The heat was followed by numerous severe storms in some parts of the country on Sunday afternoon including large hailstorms with a diameter of up to seven centimetres - almost the size of a tennis ball Lower Austria and Tyrol were hit particularly hard.  midsummer record temperatures of almost 36 degrees initially made for wonderful bathing weather on Sunday the first dark clouds became visible here too and the first heavy rain fell violent thunderstorm cells with heavy rain and hailstorms occurred long beforehand temperatures dropped to a maximum of 23 degrees and provided a good cooling effect Huge hailstonesPictures showed huge hailstones in the Waldviertel region which are estimated to have a diameter of around four to six centimetres.  Severe damage to buildingsA severe hailstorm also hit the district of Waidhofen a.d In the cadastral communities of Waldkirchen around 80 percent of the buildings were damaged the district command reported in a press release Over 100 firefighters were deployed to provisionally seal the roofs with tarpaulins The affected districts were declared a disaster area by the authorities Tyrol: Heavy thunderstorms with severe consequencesIn Tyrol there were some heavy thunderstorms late on Sunday afternoon with serious consequences There were brief power outages for 8,000 network customers in the municipalities of Kramsach the Achensee road (B 181) in the district of Schwaz was displaced by a mudslide around one hundred transformer stations in the district of Kufstein were left without power The cause of the power cuts was apparently a heavy storm Luck in misfortune for Austria's smallest municipalityHowever "You could say we almost drowned," explained Mayor Bernhard Freiberger to the Tiroler Tageszeitung newspaper The cause was the widespread power failure "We are dependent on a pumping station with four pumps As the station failed due to the power outage and it rained so much the water in the town very quickly reached a height of 50 to 60 centimetres," Freiberger explained A catastrophe could only be prevented by the rapid action of the emergency services the emergency generator was connected to the mains and the pumps were back up and running," said the mayor but there were several insurance claims in the stores occurred in the municipality of Eben am Achensee near an inn The road was mired over a length of around 35 meters and a height of four meters The mudslide displaced the road and the road had to be completely closed in both directions The clean-up work lasted until Sunday evening The restaurant building was reportedly damaged Several mudslides also occurred in Auffach in the municipality of Wildschönau (district of Kufstein) numerous local roads were blocked by fallen trees meaning that several residents were cut off from the outside world for the duration of the clean-up operation This article has been automatically translated,read the original article here Willkommen in unserer Community! 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Hier können Sie das Community-Team via unserer Melde- und Abhilfestelle kontaktieren In Kürze bekommen Sie eine Bestätigungs-Mail von uns If you thought Krampus was scary the horned demon is child's play compared to Frau Perchta the Christmas demon who disembowels naughty children and even adults According to author Stephen Morris which Jacob Grimm (of "Grimms' Fairy Tales") believed meant that she could shapeshift into animals Perchta would descend from the mountains during the 12 Days of Christmas to roam the countryside "Perchta the Belly-Slitter and Her Kin: A View of Some Traditional Threatening Figures she'd sneak into homes in the dead of night to check if families were upholding the proper holiday customs Perchta's mission was to enforce "communal taboos," like ensuring that women had completed all their weaving before the holiday and that people were participating in celebratory feasts And unlike Santa's comparatively benign habit of giving out coal Perchta's punishment was to slit open the sinner's stomach and stuff them with rocks and straw before sewing them back up And even those who didn't eat a traditional meal of fish and gruel on her feast day would get their bellies slit But Perchta wasn't all bad — for those who behaved she'd leave a small silver coin in their shoe Though the legend of Perchta dates back centuries, she is still celebrated in parts of Germany and Austria today, like at Salzburg's annual Krampus and Perchten Parades where masked marauders storm the streets to scare off the evil spirits of winter Halloween isn’t the only time of the year when you can really get your scare on Christmas celebrations in Europe are jam-packed with strange and wicked folklore-based traditions that seem designed to elicit more nightmares than merriment Nick’s sidekick is incredibly scary with one mission — to punish naughty children Perchta: Nicknamed the “belly-slitter,” this benevolent figure morphed into a terrifying monster similar to Krampus Switzerland and southern regions of Germany She is said to appear during the 12 Days of Christmas (also called Rauhnächte sneaking into the bedrooms of naughty kids to slice open their bellies while they sleep and replace organs with sticks and stones then take part in one of the many fun runs in her honor Perchten and creatures of the night at the large Rauhnächt festival Grýla: Considered one of the oldest figures of Icelandic folklore this menacing ogress with an insatiable appetite for naughty tots was once used to scare kids to go to sleep (and surely have nightmares!) her legend lives on as one who seeks out bad kids at Christmas for a tasty treat Yule Cat: Another Icelandic monster and pet of Grýla is the Jólakottur a ferocious feline who feasts on anyone not wearing new clothes at Christmas As Iceland is known for its quality wool products this tale promotes the long tradition that Icelanders complete the processing of the autumn wool before Yule The tradition also promotes that children who finish their