Gulf Research Racing Co

GULF SPONSOR.

British Racing Green. Rosso Scuderia. French Blue. Those were the traditional colors from the days before commercial sponsorship liveries made their way into international motor racing, much unlike American stock car racing of the same period.
While many remember it was Colin Chapman's racing team and John Player's sponsorship that created the first commercial livery Formula 1 grand prix racer, the Gold Leaf Lotus 49 that debuted for the 1968 Monaco, there was another iconic racecar introduced a couple years before.

In 1963, John Wyer, executive vice-president of Gulf Oil at the time was offered the chair as residential manager of Special Vehicles Activity, responsible for the Ford GT40 program. By 1964, three GT40 racecars entered the 24 Hours of Le Mans but unfortunately, none could finish. The Ferrari 275M took the win and in 1965, Ferrari won again with their 250LM. No matter, it was only a matter of time. The Ford GT40 won the next four consecutive 24 hours of Le Mans, with the last victory in 1969 earned by Jacky Ickx, later known as "Monsieur Le Mans," in the #6 Gulf.
Gulf was no longer just a sponsor, it was an icon. Two years later, Steve McQueen costars with the Gulf Porsche 917 in his movie, "Le Mans." And after another four years, Gulf invested their efforts in the Mirage GR8 (which I'm sure it was), bringing their first LeMans victory not as a sponsor, but as the racing team Gulf Research Racing Co.
Today, Gulf is nothing short of a legend.

LA LIGNE CLAIRE

LA LIGNE CLAIRE.

La ligne claire (Klare lijn en néerlandais) est un langage graphique issu de l'école belge Hergé et du « style Tintin » associé aux dessinateurs du journal du même nom, ainsi que ceux du concurrent Spirou, mais aussi, plus largement, un style narratif. Le terme ligne claire a été inventé en 1977 par le dessinateur néerlandais Joost Swarte, à l'occasion de l'exposition Tintin de Rotterdam.

Souvent utilisée hâtivement pour désigner un style graphique peu exubérant, l'expression ligne claire correspond cependant à des choix précis et rigoureux, que peu de dessinateurs sont parvenus à épouser sans y déroger aussitôt.

Il est inexact de fixer le début de la ligne claire à Hergé. Celui-ci s'est en effet inspiré d'œuvres antérieures. Il apparaît en fait que les caractéristiques de base de la ligne claire (trait simple, aplats de couleur) sont initialement liées aux contraintes posées par les techniques d'imprimerie des périodiques enfantins.

En réalité la méthode graphique retenue pour la « ligne claire » est celle déjà appliquée pour colorer les dessins des vitraux, en raison là aussi des limitations techniques imposant la séparation de chaque couleur.

Il s'agit, au départ, d'un dessin caractérisé - après la réalisation des crayonnés comparables à un brouillon - par un trait d'encre noire, de largeur égale, sur un fond blanc. Quasiment chaque élément se trouve décrit de façon isolée par son encerclement. Cette delimitation sera ensuite utilisée pour y recevoir une couleur unique. Chaque couleur se trouve donc ainsi séparée de sa voisine par un trait. Ce n'est que beaucoup plus tard qu'apparaitront des dégradés à l'intérieur d'une même surface fermée.

On peut dire que la ligne claire a ses racines dans les débuts de la bande dessinée, qui utilisait la technique de l'impression d'images par gravure et il n'est donc pas étonnant d'en retrouver des éléments chez Christophe (le Sapeur Camember en 1896) ou Pinchon (Bécassine). Mais c'est probablement l'influence d'Alain Saint-Ogan (Zig et Puce) qui se retrouve la plus nettement par la suite dans la conception hergéenne de la bande dessinée. En Amérique du Nord le trait de Winsor McCay ("Little Nemo", en 1905) est également dans la même veine offrant une grande lisibilité.

THE LAST FILM OF CARLOS and TERESA PANINI . 1951

Carrera Panamericana .The 20th of November 1951.

Carlos Panini was a wealthy Mexican businessman of Italian origin, from Mosio di Acquanegra sul Chiese in the province of Mantova in Lombardia region. He is credited with being the first pilot to fly a light plane around the world. In 1927 he had established Mexico's first scheduled airline, which he had sold shortly prior to the race as he was planning to retire.

