Tuesday, January 31, 2012

Kilimanjaro more info


Kilimanjaro Machame



Arriving to Kilimanjaro International Airport (JRO) in Arusha, Tanzania on the pre-scheduled arrival and departure dates and times. Alternatively, travel to Nairobi, Kenya where you can either transfer by shuttle bus to Arusha or you can fly from Nairobi to Arusha on Precision Air or other carriers.

“Private camp” Elevation: 6,500 feet / 1981 meters

Transport from Kilimanjaro International Airport to a Private Tented Camp nestled in beautiful Arusha National Park. This region is incredibly scenic with views of Mt. Kilimanjaro and Mt. Meru dominating a panorama of grasslands and high tropical landscapes. You will enjoy an evening of relaxation while you begin your journey to the top of Africa.

Elevation: 6,500 feet / 1981 meters

1 day is spent relaxing and recovering from your travels. It is a great opportunity to familiarize yourself with the guides and fellow members of the group. Trip briefing and review your equipment. There may be time for a walk or game drive, which will be taken out into the grasslands. Giraffe, buffalo and antelope are usually seen in the area.

Elevation: 9,000 feet / 2743 meters

Drive from the private camp to the Machame Park Gate. We begin our climb by hiking about 7 hours through the Montane Forest to camp on the forest edge.

Elevation: 11,800 feet / 3597 meters

Another five hours of hiking takes us above the old Shira Hut to our camp in Kilimanjaro's Upper Heath Zone.

Elevation: 14,300 feet / 4359 meters

Today we will hike approximately 4 hours to the camp just under Lava Tower. This will be our first introduction to the alpine zone. We will have a spectacular view of our final ascent route up the Western Breach.

Elevation: 16,000 feet / 4877 meters

With the Western Breach ascent route in full view we will spend 2 hours climbing to the base of the route where we will camp near the Arrow Glacier. An afternoon hike further up the route before relaxing in camp will help our acclimatization and improve our performance the following day.

Elevation: 10,500 feet / 3200 meters; Hiking time 9-12 hours

Leaving at midnight we will follow our way up the Western Breach, non-technical climbing route, about six hours to the crater rim. Moving around the massive Furtwrangler Glacier as the skies lighten we will see the shape of Mt. Meru to the west. Having crossed the crater plateau we begin the final 800 ft climb to the summit (19,340 feet/5894 meters) hopefully arriving shortly after dawn. Having enjoyed the view we begin the long descent to Barafu Hut and down to Mweka Camp for the night.

It takes about 3 to 3 1/2 hours to make the 4,500 foot descent to the gate and pick-up. Here we will have our lunch and say goodbye to our mountain staff. We will return to Kia lodge for a shower, dinner and then will transfer to the airport for flights home.


Proper equipment is extremely important to the success, enjoyment, comfort and safety of your trip. Porters will carry up to 22 lbs (10K) of your personal gear, no more! If you pack by this list, you will meet the weight limit. If you wish to have full porter support, we are happy to accommodate you.

Lightweight and Functional. Functional equipment determines how warm, dry, and safe you will be, so always choose equipment that is of good quality, dependable, and adaptable to a variety of extreme conditions.

Clothing impacts not only your comfort but also your safety. Always be critical of the quality and the proper fit of your clothing. Cotton clothing must be avoided because it dries very slowly and is a poor insulator when wet. Instead, choose wool or synthetic fabrics that "wick" the sweat and moisture away from your skin.

Base Layer: manages moisture and wicks perspiration away from your skin (Polypro, capilene, driclime).

Softshell: should be a durable, comfortable, insulating and wind/water resistant layer that breathes well. The main Softshell fabrics are Polartec Wind Pro, Gore Windstopper N2S, Schoeller; each clothing manufacturer has their own. A 200 weight fleece can be substituted for our Softshell recommendations but is not as versatile with how it may be used when layering.

Hardshell: windproof, waterproof and breathable (e.g. Gore-Tex, or similar).

