Alizee Sery, 25, climbed the red sandstone monolith in conventional dress but then stripped at the top to a white bikini, white high-heeled boots and a bushman’s hat.
The images outraged local Aborigines, who regard it as a sacred site and object to tourists climbing it.
Aborigines also object to photos being taken of the areas of the rock, which they call Uluru.
Sery said she had not intended to offend Aboriginal culture with her “strip show”.
“What we need to remember is that traditionally, the Aboriginal people were living naked, so stripping down was a return to what it was like,” she said. “I do not mean in any way for this to offend the Aboriginal culture.”
David Ross, director of the Central Land Council which represents the traditional owners of and the surrounding national park, said the woman was a French tourist and should be deported.
“Too often Uluru is used as a place for individuals to pursue some questionable personal development activities at the expense of Aboriginal law and culture,” he said.
Northern Territory Police said they were unaware of the incident and immigration department officials said they were not able to comment. The singer’s behaviour could constitute a minor offence of disorderly conduct.
The Lewis Chessmen Unmasked exhibition in Edinburgh brings together the British Museum and the National Museum of Scotland’s collections of the Lewis Chessmen – a set of medieval gaming pieces, originating most likely from Trondheim in the 12th or 13th century, which were discovered on the Hebridean island of Lewis sometime between 1780 and 1831.
Individually hand-carved from walrus ivory, and numbering 93 pieces in total – 82 of which are held by the British Museum, the remaining 11 by the National Museum of Scotland – the Lewis Chessmen are world famous for their mysterious origins, unique design and curious, almost comical expressions, which range from moody kings to a frightened-looking warder biting down on his shield. They even made a cameo in the film Harry Potter and the Philosopher’s Stone.
Lewis Chessmen Unmasked curator Dr David Caldwell revealed ten fascinating facts about the artefacts, covering everything from the story behind their enchanting expressions to a new theory on when and where on Lewis they were found, why it’s unlikely that a handful of missing Chessmen will ever be discovered, and why the 82 pieces owned by the British Museum will most likely never be repatriated.
More than two million people have visited the new Museum of the Acropolis during its first year of operation, according to figures presented by the museum to mark the first anniversary since it first opened to the public on June 20, 2009.
The museum’s board chairman Prof. Demetris Pandermalis said the museum received a total of 2,010,641 visitors in that time, had set research and scientific goals, made progress in the area of conservation and also in educational programmes.
He also announced the launch of the museum’s first touring exhibition “Pericles Xanthippos” on June 20. This uses archaeological finds such as inscriptions, coins and other artifacts to illustrate and explore the life of the famous ancient Athenian statesman, the man who led Athens during its ‘Golden Age’ and who conceived the idea of building the Parthenon. The exhibition will run until January 31, 2011.
The Acropolis Museum is the first public museum in the country that operates as a public-sector legal entity and its aim is to cover its costs with its own revenues as much as possible. It currently employs a staff of 200, some of whom are contract workers and civil servants detached from the culture ministry. It currently covers its public utility bills on its own and gets financial assistance from the Organisation for the Building of the New Acropolis Museum (OANMA).
Once a presidential degree on the operation of the museum is completed, following delays caused by the change of ministers and government, this will allow the museum to address the issue of hiring managerial staff and the position of the director will be proclaimed.
Pandermalis also referred to the museum’s medical unit and in-house doctor, noting that this had dealt with 377 incidents from November 1, 2009 until May 31, 2010, of which 67 percent were visitors to the museum.
The ticket will remain at 5 euros in 2011, by decision of the museum’s board, while it has also allowed the lease of the restaurant and cafe area on terms decided by the museum management.
Excavation of prehistoric sites has revealed that Afghanistan has some 50,000 years of human history. Its farming communities were some of the earliest anywhere in the world and it served as a strategic East-West point along the Silk Road trading route. The ancient Aryan tribes brought Indo-Iranian languages, and great empires conquered and absorbed the lands into their domains.
For the first time in Germany, the Bundeskunsthalle presents the legendary treasures of Afghanistan which have miraculously survived years of instability and war. The Bonn exhibition reveals this synthesis of cultures immediately. Greek, Persian and Indian motifs are on-display from a richly detailed Aphrodite with angel wings to an Indian bindi next to Eros riding a dolphin.
The spectacular gold, silver and ivory objects are witness to the Kingdom of Bactria, a civilization which grew in ancient Afghanistan at the interface of cultures along the Silk Road, becoming a kind of melting pot of East and West. Resulting from Alexander the Great’s campaign in 330 BC, more and more Greeks and Macedonians moved into the ancient cultural landscape, influencing the Bactrian high culture.
