, unless forearmed with the right knowledge. Our Idiot’s Guide can ensure you move like a heat seeking missile through the swathes of people, reach your target desk and be out of there before you’ve even had a chance to break a sweat.

There are currently 23 Malaga Airport car hire firms in total but only 10 of these are based directly inside the Terminal 2 building itself. These are Auriga Crown, Autos Lido, Avis, Europcar, Goldcar, Hertz, National Atesa, Record, Sixt and Solmar. Access to these offices is just through the doors after baggage reclaim but before going through the final doors to the Malaga Airport Arrivals hall. On the right hand side is a ramp that takes you downstairs to where all the offices are.

When you collect your keys, the staff member behind the desk will inform you which level of the car park your vehicle is situated on and the number of the bay. This will either be on your key fob or will be written down for you. From there you go to the opposite end of the hall to the entrance ramp, which takes you through to Level -1 of the car park. At the moment, the cars are spaced out over three levels: Ground Floor, Level -1 and Level -2. Most pick-up cars are parked between two floors with Auriga Crown, Europcar, National Atesa, Record, Solmar and Sixt on the Ground Floor and Autos Lido, Avis, Goldcar, Hertz, and both National Atesa and Record represented again on Level -1.

To return a vehicle, there is a special entrance for rental cars which is just past the regular P1 and P2 parking entrance bays. There is no ticket to collect when entering and passengers do not have to return the keys to the original terminal-based office as there is a corresponding office for each company on one of the three floors. Sixt is the only one that has 2 offices and these are on the ground floor and Level -2. Autos Lido, Avis, Goldcar, Hertz and Record all have their offices on Level -1, while Auriga Crown, Europcar, National Atesa, Sixt and Solmar´s are situated on Level -2. These offices are also for use by people renting a car but not flying from the airport. The much smaller Terminal 1 also has 5 car hire check-in desks which are on the left as you coming through into arrivals. They are Auriga Crown, Autos Lido, Europcar, National and Sixt.

Most of the off-airport rental firms are located on a slip road running adjacent to the approach road into the airport called Avenida Garcia Morato. These Malaga car hire companies are Cargest, First Car Group, Global, Helle Hollis, Holiday, Malagacar, National, Niza and Top rent-a-car. Getting to these is incredibly simple as each puts on a specially-dedicated courtesy bus that either schedules runs to and from the airport every 15 minutes or uses the flight details of the customers to turn up at the right time. These buses collect from just outside the arrivals terminal by the regular bus stop which is around 50 metres down on the right after exiting the building.

When returning the vehicle, drivers are advised to go round the roundabout and come back on themselves to turn right into the slip road called Avenida Garcia Morato. The final four Malaga Airport car rental firms are located just over the roundabout, after the BP garage on the right hand side and are Autolink, Marbesol, Tony´s and Yellow Car. They are also reachable via a footbridge that runs over the road. To find the footbridge turn right out of the Malaga Airport departures hall and follow the signs for the train station, which will lead you a little further down before making you cross the road and go through the car park.

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Two Old Treasures – Picasso and Mike Cunningham

Image : http://www.flickr.com

I am a treasure hunter. I don’t mean that I leave the house each morning armed with a pick and a shovel and an old map marked with an X. No. My tools are the Antique Trade Gazette’s auction guide, my old motor and forty-years accumulated knowledge of art and antiques. I travel the world looking for mistakes made by auction houses and dealers wherever I can find them. I eat most days, but I’m not getting rich.

Picture restorer, dealer, Mike Cunningham was one of the greatest treasures I ever found. We clicked from the moment we met and I was sure we would grow old together. When he died in his sleep in 2000 I was more upset than when I lost my Dad. Mike was fifty-two years old, fit and full of plans for the future. He had recently decided to sell his London home and retire to Hastings, on the south coast of England, where he and partner Sue already owned a small house in the Old Town. Mike and I had bought many pictures together over the preceding twenty years, most of them turned over quickly for a profit. But when Mike died we were still half shares in a painting that, if we had some provenance, would have secured our futures and that of a small African nation.

Mike bought the picture from some Irish travellers on the Goldbourne Road (off Portobello Road, London) one, very wet, Friday morning in 1980. He paid two pounds ($4.00). He didn’t even know that it was a painting. All he could see in the half-light was a muddy, cupboard door, burned on one side with traces of paint on the charcoal. The other side had old wallpaper stuck to it and a letter attached to the top right-hand corner. He did think the letter looked interesting – although he couldn’t speak French – and he thought he recognised the signature. Later, back at his studio in Fulham he wiped the mud from the charcoal and discovered Picasso‘s Guernica – in colour http://www.yopicasso.com.

