View allAll Photos Tagged ACKNOWLEDGES
I grew up thinking that it is a truth universally acknowledged that #JohnSingerSargent was a big ole homo, right? 💁 I mean, the man “was notorious in Paris and Venice, positively scandalous. He was a frenzied bugger,” according to one of his early sitters. However, his sexuality is vehemently resisted; it spoils this idea of him as a noble defender of upper-class privilege. I had hopes that @metmuseum's summer show Sargent: Portraits of Artists the and Friends ("Friends!") would be more progressive, but it was dishearteningly conservative. Dozens of portraits of young men and even some early queer personalities, and not a single word. Apparently, I heard, the Met was powerless against pushback from their British co-organizers and high society lenders. 🙍 However, just the other day, I noticed a humble exhibition of Sargent’s sketches from the Met's own collection, discreetly lining a side wall. Huh, so quickly after the big Sargent show; that's weird. What were they of? Oh, just drawing upon drawing of casual male nudes. 😈 I've never loved the Met's Drawings Department more. Vive la résistance. 👊 #iwanttobelieve #gayart #queer #nycart #artmuseum #artgallery #exhibition #gallery #museum #artnerd #arthistory #instaart #art #nyc #artwork #artsy #galleryart #masterpiece #creative #artoftheday #art #culture #arte #ArtWatchers #sargent #metmuseum #drawing #gayartist #queerhistory
Shelter, From All the Wrong Reasons
Depression isn't triggered by a world filled with sadness. Depression is having blessings in your life, actually acknowledging the fact that they are CONSIDERED blessings, but simply not finding their value. Depression is building a shield. One that’s supposed to protect, but instead keeps all the joys from entering. Depression is seeing your weaknesses better than everyone. Depression is feeling that you’re both too good and too worthless to be in this world.
Depression isn't a feeling. It’s not synonymous with sadness. It’s is knowing that you’re too small to change anything in anybody’s life.
And you’re probably sometimes correct.
And you know it.
And you hate it.
It starts as a little tiny idea in the back of your head. The universe is HUGE. You are one miniscule person, and your odds are most likely scattered around being average. Not everyone who works hard makes it. And ‘making it’ is very relative. You’re too small to make a difference: this toxic mindset starts creeping its way into anything and everything you do. So you start thinking that going to work or school today isn't really going to affect anybody in anyway. Then you think that hanging out with this friend today isn't really going to affect anything. So you start missing important occasions, because yes they seem important to this friend today, but how does it matter 15 years from now? And anyway, are you really that important to make a significant difference with your presence? This feeling that everything including your being is worthless drags on to your family and lover and school and work and hobbies and every little aspect of your life, till you actually become it. Fake it till you make it, or in this case, fake it till you break it. Your friends start noticing that even when you’re present you barely have any contribution. They start valuing you less and less. People you meet for the first time now think you’re just too silent, or shy, or maybe stuck-up or anti-social. You find yourself sitting idle in group discussions thinking ‘what’s the point of even trying to convince anyone about anything?’ You think of a clever joke or comeback but you stop yourself before a word comes out because there’s no point or purpose... Then all you EVER think is ‘what’s the point’.
What’s the point of getting out of bed?
What’s the point of getting a job?
What’s the point of having a friend?
What’s the point of eating?
What’s the point of working hard?
What’s the point of success?
What’s the point of being alive? … and… is it necessary?
At this point you barely have any friends, and even those few people who are magically still in your life resent you for not being both physically and emotionally present for them. You can’t relate to anybody and no one understands you simply because you don’t let them in. You spend most your days in bed trying to sleep it all off. You fail your courses and you lag behind on everything else.
This makes it worse, because you were right. You’re jobless, friendless, and lonely; you’re a worthless failure. To make it even worse, everybody keeps reminding you of that. They tell you should be more active. You should go out more. You should work harder. You should get yourself together. And the fact is, you don’t have a clue that you’re depressed. You just think ‘This is the way I am, a worthless piece of crap that disappoints everybody’. New acquaintances validate that, because they’ve only seen the vacant skeleton you’ve become. They don’t know you. You sometimes try to follow your few friends’ advice and be more active but it backfires, because you’re in so deep in this vicious whirlwind that you end up hating yourself for not being able to ‘ just snap out of it’.
SNAP OUT OF IT!
SNAP OUT OF IT!
SNAP OUT OF IT!
..the worst thing any depressed soul can hear.
There comes a point –hopefully- where you have the realization that you’re depressed. That this is not really YOU. That this is just a mindset you can shed off. And you feel positive for the first time since what feels like forever, because you finally know what’s wrong! So you hurry and tell the couple of people you still trust. And what a mistake that can be. They go right ahead and list your countless blessings and tell you to just STOP BEING SAD because there’s nothing to be sad about. But you’re not sad! You’re just incapable of happiness, because what’s the point of being happy and is happiness even real? These are just some questions raised that, if answered properly, could start a chain of thoughts that would end all this mess. If you’re strong and fortunate enough, you’d do your research and realize the baby steps to make to get out of this whirlwind. And if you’re lucky enough, you’d have someone trustworthy help in slowly and carefully pulling you out of this disintegrating mindset.
If not,
you’d linger on that last question…
What’s the point of being alive? … and is it necessary?
If not, I pray a miracle happens before you do what you think is the only sensible way out.
Next time you see someone depressed, please don’t assume they’re in a long-term sadness or grief. Don’t assume they’re delusional. And please don’t tell them to just snap out of it.
Next time you see someone depressed, genuinely tell them how valuable they are in your life, which might be all they need.
AN-124-100
The Antonov-124-100 is the world’s largest civil cargo aircraft, and an acknowledged leader of the air cargo market for the transportation of oversized and super-heavy shipments. The combination of exceptional characteristics such as its cargo compartment size, flight range and uplift capability without using special loading equipment allows the An-124 to carry super-heavy and oversized cargo up to 120 tonnes across the greatest range.
The aircraft’s pressurized cargo cabin, with its total volume of 1050 m³, guarantees unprecedented opportunities for the transportation of different types of cargo, including non-standard and oversized pieces or shipments demanding special transportation conditions.
Multi-leg landing gears equipped with 24 wheels allow to operate the aircraft on unpaved runways as well as to change the angle of the fuselage to simplify loading operations.
The Antonov-124-100 has two loading entrances, at the nose and tail of the aircraft, both equipped with expanding loading ramps. For loading of non-standard cargo the cabin is equipped with two electric winches of 3 tonnes traction each and 4 electric hoists of common carrying capacity up to 30 tonnes.