Insulating Layer: should be down-fill or synthetic-fill and fit over all layers. (e.g. down, primaloft or polarguard)

These four layers are usually sufficient for most people, but if you tend to be colder bring one extra medium-layer that would be ideal for extra warmth around camp, such as a vest. When deciding what to pack, remember to bring enough clothes and accessories to ensure your safety and comfort, while not over-burdening yourself with items you probably won’t use.

Sunday, January 29, 2012

Iskacuvanje na Kilimenjaro 5895m - Feb 2012

Turata trae od 17-29 Feb 2012 Opfakja samo iskacuvanje na Uhuru Peak 5895m a dokolku zainteresiranite se raspolozeni i imaat vreme za dodatni ekskurzii treba da najavat odnapred.
Mozno e na krajot da iskombinirame den-dva na prekrasna pesocna plaza i sin horizont, okolu 480km ili 8h zemjen transport oddalecena od Nairobi.

Po covek kje cini okolu 1500-1700 EU zavisno od toa kolkava grupa kje se sobere. Cenata vklucuva prakticno se za ekspedicijata: Avtobus ili avion (?) Skopje - Istanbul, Avion Istambul - Nairobi (Kenia), a potoa zemjen transport od Nairobi do Kilimenjaro, Arusha (Tanzania).
Dozvoli za kacuvanje, administrativni taksi i dokumenti, vlez vo nacionalnite parkovi, kampovi so spienje i hrana, gotvac, pomosnici, prva medicinska pomos, vodic, transferi do aerodrom, satori i grupna oprema.

Ne e vklucena licna oprema, i licni trosoci dodatna hrana ili pijaloci, suveniri itn.
Od oprema potrebna e topla obleka vo povekje sloevi, zastita od dozd, vodootporni pantaloni i jakna, vetrovka, cevli za planinarenje (zatvoreni do nad gluzd), derezi za sneg (samo za posledniot den, moze i da se najmat), sesir za sonce, kapa za stud, rakavici, ranec okolu 65L, krema za soncanje, vrekja za spienje, podmetac, celna lamba, termos, procistuvac za voda, prva pomos (flaster, aspirin, zavoj, apcinja protiv dijarea, ostanatoto zavisi od sostojbata na covekot, treba da se napomene dali ucesnikot ima nekakvi simptomi ili poranesni bolesti, alergiski reakcii).

Dopolnuvanje: Potrebni se vakcini, zolta treska e zadolzitelna za vlez.
Informacii za vizi kje sledat naskoro.

Za ponatamosni informacii kontaktirajte me na:inence@yahoo.com ili 070377826
Se nadevam deka kje ni se pridruzite :)

