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These days in Austria were full of easy living—scenic runs with teammates, long dinners together, rousing games of chess and supporting Infinite Trails. But emotionally, this time for me was about letting go of CCC. I know myself enough to know that the days following a race are some of the biggest transitions I make in the year, my own change of seasons if you will. In order to move forward, I need to fully accept and let go of the effort behind me. But even that emotion requires the conscious act of moving on. Every start line is a new opportunity, a new effort. I decided to say yes. So I booked my travel, did a couple solid runs in the Canyon as a check-in with my body and headed off across the pond on October 11th, 11 days before race day. What I sought to learn from Transvulcania was how I could perform with a less-specific build and less course knowledge—racing a bit more intuitively, if you will. I wanted to play with the parameters of what I require to race confidently. Petter wrote a great race report you should check out! We rented a car and had a fantastic week together scouting the course. Scouting at Roque de los Muchachos with my teammate Petter. Photo by…self-timer by…Petter Engdahl. The sections Petter and I scouted including links to each Strava activity were:. The start from Faro de Fuencaliente to Los Canarios , as a recovery run. Los Canarios to El Pilar as a one-way run, taking a taxi back. I had 4x4 min intervals that day. Roque de los Muchachos to Pico de la Cruz and back, as an easy run. El Time to the finish , as a one-way run with a larger group of teammates a few days before the race. They helped me capitalize on the climbing, which I knew would be crucial in such a short for me! Leading up to race day, I kept things relaxed and even a bit boring, as usual. I like to completely clear my head, mainly by sleeping a lot, poring over gear with Cordis, eating and watching dumb TV. By now, our group of teammates had fully assembled and our attitude was resoundingly uniform across the board—with it being the last race of the season for most of us, we were excited to just go have fun racing. Starting in the dark on race day was just stunning, with our queue of 2, headlamps tracing up and down the volcanic slope in the pre-dawn glow. I was able to take off my headlamp shortly after leaving the first aid station, Los Canarios, about 45 minutes into the race. I believe I was in 3rd place at Los Canarios, but felt confident about my strategy to work the big, upcoming climb. Use of poles was permitted starting after Los Canarios until reaching some of the upper stretches of the caldera, so I pulled them out immediately after running through the aid and felt right at home. Of course, to-pole or not-to-pole is always a personal decision. TLDR; go with your gut. Probably within 10 minutes of clicking into my poles, I passed the two ladies ahead of me one of which was my teammate Yngvild Kaspersen; go Yngvild! The sun had now risen into its full, unbelievable glory. This was special! Can you believe that sunrise? So glad Ian Corless was there to photograph and capture this moment. The ground underfoot in this section is loose and sandy, but very familiar terrain to much of what we run in Arizona. I skipped the aid station at Las Deseadas, still working through my refill from Los Canarios and plowing through my usual array of gels. The leader camera popped out of the woods on a mountain bike and joined me on the descent into El Pilar. One of them was a pro-MTB-er, which makes sense given some of the terrain they were so easily following on! Babs met me in El Pilar and stocked me up with a fresh supply of gels and bottles. I had half a Coke in-aid and was out of there. Next up was the aforementioned surprise that we were not running the smooth section of dirt road like the course usually follows—instead, we were weaving back and forth across the road on singletrack. It was a perfectly fine trail, but definitely slowed down my planned splits for this 4. I was blown away by how gorgeous this section was, tracing a spiny ridge of trail high above the pine forest and finally, into the high country. During this section, I passed Cordis who went on to have a tough day plagued with full-body cramps. I gave him a quick kiss when I passed him, and we yelled encouragement at each other for about a minute or two until our gap spread further apart. I passed a number of men in this section, and it was where I started to see the difference in holding a run on the steeps vs. Unbeknownst to me, I was closing in on the top 10 men in this section. Along this section of climbing, there was a surprise aid with water which was much-welcomed—I chugged one and took one with me and it definitely helped ward off running out of fluids too early. I knew we were approaching a higher altitude here, about 8, feet, but it was fun knowing that it was only a little higher than what we live at back at home at 7, feet in Flagstaff, Arizona. Arriving at Pico de la Cruz, I was surprised how quickly the race was already passing. I had increased my lead to about 8 minutes. I chugged ml of Coke in-aid, and took another ml of Coke with me to nurse over the 2. I was glad to be back on terrain that Petter and I had scouted, and remembered details like my preferred way to run over the cobblestones. Poles were not allowed through here, so I focused on a steady, smooth run. Arriving in Roque de los Muchachos, Robert was there to crew me. He told me Koop said to start cooling early, so we decided to do a couple of pitches of cold water on me at the top of the island. I took two salt pills in aid with a can of Coke I chugged in aid yes, more coke. I took my new bottles and gels and set off for the descent. Robert reminded me on the way out the door to use my experience on the technical descent. Koop and I made a distinct effort in the spring to spend some time on my perceived weakness, technical descending. While I had a minute lead at the top of the island, by the time I reached the finish in Los Llanos I had built an minute lead. The descent flew by, and I kept needing to remind myself that this was not like my other races of the year, where I had another hours to go. This was go time! There were some technical sections in here, as well as slippery sections of trail with a inch thick layer of pine needles, so I focused on staying upright rather than taking it too close to my edge. I had pitches of water poured on me at each aid and this helped me stay ahead of the heat before I reached the hottest section of the day, the canyon between Tazacorte and the finish. Leaving the ocean and heading up the rocky canyon is certainly a tough finish, but using the final canyon of Transgrancanaria as a point of comparison, it honestly felt short and easy. Heading up through the banana plantations for a final, 1, foot climb, I busted the poles back out and motored up the switchbacks. These sufferfest sections of the course are where my experience from longer ultras comes into play. I was focused on letting my