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"Marina Camargo is a Brazilian visual artist who works in various media including video, photograph, installation and drawing. She lives and works in Porto Alegre (Brazil) and Berlin (Germany). Early life and education Born in Maceió (Alagoas, northeast Brazil), Camargo moved to Porto Alegre at the age of nine. She began university there, before completing her arts education in Barcelona, New York, and Munich. She studied for a Bachelors and a master's degree in Visual Arts at Instituto de Artes / UFRGS (in Porto Alegre) and holds a Diploma from Academy of Fine Arts in Munich, where she studied with Peter Kogler. Work Marina Camargo has both her graduation and master in visual arts and works with photography, drawing, video and other media. The core subject of her production is the representation of the world apart from its origin. She took part in solo and collective exhibitions in Brazil and other countries, and received awards and scholarships to study abroad. In 2010, Camargo was awarded a one-year German Academic Exchange Service - DAAD scholarship to Munich. She devoted attention to the landscape and cultural history of Germany, making works where the social memory and representation of the alpine landscape are the main focus of research, such as Oblivion, based on a series of found postcards featuring the Alpine mountains, and Alpenprojekt. Other projects have concerned archival moving image, as the work Eva Braun's Mountains, a stop motion video based on historical footages taken by Eva Braun at Hitler's country house known as Eagle's Nest. > “Marina Camargo’s Alpenprojekt is a series of videos registering the action > of cutting out silhouettes of the Alps – at once an attempt at capturing and > a reaction to this landscape, which wavers between the sublime and the > artificial. The work is the fruit of a study of familiarization with the > region, as well as the project Tratado Limites [“Treaty of Limits”] – > presented at the Mercosul Biennial and based on the pampas of Rio Grande do > Sul – and Lost Alps, a study centered on a mountain of industrial waste > (Beckton Alps, London), conducted while participating in an artist’s > residency at the prestigious Gasworks. According to Cesar Garcia (curator), > founder and director of ‘The Mistake Room’ in Los Angeles, “Her interests > highlight the impossibility of representing complete realities and locales > and through her work she draws attention to the elements that are lost, > silenced, and forgotten in the space between reality and representation.“ > > In 2011, Camargo was commissioned by the 8th Mercosur Biennial to create an artwork related to the Pampas region. Treaty of Limits was a project where Camargo utilized a variety of media including sound, photograph, in situ intervention and drawing, concerning a thought related to the borders of this region. Maps were a very central element of Marina Camargo's work until her participation to the Mercosul Biennial. > “Signs, letters, words, the visible world, and particularly the urban > environment are recurrent themes of her work. Her creative approach involves > visual enigmas with the horizon line through mutations brought about by > photography, a fascination for map-making of the sky and earth, independent > of political connotations. As she herself recalls, “If maps are drawings to > represent places, they are like letter forms, which are also drawings in the > place of spoken language, giving form to written language”. Her journey to > the extreme south of the country provided by the Mercosul Biennial has > inspired Marina Camargo to produce a series of works for this year’s event, > bearing in mind the “cultural and geographical identity of a region”, > poetically adding that there is “a dilution of frontiers, which are neither > visible or relevant”, as stated the curator Aracy Amaral. > In 2013 Marina Camargo published Como se faz um deserto (The making of a desert), a research and art project granted and supported by Funarte. The title was inspired on Euclides da Cunha's 'Os Sertões'. The search for understanding what would define Brazil's hinterlands (sertões) defined much of this research, going through cartographic, historical, linguistic terms, as a documentation of the work process, shown through photographs and texts that were produced during and after the trip through the sertões region. Marina Camargo was a nominee artist in PIPA Prize 2016 and 2017. References External links * Official website: www.marinacamargo.com Category:Brazilian contemporary artists Category:Brazilian women artists Category:Living people Category:20th-century Brazilian artists Category:21st-century Brazilian artists Category:20th-century women artists Category:21st-century women artists Category:Conceptual artists Category:Year of birth missing (living people) "