Saturday, January 7, 2012

Nomad art, Ilina Arsova 2008-2011

The Photographs
With her body and soul connected to landscape, on her travels the artist has considered the geographic specificities in space and time. She has experienced and documented all sorts of geomorphologic forms that she wishes to share with her audience though a selection of photographs.
From the craggy forms in East Asia to the granite relief in West Africa; from a semi-active volcano in Indonesia to a coastline reef of consolidated lava in the island countries of Africa; from caves and chasms to spiked peaks throughout the unique Patagonia. Glaciers and glacial lakes, as well as swamps and lagoons at the bottom of the Argentinean Pampas. Snowy mountains around the Tibetan Plateau and endless deserts and steppes in the Mongolian-Manchurian grassland. All shades of the colour of water throughout the Yellow, Red, Black, Persian, Aegean, Adriatic and Mediterranean Seas. From the Caspian Sea to the Strait of Magellan and then back to the Gulf of Guinea in the blue Atlantic. From oceanic horizons and equatorial jungles to the ultra-modern, hypermodernized metropolises in China, Southeast Asia, as well as in the fast-developing civilizations of the Middle East.
The photographs have not been produced as professional photographic material, but as documents, without any professional equipment. Among the photographed motifs there are landscapes, environmental subject matters, rock-climbing competition, mountaineering and alpinist endeavours, as well as portraits and everyday rural and urban scenes.
The Sketches
Sketches are the artist’s travelogue. As a means of momentary emotional discharge, the sketches represent testimonies of various situations, experiences and circumstances. They capture the artist’s surroundings, as well as intimate moments through everyday scenes.
The sketch could adapt to the surface: it could be made in sand, snow, on a stone, a piece of paper or a napkin. On occasion it is made for practical purposes, as a map to a certain destination, a flag once the goal is reached or as a message signalling trouble. The sketch is a swift, but effective form of artistic expression. The sketch as artistic journal cannot completely replace the written word, but may complement it well in order to capture the moment completely.
From the everyday two-dimensional notes the show offers a selection of sketches, watercolours and writings that mellifluously evidence an unforgettable travelling research.
A visual mockery of the hypermodern, excessively consumerist habits of younger generations, which are slowly beginning to appear even in undeveloped African countries. Excessive consumption of food, packaging, fashion trends, or marketing campaigns lead to the increase of global waste. The message of the pieces is summarized in slogans such as: ‘Waste love, not food,’ or ‘Waste time, not food.’
The paintings represent morbidly obese people wasting food while others somewhere else in the world are still starving. The paintings also capture instances of political influence on the people of this developing African country who are easily fooled with cheap political/promotional materials.
São Tomé 2017 also refers to the positive changes awaiting São Tomé by developing the country’s tourism. Several paintings offer a vision of progressive construction, foreign investments, educational programmes, international sports and cultural events that would contribute to developing the educational level of the population, as well as help increase the gross domestic product of the country.
São Tomé Smiles is a solo artistic project consisting of 15 canvases and 24 watercolours.
The Smiles in fact represent various emotional states of the population and of all life in São Tomé. In this developing country with a high level of corruption, the locals encounter all sorts of socioeconomic problems on a daily basis. In the end they always handle their difficulties in a bohemian fashion: with song and dance, and smiling faces.
Emotional Dust is an artistic performance and a series of canvases produced under unusually inspiring and primitive circumstances: 20 days living in a cave, with over 300 hours spent inside the cave.
The original exhibition was held in the village of Tuanjishan in Kunming (Yunnan Province, PR China).
‘Emotions in a Field’, acrylic on canvas, 50x130cm.
The Façades of Yunnan or The Urban Faces of Yunnan is an installation presenting details of authentic architectures, a mixture of cultures and everyday scenes from the life in the Chinese Yunnan Province, as documented by the artist Ilina Arsova.
The installation consists of 68 Chinese lanterns, handmade and signed by the artist. Each piece is unique and contains a continuing flow of the distinctive details on Yunnan façades.
SEA Impressions
During her nine-month-long stay in Malaysia and Southeast Asia between 2008 and 2009, Arsova took part in several artistic events and she also held a presentation on SmART Pollution as part of the second International Art Expo Malaysia.
On these canvases the artist has depicted segments of everyday life in various countries of Southeast Asia.
The stay in Argentina took the artist to the highest point on the Western Hemisphere, Aconcagua, which, with its 6962m is the highest summit on the Andes. Mountains are a continuous source of information for Ilina and they have slowly become an indelible part of her art.
In the period between 2008 and 2011 Arsova has taken part in group exhibition and artists’ colonies throughout Macedonia, including: the Winter Salon of the Artists’ Association of Macedonia; other thematic and annual exhibitions of the Association; Tiho Kondev’s international artists’ caravan; the artists’ colony in Kavadarci in 2010, and so forth.
She has continued to research into the possibilities of transforming everyday expendable materials into works with visually aesthetic dimensions. A series of installations related to the current Retromenada is to follow.

In the period between 2008 and 2011 Arsova has taken part in group exhibition and artists’ colonies throughout Macedonia, including: the Winter Salon of the Artists’ Association of Macedonia; other thematic and annual exhibitions of the Association; Tiho Kondev’s international artists’ caravan; the artists’ colony in Kavadarci in 2010, and so forth.
She has continued to research into the possibilities of transforming everyday expendable materials into works with visually aesthetic dimensions. A series of installations related to the current Retromenada is to follow.