chores by Christmas Eve will receive new clothing for Christmas and stay safe from the Yule Cat Father Christmas isn’t the only one who comes bearing gifts an old witch riding a broom comes down the chimney and leaves candy treats (including candy made to look like coal) for all of the little ones symbolizing that every child is both naughty and nice She’s also a neat freak and tidies up before she goes zombies and dead dinner guests are all part of the following holiday festivities or “Gray Mare,” is a figure dressed in robes and a life-sized horse skull traveling door to door with an entourage of wassailing carolers The group entertains with traditional Welsh folksongs and challenges residents to a singing dual in hopes of gaining entrance for food where singers and dancers dress in wild costumes They perform in street shows or door to door helping to drive away evil spirits for the New Year Consoada: The most important meal of Portuguese Christmas is that of Consoada Dinner includes codfish as the main course and empty chairs and plates for the spirits of dead loved ones the Christmas tree is decorated with beautiful The tradition stems from a Ukrainian folk tale about spiders that secretly decorated the Christmas tree of a family too poor to afford decorations As the sun shone into the room on Christmas morning their tree sparkled as if covered in tinsel and crystal While these holiday traditions definitely rival those of Halloween Santa isn’t the only one who sees you when you’re sleeping By subscribing, you agree to our Terms of Use and Privacy Policy Acclaimed Spanish artist Javier Calleja will launch his first solo exhibition this year at Galerie Zink in Waldkirchen Entitled “Clouds through the window,” the forthcoming presentation will spotlight new original artworks that were directly inspired by the exhibition space and the surrounding natural environment the artist paints his signature big-eyed characters set against muted backdrops with reoccurring cloud motifs that inspired the title of the show Calleja teamed up with carver and artisan Malaga Manuel Molina to create the wooden frames of the paintings that span 15 canvases alongside two drawings with varying measurements There will also be a collaborative installation that pays homage to the Wonder Rooms or Cabinets of Curiosities that were prevalent throughout the sixteenth and seventeenth centuries Please select what you would like included for printing: Copy the text below and then paste that into your favorite email application Enter your phone number above to have directions sent via text This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply Service map data © OpenStreetMap contributors Upon entering Thao Nguyen Phan’s current solo exhibition at Tate St Ives—the largest presentation of her work in the U.K to date—one immediately encounters two white sculptures pinned to the walls of a darkly lit gallery the petals of the flower are illuminated from behind and the bird is flecked with twinkling lights respectively titled The Flower and The Rise (both 2017) were once street decorations that were used to light up the streets of Ho Chi Minh City during Lunar New Year celebrations and Communist Party congresses Recalling both traditional Vietnamese symbols and Communist state propaganda the images of the flower and bird make a fitting entry point into Phan’s artistic universe they exemplify Phan’s ability to use simple beguiling images to tell multilayered stories about Vietnam’s past and present one witnesses the artist’s stories unfold through watercolor paintings “moving images.” These works are moving both literally and figuratively often describing national traumas and tragedies that have been forgotten due to what Phan calls her country’s “historical amnesia.” One of these national traumas is the 1945–46 famine in Vietnam farmers were forced to uproot their rice and plant inedible crops such as jute black-and-white video Mute Grain (2019) gives voice to oral accounts of the famine by its survivors It also chronicles the fictional tale of Ba and Tám a brother and sister named after the lowest-yield months for food harvest in Vietnam (March and August) The two are separated by Tám’s sudden death but carry on searching for each other across this life and the next The siblings Ba and Tám reappear in “The Dream of March and August”(2020) a series of ethereal watercolor paintings on silk which hang in pairs Each pair depicts Ba and Tám performing parallel activities in a magical But their childish joy is undercut by sadness: In nearly every painting No Jute Cloth for the Bones (2019–present) clusters of jute stalks descend from the ceiling like a rainshower The stalks create a rustling sound as they move and brush against one another joining the polyphonic sounds made by Phan’s video works installation view of the series “The Dream of March and August” Phan’s interest in rural existence stems from the annual field trips she would take to the countryside as a schoolgirl During these trips—part of Vietnam’s socialist tradition of education—children were told to sketch and paint life outside the city These excursions have continued to be a source of inspiration for the artist Jonas—an early pioneer of video and performance art—became Phan’s artistic mentor encouraging her to continue developing her essayistic style of constructing visual narratives In addition to their stylistic similarities Jonas and Phan also share a deep interest in the human impact on the environment This is the subject of Phan’s video work Becoming Alluvium (2019–ongoing) or “reincarnations,” on the theme of the Mekong River Responding to the recent rapid growth in agriculture along the waterway and its effect on the local ecosystem Phan weaves together local stories with quotes by writers such as Marguerite Duras and Italo Calvino; Cambodian folktales; 19th-century engravings; and her own animated illustrations The headless characters in the animation were inspired by decapitated Khmer statues that