Andreas Klein has joined the management team of Heinrich Wagner Sinto Maschinenfabrik GmbH in Bad Laasphe who has been appointed as an additional managing director since 2014 he is responsible for the operational business of the company with more than 300 employees Andreas Klein has been working for Heinrich Wagner Sinto Maschinenfabrik GmbH in various responsible positions and thus has 30 years of professional experience in international mechanical and plant engineering he was most recently responsible for the worldwide activities in the area of after sales and service as a Vice President The mechanical engineering company with a long tradition has been producing equipment for the foundry industry with the highest quality standards at its site in Bad Laasphe for over 80 years The main products are moulding machines and systems for green sand and aluminium gravity die casting as well as automatic pouring machines and sand regeneration systems Heinrich Wagner Sinto Maschinenfabrik GmbH is part of the globally active Sintokogio Group with headquarters in Nagoya I would like to receive the bi-weekly Foundry-Planet newsletter with all latest news Plus the special newsletters – all can be cancelled anytime and at no cost Suggestions or feedback? a professor emeritus of visual design who was the first fellow of MIT’s Center for Advanced Visual Studies (CAVS) and its director from 1974 to 1994 in 1928 and studied art in Munich and Dusseldorf; he also earned a degree in philosophy at Cologne University He joined MIT in 1968 at the invitation of CAVS founder György Kepes becoming a professor of environmental art in 1972 and succeeding Kepes as CAVS director in 1974 Piene exhibited widely over the course of his career including multiple times at Documenta and the Venice Biennale He was recognized with awards including the UNESCO Joan Miró Medal and the Sculpture Prize of the American Academy of Arts and Letters as well as an honorary doctorate from the University of Maryland at Baltimore County.  focused on public and participatory art connected to nature and the elements through technology Varying in scale from 1972’s 600- meter “Olympic Rainbow,” which illuminated the sky over the Olympic Park at that year’s Munich Olympics his work concentrated particularly in the media of light exploring perception and the composition of spaces ranging from small studios to city skylines Piene founded the influential European postwar movement Group Zero with his colleague Heinz Mack in 1957; joined later by Günther Uecker the collective left a lasting imprint before it dissolved in 1966 an international network of artists who sought to transform and redefine art after World War II Piene then pioneered the genre of “Sky Art” with his inflatables, organizing four conferences on the subject between 1981 and 1986 in the United States and Europe. As part of MIT’s 150th anniversary celebration, in 2011, he developed spectacular, glowing, inflatable stars-on-stalks that rose up into the night sky from Killian Court during the Festival of Art, Science, and Technology Piene’s primary collaborators at MIT included electrical engineer Harold Edgerton famous for his research on stroboscopic photography an art enthusiast who specializes in X-ray astronomy Charles Darwent looks back at the life and work of Professor Emeritus Otto Peine the former director of the MIT Center for Advanced Visual Studies who died last week in Berlin at the age of 86 was one of the pioneers of the ‘Zero’ art movement in postwar Germany The Neue Nationalgalerie in Berlin is presenting Professor Emeritus Otto Piene’s large-scale slide installation The Proliferation of the Sun through Aug the former director of MIT’s Center for Advanced Visual Studies died shortly after the exhibit opened.  Bailey memorializes the life and work of Otto Piene professor emeritus of visual design and the former director of MIT’s Center for Advanced Visual Studies tethered through hundreds of feet of fabric tubes his figurative and abstract sculptures would become the kinetic centerpiece of grand-scale festivals,” writes Bailey.  Bruce Weber of The New York Times reports on the legacy of Professor Emeritus Otto Piene to the ephemeral; all of that is now commonplace,” says Joachim Jäger head of the Neue Nationalgalerie in Berlin This website is managed by the MIT News Office, part of the Institute Office of Communications Massachusetts Institute of Technology77 Massachusetts Avenue You can read this article in 2 minutesAgnieszka Kulikowska - Wielgus A 13-year-old from Germany showed an unusual fascination with truck transport He was sneaking out of the house at night to go for a ride in a ‘borrowed’ truck he returned the vehicle to its place.  