"The R398 road is a regional road in Ireland, located in County Longford.http://www.sabre- roads.org.uk/wiki/index.php?title=R398http://www.irishstatutebook.ie/eli/2012/si/54/made/en/print References Category:Regional roads in the Republic of Ireland Category:Roads in County Longford "
"Joceline Clemencia (30 November 1952 – 30 May 2011) was an Afro-Curaçaoan writer, linguist, feminist and independence activist. She agitated for the Creole language spoken in Curaçao, Papiamento, to become an official language and was successful in the struggle, having created both language schools and texts to further its cultural significance. She was in favor of full independence of Curaçao from the Netherlands. Early life Joceline Andrea Clemencia was born on 30 November 1952 in Curaçao. She completed her higher education in Amsterdam, earning a doctorate degree in Spanish and Spanish literature from the University of Amsterdam. During her student days, she became involved in several activist movements including worldwide protests against the Vietnam War and the independence movements of the Netherlands Antilles. Career In the early 1980s, Clemencia returned to Curaçao and began working as a Spanish teacher at the Peter Stuyvesant College, now the Kolegio Alejandro Paula, in Willemstad, Curaçao. A large part of her activism centered on the Papiamento language and its suppression. By the early 1990s, she was serving as director of the Instituto di Nashonal Sede di Papiamentu (National Institute of the Papiamento Language) to promote usage and teaching of the native language of Aruba, Bonaire and Curaçao. Because Papiamento has roots in the slave trade, there was little public support in preserving the language or teaching it in the Dutch school system. She advocated for the language to be standardized and taught, as it was the mother-tongue of the country. In a report prepared for UNESCO, Clemencia argued that Papiamentu and English should be declared the national languages of the Antilles. Clemencia also served as a supervisor in the Government Bureau of Linguistics. She founded and became the director of the Instituto Kultural Independensha (Institute of Cultural Independence) in 1996 with the goal of teaching Papiamento. She also founded the Skol Nobo (New School) to teach cultural history, including, art, sport, and nature studies which were not included in other school curricula. Clemencia co-wrote with Omayra Leeflang a text for teaching Papiamento entitled Papiamentu Funshonal, which became a standard for secondary education instruction. Her efforts at recognition of Papiamentu as an official language were finally successful in 2007, when the government accepted it as one of the official languages, along with Dutch and English. Through her study of language, Clemencia wrote about women and their relationships to language and communication. The terms and customs that women used among themselves to give messages about themselves were one of the themes she often wrote about. As a member of the Caribbean Association of Women and Scholars (ACWWS), Clemencia participated in conferences and meetings to promote a feminist identity which recognized the diversity of women from the Caribbean and allow their contributions to be told in their own voice, be that Dutch, English, French, Spanish or Creole languages, as the language used defines an identity strategy for the writer. Though an ardent feminist, Clemencia believed that general emancipation, including identity, independence and language, were critical elements in attaining political freedom. During the early years of the 21st century, facing high unemployment and social unrest in Curaçao, Clemencia joined with other intellectuals and in 2006 formed the Grupo Pro Defensa di Kòrsou (Group in Favor of the Defense of Curaçao) and a political party called Partido Indepensha (Independence Party). She was the party chair and campaigned vigorously for independence from The Netherlands. Though she combined her party's influence with 's Party Workers' Liberation Front 30 May, they were defeated and the final results of the referendum was not full independence. Curaçao became an autonomous country within the Kingdom of the Netherlands, dependent on the kingdom for defense and foreign policy decisions. Shortly after the results, Clemencia withdrew from politics because of her private battle with breast cancer. Personal Clemencia was married to Frank Kirindongo (also known as Frank Quirindongo), with whom she had three children before their divorce. She died on 30 May 2011 in Willemstad after a two-year battle with breast cancer. Selected works * References =Citations= =Sources= * Category:1952 births Category:2011 deaths Category:Caribbean women writers Category:Independence activists Category:20th-century women writers Category:20th-century writers Category:21st-century women writers Category:University of Amsterdam alumni Category:Linguists Category:Curaçao women Category:Dutch feminists Category:Gender studies academics "