He was a motorsport enthusiast and participated in numerous competitions.

Panini died when his car crashed during the 1951 Carrera Panamericana  on the second stage from Oaxaca to Puebla. Although the registered driver for the race was Carlos' daughter Teresa (Teresita), he was at the wheel of car, despite the fact that he did not have a valid license and was in ill health. The accident happened when 15 year old Bobby Unser was trying to overtake Panini who was travelling at a lower speed and blocked the American for a long stretch. After several attempts, Unser made his move but Panini tried too late to block him, resulting in the two cars bumping one another. Unser nearly went off a sheer cliff but was skilled enough to control his Jaguar, while Panini's Alfa Romeo went straight into a wall, killing the driver instantly. Unser did not stop for fear of being disqualified from the race as the rules explicitly forbade it. Later, Ricardo Ramirez of Mexico City abandoned the race to rush the Paninis to a hospital in Puebla. Teresa Panini survived the accident with minor injuries.

Press reaction to his death was strong in condemning the race as his was a part of a series of prominent deaths that year. At the time of his death newspapers gave his age as 54, but one states his age as 48.

The BOBBY UNSER Story at La PANAMERICANA 1951

 The BOBBY UNSER Story at La PANAMERICANA 1951.

 In the book titled "Winners Are Driven: A Champion's Guide to Success in Business & Life" Bobby Unser explains the story about the time he was racing a Jaguar in the second La Carrera Panamericana which ended in the death of Carlos Panini, a wealthy Italian-born founder of Mexico's first scheduled airline.


In 1951, my daddy and I entered the Mexican Road Race as a driving team. I drove and he was the co-driver and navigator of our Jaguar. The Carrera -Pan Americana-Mexican Road Race, the official name for the race......... We went off as the ninety-first car. Even though the race was challenging with turns, heat, and mountains, there were times we could run on a nice, open straight and go about 130 miles per hour.

On the second day, we were in seventeenth and coming up to pass the car of millionaire Carlos Panini and he daughter, Terresita. She was the registered driver. However, Carlos was behind the wheel instead and was in ill-health. He shouldn't have been driving. He didn't even have a driver's license. The rules were that the slower car was to allow the faster car to pass if the faster car honked it's horn. We were in the mountains, and I came up to Carlos and honked, but he wouldn't let me pass. This went on through about ten turns, with Carlos blocking me each time. We were probably doing about 90 miles per hour at this point. The next time I tried to pass him, he bumped my right-front fender, which almost pushed me off a sheer cliff to the left that was some 500 to 800 feet down. My left front tire went over the edge, but fortunately I regained control of the car. Carlos over-corrected his car to the right, and went straight into a solid rock wall. The car exploded on impact like an egg hitting a sidewalk. I didn't know it at the time, but Carlos was killed instantly.

One of the rules of the race was if you stopped to help anyone, you were automatically disqualified................. Seeing the explosive impact, I wanted to stop to help, but daddy told me to keep going. He knew the rules and told me that people were there to help. That was hard for me-- I slowed down to about 15 or 20 miles per hour. He insisted that I keep going, and grimly, I did.

We kept going, passing many more cars. Then we came to the town of Atlisco, about 17 miles from Puebla. I wrecked the car crashing into the town square. A Mexican Army General was there to watch the race. He told me we were in first place at the time, which I hadn't realized. We had passed 17 cars that day, but were out of the race. We fixed the car just good enough to drive the additional 97 miles to Mexico City. When we got to Mexico City, I saw the evening newspapers that already had the headlines about the Panini accident. I learned a new Mexican word: muerte (dead).

As much as I'm a highly driven person and want to win, I understand and accept reality. Some people don't understand reality, and that's what kills them in racing. It's also what kills a person's career in business. This is probably the most complex part of me for people to understand, yet it's so simple when you really think about it. I want to win very much, but I'm not willing to do stupid things just to win. I need to finish and stay alive, and race again tomorrow. You will be able to keep going on your journey when you accept the tough reality failure brings.

LA CITE FEU - DARROW - MOEBIUS.