Volga-Dnepr operates a fleet of 12 Antonov-124-100 aircraft. (info source: Volga-Dnepr Homepage)
Tasmanian Archive and Heritage Office: NS3245-1-270
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
This photo was taken at Green Cay Wetlands in Palm Beach County! American Bitterns are just a Winter Bird for us, they start to arriving around the first of October and leave in late April! They hunt the swampy areas for fish, frogs and snakes that they ambush while hiding in the tall grass! They are not easy to find out in the open, and usually only fly short distances! Thanks for looking and all the wonderful comments!! We well see everyone on Thursday!!
Please be advised that our images are registered and fully protected by US Copyright Law. The images may not be downloaded for personal, commercial or educational use, copied to blogs, personal websites, used as wallpaper, screensavers, or be deeplinked, etc. With NO Exceptions.
If you would like to use an image, you MUST contact us to obtain written permission. Acknowledging the source of the copyrighted material does not substitute for obtaining written permission.
Meamwhile Meanwhile the Venice Biennale 2019 is going on , here intervention from 23 august 2019 . Mors
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
---
invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
-----
other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
The British paralympic runner Richard Whitehead acknowledging the crowds as he passes Crossharbour station, about 17 miles into the 2014 London Marathon. Whitehead came to prominence with his remarkable finish in the 200m at the London 2012 Paralympics
不 可 使 慈 愛 誠 實 離 開 你 ． 要 繫 在 你 頸 項 上 、 刻 在 你 心 版 上 ．
Let not mercy and truth forsake thee: bind them about thy neck; write them upon the table of thine heart:這 樣 、 你 必 在 神 和 世 人 眼 前 蒙 恩 寵 、 有 聰 明 。So shalt thou find favour and good understanding in the sight of God and man.你 要 專 心 仰 賴 耶 和 華 、 不 可 倚 靠 自 己 的 聰 明 Trust in the LORD with all thine heart; and lean not unto thine own understanding.
在 你 一 切 所 行 的 事 上 、 都 要 認 定 他 、 他 必 指 引 你 的 路 。 In all thy ways acknowledge him, and he shall direct thy paths.Proverbs3:3~6
Taken on 18/03/23 and some notes based on Wikipedia, other Flickrites (acknowledged in brackets) and also based on a chat I had with a volunteer at Cranmore.
This vehicle was a London Underground 1938 Stock driving
car No. 10229. It was one of 1.121 such cars built by Metro-Cammell and Birmingham RC&W, with No. 10229 being completed in 1940. "According to Wikipedia an "...additional 173 cars were added to the fleet by the end of 1953, comprising 91 new builds (the 1949 Tube Stock), 76 conversions from Pre-1938 Tube Stock or 1935 Tube Stock, and six unconverted cars of 1935 Tube Stock, and the stock was used on the London Underground until 1988. During their long lives they worked on the Bakerloo, Northern, Piccadilly, East London and Central lines."
Meanwhile the former ex-Underground 1923 'Standard Tube Stock' Class 485 trains used on the isle of Wight were approaching the end of their economic working life and it was decided to purchase and refurbish 1938 stock. In 1989 16 carriages were initially refurbished at Eastleigh and formed into eight two cars units, entering service in 1990. In 1992 No. 10229 formed the A-end of an additional unit sent to the Island, numbered 483-009 (Mikey Lawlor) and a further two cars were "... also shipped to Ryde depot, although this was for spares only and was never used in passenger operation on the Island." (Wikipedia).
The final days of the 483 units on the island were beset with issues as Wikipedia records. "On 13 September 2019, South Western Railway announced that because of a "safety issue" only one of the units was able to run, which meant cancelling just under half of scheduled services and running only an hourly service on the Island Line. This reduction in service was by mid-September expected to last for approximately one month, until 14 October, but the company warned that the trains' age and increasing difficulty of getting spare parts meant it might take longer. Normal service was not restored for approximately 5 weeks, but further fleet faults brought repeated disruption through much of November. Just 3 days after the news that only one Class 483 was serviceable, on 16 September 2019 the government announced that the fleet would be replaced by five two-car Class 484s." In the case of No. 483-009 this had been relegated to the role of the Ryde shunter since 2016.
The withdrawn 483 units have attracted the interest of preservationists (despite the problems of third/fourth rail electric units running on heritage railways) and also the hospitality industry. The latter was the case with No. 10229, which I understand was purchased for use as a bar and transferred to Cranmore for a cosmetic overhaul. The result was a vehicle turned out it LT red livery but erroneously numbered 10289 after repainting (Mr. Ratty and Ian Docwra). Additionally Ian, who has an eye for detail, noted that it retains "... the electric door buttons, but with brass manual door handles fitted. The LT lettering is also too small, and is probably a bus example." Subsequently " ... unfortunately the vehicle was vandalised with mindless graffiti some time after this picture was taken. Why do we revere a certain so-called ‘artist’ who encourages such criminal behaviour?" (Glen Batten). However, a) as far as I know this was the only vehicle at Cranmore affected in this way b) the graffiti looks a little too neat to my eye and c) it seems a spooky coincidence that the graffiti artist added the words 'Dom Perignon' to a vehicle destined for a third career in hospitality. So, my thinking is that the graffiti is deliberate.
Based on the chat I had with a volunteer whilst I was at Cranmore the new owner of the carriage was declared bankrupt after the work was completed and a new buyer is/was being sought
Now I can see the shields between the people and the memorial lights for our 400,000 pandemic dead. We the living are fortunate to still be alive and to still have our democracy.
Inaugurated in 1847, Marché Bonsecours is acknowledged as one of Canada's ten finest heritage buildings and has become an essential stop on any visit to Old Montréal.
It is named for the adjacent Notre-Dame-de-Bon-Secours Chapel. In 1849 the building was used for the Legislative Assembly of the Province of Canada. The Market building also housed Montreal City Hall between 1852 and 1878. Closed in 1963 as a farmer's central market, it was slated for demolition. Today, the market is multi purpose facility.
Headquarters of the Conseil des métiers d'art du Québec (Québec Crafts Council), the Marché houses 15 boutiques featuring top-quality “made in Québec” creations: crafts, fashions, accessories and jewellery, design items, reproduction Quebec furniture and more.
Its restaurants and their terraces are opened during warm weather and offer local fare.
Inaugurated in 1847, Marché Bonsecours is acknowledged as one of Canada's ten finest heritage buildings and has become an essential stop on any visit to Old Montréal.
Headquarters of the Conseil des métiers d'art du Québec (Québec Crafts Council), the Marché houses 15 boutiques featuring top-quality “made in Québec” creations: crafts, fashions, accessories and jewellery, design items, reproduction Quebec furniture and more.
Its restaurants and their terraces are opened during warm weather and offer local fare. You can even share a meal in the 17th century ambiance of the famous Cabaret du Roy.