A 13-year-old boy from North Rhine-Westphalia broke into the hall of a transport company in Bad Laasphe the teenager drove a truck out of the factory premises and returned it after a 70-kilometre trip He parked the vehicle properly and then escaped unnoticed During the investigation to find the perpetrator, the police discovered that other transport company vehicles were also used for night-time rides This was indicated by the GPS data for a total of five vehicles – four trucks and one van.  the police caught the boy in the carrier’s hall The boy was captured by officers as he climbed out the window The keys to the vehicles parked in the hall were in his jacket pocket The police took the 13-year-old home and handed him over to his astonished mother Pölös Zsófia Journalist Trans.info | 6.05.2025 Fragrance on the Fly: Why Pocket Perfumes Are Perfect for Airplane TravelSponsored Article 6.05.2025 FITCHBURG — To understand Otto Piene’s obsession with light and fire and drafted at 16 to fight in World War II he was entranced by the beauty of the tendrils of lights left by exploding bombs “But fear came before beauty;” he wrote in 1965 1983-2014” at the Fitchburg Art Museum examines how these essential themes show up in the revolutionary artist’s later works associated their name with the final beat in a rocket launch’s countdown “Our defining experience was living an age when people dreamt of astronomic and cosmonautic adventures in which they were capable of leaving Earth in the unlimited possibilities for creating a better The pioneering artist was the first fellow at MIT’s Center for Advanced Visual Studies in 1968 bought property in Groton in 1983 that they dubbed the “art farm.” Students and collaborators visited regularly Piene set up one of his signature “Light Ballets,” spectral installations whirling with projected Piene revisited themes and projects he’d been working on for decades: “Light Ballets,” inflatable sculptures and “Proliferation of the Sun,” a multimedia installation that debuted in 1967 as an orchestrated performance featuring more than 1,000 hand-painted glass slides in several slide carousels “Fire and Light” is the largest exhibition in the United States devoted solely to Piene’s works It makes a strong case for an even more ambitious one MIT List Visual Art Center would be the logical venue; that institution mounted a magical “Light Ballet” in 2011 “Proliferation of the Sun” is the dazzling centerpiece of Fitchburg’s show Piene updated and digitized the project for display at the Neue Nationalgalerie in Berlin He died of a heart attack the day that show opened “Proliferation,” which hasn’t been seen in the United States in more than 50 years features audio of the artist “conducting” the performance — “set your timers at a sequence of 15 seconds But it’s all automated: Projections of radiant orbs and smears of color linger and shift over screens on walls and at angles throughout the gallery inflatable white sphere in the middle of the room it evokes a godlike eye taking everything in It fits into a “made for Instagram” style of 21st-century art installations yet even as it feeds that hunger for overwhelming lushness it prompts an affecting private experience sparking thrills and lulls and ardor that can’t be shared on social media The juicy gestures in “Proliferation of the Sun” dominate Piene’s paintings A loosely painted blue figure flails at the center of “Antigravity,” one of the artist’s fire paintings made with paint and a flammable fixative and the fire paintings read that way: like birth and death universes dissolving into darkness and being reborn Piene was a master of textural effects and searing color In “Sulphur,” a billowing omphalos of yellow and adobe red and the yellow at the center crackles like dry earth Piene was best known for his grand inflatables which led to what he called “Sky Art” — gleeful balloons vaulting over rivers or floating high overhead “Red Star,” a palm-tree form that sighs and droops then inhales and perks up — not unlike the rest of us The museum has a sky art outdoor event scheduled for April 27 has choreographed Fitchburg’s “Light Ballet.” It features two “Light Cubes” — perforated metal cubes with revolving lamps inside which cast wheeling patterns over the walls Piene first started projecting light like this in 1959 as if to capture the mystical shimmer of rotating galaxies in a single room he was working with Powell to update the cubes into “Light Robots.” Two robots on view are still but will dance a pas de deux in a March 24 performance I got a little preview of one robot’s moves Its spinning stars were not all that different from those of the “Light Cubes” — indeed they were simpler — except for one ghostly element that flitted among the dabs of light luminous forms in 19th-century spiritualist photos I chose to think of it as the guiding hand of Piene himself At Fitchburg Art Museum, 185 Elm St., Fitchburg, through June 2. 978-345-4207, www.fitchburgartmuseum.org Cate McQuaid can be reached at catemcquaid@gmail.com. Follow her on Twitter @cmcq. Home Delivery Gift Subscriptions Log In Manage My Account Customer Service Delivery Issues Feedback News Tips Help & FAQs Staff List Advertise Newsletters View the ePaper Order Back Issues News in Education Search the Archives Privacy Policy Terms of Service Terms of Purchase Work at Boston Globe Media Internship Program Co-op Program Do Not Sell My Personal Information Sign up to receive the New Idea newsletter and offers we choose to share with you straight to your inbox  Disclaimer: By joining, you agree to our Privacy Policy & Terms of Use Princess Theodora Sayn-Wittgenstein of Germany has wed company director Earl Nikolaus Bethlen de Bethlen in an intimate church wedding in Bad Laasphe The 31-year-old princess looked lovely as she was surrounded by family members and fellow European royals for her special day.  Theodora was accompanied into the church by her father, Prince Ludwig Ferdinand zu Sayn-Wittgenstein-Berleburg.  