she encountered in the Musée Guimet in Paris hinting at France’s colonial legacy in Cambodia Ives against the backdrop of the Atlantic Ocean these meditations on the environment feel particularly poignant Becoming Alluvium is an ongoing project; in the coming years it will have more “reincarnations” added to it They are constantly evolving and open-ended flowing across artworks and spilling out into the gallery space ※ This service is provided by machine translation tool Vietnamese and Cambodian folklore illuminates modernist architecture in Thao Nguyen Phan's presentation of multiple ways of seeing to explore water Cambodian modernist architecture of the 1950s and 60s is one of the inspirations in the recent work of Vietnamese multi-media artist Thao Nguyen Phan whose eponymous exhibition has opened at Tate St Ives images of architecture are entwined with stories from Vietnamese folklore and historical resonances as part of an exploration of what Phan calls ‘an alternative way of understanding water Central to this is the role of the Mekong river that runs from China to its delta in Vietnam and the impact of urbanisation and climate change on the river and the wider environment Phan is particularly interested in the work of female modernist artists and designers including Indian modernist Nasreen Mohamedi and Eileen Gray (with whom she shares a background in lacquer) She trained as a painter and works in multiple disciplines including film Phan aims to present work that can be accessed and interpreted in different ways ‘I want to offer the audience multiple ways of seeing and multiple entries to the subject matter as a way to go against my education which was very narrow-minded,’ she says She hopes that the work ‘can speak to visitors through its own beauty’ with scope for those who are interested to dive deeper into the considerable complexities of the research-driven subject matter The St Ives installation is designed ‘to create atmospheres and experiences’ incorporating curtains of jute that visitors can walk among and paintings displayed in unconventional manners ‘I like to challenge the definition of what’s painting and of what’s video,’ she says The exhibition includes silk and lacquer paintings and found objects as well as multi-channel films These include the dreamy and atmospheric First Rain which mixes fictional narratives with contemporary built and natural environments Phan creates a character who travelled to Phnom Penh to help build the Preah Suramarit National Theatre one of the leading figures in what later became known as New Khmer Architecture movement Created at a time of great economic development these buildings exemplified a form of modernism that also referenced the local vernacular Phan combines her interest in the modernism of this era with that of folklore creating a parallel narrative about a story from Vietnamese folklore about the spread of durian fruit in the region a reference to the movement of people throughout the region The film is accompanied by paintings of the perforated concrete brise soleils that typified modernist buildings of this time to major events in the region such conflicts and natural disasters she paints everyday scenes over pages of a book by a 17th century missionary involved in Romanising the Vietnamese language Food insecurity in the form of the 1945-6 famine in Vietnam is explored in the three channel video Mute Grain This is accompanied by silk paintings of folk tales that resonate with this theme A curtain of jute stalks references the high value but inedible crop that farmers were urged to grow during the time of Japanese occupation to replace rice Her film Becoming Alluvium focuses on the Mekong as a source of ‘destruction reincarnation and renewal’ with film again combined with Khmer folklore to consider the environmental impact of urbanisation Drawing attention to the impact of the dredging of the Mekong for sand required for construction Phan is concerned at how past prioritisation of economic development has left a ‘heavy debt’ for younger generations to shoulder gentler kind of modernity’ informed by ‘the poetry of indigenous knowledge and respect for our ecosystem’ creating the show at Tate St Ives has been a welcome chance to travel again after two years of pandemic Visitors to her exhibition will themselves have the chance to be transported far away to a very different world but with shared concerns that cut across the cultures and continents Thao Nguyen Phan, until 2 May 2022, Tate St Ives, Cornwall Sign up to receive regular briefings, updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com Javier Calleja recently launched his “Fake Is the Future” exhibition at Galerie Zink in Germany and wall murals by the celebrated Spanish artist Calleja’s signature childlike subjects emblazoned with sardonic existentialist text such as “Somewhere I know” are observed across the works Colorful orbs are present throughout the space sometimes surrounding individual works of art Tour the exhibition above and head over to Galerie Zink’s website to learn more “Fake Is the Future” is on view until August 19 The State Fire Service confirmed via social media that services worked tirelessly throughout the night The sudden weather change was triggered by a cloud burst The highest number of incidents were reported in the Wielkopolskie Voivodeship - 203 👨‍🚒🚒⛈️Kolejną dobę strażacy walczą ze skutkami zjawisk atmosferycznychW poniedziałek 1 lipca do godz. 21.00 strażacy odnotowali 1⃣0⃣4⃣5⃣ zdarzeń związanych z przechodzącym przez Polskę frontem burzowym. pic.twitter.com/wUncKGWMBS The route had to be temporarily closed in both directions causing kilometers-long traffic jams in the area Similar weather conditions were also noted outside Poland TREMENDO: Fuertes daños en varios municipios, edificios y tejados tras lluvias, granizos, e inundaciones, sobre todo en Zakopane (Polonia), Waldkirchen (Alemania), Rappolz (Austria), y varias zonas de Eslovenia, Suiza, e Italia. pic.twitter.com/W8TrKTOb3f