There are ongoing exhibitions of contemporary arts and crafts, with free admission.
Source: www.marchebonsecours.qc.ca
Chongqing's night scenery
Widely acknowledged as the largest industrial and economic center in southwestern China, Chongqing City is a popular destination for travelers with its hilly slopes, rivers, night views and spicy food.
Meaning "double celebrations" in Chinese, the city was built in the 11th century BC during the Zhou Dynasty. The city was founded in 1997. Prior to then, it was a city in Sichuan Province. Now Chongqing is the biggest city in China in terms of area and population.
Known as one of China‘s "Three Furnaces" (along with Wuhan and Nanjing), Chongqing is unbearably hot during the summer. The surrounding mountains seem to trap the heat. It is pleasant to visit the city in other seasons.
Also known as "Fog City" in addition to "the Furnace," Chongqing is covered with a thick layer of fog for an average of 68 days a year, usually in spring or autumn. The fog gives the place an air of mystery.
Spread across a number of low hills (average elevation of 400 meters), surrounded by mountains, and straddling the Yangtze River, Chongqing is a natural wonder.
The main features of the downtown area are the hilly slopes. Travelers soon learn to get used to the feeling of going up and down, up and down. Locals compare the terrain to San Francisco.
At night, climbing up onto one of the less-populated hills affords panoramic views of the city‘s night lights. Due to the city‘s hilly terrain, you can see a hierarchy of lights in all directions.
Lights in different colors sparkle and shine in layers and are reflected in the sparkling river, creating a mirage-like view -- it‘s hard to tell the river and the lights.
But it is to cruise down China‘s longest river, the Yangtze, passing through the famous Three Gorges that most tourists come to Chongqing. With over 100 cruise ships that begin their itineraries in the city, there is no better place to start a Three Gorges river tour.
Choingqing‘s hot spicy food is famous. The most well-known dish is the hotpot, which is a pot of boiling broth that you put various uncooked food items into. The meal always takes a long time, so it is good to eat it in the company of others.
Situated on the bank of the Jia Ling River, not far from its confluence with the mighty Yangtze is the ancient village of Ci Qi Kou, formerly known as Long Yin. Covering an area of some 1.2 square kilometres (291.6 acres) it is 14 kilometres to the west of Chongqing Municipality.
Chongqing itself has undergone many changes over the centuries, changes that have not been reflected in Ci Qi Kou with the consequence that the village conveys an impression of what Chongqing would have been like in the distant past. This fact has been recognized by the State Council and in 1998 Ci Qi Kou became a protected cultural site.
The history of Ci Qi Kou can be traced back for more than 1700 years. During the Ming and Qing Dynasties (1368-1911) it was famous for its production of porcelain. To date, over twenty old kiln sites have been discovered there. It is because of the importance of the porcelain industry that the name has been changed from Long Yin to Ci Qi Kou which being translated means Porcelain Village. However, the village was also an important supply post for shipping on the river, a fact that explains why there are so many shops lining the twelve lanes paved with their large flag stones that form the main routes. Here you will find many outlets for craftwork, groceries and the like as well as a horologist, photography supplies, drugstore and a tempting supply of roasted nuts and seeds. As one would expect there are also many teashops and restaurants to cater for the many visitors who come to see something of a way of life that has existed here for so many centuries.
The majority of the houses date from the Ming and Qing Dynasties, periods during which many masterpieces of Chinese architecture were created. Much of the two and three storey construction is of bamboo and timber. Blue bricks and pillars set off the snow-white walls that contrast in turn with vermilion doors and lattice windows. Black tablets and lanterns adorn the gates to complete the authentic and traditional appearance of the properties. The quietly flowing waters of the Jia Ling River pass by the front of the village and have been its lifeblood for as long as anyone can remember. For it was the river that brought goods and people here as well as carrying local products off to customers at home and abroad.
The three notable attractions of the village are the tea bars, the artists' studios and the Shu Embroidery workshops. Surprisingly, there are more than a hundred tea bars each with their own particular characteristics. Here friends enjoy a chat or meet to discuss business. So the tea bars offer the opportunity for you to meet the locals and also become acquainted with the unique folk opera.
The ateliers, where you may see the work of the local artists will be of great interest. It has been said that the more beautiful a place may be, the more artists it will attract. You are sure to be amazed by the quality of the work on show and in progress as the many artists record the local scenes with skill and dedication. With so many artists working in Ci Qi Kou, you will be spoiled for choice when seeking a souvenir of your visit
Artistic ability of another kind will sure to please your eye when you visit a Shu Embroidery workshop. The craft is famous throughout China and the skill of the women you will observe working in the village is unsurpassed. It will be difficult to decide whether to opt for a painting or a piece of embroidery as a reminder of your visit as the choice on offer is truly stunning.
Choice is no less a problem when it comes to deciding where to take a meal at one of the many restaurants. Local dishes include Mao Xue Wang, Qian Zhang Pi and JiaoYan Huang Sheng. All come very highly recommended. You may well ask 'What on earth are they?' It is our opinion that whichever you try, you will not be disappointed and will soon come to realise why they are so popular.
It is often said that a visit to China is a cultural experience. This is never more true than when you visit a place such as Ci Qi Kou where you will find the local residents dedicated to their traditional way of life, unaffected by modern influences to be found in the larger towns and cities. Above all, you will find a friendly welcome awaits you as the people of Ci Qi Kou share their special way of life with you for the duration of your visit.
Chongqing is the birth place of the hot pot in China. Once upon a time, it was a seasonal food designed to protect against the low temperatures and frigid winds of the winter. People would sit around a table, eat hot pot, and revel in the instant warmth that would flood their bodies. Hot pot has become more and more popular today, and it is widely enjoyed by people and regardless of seasons and regions.