Princess Theodora made worldwide headlines after she stripped down at St Andrews University stripped off and made racist remarks about ‘killing Muslims’ after attending an exclusive Oktoberfest party held at Kinkell Byre in the Scottish university town She was arrested and taken to court over the incident Guests at the wedding included Prince Maximilian zu Sayn-Wittgenstein-Berleburg and his wife Princess Franziska, Princess Katalin von Wrede and Princess Anna of Bavaria The princess’s mother is Countess Yvonne Wachtmeister af Johannishus who married Ludwig Ferdinand Prinz zu Sayn-Wittgenstein-Berleburg in Barbo Nikki is obsessed with all things celebrity and dreams she is a long-lost Kardashian You'll find her binging Netflix's latest 'must-watch' show with a jar of Nutella by her side Chinese foundry “Jilin Province Boqiang Machinery Manufacturing Co. Ltd.” successfully started up their new automatic moulding machine MGM-SM 9 and automatic pouring unit MGM-PU 100 supplied by the German start-up company Muschna Giesserei-Maschinen GmbH The machines are made in Germany and are complemented by equipment from SUZHU Foundry Machinery to fully automatic moulding line.The design of the moulding machine MGM-SM (photo 1) involves an extra strong execution of the machine frame to avoid any vibration during the fast shuttle movement of compaction head (photo 2) This increases the stability and life time of the entire machine The moulds with flask size 940 x 660 x 280/280 mm are produced by airflow and multiram squeeze compaction with a productivity of 120 moulds per hour The moulding machine is based on German components produced at the automatic moulding machine are fully automatic poured by automatic pouring unit MGM-PU (photo 3) from a 1 ton ladle.During pouring a new approach to the pouring process is used (photo 4) The MGM-PU automatic pouring unit uses a mathematic calculation of the pouring curve on basis of gating system data and metal absorption capacity of the mould as well as pouring weight the pouring process achieves a very high precision and the slow down and stop of pouring on the end of the pouring process is very smooth The usual lengthy set-up when introducing an automatic pouring is omitted The visual camera control of the metal level in the pouring cup is used for confirmation of exact pouring execution and as safety control during pouring Inoculation into the pouring stream occurs by volume dosing on basis of the pouring curve.  MGM Muschna Giesserei-Maschinen is the Joint venture partner of Chinese foundry machinery supplier SUHZU Foundry Machinery leading since 50 years in green sand moulding casting grinding and other foundry machinery MGM produces several types of foundry machinery at an excellent German machine building factory Since GIFA 2015 MGM Muschna Giesserei-Maschinen extends the supply of SUZHU products into Europe Newly available is the MGM CNC Cut & Grinder usable not only for CNC grinding of castings but including the cutting of ricers on the same machine before grinding of the castings The machine is highly productive due to the ergonomically designed turntable <link _top>Click here for more Information and Contact to Ohm & Häner in our Foundries Profile operates a state-of-the-art foundry in Ahmedabad primarily for the production of chrome steel crusher balls used in cement and mining industries AIA is the world market leader for these products AIA ordered a new state-of-the-art moulding line in spring 2021 with a box size of 850x650x250/250 mm and a capacity of 200 complete moulds per hour the first hybrid concept was implemented in cooperation with the HWS heavy-duty company Sintobharat (SBML) in Chennai The plant concept was completely designed and constructed in Germany and the core components were supplied from Germany The remaining assemblies were manufactured by HWS's sister company Sintobharat (SBML) The core of the new system is a twin molding machine that produces an upper and a lower box mold at the same time.  Just as important as the modern and reliable plant technology is the service concept of the SINTOKOGIO Group The service concept includes a 24/7 hotline service HWS technicians in Bad Laasphe can log into the control system of the molding line in order to carry out diagnostics or program changes This includes regular inspections of the system needs-based training and an optimized stockpile of spare and wear parts.   The plant was commissioned as planned in late summer 2023 On the occasion of the IFEX 2024 trade fair HWS Managing Director Andreas Klein visited the AIA foundry and thanked the Managing Director Mr also on behalf of the entire SINTO team HWS and SBML for the excellent cooperation during the planning "The system is an AIA-SINTO system from a single source Colleagues and customers have become friends Everyone is united by the experience of having created something very special," he concludes Sintobharat Managing Director Arjun Bagri states: "We have grown with this task and are proud of what we have achieved AIA's Chetan Shah sums up: "We have high standards in terms of quality We manufacture products with sophisticated machines in large quantities we were impressed by the technical solution and the service concept of the Sintokogio Group the commissioning and now in the day-to-day business