From the Bronze Age settlement Tepe Fullol in ancient Bactria (around 2000 BC) there are delicately crafted gold and silver objects – the oldest pieces in the exhibition. The gold vases reveal a refined aesthetic and underscore the fundamental importance that Bactria played in the exchange between the Middle East and India in particular.From Ai Khanum, one of the cities founded by Alexander the Great, evidence of the Greek-Hellenistic influence on the edge of the steppe is presented. The Greek presence in Central Asia was a cornerstone of the development of art south of the Hindu Kush. The findings show the purity of Greek tradition, as well as a symbiosis with oriental styles.
The focus of the exhibition are the imposing gold finds from the six graves in the Tillya Tepe from the 1st century AD. The “gold hill” takes its name from the extraordinary diversity and sophistication of the jewelry found there with its precious stones. The exquisite jewels are obvious evidence of Greco-Roman, Indian and even Chinese interactions.
The exhibit concludes with the great finds of Bagram, the former Alexandria of the Caucasus. The treasures stem from two bricked-up chambers in a former royal palace. The artistically carved ivory objects testify to the Indian influence in the region. In addition there are numerous glass vases, bronzes and other pieces binding Alexandria and the Roman world.
The Afghan treasures are of priceless art and cultural value. For many years, the objects in the exhibition were thought to have been stolen or destroyed. Given the unstable situation at the end of the Soviet occupation of Afghanistan, courageous employees of the Kabul National Museum hid the most important objects and artifacts in the late 1980s. Only in 2004 was the Presidential Palace in Kabul opened again to reveal the treasures.
230 of the most valuable pieces are on-stage in Bonn. In addition to telling Afghanistan’s history, the unique exhibition hopes to elucidate the ancient interplay between cultures.
Excellent news for all the Aztec aficionados – “Teotihuacan – Mexico’s Mysterious Pyramid City” is the name of an exhibition to be presented by the Martin-Gropius-Bau in Berlin from 1 July to 10 October 2010.
In memoriam Felipe Solís Olguin (1944–2009)
The initiator and curator of this exhibition was Felipe Solís Olguín, who had brought the “Aztecs” to Berlin in 2003. The director of the world-famous “Museo Nacional de Antropología” in Mexico City died in April 2009, a few weeks before the great show opened there. The exhibition is dedicated to his memory.
More than 450 outstanding objects giving a comprehensive insight into the art, everyday life and religion of this enigmatic culture will be on view in Europe for the first time. They include specimens of monumental architecture, filigree vessels and figures, costly stone carvings, masks, statues of gods and representations of animals as well as examples of highly symbolic murals which have retained their brilliant colours since their creation some 2,000 years ago. Permission has been given for the first (and probably the last) time for the 15 large-format fragments of murals to be sent abroad. Numerous exhibits were only discovered in the latest excavations.
In its Classical Epoch (100 B.C. to 650 A.D.) Teotihuacan was the first, largest and most influential metropolis on the American continent. Some thousand years later, in the 14th century, when the Aztecs discovered the abandoned ruins of the city, they gave it the name of Teotihuacan – “the place at which men become gods” – and used it as the setting for their own creation myth.
Located nearly 50 kilometres to the north of Mexico City, Teotihuacan has had UNESCO heritage status since 1987 and is the most frequently visited of Mexico’s 170 accessible archaeological sites. The pyramid city lies in a wide valley that has been settled since time immemorial. Between the first century B.C. and about 650 A.D. the inhabitants laid out a unique Ceremonial Centre on the basis of astronomical observations. The main pyramids are the 63-metre-high Pyramid of the Sun, (Pirámide del Sol) with a lateral length of 215 metres, and the 48-metre-high Pyramid of the Moon (Pirámide de la Luna) at the northern end of the two kilometre-long Avenue of the Dead (Calzada de los Muertos). The southern end of the ensemble, of which only a fraction has been excavated and studied, is dominated by what the Spaniards called the “Citadel” (Ciudadela), containing the Temple of Quetzalcoatl, the Feathered Serpent (Templo de la Serpiente Emplumada), and the Aztec Rain God, Tlaloc, which is decorated with 365 sculptures of these divinities. In this complex and under the Pyramid of the Moon archaeologists have made important discoveries in recent decades, showing that burials and sacrificial offerings, wars and taking of captives, were part of everyday life in Teotihuacan.