Eating hot pot is a joyful experience. First, you need to choose the pot - spicy, pure or a combination of two - for the soup and dipping sauce. After the spiced soup boils with a hazy steam, fish, meat, bean curds and vegetables can be added. When the soup boils again, you can eat by dipping them in a little bowl of special sauce ¨Cbut be careful of the burning hot soup!In Chongqing, hot pot restaurants can be found everywhere and many have become very popular among the local people. Xiao Tian E (Cygnet Hot-Pot Palace) and Su Da Jie, E Zhang Men are the restaurants most suited for mass consumption. The hot pot restaurants in the Chongqing 5-star Harbour Plaza also serve decent food in a cozy environment
Introduction Surrounded by water on 3 sides, Chongqing is situated at the confluence of Yangtze River and Jialing River. With beautiful hills and mountains the "Mountain City" has long been reputed for its wonderful scenery. To its east, there is the famous Three Gorges on the Yangtze River; to its west, there are the 50, 000 stone figures sculpted on the cliffs during the Tang and Song Dynasties as the acme of perfection; in its south, the stone forests in Wansheng District seem superlatively made, yet they were created by nature; and in its north you cannot help meditating on the dinosaur fossils of 180 million years ago. The Fishing Fortress in Hechuan has long been widely known. The waterfalls, stones, forests, springs, and outdoor games in Simianshan Mountain in Jiangjing are fascinating. In the city proper. there are attractive Eling Hill, Loquat Hill, Night Scene of the Mountain City, Flowers in the Nanshan Park decorating the mountain city. The East, South, West, North, and Tongjing Hot Springs are like five pearls scattered in the suburbs. The Anti-Japanese Remains present the combat achievements in Chongqing by the Anti-fascist Allies during the Second World War. and the Red Crag Village and Geleshan Martyrs' Cemetery bear the glorious loyalty of the revolutionary seniors. For the city itself, it came into being three thousand years ago and got its name 800 years ago. On December 8, 1986, it was appointed one of the Historical and Cultural Cities of China by the State Council.
As one of the four municipalities under the Central Government (MDUCG), there are two things in particular immediately distinguish Chongqing from the other MDUCGs (Beijing, Shanghai and Tianjin). The first, it is unusually large in area, covering 82,400 sq km, 2.4 times the total area occupied by Beijing, Shanghai and Tianjin municipalities. The 43 urban districts and counties under its jurisdiction represent three quarters the total number governed by the three other municipalities. Secondly, it is unusually large in population. At the end of 1997, 30.429 million people lived in Chongqing, equivalent to 83 percent of the total population of Beijing, Shanghai and Tianjin. In Chongqing, however, more than 80 percent of the population is rural, a figure far higher than in the other municipalities.
Thus, of all the municipalities, Chongqing has the largest area and population and the highest proportion of peasants.
HISTORY Chongqing's history extends back at least 3,000 years, endowing it with much historical and cultural significance. Traces of man's presence have been found from as far back as the end of the Old Stone Age 20,000 to 30,000 years ago. From the beginning of the Shang Dynasty (c. 16th century B.C.) to the close of the Warring States Period (221 B.C.), it was the capital of the state of Ba. From the Qin Dynasty through the Eastern Han Dynasty (221 B.C.-220 A.D.), it was a prefecture also known as Ba. During the Sui and Tang dynasties, (581-907 A.D.), it was known as the sub-prefecture of Yuzhou, hence its standard byname "Yu.'' Subsequently, during the Northern Song Dynasty (960-1127 A.D.), it was renamed Gongzhou. In 1189, during the Southern Song Dynasty, Zhao Dun, later the Guangzong Emperor, was given the title Prince of Gong. Regarding this as an exceedingly joyous event, he upgraded its status to that of a prefecture and renamed it as "Chongqing'' or "redoubled celebration,'' the name it carries to this day.
The Ming and Qing dynasties (1368-1911) saw goods spin in and out of the city as merchants from the four corners gathered. In 1891 Chongqing became an open port and a customs house was established there. Shipping and trade and the financial and processing industries grew steadily more prosperous as the city came to link southwestern China and the upper reaches of the Yangtze River with the rest of the world. In 1929 Chongqing was formally declared a city. Following the outbreak of the War of Resistance Against Japan in 1937, the Kuomintang (KMT) moved the government from Nanjing to Chongqing. In 1939 the city was elevated to a municipality under the Executive Yuan. Beginning in 1940 it served as the wartime ``provisional capital'' for the KMT government, becoming China's political, economic, financial, commercial, transportation, cultural and diplomatic center. After the KMT government returned to the formerly occupied capital Nanjing in 1946, Chongqing returned to its status as a municipality under the Executive Yuan.
After the founding of the People's Republic of China in 1949, the Southwestern Sub-bureau of the Central Committee of the Communist Party of China (CPC) and the Southwestern Military and Political Commission were set up in Chongqing. The city was made a municipality directly under the central government and continued as the political, economic and cultural center of southwestern China. After the system whereby the nation was organized into large administrative zones was rescinded in 1954, Chongqing's status was changed to that of a city under the jurisdiction of Sichuan Province. In 1983 the central government decided to include Chongqing in the first group of cities where pilot reforms of the economic system could be tried out, its economic planning being directly supervised by the State Council. The state also gave the city provincial-level administrative powers over its economy and formally made it a foreign trade port. Since entering the 1990s China has been effecting its strategy of opening and developing the Yangtze River. Chongqing was listed as an open city. In September 1996, with the approval of the State Council, Sichuan passed administration over the cities of Wanxian and Fuling and Qianjiang Prefecture to Chongqing to govern on the province's behalf. In March 1997, the Fifth Session of the Eighth NPC discussed and approved a resolution rescinding Chongqing's then current status of city, declaring Chongqing a MDUCG.
Topography Chongqing may be found on the upper reaches of the Yangtze River covering the area 105x17'-110x11' E longitude and 28x10'-32x13' N latitude. The municipality, measuring 470 km from west to east and 450 km from north to south, borders Shaanxi Province to the north, Hubei and Hunan to the east, Guizhou to the south and its former province Sichuan to the west. Generally speaking, the land is higher in the north and south, sloping lower into the Yangtze River Valley in the center. For the most part, the terrain is characterized by low hills, mostly less than 500 meters above sea level. The municipality is home to the Daning River and is fed by the waters of the Jialing, Wujiang, Fujiang and Qijiang rivers, in addition to the Yangtze.
Chongqing has a humid subtropical monsoon climate, with little frost or snow, frequent clouds and mist, warm winters, hot summers, early springs and short autumns. The average temperature in January is 7.5 C and in July, 28.5 C, the mean annual temperature being 18 C. There is abundant rainfall, with annual precipitation averaging 1,000 to 1,400 mm. Rain is particularly plentiful in the nighttime during the weeks when spring passes into summer, giving rise to the common reference "night rain in the hills of Ba, (eastern Sichuan).''
Natural Resources More than 40 mineral products have been found in Chongqing; 25 varieties, most importantly coal, natural gas, strontium, pyrite, halite, bauxite, mercury, manganese, barium, marble, limestone and barite, have proven reserves. With reserves of 320 billion cubic meters, it is one of China's principal sources of natural gas. Reserves of bauxite (74 million tons), halite (300 billion tons), and strontium (1.85 million tons) lead the nation. Reserves of manganese and barium rank second and third respectively.