The painting measures 45.5cm x 57.5cm is signed Picasso 1937 in the body of the fallen warrior. The letter on the back was addressed to Gordon Davy of the R.A.E. Cap D’Antibes 2.1.46 and signed Picasso and a footnote – Operation Special Executive Project Design – Guernica. The top left-hand corner of this letter (with “Pour Gordon” written on it) was detached and lost, but a Photograph does exist.

In July 1981 Mike showed the picture to Roland Penrose. Penrose liked the picture. He said that he had never seen it himself, but he promised he would make some inquiries. Unfortunately Mr Penrose died, before Mike was able to enter into correspondence with him.

It took me a couple of years to persuade him, but, in a moment of weakness, Mike eventually sold me a half share. In 1987 we approached a handwriting expert at New Scotland Yard and asked her to take a look at the letter. Encouragingly she saw no reason to suppose the letter was a fake, although, due to the lack of suitable reference for comparison, she was unable to give a definitive judgment. The hunt began for samples of Picasso‘s writing from around the same date, written with a brush and, preferably, written while he was in a similar frame of mind.

I had the brilliant idea that we should write to the Picasso committee in Paris and ask for help. This, of course, was a disaster. The committee simply condemned the picture. They had no reference for it and we had no history.

We did find some suitable examples of handwriting over the next few years and in 1990 the expert wrote to us saying that: “There are some fairly good matches between the writings but I keep coming back to the letter ‘d’ ” – she was unable to find a match for this letter in the same form. She continued to be encouraging and suggested that we keep searching for painted handwriting.

I suppose we did make some effort to find more reference, but not a lot. We were always busy with other things. Mike made a very nice box for the painting and for the next ten years it rarely saw the light of day. I haven’t seen it since the year before Mike died. I don’t even know where it is. I miss my friend a lot more than I miss the painting – I’d rather hear Mike’s voice on the end of the phone with a cheery – “‘ello, mate. You ‘eard the one about the bow-legged vicar and the policewoman?” – than ever have a provenance for a painting – even Picasso‘s Guernica in colour.

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About Style – Picasso Versus Dali

Image : http://www.flickr.com

Style is a concept that is used in many areas. In arts for example it denominates a certain characteristic or typical way of … painting. In fashion it is used to describe a certain tendency to dress. And style is also used in architecture to express more or less the same — way — in which a building is made — classic, modern, gothic, etc. And even organizations have their style in organizing activities.

This is less visible, but equally significant, because style gives (form to) identity and authenticity.

Awareness of differences in style in other areas – like painting – could help to understand the differences and importance of style in organizations. For example the difference in style between the two Spanish painters: Pablo Picasso (from Malaga) and Salvador Dali (from Catalonia).

Both have had their own style, which we can not easily express with words, but they are prominent when looking at the painting of each of the artists. Style and arts (in painting) can mean to different things: the own style of the painter and the style of a movement that dominates a certain period.

Dali for example has always been predominantly associated with the surrealist movement in arts. Picasso on the other hand has been associated with cubism but also with many other styles.

In fact the main differences — in style between the two masters — is perhaps that Picasso has altered his style and preferences to express himself, whereas Dali has been loyal to mostly one style; surrealism.

Picasso has always been valued more on the market than “Dali” and probably because of the same reason. Where the market is capricious and not only focused on one style, it will most value the artist that is able to switch from one style to another. One point in time the market turned its back to surrealism as being out of date. This happened with al style periods like in philosophy where a period like existentialism is “overdue” at one moment in time. The hype or trend is over and if you are still committed to this style the market will ignore you.

It is said the Picasso was always an outsider, never committed to one style, always looking for new way to express himself. Dali had found his “way” and not willing nor eager to open up for new developments and innovations.

Style is even present on a personal or psychological level. Myers and Briggs have elaborated this topic with a set of personal preferences; in this case the Judging versus the Perceiving preferences.

“This fourth preference pair describes how you like to live your outer life–what are the behaviors others tend to see? Do you prefer a more structured and decided lifestyle (Judging) or a more flexible and adaptable lifestyle (Perceiving)? (http://www.myersbriggs.org/my-mbti-personality-type/mbti-basics/judging-or-perceiving.asp)

It seems that Picasso would be more Perceiving (P) where Dali would favor more a Judging lifestyle (J).

Style is peculiar way in which things are done – made, designed, etc. It is omnipresent, also in business, but less visible than the style of a painting. But give it some attention. Focus on the way you organize your life or business.

© 2006 Hans Bool

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