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Related to HAINS: Heinz, chains, Hanes
HAINSHigh Accuracy Inertial Navigation System
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References in periodicals archive ?
Mr Hain, who resigned from the Cabinet last month when the issue of his failure to declare donations to his failed deputy Labour leadership campaign totalling more than pounds 103,000 was referred to the police, told the Western Mail,"I've never hidden anything.
Mrs Hain provides "part-time secretarial assistance and cover for my offices", he added.
As he would later contend, the union that brought him, Klein, Hains, Restany, Francois Dufrene, Jacques de la Villegle, Martial Raysse, Daniel Spoerri, and Jean Tinguely together by signed declaration on October 27, 1960, was undone in twenty minutes, when Hains and Klein called it null and void, having come to blows over Hains's reservations about the "realism" of Raysse's work and his disparagement of Klein's anthropometries.
While it is difficult to imagine the mild-mannered Hains engaging in a fistfight, it is certain that as early as 1963 he was busy distancing himself from these artists as well as the curatorial efforts of their leader.
Hains himself has said that he works "on a sort of web" and defines himself not as an "artist who paints paintings" but as an inaction painter," a "rapprocheur d'images." Juggling words and images, Rains thus pairs the giant mannequin of Iris Clert in Kassel with similar figures made in the small French village of Cassel (Raymond Hains avec Reuze Papa et Reuze Mama Cassel, 1997); juxtaposes in a readymade installation the name Otto Hahn with a bottle of Petrole Rahn shampoo (Hommage Boronali, Petrole Hahn, 1989); installs the Trojan horse in Troyes (Neo-Dada emballe, 1963); and, invoking the Roman name for Brittany, transforms the American Express logo (Armorican Express, 1987).
It is precisely this aesthetic dimension that the retrospective seeks to bring out: not just Hains's invention of forms and the plurality of his materials, but his role as scopic interpreter of signs inscribed in the landscape.
In his youth, Mr Hain enjoyed making a nuisance of himself, although in pursuit of a far more worthy cause.
It may be unfair to lump together the first and the second JEP wave, but it will do as shorthand, with the quintessential JEP painter being Georges Mathieu, whose theatrics of gesturalism and subjectivist pretense represent the apogee of what Hains, Villegle, Hantai, and Barre abhorred.
In a display of comradeship, one of Mr Hain's "friends" is his rival candidate Hazel Blears, who boasts 624 online pals of her own.