The areas abounds with biological variety, including more than 2,000 species of vascular plants. Some 380 animal species can be found locally, including the zibet (Asiatic civet cat), otter, clouded leopard, macaque, red-breasted golden pheasants, crown deer and other unusual wild animals. Rongchang is the nation's famous producing base for stud hogs, and Shizhu is a famous base to raise, process and export long hair rabbits. Chongqing has over 120 river fishes. Fish farming is popular in every district and county. Changshouhu Lake and Dahonghu Lake are fish raising bases of Chongqing.
Natural Scenes Chongqing proper is surrounded by the Yangtze and Jialing Rivers, so landscape is very beautiful. It is known as a "Mountain city" and also a "River city" because its buildings are constructed on hills by the rivers. Night scene of the mountain city is a wonderful sight. The South Hot Spring Park, North Hot Spring park, Jingyunshan summer resort and Nanshan park are situated in the near suburbs and Jiangjin Simianshan forest, Wansheng Yunan Stone Forest, Wulong Furongdong Cave, Xiannushan Grasslands, Nanchuan Jingfushan Forest Park are situated in distant suburbs. Along the Yantse River there are a large number of scenic spots of mountains, rivers, forests, springs, cataracts, gorges and caves such as the mighty Three Gorges, Daninghe and Xiaoninghe River valleys, Yunyang Longgang, Fenjie Heaven Pit and Earth Crevice, Wuxi Hongcheba Grasslands and Wushan Zhiyanhe River Three-Colored Cataract. Construction of the Three Gorges dam will form a 600 kilometers long and more than 1,000 square kilometers big lake on high gorges, an excellent tourist resort will thus be set up.
Historical Sites Historical sites can be sought after in Chongqing Museum, Hongyan Memorial Hall of Revolution, Geleshan Revolutionary Martyrs Tomb, Jiang Keshek's Residence, Zhang Zizhong's Apartment, Lingyuan, Kongyuan and some other Wartime Capital remains. Dazu Rock Carvings is the gem of stone sculptures of the later period. Hechuan Diaoyucheng city, that is called "the place where Whip of God was broken," is one of China's three ancient battlefields. Fengdu's Ghost City and Ghost King Stone Carvings, Fuling's Baiheliang (the forest of steles under water), Shizhu's Xituoyunti, Zhongxian's Shibaozhan, Yunyang's Zhang Fei Temple, Liangping's Shuangguitang Temple, Fengjie's Baidicheng City, Wushan's Lu You Cave and Ba people's hanging coffins and the natural scenes of the Three Gorges add radiance and beauty to each other.
Tourism The center of the old city of Chongqing is almost completely encircled by the two arms of the Yangtze and Jialing rivers. Row upon row of buildings climb the hills beside the rivers, giving rise to its nickname the "city of hills" and the phrase "night views of the hilly city" known well both at home and abroad. When night falls, the lights of a myriad families shine like stars, climbing to the sky, where they join the star-studded dome above, the flowing water and open sky each playing off the other's radiant beauty. Close by in the suburbs are many scenes of natural beauty, including the Southern and Northern Hot Springs and summer retreats such as Jinyun Mountain and the Southern Mountain. Further out can be found the primeval forests on Simian (Four-faced) Mountain in Jiangjin City, the Yunan Stone Forest in Wansheng, Furong (Hibiscus) Cave in Wulong County, the Gaoshan (High Hill) Grasslands on the Xiannu (Fairy Maiden) Mountain, and the Jinfoshan (Golden Buddha Mountain) Forest Park in Nanchuan City. Marvelous spectacles along the Yangtze River include the magnificent natural landscapes of the Three Gorges, the Large and Small Ninghe River Gorges in the Wushan Mountains, the Dragon's Vat in Yunyang, the fissures and hollows carved out of the living rock with divine skill as if by a demon's axe in Fengjie, the Hongchiba Gaoshan Grasslands and Xiabing Cave in Wuxi, and the Three-Color Waterfalls on the Ziyang River in Wushan. When the Yangtze Three Gorges Reservoir is completed, the 600-km long, 1000-sq-km manmade ``lake'' will delight tourists with the sheer walls of the towering gorges contrasting with the even waters below.
In addition to such natural splendors, Chongqing has many fascinating reminders of man's accomplishments, such as the Red Crag Village Revolutionary Memorial Hall
According to historical records "There are many people at Versailles today." was the only sentence spoken between the young dauphine Marie Antoinette and Madame du Barry, the mistress of the old king Louis VI. Marie Antoinette, coming from a strict christian background could not palate the king flaunting his lover at court and enmity sprouted between her and the sexually liberated du Barry.
I depicted this rivalry between the two women as a cold war of fashion, a contest where the gowns got bigger and the wigs more ridiculously elaborate. Marie Antoinette's pink silk robe à la française follows the traditional period fashions; where as dy Barry's blue gown is a more modern interpretation of the silhouette and "indecently" sleeveless. Both gowns come with a front hemline that can be hoisted up to reveal either their pantaloons or a tableau of a stage depicting the propaganda of the era, smearing each lady of the court for their frivolities.
Marie Antoinette is FR2 Agnes sculpt by Integrity Toys, painted with a disapproving expression as she utters the famous words "There are many people at Versailles today." Madame du Barry is the Luchia sculpt from the same company, her face charismatic enough to climb to to court from her humble beginnings, and amused at the small victory she gains as Marie Antoinette is finally forced to acknowledge her.
The pair comes with two sets of wigs: huge ones evoking the outrageous size of the fashion drawings of the era, decorated with hand carved ornaments of a three mast schooner and a girl on a swing; the other pair of wigs are a more modern interpretation of the pompadour style.
The OOAK shoes are hand sculpted from epoxy putty, covered with silk and lace and embellished with Swarovski crystal ornaments.
The pair is a commission project and not for sale.
I've been Tagged by { © sнσ8~αʟ8σʟσв™ }
........
[ B R I T I S H ]
[★] You drink a lot of tea.
[] You know what a brolly is.
[] Deal or No Deal has taken over your life.
[] You wanted Ben to win X Factor.
[] You use the word "bugger" or the phrase "bloody hell."
[] Fish and Chips are yummy.
[★] You can eat a Full English Breakfast.
[] You dislike emos almost as much as you dislike chavs.
[] It's football... not soccer.
....[ Total :2]
[ A U S T R A L I A N ]
[] You wear flip flops all year.
[] You call flip flops "thongs", not flip flops.
[] You love a backyard Barbie.
[★] You know a Barbie is not a doll.
[★] You love the beach.
[] Sometimes you swear without realizing.
[★] You're a sports fanatic
[] You are tanned.
[] You're a bit of a bogan.
[] You have an Australian something.
.....[Total : 3]
I T A L I A N
[] The Sopranos is a great show.
[★] Your last name ends in a vowel.
[] Your grandmother makes her own sauces.