Friday, January 6, 2012

RETROMENADA 2011 Ilina Arsova

Retro Menada is a solo art project offering a small review of the artist’s work in recent years, which she has spent researching and creating practically all over the world.
This show allows the Macedonian audience to see, for the first time, artworks created and exhibited in group and solo project on five continents and over fifty locations visited. The pieces have been created under various living conditions and have resulted from several years’ worth of personal research into social differences evident on the global cultural scene.
Retro Menada includes fifty-odd canvases, over a hundred sketches, watercolours and writings as illustrative documentations of scenes from Ilina Arsova’s numerous journeys for various purposes. It also presents a selection of photographs of marvellous landscapes, portraits and scenes from unusual destinations in Asia, Africa, Europe, North and South America.
If all this is to be summarized in few words in order to capture the sum total of experiences, scenes, customs and cultural specificities, according to the painter herself, it would sound something like this:
After following the path of the rising sun in ancient Asia, we are moving to the place where the sun sets, in South America: from the depths of the Pacific to the land of the Thai along the worldly Alps, among the remnants of the Roman civilizations, across the waters of the Atlantic Ocean to the land of the Incas, all the way to Argentina, built through years of fighting for resources. The forces of the Gulf Stream are pulling us to follow the footsteps of the great explorers. The kingdom of the orcas and Magellanic Penguins in the southernmost part of the South American land and then travel back to the West African coast of the former Portuguese colony of São Tomé. From Hinduism, Confucianism and the best of Buddhism, to variations of Islam, branches of Christianity, voodoo and modernized pagan customs. We have encountered breathtaking natural beauty, as well as areas ruined by natural disasters or afflicted by conflicts that make one’s heart cringe. Tourism as opposed to terrorism on the commercial islands of Thailand and Indonesia; minority revolts in the predominantly Kurdish areas on the territories of former Persia; Islamic protests amidst the powerful Chinese regime; the modern rule of the grand Scandinavian Vikings modernized by the cold capitalism of today, and finally, the postcolonial treatment of the modern age and the economic dependence of African countries.
Directly or not, with a strong or negligible symbolic influence in the last couple of years, these experiences have been turning into paintings, sketches and watercolours.
The Paintings
The paintings have been organized into groups according to subject matter, directly inspired or created in the respective countries, exhibited in solo and group shows over there. Between 2008 and 2011 Ilina Arsova has completed the following projects: São Tomé 2017 and São Tomé Smiles (São Tomé and Príncipe, 2010), Emotional Dust and The Façades of Yunnan (China, 2009), SEA Impressions and SmART Pollution (Kuala Lumpur, Malaysia, 2008 and 2009).
The subject matter is most often a visual criticism of excessive consumerism in modern societies. A comparison is made between the marginal, undeveloped rural areas and the modernized, overpopulated urban settings in which younger generations are being force-fed clichés or living and dependence on an artificially created ‘plastic paradise.’
The paintings treat the problem of wasting food, packaging, clothes, technology, or advertising materials, of a disturbed value system with trends of extravagance and debauchery.
Ilina Arsova’s panting style has changed over the years. This is a new stage in her representations, with stylizations and mild abstractions in her composition. But her recognizable strong colours and energetic strokes are always present, helping her capture the idea she wishes to convey.
Her pieces are educational and express individual displeasure with certain phenomena in the modern world. Most of them are produced using a combined technique of acrylic paint on canvas, with added collage elements.
In a recycling and reusing process the artist gives a new creative dimension to objects long-forgotten in the attics and the basements inserting them as part or as background in her pieces. One notes a continuation of Ilina Arsova’s long-term artistic treatment of the global environmental issues. This is also an announcement of the works to come that are to be exhibited in Retromenada 2 once they are finished.