LA CITE FEU - DARROW - MOEBIUS -

Career Timeline: 1984 - City of Fire
In 1982, Moebius met an aspiring artist named Geof Darrow, who sought Moebius out while working on Tron in Los Angeles. They became friends and, two years later, collaborated on a portfolio of prints that they called La Cité Feu, or City of Fire. Consisting of 8 prints, Darrow penciled each piece while Moebius inked and colored them. City of Fire had a print run of only 500 copies, making it one of the rarest of Moebius’ publications.

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ARTIST WALL

Artist Wall | Maya Israel hosts Jacques Fhima

Maya Israel: Your works deal with verbal and visual codes

The abandoned books, the old camera, the quotes, humor, food, writing, stamps, postcards, the protagonist, the movie, the locations, landscapes, people, memory, music, archive. Where does it all start Jacques? I am interested to hear about home, about Jacques the curious boy, about the evolution of your visual language.

Jacques Fhima: Ever since I can remember, I have been working with space and material. My work is very close or identical to the work of the archeologist. I look at my place and try to understand the components, and then the composition. I look for the material and through it understand the history of the space. Early on, I edited a fanzine of sorts, a single-copy magazine made of collage and text. My room was turned into a library of what could be found on the street, for a creative kid, the trash of Paris was rich in treasures. I did not shy away from carrying tons of magazines from the Opera to La Bastille, my bag was always full. 

MI: Memory, Residue.

Used materials, ancient cinematic techniques, make me think of time travel, your travel through time. As someone who sees beyond the mountain.

You communicate from your own place, mostly emerge from your works as a multidisciplinary maker, as a self-taught artist, who spread around himself any finding from the environment that went out of conceptual and emotional use, studied the materials, set them ablaze with words and images and transmits them, who is the addressee?

JF: The significant influence, in terms of conceptual art and philosophy, is drawn from Dada and the philosophy of the French revolution of 1968, and most of all Guy Debord. I started by writing texts and manifests, poetry, performance and experimental cinema in the early 1970s. Already then I was on a search for the possibility to capture space and time with a pocket camera, a pencil and a typewriter. I was too young to take part in the events, but I managed to get into places like the Modern Art Museum of Trocadero, Grand Palais, the Muséum national d'histoire naturelle du Jardin des Plantes, The Musée national des Arts d'Afrique et d'Océanie de la Porte Dorée, the curiosity in the anthropology and topography of the city, the library and the bookshop were at the center of my attitude towards forms of new art. I was completely self-taught and my culture as a mosaic. I was a novice, there was no one to ask about the way, I have created my path and my public is universal. 

 MI: Transformation, from a mouse, to an enlightened prophet.

You inhabit your works, you do not only address things.

You are the actor in the movies, you are the cinematographer, you are the director. What about the limits of the piece. What are the limits of cinema or any other artwork you create?

JF: The point of departure is quantifiable. I have found that so far at the "midlife" point the entirety of my writing add up to 300,00km of words and creation. 300,000 km per second is the speed of light. In order to understand the definition of the speed of light the common example is of a man who lights a candle on Earth and the light takes a second to travel to the moon.

We are talking about different levels of the term "journey" whether it’s the light's whether the train that travels backwards, and of course also the possibility to create the wall, or some sort of installation of the postcards that talk about a fabricated journey. All the parts of the installation speak of time units. Fragments that together become the narrative of "The Pantheon", while during the journey there is the transformation of the character from a mouse to an enlightened prophet. 

MI: Artist's Wall

I have invited you to exhibit at the Artists' Studios, I personally am very connected to your work, your interest in the collective subconscious, the movement and the eyes.

What in the verbal and what in the visual of the Artist's Wall on which you were invited to exhibit…

JF: The situation I have created for the Artist's Wall is at the same time a unit of conduct in time. It is composed of an action included in the shaping of the experience of the moment. Gestures which are the product of desire and of themselves. Other forms of design and gestures are created.

Anyone who takes part in the adventure can find a field of positive action, there is an attention towards the general atmosphere. Anyone can have what he likes, what is attractive, and what is important. It is not the individual structure of the thought or an account of the structure, it is the possible proposal in a constructed situation.

Installation, screening the films animation Lardux, the screening of the film "The Pantheon" and an artist talk.