[] You know how a real meatball tastes.
[] You know Italian songs.
[★] You have dark hair and dark eye color.
[★] You speak some Italian.
[] You are under 5'10".
[] You know what an Italian horn is.
[★] Pizza/spaghetti is the best food in the world!
[] You talk with your hands.
.....[Total : 4]
S P A N I S H
[] You say member instead of Remember.
[] You speak Spanish or some.
[] You like tacos.
[] YoU TyPe lIkE ThIs On Da CoMpUtEr. a Lil Bit
[] You are dark skinned.
[] You know what a Puta is.
[★] You talk fast occasionally.
[] You have had highlights or have dyed your hair.
[] You know what platanos are
....[Total : 1]
R U S S I A N
[] You say villain as: Vee-lon.
[] You get short tempered.
[] You get cold easily.
[★] Rain is fun for you.
[★] You get into contests all the time.
[★] You can easily make do with the cold weather.
.....[Total : 3]
I R I S H
[] You think beer is the best.
[★] You have a bad temper.
[] Your last name starts with a Mc, Murphy, O', Fitz or ends with a ley, on, un, an, in, ry, ly, y or L.
[] You have blue or green eyes.
[★] You like the colour green.
[] You have been to a St. Patty's day party.
[] You have a family member from Ireland.
[] You have red hair.
[] You have/had freckles.
[] Your family get together always include drinking and singing
...[Total :2]
A F R I C A N A M E R I C A N
[] You say nigga/nukka casually.
[] You have nappy hair.
[★] You like rap.
[] You know how to shoot a gun.
[★] You think President George Walker Bush is racist.
[★] You like chicken.
[★] You like watermelon.
[★] You can dance.
[] You can sing gospel.
....[Total : 5]
A S I A N
[] You have slanty/small eyes.
[] You like rice a lot.
[★] You are good at math.
[] You have played the piano.
[] You have family from Asia.
[] You laugh sometimes covering your mouth.
[] Most people think you're Chinese.
[] You call hurricanes typhoons.
[] You go to Baulko.
.....[Total :1]
G E R M A N
[★] You like bread.
[★] You think German Chocolate is good.
[] You speak some German.
[★] You know what Schnitzel is.
[★] You hate it when stupid people call you.
[★] You went to Pre-school
[] You're over 5'2".
....[Total :5]
bC A N A D I A N
[★] You like/play/played hockey.
[] You love beer.
[] You say eh.
[★] You know what poutine is.
[★] You speak some French
[] You love Tim Horton's.
[] At one point you lived in a farm house.
[] You watch/watched Degrassi.
.....[Total : 4]
A M E R I C A N
[] You hate foreigners.
[] You hate non-Christians.
[★] You're lazy.
[] You have had an abortion.
[] But love the penalty.
[] You don't read.
[] You shop at Wal-Mart.
[] You think this survey is rather biased.
.....[Total : 1]
B E L G I A N
[] You grow some small vegetables in the yard
[★] You like french fries.
[★] You think Belgian chocolate rules.
[] You know that the official best beer in the world' is Belgian.
[] You speak both Dutch and French
[] You like Belgian waffles.
[] You call a pub or bar a café.
[] You fully realize and acknowledge that your football team sucks.
[] You drive/own a French or German car.
[] You have a lot of comments on your government.
.....[Total :2]
D U T C H
[] You like the colour orange.
[★] You are a football enthusiast.
[] You often go to 'coffee shops'.
[] You know what is meant by 'coffee shops'.
[★] You tend to overreact and show your emotions.
[★] You have a cheerful nature.
[★] You like the sea.
[] You are good at building/handiwork/projects.
[] You tend to favour the megalomania.
.....[Total : 4]
A R A B
[★] You are a patriot.
[] You say "3ngleezy" instead of "english"
[] You laugh at other accents, especially Egyptian.
[] You beckon at things with you forehead or eyes.
[] You like seafood, especially fish, more than any other type of food.
[] You are tanned.
[★] You have a black hair.
[] Your last name starts with " Al " or " bin "
[] you like showing off, especially with new cars and clothes.
[] You dislike reading.
.............[Total : 2]
Result : I'm a [A F R I C A N A M E R I C A N \ G E R M A N ]
i will tag :
Memeγeɑh♥`
Harmony ♥
[βusιиεss Ğιяℓ] ~ ✿
President Barack Obama acknowledges applause before he delivers the State of the Union address in the House Chamber at the U.S. Capitol in Washington, D.C., Jan. 28, 2014. (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
Firstly I would like to acknowledge the distress caused by the deatha nad destruction caused to the many millions of people under the Nazi fascist regime in Germany prior to, and during WW II. In particular the ongoing pain caused by symbols used by the regime, including the 'Swastika', or four-legged cross. The depiction of the Swastika on the sail planes of the Zeppelin model is as a depiction of an historical artifact, in the context of it's place in history. No offense is intended in its use.
Please note the text regarding the placement of the Swastika on the Zeppelin airships during the 1930s, below.
A Zeppelin is a type of rigid airship named after the German Count Ferdinand von Zeppelin who pioneered rigid airship development at the beginning of the 20th century. Zeppelin's ideas were first formulated in 1874 and developed in detail in 1893. They were patented in Germany in 1895 and in the United States in 1899. After the outstanding success of the Zeppelin design, the word zeppelin came to be commonly used to refer to all rigid airships. Zeppelins were first flown commercially in 1910 by Deutsche Luftschiffahrts-AG (DELAG), the world's first airline in revenue service. By mid-1914, DELAG had carried over 10,000 fare-paying passengers on over 1,500 flights. During World War I the German military made extensive use of Zeppelins as bombers and scouts, killing over 500 people in bombing raids in Britain.
The defeat of Germany in 1918 temporarily halted the airship business. Although DELAG established a scheduled daily service between Berlin, Munich, and Friedrichshafen in 1919, the airships built for this service eventually had to be surrendered under the terms of the Treaty of Versailles, which also prohibited Germany from building large airships. An exception was made allowing the construction of one airship for the US Navy, which saved the company from extinction. In 1926 the restrictions on airship construction were lifted and with the aid of donations from the public work was started on the construction of LZ 127 Graf Zeppelin. This revived the company' fortunes, and during the 1930s when the airships Graf Zeppelin and the larger LZ 129 Hindenburg operated regular transatlantic flights from Germany to North America and Brazil. The Art Deco spire of the Empire State Building was originally, if impractically, designed to serve as a mooring mast for Zeppelins and other airships. The Hindenburg disaster in 1937, along with political and economic issues, hastened the demise of the Zeppelins.