poles do the work for me. I made it from Tazacorte to the finish in 31 minutes. Huge shoutout to the woman along the trail keeping us cool and spraying us with a hose from her garden! At the start of the road to the finish, a police escort was there to greet me which was a cool experience. I enjoyed the moment, gave high fives, and soaked in the high energy of town excited to greet me as the first woman. The moment really sunk in when I turned the corner to see the famous orange carpet of the Transvulcania finish. I ran hard through the finish, so happy to reunite with so many faces at the finish line. Learning that Petter won was thrilling—going one and one together was a highlight of the day for me, as was learning that Yngvild was still in second place behind me! Sharing the podium with her was so special. The one sip of champagne I took hit hard! Photo by Ian Corless. Never have I had a race where the local president is at the finish line, first in line for a hug. I got to meet so many incredible runners, families and individuals after the race who are so excited this event is back after two years of cancellations. The energy is really something—and not just when I crossed the finish line, but for every runner. Reuniting with Cordis after he had a rough day out there reminds me of what this finish line means: however it went—dream day or bad day—we move forward together. The support from near and far is what makes this stuff special. Thank you to Babs and Robert for crewing. Thank you to La Palma for your warmth and enthusiasm for this event and the sport of trail running. And thanks to all of you who followed along! Headlamp: Petzl Bindi. Home about us sponsors Media Race Schedule contact. Transvulcania We can make notorious course sections like this harder than they need to be. Abby November 4, Facebook 0 Twitter Pinterest 0 0 Likes. Abby September 30,
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German artist Conny Maier explores fundamental questions about human nature, ecology, dominance, and control. Her painterly reflections on polarities like dominance and submission, equilibrium and instability, the human and the non-human take an unflinching look at the final throes of the Anthropocene, asking not only what should come to an end but what kind of new day might dawn. Conny Maier lives and works in Berlin and Baleal, Portugal. Her first monograph was published on the occasion of this show. In his text Water and Dreams , Gaston Bachelard describes various symbolic characteristics of water: limpid clarity, purity, reverie. In paintings like Nudisten im Wald or Nudist mit Blumen figures take shelter in landscapes that seem tinged with an overpowering red glow. They are ambiguous, flawed distillates of the human condition, as conflicted and greedy as they are nurturing and compassionate. For Maier, the metaphor of drowning—whether depicted literally or gestured towards—signifies the overwhelming nature of disaster, whether personal, political, or ecological. Yet, within this turmoil, she also finds the potential for renewal: the possibility of emerging from the depths reborn, cleansed, and transformed. In Beautiful Disasters , she responds to 21st century questions of immoderation and fundamental distrust of reason with relentlessly colorful answers. Misshapen figures, seen with wide open mouths and gelatinous appendages, often multi-breasted and donned in malformed headdresses, wander through her canvases in vivid, sweeping brush strokes. Her compositions oscillate between fascination and repulsion, beauty and the grotesque, to depict life beyond the expected. There is a peculiar timelessness to The Source , and the scenes it depicts could just as easily take place in the distant past as in a brave new world future. Its pastoral setting, archetypal subject matter, and vibrant colors are unsettled by the misshapen figures that inhabit the landscape — and threaten to tear this world asunder. Yet, their warped bodies can also be read as a testament to the perpetual struggle of finding balance in an ever-changing world. Conny Maier did not originally specialize in painting, yet she felt always drawn to it, creating various de-individualized characters she had invented; with open mouths and jelly feet, captured with vibrant colors in swirling brushstrokes, wandering through canvases often encompassing nature. For her exhibition at De 11 Lijnen curated by Udo Kittelmann, the artist continues her exploration of nature concentrating on placing bouquets of flower pieces in vases or full blooms without vases and then again vases without colorful flora at all. We see a desire to make great big paintings of very painterly subjects. In Feels like rabies , Maier presents a series of new paintings that explore fundamental questions about human nature, ecology, dominance, and control. The works are populated by figures who seem out of sync with their environment, as if they might topple over at any moment in their cruel struggle for ascendancy over nature and other beings. Conny Maier narrative paintings portray extreme psychological states through a style of contorted figuration that verges on caricature. In Dynamik , nine figures come together to form a pulsating mass: a jumble of bodies, hands pulling fabric, and long rivers of tears. The figures who inhabit the work convey an ambiguous bundle of emotions—they could be experiencing paroxysms of extreme grief, struggling to inflict pain upon one another, or both. The term dynamic indicates a form of continuous and productive activity or change and Maier nods towards the delicate balance between anguish and brutality in many of her paintings. Their pastoral settings lend them a folkloric quality that is unsettled by the figures who inhabit these landscapes—and threaten to tear this world asunder. And yet, their deformed bodies can also be read as a testament to the perpetual struggle of finding beauty and balance in a constantly changing world. Her strangely elongated buttocks seem to indicate that she is in a state of vegetal transformation, blossoming like inverted tulips. In Rabies , a woman stands in a golden field with a rabbit dangling from her hand. A small puncture wound glistens on her thumb, indicating the inflamed delirium and collapse to follow. Unpredictable encounters transform us; we are not in control, even of ourselves. Unable to rely on a stable structure of community, we are thrown into shifting assemblages, which remake us as well as our others. Connie Maier Rabies, Oil, oil stick, pigments on canvas You can change your mind at any time by clicking the unsubscribe link in the footer of any email you receive from us. By clicking above, you agree to our legal terms. Conny Maier. Sorry, your browser doesn't support embedded videos. Installation view, Where have all the flowers gone? Beautiful Disasters , Langen Foundation, Neuss. Am Rothenbaum , Ruttkowski;68, Paris, France. The cosy fire. CV of Conny Maier for download. Sign up for alerts on upcoming exhibitions and more. Choose interests
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