Mystery- The Haunted Town Of St. Nazianz, WI

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Mystery- The Haunted Town Of St. Nazianz, WI St. Nazians was founded by a priest who wholeheartedly believed to helped cursed the town. Over the years, the town has been hit with natural disasters and unexplained phenomena. Father Ambrose Oschwald was fled to Wisconsin in 1854 from religious persecution. The Roman Catholic Church had suspended him from his duties due to “mystical, prophetic, and heretical works.” Already, the scary history of the town is starting to make sense! Oddly enough, the congregation followed him. Once they got to Wisconsin, a “divine white heifer” lead them to the site of his new home which would become St. Nazianz. The community actually thrived. They titled themselves “The Association” and created an entirely functional society. Tragically, Father Oschwald became sick in 1873. Anton Still, a loyal follower, stayed with Father Osc...

This is not for the weak hearts Ana Mendieta // Untitled (Rape Scene) // 1973,


 This is not for the weak hearts Ana Mendieta // Untitled (Rape Scene) // 1973,

This is not for the weak hearts  Ana Mendieta // Untitled (Rape Scene) // 1973,


Untitled (Rape Scene) is the documentation of an action that the artist performed in her apartment in Iowa City, while she was a student at the University of Iowa on the innovative Intermedia art course run by the German artist Hans Breder (born 1935). It was created in response to a brutal and highly publicised rape and murder of a nursing student, Sara Ann Otten, by another student in March 1973. The following month Mendieta invited her fellow students to her apartment where, through a door left purposefully ajar, they found her in the position recorded in this photograph, which recreated the scene as reported in the press. Some time later, Mendieta recalled that her audience ‘all sat down, and started talking about it. I didn’t move. I stayed in position about an hour. It really jolted them.’ (Quoted in Ana Mendieta, p.127, note 11.) In 1980, she commented that the rape had ‘moved and frightened’ her, elaborating: ‘I think all my work has been like that – a personal response to a situation ... I can’t see being theoretical about an issue like that.’ (Quoted in Ana Mendieta, p.90.) On another occasion she explained that she had created this work ‘as a reaction against the idea of violence against women’ (quoted in Viso 2004, p.256, note 58).


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