The principal feature of Zeppelin's design was a fabric-covered rigid metal framework made up from transverse rings and longitudinal girders containing a number of individual gasbags. The advantage of this design was that the aircraft could be much larger than non-rigid airships, which relied on a slight overpressure within the single pressure envelope to maintain their shape. The framework of most Zeppelins was made of duralumin. Early Zeppelins used rubberised cotton for the gasbags, but most later craft used goldbeater's skin, made from the intestines of cattle.
The first Zeppelins had long cylindrical hulls with tapered ends and complex multi-plane fins. During World War I, following the lead of their rivals Schütte-Lanz Luftschiffbau, the design changed to the more familiar streamlined shape with cruciform tail surfaces, as used by almost all later airships.
With the delivery of LZ 126, the Zeppelin company had reasserted its lead in rigid airship construction, but it was not yet quite back in business. In 1926 restrictions on airship construction were relaxed by the Locarno treaties, but acquiring the necessary funds for the next project proved a problem in the difficult economic situation of post-World-War-I Germany, and it took Eckener two years of lobbying and publicity work to secure the realization of LZ 127.
Another two years passed before 18 September 1928, when the new dirigible, christened Graf Zeppelin in honour of the Count, flew for the first time. With a total length of 236.6 metres (776 ft) and a volume of 105,000 m3, it was the largest dirigible to have been built at the time. Eckener's initial purpose was to use Graf Zeppelin for experimental and demonstration purposes to prepare the way for regular airship traveling, carrying passengers and mail to cover the costs. In October 1928 its first long-range voyage brought it to Lakehurst, the voyage taking 112 hours and setting a new endurance record for airships. Eckener and his crew, which included his son Hans, were once more welcomed enthusiastically, with confetti parades in New York and another invitation to the White House. Graf Zeppelin toured Germany and visited Italy, Palestine, and Spain. A second trip to the United States was aborted in France due to engine failure in May 1929.
The Graf Zeppelin (I):
In August 1929 Graf Zeppelin departed for another daring enterprise: a circumnavigation of the globe. The growing popularity of the "giant of the air" made it easy for Eckener to find sponsors. One of these was the American press tycoon William Randolph Hearst, who requested that the tour officially start in Lakehurst. As with the October 1928 flight to New York, Hearst had placed a reporter, Grace Marguerite Hay Drummond-Hay, on board: she therefore became the first woman to circumnavigate the globe by air. From there, Graf Zeppelin flew to Friedrichshafen, then Tokyo, Los Angeles, and back to Lakehurst, in 21 days 5 hours and 31 minutes. Including the initial and final trips between Friedrichshafen and Lakehurst and back, the dirigible had traveled 49,618 kilometres (30,831 mi).
In the following year, Graf Zeppelin undertook trips around Europe, and following a successful tour to Recife, Brazil in May 1930, it was decided to open the first regular transatlantic airship line. This line operated between Frankfurt and Recife, and was later extended to Rio de Janeiro, with a stop in Recife. Despite the beginning of the Great Depression and growing competition from fixed-wing aircraft, LZ 127 transported an increasing volume of passengers and mail across the ocean every year until 1936. The ship made another spectacular voyage in July 1931 when it made a seven- day research trip to the Arctic. This had already been a dream of Count von Zeppelin twenty years earlier, which could not be realized at the time due to the outbreak of war.
Eckener intended to follow the successful airship by another larger Zeppelin, designated LZ 128. This was to be powered by eight engines 232 m (761 ft) with a capacity of 199,980 m3 (7,062,100 cu ft). However the loss of the British passenger airship R101 on 5 October 1930 led the Zeppelin company to reconsider the safety of hydrogen-filled vessels, and the design was abandoned in favour of a new project, LZ 129. This was intended to be filled with inert helium.
The coming to power of the Nazi Party in 1933 had important consequences for Zeppelin Luftschiffbau. Zeppelins became a propaganda tool for the new regime: they would now display the Nazi swastika on their fins and occasionally tour Germany to play march music and propaganda speeches to the people. In 1934 Joseph Goebbels, the Minister of Propaganda, contributed two million reichsmarks towards the construction of LZ 129 and in 1935 Hermann Goering established a new airline directed by Ernst Lehmann, the Deutsche Zeppelin Reederei, as a subsidiary of Lufthansa to take over Zeppelin operations. Hugo Eckener was an outspoken anti-Nazi: complaints about the use of Zeppelins for propaganda purposes in 1936 led Goebbels to declare "Dr. Eckener has placed himself outside the pale of society. Henceforth his name is not to be mentioned in the newspapers and his photograph is not to be published".
On 4 March 1936 LZ 129 Hindenburg (named after former President of Germany Paul von Hindenburg) made its first flight. The Hindenburg was the largest airship ever built. It had been designed to use non-inflammable helium, but the only supplies of the gas were controlled by the United States, who refused to allow its export. So, in what proved to be a fatal decision, the Hindenburg was filled with flammable hydrogen. Apart from the propaganda missions, LZ 129 was used on the transatlantic service alongside Graf Zeppelin.
The Hindenburg on fire in 1937
On 6 May 1937, while landing in Lakehurst after a transatlantic flight, the tail of the ship caught fire, and within seconds, the Hindenburg burst into flames, killing 35 of the 97 people on board and one member of the ground crew. The cause of the fire has not been definitively determined. The investigation into the accident concluded that static electricity had ignited hydrogen which had leaked from the gasbags, although there were allegations of sabotage. 13 passengers and 22 crew, including Ernst Lehmann, were killed.
Despite the apparent danger, there remained a list of 400 people who still wanted to fly as Zeppelin passengers and had paid for the trip. Their money was refunded in 1940.
Graf Zeppelin was retired one month after the Hindenburg wreck and turned into a museum. The intended new flagship Zeppelin was completed in 1938 and, inflated with hydrogen, made some test flights (the first on 14 September), but never carried passengers. Another project, LZ 131, designed to be even larger than Hindenburg and Graf Zeppelin II, never progressed beyond the production of a few ring frames.
Graf Zeppelin II was assigned to the Luftwaffe and made about 30 test flights prior to the beginning of World War II. Most of those flights were carried out near the Polish border, first in the Sudeten mountains region of Silesia, then in the Baltic Sea region. During one such flight LZ 130 crossed the Polish border near the Hel Peninsula, where it was intercepted by a Polish Lublin R-XIII aircraft from Puck naval airbase and forced to leave Polish airspace. During this time, LZ 130 was used for electronic scouting missions, and was equipped with various measuring equipment. In August 1939, it made a flight near the coastline of Great Britain in an attempt to determine whether the 100-metre towers erected from Portsmouth to Scapa Flow were used for aircraft radio location. Photography, radio wave interception, magnetic and radio frequency analysis were unable to detect operational British Chain Home radar due to searching in the wrong frequency range. The frequencies searched were too high, an assumption based on the Germans' own radar systems. The mistaken conclusion was the British towers were not connected with radar operations, but were for naval radio communications.