Until its mysterious end in the 7th century, which was accompanied by a devastating fire, Teotihuacan was a powerful political, military, economic and cultural centre that influenced the whole of Mesoamerica, especially in the fields of architecture and art. The area covered by the city, which in its heyday was home to over 160,000 people and was one of the greatest cities in the world, was about 20 square kilometres. It was laid out along wide avenues and had efficiently functioning drainage and water-supply systems. The imposing and splendid pyramids, temples and palaces were coated with stucco and decorated with murals in brilliant colours. There were public buildings, administrative quarters, and various residential areas. Particularly worthy of note are the accommodations and workshops kept for visiting artists, craftsmen and traders from such places as Oaxaca or the Maya cities, who contributed to the city’s prosperity.
The Exhibition Treasures from leading Mexican museums have been brought together for this exhibition. Most of the exhibits come from the National Museum of Anthropology in Mexico City and the two museums in Teotihuacan itself. In addition, the Anahuacalli Museum – built by Diego Rivera for his collection of pre-Spanish sculptures – has for the first time lent valuable items.
The exhibition is divided into nine sections. The first item to welcome the visitor is the Great Jaguar of Xalla, one of the more recent finds from a palace complex and a characteristic example of decorative monumental architecture. An introduction to the development of the city and its archaeological history is followed by a section on architecture and town planning as represented by sculptures, friezes and murals. The social themes of politics, hierarchies, economy, war and commerce are represented by a multitude of objects, including stone sculptures, clay vessels and jade jewellery. Obsidian, for example, was the material from which weapons were made, Teotihuacan being a great manufactory of weapons. There is a spectacular reconstruction of a tomb found under the Pyramid of the Moon in the course of an excavation campaign in 1998-2004. Original objects are shown in glass cases. A special category may be seen in the “innkeeper figures”, which house inside them tiny, elaborately shaped figurines arranged as in a seedling box. Religion, gods and rituals, urban and social life, art, crafts and workshops as well as cultural exchange are further themes of this unique show, which displays a wealth of new findings.
Magnificent mansions, embellished with gothic arches and carved stone balconies, are being sold to the highest bidder, with the majority being turned into hotels.
Several of them look directly on to the Grand Canal, the historic waterway which winds through the heart of what was once known as La Serenissima (The Most Serene).
However, preservation groups say that converting so many palaces into hotels does not make economic sense because Venice’s existing hotels are struggling to fill their rooms, and that the trend risks turning the city into even more of a tourist ghetto, devoid of other economic activity.
Between 2000 and 2007, more than 40 new hotels opened in Venice, and the number of private homes converted into budget bed and breakfasts rose by more than 1,000 per cent, creating an over-supply of accommodation.
“Selling off the palaces is an ad hoc strategy driven by panic,” said Anna Somers Cocks, the chairman of the UK-based Venice In Peril Fund. “It’s like auctioning the family silver instead of sorting out your estate.”
“It’s very recent – it’s all happened in the last five years or so. We think it would be much better to offer some of the palazzos to research institutes, for instance. That would bring in a much wider variety of people. Otherwise you end up with a dislocated city, devoted only to tourism.” Venice’s council says the sale of the palazzos reflects harsh economic reality, as the city tries to adapt to a sharp fall in its public finances.
Earnings from the council-owned casino, near the world famous Rialto Bridge, which provides the city with a quarter of its annual income, are significantly down because high-rollers have been hit by the global economic crisis.
There has also been a precipitous decline in the amount of money Venice receives from the national government.
Funds have been diverted into the construction of a £3 billion flood prevention barrier, dubbed Moses, designed to save the city from rising sea levels.
The special grant that the city has received from Rome for more than 30 years declined from 592 million euros in 2002 to just 23 million in 2005.
While the grant increased in 2007 to 133 million euros, it is still a fraction of what it once was.
“Maintaining these old buildings, as well as the canal banks on which they sit, is very, very expensive,” said a spokeswoman for Venice city council. “We don’t have the money to do it because funding from the government has been cut in order to pay for the flood barrier.” Among the grand mansions being sold off are the Palazzo Soranzo Piovene on the Grand Canal, which was turned into a hotel; the Fondaco dei Tedeschi, a former post office which is to be converted into a Benetton superstore; and the salmon-pink Palazzo Sagredo, a private home which is now a hotel.
“In just nine years, the number of hotel beds in Venice increased from 14,000 to 26,000,” said Francesca Bortolotto-Possati, whose family has run the five star Hotel Bauer since the 1930s.
“It’s ridiculous – occupancy rates are down to about 50 per cent and some hotels are close to bankruptcy because they can’t fill their rooms. Rather than having more hotels, we should encourage companies and cultural foundations to use these old palazzos as their headquarters in Venice.”
The palazzos are standing empty because banks, post offices and government offices have decamped en masse to the mainland city of Mestre, a few miles across the marshy lagoon, where the majority of Venice’s population lives.