![](/uploads/1/2/5/8/125830886/631828888.jpg)
Dealers are required to make the trade-ins unusable by destroying the engine, then recycle the old vehicles into scrap metal. VOA: special.2009.08.07 So you have a wind god who is identified with Satan destroying Pharaoh, who is also identified with Satan, just as he attempts to destroy God's faithful. Destroy dictionary.
![Art of balance frankfurt airport Art of balance frankfurt airport](/uploads/1/2/5/8/125830886/736128196.png)
If there is a place in Frankfurt that deserves the term institution, it is the Tigerpalast. Not only that its founders Johnny Klinke, Margareta Dillinger. Home to a new Kimpton hotel in 2023, Frankfurt, Germany is worth a close look. We like to say it's an equal balance of live, work and play. Alte Oper is home to a state-of-the-art concert venue while the Modern Art.
Optimally Planning the Payloads of Cargo AircraftSemiautomatic planning of the weight and balance of cargo aircraft will soon be based on a much better standard at the responsible department of Fraport Ground Services, RP3 (Operations).An aircraft’s weight and balance are calculated in compliance with strict IATA regulations as part of flight preparations. A so-called load and trim sheet is required for every commercial flight.
It lists the weight and distribution of the passengers, fuel, cargo, and all equipment required to operate the flight. The distribution of the overall load within the aircraft – important for monitoring the maximum permissible masses – and the aircraft’s center of gravity – the trim – are included. The trim must also remain within a prescribed tolerance during takeoff, the entire flight, and landing.
When preparing the loading plan, it is necessary not only to consider the positions, weights, and sizes of cargo units but especially also whether the IATA rules permit them to be stowed adjacent to one another in the aircraft.Our departments and IT are currently making a list of requirements for the new system, taking the complexity of the task into account. It will permit both manual and automatic preparation of load and trim sheets. To avoid interfaces, which are potential sources of error, the goal is to develop a cargo weight and balance system that integrates as many as possible of the steps involved in planning how an aircraft is loaded. When the new system is ready, we will be able to offer our customers a significantly improved service for planning aircraft payloads.
Installation view, Galerie Buchholz New York, 2017, courtesy Galerie BuchholzEliza Douglas Anne ImhofSeptember 9-October 21st17 East 82nd StreetNew York NY 10028By INGRID DINTER, OCT. 2017Eliza Douglas and Anne Imhof currently have an exhibition of new work—both collaborative and solo—on view at Galerie Buchholz in New York.Anne Imhof is currently dazzling Venice and the international art world as the German representative at the 2017 Biennale (on view through November 26th). She has mounted a powerful performance piece, transforming the German pavilion by inserting raised glass floors and partitions under and over which a crew, including Eliza Douglas, slither and creep and crawl and lurch and pose, often in slow motion, to the sound of loud music.
For this effort she was the recipient of the prestigious Golden Lion Award for Best National Participation. No stranger to prizes, Imhof is also the recipient of the Absolut Art Award, the Nationalgalerie Berlin award, MOMA PS1 Annual Exhibition Fund award, and the Graduation Prize for 2012 from the Staedelschule, in Frankfurt, Germany, among others.Born in 1978 in the university town of Giessen, just north of Frankfurt, Anne Imhof studied first at the Design School in Offenbach (2000-03), and later at the Staedelschule art school in Frankfurt (2008-12). For many years she worked at the renowned nightclub Robert Johnson, in Offenbach, a town across the river from Frankfurt. Eliza Douglas was born in 1984, somewhere in the USA, and received a BFA in Film Studies from Bard College in 2007. From 2015-17 she studied at the Staedelschule in Frankfurt, Germany. She has also worked with the musicians Devendra Banhart and Antony and the Johnsons, and more recently as a model for the Balenciaga fashion house.Originally established in Cologne, Germany, in the mid 1980s, Galerie Buchholz expanded to Berlin in 2008, and to New York in 2015. The gallery is located a short half block from the Metropolitan Museum of Art, on the parlor floor of a charming brownstone.One enters the gallery spaces almost sideways, into a passageway in which a tight row of canvases line one wall from floor to ceiling. This series of tall, pristine, bright white canvases have thickly lined black signatures painted on them.
Parappa the rapper 2 romsmania. They are the superimposed scrawled signatures of both artists, in many variations, including backwards and upside down. Enlarged to fit the canvas, they are sometimes so large as to be only partially legible.
Sometimes it’s both first and last names intertwined, sometimes just first. This motif of signatures scrawled on canvas is carried forward throughout the exhibition.On the other side of this initial corridor, across from the signatures, is a large collaborative work showing a series of repetitive images of Douglas screen-printed in a row along the top half of the canvas, and in a partial row below. This too has large intertwined upright and upside down signatures of both artists scrawled across it. (As well, one can see the name Anne tattooed above Douglas’s left breast. The two artists are affianced.)Eliza Douglas Anne Imhof, Signature VII (Eliza), 2017, silkscreen and oil on canvas, 190 x 300 x 2.5 cm; Galerie Buchholz New York, 2017, courtesy Galerie BuchholzAt the end wall of this entry space is a work on enameled aluminum-half black, half white-attributed to Imhof.
There appear to be scratches on it in faintly Twomblyesque style. I was told this refers to keying cars—that nasty thing that sometimes happens when you park in public and aren’t around. A quick look to the left, and there is another scratched enamel surface—all black background and more elaborate scratch work. And next to it, another.Installation view, Galerie Buchholz New York, 2017, courtesy Galerie BuchholzIn the somewhat larger main exhibition space, the walls open up to a wider assortment of works by both artists, either in combination or on their own. I n her rather brief career as a visual artist—2016-17—Douglas has developed a signature painting style which includes meticulously painted floating hands or feet, with or without shoes, then connected by loosely painted single brushstroke lines with no visible body in between. These works too are painted on large pristine white canvases.
![Frankfurt Frankfurt](/uploads/1/2/5/8/125830886/100070208.jpg)
Again, the hanging is dense, canvases hung tightly together, lined up like soldiers.Installation view, Galerie Buchholz New York, 2017, courtesy Galerie BuchholzAgain we see more variations on the oversize signatures, some of them with smaller—more handwritten size—signatures written inside of spaces in the scrawl—tags within tags. And more of the enameled panels with scratchings, including one with a bright blue surface—a rare glimpse of color.Installation view, Galerie Buchholz New York, 2017, courtesy Galerie BuchholzThen, in between, here and there, one spies a drawing, colorful and looking messy and free. These works act as some kind of relief from all the otherwise stark and austere formality of most of the show, recalling someone just letting loose and being on earth. In this spirit, there is another collaboration, snuggled between a couple of very large signature works—a colorful gestural abstract canvas whose top half has a work on paper attached to it. The image of an octopus-like figure emerges, a repeating motif in many of the smaller works on paper or canvas by Imhof.
Ingrid DinterIngrid Dinter is an independent curator and sometime writer, based in New York City. She was the owner of Dinter Fine Art, a gallery in Chelsea, from 2004 to 2009. Besides curating 35 exhibitions at the gallery, she also curated “Consider The Oyster” at Graham & Sons (2010) and “Summer Salt” at The Proposition (2011), as well as an ongoing artists film program called “Bohemian Nights”, shown at various venues including the Gershwin Hotel (New York City), The Emerald Tablet (San Francisco), and at IMC LAB (New York).
![](/uploads/1/2/5/8/125830886/631828888.jpg)