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In a NT webapp, I have a login Form which leads to a further form, with two tabs on it.
When the save button is selected on the first tab, instead of completing and saving as expected, it opens the second tab, without adding a record.
I reverted to NT 12.23 recompiled and ran. The application works as it should, with the second tab not opening until selected.
To resolve, the variable of the Radio button had another option included and a sequential value.
The window was primed to set this new valued variable Radio option on opening.Bordered by Norway to the northeast and Russia to the east, Finland is located in the beautiful continent of Europe. Its largest city is Helsinki, which also doubles as the capital city of the country. What do you know about the history of this beautiful country? Try our quiz to find out!
What year did the country attain autonomy within Russian empire?
What year did Finland obtain independence from Russia?
When did the first post independence civil war take place?
When did Finland join the European Union?
When did the civil war against FSWR begin?
When did the civil war against Red Finland end?
What date is the country’s independence celebrated?
What year was Finland incorporated into the Russian Empire as the autonomous Grand Duchy of Finland?
When did Finland become the first European state to grant all adult citizens the right to vote?Kaleidoscope: Contemporary Art in Germany.
This editorial and exhibition project, resulting from a long journey of research, is part of my culture of the arts, always characterized by an attention towards a plurality of voices, which, in the present as in the past, constantly interact with one another, combine, overlap and ultimately demand analysis, judgement and choice. There is no era in the history of humanity that has not demonstrated a proliferation of ideas and creativity that produced an artistic heritage, renewing its expressive skills and confirming its role in front of perception.
The expressive dimension of the contemporary art system has reached unimaginable kaleidoscopic proportions. At the beginning it was exclusively a Western heritage specific of the two Atlantic coasts – the United States and the liberal part of Europe. The growth of this particular season called'second avant-garde' followed a constant growth, it expressed itself and occurred in specific areas and environments, but also revealed relationships and interferences, which today we know to be much broader than what was considered until the 1990’s.
A strategy of separation between the different linguistic and research areas, among authors who lived of contamination, imposed during the first five decades by the critical judgment system, coinciding with an ideological conflict and progressively sustained by an incorrect strategy of the art market – all of this creating persistent damage to the overall vision of that heritage.
This marginalization process of values was followed by the 'cancellation' of a very high number of individuals that constitute its extraordinary dimension and that slowly but progressively are being'rediscovered' and laboriously repositioned in the historical process of knowledge. This existing and immensely manifested contradiction clearly appears during the first twenty years of the new century between the extension and development of the artistic culture projected beyond the traditional margins and the rigidity of the distribution system characterised by the rules of the financial market. A process that has temporarily redesigned the history of art collecting.
We are observing with great interest a real "explosion of creativity" corresponding to the process of cultural globalization and we are witnessing the final achievement of a single art culture, thanks to the overcoming of that fracture that distinguished the Eastern practices from the Western ones, the Northern part of the world from the Southern one and advance societies from depressed areas.
Confronted with this incredible extension of contemporary 'artistic products’ – capable of'representing' perfectly all possible interdisciplinary relationships, linguistic combinations, rethinking and reviewing processes, innovation and citation – it results increasingly coercive the hyper-selective action of the distribution system, highly concentrated on an always more limited range of names. This general process is openly contradictory: on one side, the tendency towards a global extension of the art culture and, on the other side, on a financial basis, the narrowing down of its placement within the social fabric. A strategy in open conflict with the historical experience of collecting is confirmed, but with a highly potential for its development among the middle class of emerging societies.
In a critical vision based on the perception of wealth, watchful of the extensive network of relations that exist within, I always welcome a kaleidoscopic process.
This project originates from the need to uncover the artistic heritage present in the vast area of German-speaking countries, having noted that, although being increasingly oriented towards Europeanism, there exists a low circulation of its artistic culture.
As already premised, knowledge has very few active tools available, restricting the geographic-cultural areas on non-communicating channels, unlike the linguistic systems, music and literature that do not need the logistic system that the material culture of art depends on. Its presence within the German art heritage must not be overlooked, the broadest internationalization of the expressive systems, the visual grammars and the different research and experimentation lines; this aspect delivers us artists who broaden the value of this Exhibition towards a 'European dimension'. The German exhibition system, closely connected to Switzerland and Austria, for decades has carried out a solid organization founded on a dense network of Museums, Kunstverein, Kultur Haus, Foundations (in increasing numbers), Galleries and Art Fairs, within which the possibilities to relate and share with a “less organized” Italian system are rare. The specific Exposition Cycle that this Edition documents is quite rare and surely still unseen.
From Cologne to Zurich, from Basel to Karlsruhe, there is an exhibition network, which is a preferable tool for those who would like to get acquainted with the artistic heritage of the art fairs. It this mainly from the exhibition environment that the art fair exhibition originates, as a result of a long series of monographic and collective art fairs conducted for many years. By attending the great art fairs, I was able to'select' those artists with whom I was able to create a relationship visiting systematically their studios and exhibitions and collecting editorial material. Within this broad framework, throughout the years, I traced their expressive developments and solutions and I was able to get to know a greater number of artists whom I hope to work with in the future and whom I will try anyway to mention in this edition.
Direct contact, getting acquainted with the artists and visiting the art studios where their works originated, as already mentioned, was the next fundamental step, that allowed me to get in sync, to verify what may have been an initial intuition in a particular context such as the stand of a Fair or the 'aseptic' space of a gallery. Only in these art studios, often hidden and reserved, is it possible to perceive the real importance of an artistic research, because it is here that on the tables lay the first papers and drawings, reference books, the accumulation of experimental drafting techniques. The spaces of the art studio indicate both the history and the future developments of an art culture. They all reveal the transformation of the various methodological-linguistic processes, the curiosities waiting to be examined and accomplished.
It is in the art studio that a conversation, both personal and focused, with the artist begins, an in-depth exchange where the resolution of doubts and unexpected answers occur, giving you the dimension of creativity. All this material collected and experience leads to the phases of installation of the exhibition and lastly the critical judgement. -The life in the art studio allows you to gather all information ranging from the intuition of the project to the choice of all supporting material and production techniques; on the other hand, listening to the artist gives us a direct understanding of the processes behind the artwork and allows us to understand how the artist communicates with the exposition space and how he enters into a relationship with contemporary history and thus with the art system as a whole. In the current tendency, where critical judgment and taste depend on the size of the web, it is essential to reopen the art shops, and to give the possibility to see and attend those places as an experience to understand and perceive, to taste important truths that