After the beginning of the Second World War on 1 September, the Luftwaffe ordered LZ 127 and LZ 130 moved to a large Zeppelin hangar in Frankfurt, where the skeleton of LZ 131 was also located. In March 1940 Göering ordered the scrapping of the remaining airships, and on 6 May the Frankfurt hangars were demolished.
(Text taken from excerpts on Wikipedia)
There are some spectacular images of Zeppelins in various situations. Beyond the spectacular images captured at the crash of the Hindenburg, there are artistic impressions of the planned airship docking station at the top of the Empire State Building in New York, with airships docked there. Additionally, prior to the Hindenburg crash, the airship flew over Manhattan Island, Swastikas in clear view, right over the Empire State Building, prior to the crash in New Jersey an hour or so later.
Maybach DS8 Zeppelin Cabriolet Sphon Streamliner
Wilhelm Maybach, collaborator and friend of Gottlieb Daimler and the ingenious designer of the “Mercedes”, the first “proper” car, left Daimler-Motoren-Gesellschaft, where he had worked as Chief Engineer, in 1907. Together with his son, Karl, he started developing his own engines which in his opinion were excellently suited to driving the airships which had just begun cruising the skies. He approached Count Zeppelin, convinced him of the quality and performance of his engines and together they founded "Luftfahrzeug-Motorenbau GmbH“ in Bissingen near Stuttgart in 1909. Maybach’s son Karl was appointed Technical Director of this new aero engine company.
In 1912, the company – an early joint venture – moved to Friedrichshafen, to premises adjacent to Count Zeppelin’s airship factory. Until around 1920, Wilhelm Maybach intensively supported his son in his development work, bringing forth top-quality and highly progressive petrol and diesel engines as well as transmissions over several decades.
In 1921, Karl Maybach began producing his own cars in Friedrichshafen, engaging in the manufacture and assembly of frame, suspension, engine, transmission, radiator, firewall and major components. Maybach and his staff were less interested in bodywork design – this was the realm of specialist bodybuilders who tailored their designs to the customers’ wishes.
Close cooperation developed in the course of the years with the bodybuilding company of Herrmann Spohn in nearby Ravensburg; they even engaged in the manufacture of mini-series. Nevertheless, Spohn had to share the cake with other bodybuilders like Gläser in Dresden, Auer in Stuttgart and Neuss and Erdmann & Rossi in Berlin, to name but a few.
Thanks to their outstanding engineering, smooth-running engines and the quality appointments of the bodies, crafted by hand to the customers’ wishes, the exclusive Maybach cars very quickly established themselves in the world market – as limousines, voluminous Pullman versions, two-to-seven-seater coupés, cabriolets and roadsters. They were direct competitors of – and in the opinion of some contemporaries even superior to – the “Grand Mercedes”, Rolls-Royce, Bentley, Isotta-Fraschini and other luxury models.
The Maybach “Zeppelin” is one of the most famous models in the line-up of international luxury cars from the nineteen-thirties – a terrific twelve-cylinder car that was built in numerous versions between 1930 and 1937.
A contemporary test report enthused “... The Maybach Zeppelin models rank among the few cars in the international top class. They are highly luxurious, extremely lavish in their engineering and attainable only for a chosen few, not only on account of the small series in which these splendid cars are built.” (Allgemeine Automobilzeitung 1933, no. 35).
The Maybach Zeppelin DS 8, model year 1932, with chassis number 1387, and today owned by the Mercedes-Benz Museum, is one of these luxury limousines. Its completely restored bodywork, specially tailored by Messrs. Spohn in Ravensburg, is a four-door six-to-seven-seater cabriolet with long wheelbase and ample space for feeling at ease in comfortable leather chairs. Itself a feast for the eyes, the eight-litre V12 engine (number 25041) is still in a virtually “straight-from-the-factory” condition and in perfect working order. It develops its power of 200 hp at a maximum of 3200 revolutions per minute in superior style – the epitome of smoothness – and gives the car a top speed of 170 kilometres per hour.
(Text Courtesy of Daimler-Benz Corporation)
The Lego miniland-scale Graf Zeppelin II airship and the Maybach DS8 Zeppelin Cabriolet Spohn Streamliner have been created for Flickr LUGNuts 79th Build Challenge, - "LUGNuts goes Wingnuts", - featuring automotive vehicles named after, inspired by, or connected to aircraft.
Yesterday was the anniversary of my Fathers death. I don't really celebrate death days like that. I do acknowledge them as an opportunity twice a year to go back look and look at old photos and remember old memories. I miss my dad terribly, but images like this remind me he is always there for me. MISS YOU POP
(look how tiny DJ and DASH are; I think this is his final photo with them)
follow my work if you DARE: espressoDOM
twitter | facebook | tumblr | 500px | Google+ | Instagram | Pinterest | Youtube
The miracle of Jesus walking on water is found in Matthew 14:22-34, Mark 6:45-53, and John 6:15-21. The idea of a powerful person possessing the ability to walk on water was not original when the Gospels were written, but in earlier classical texts it is usually presented in terms which acknowledge the sheer impossibility of the act.Three of the four Evangelists – Matthew, Mark, and John – describe the miracle of Jesus walking on water, and it’s one of the most famous miracles recounted in the New Testament. The ‘walking on water’ miracle tells of how Jesus walks across the Sea of Galilee during a storm, to aid his disciple, Peter.Jesus walking on the water, or on the sea, is depicted as one of the miracles of Jesus recounted in the New Testament. There are accounts of this event in three Gospels—Matthew, Mark, and John—but it is not included in the Gospel of Luke. This story, following the miracle of the feeding of the five thousand, tells how Jesus sent the disciples by ship back to the "other side" of the Sea of Galilee (the western side) while he remained behind, alone, to pray. Night fell and the sea arose as the ship became caught in a wind storm. After rowing against the wind for most of the night, the disciples saw Jesus walking on the water. They were frightened, thinking that they were seeing a spirit, but when Jesus told them not to be afraid, they were reassured. After Jesus entered the ship, the wind ceased, and they arrived at land.The miracle of Jesus walking on the water, recorded in three of the Gospels (Matthew 14:22–36; Mark 6:45–56; John 6:16–21), came on the heels of His miraculous feeding of the 5,000 with only five loaves of bread and two fish (Matthew 14:17). But it was the miracle of Jesus walking on the water that, more than any other, convinced Jesus’ disciples that He was indeed the Son of God (Matthew 14:32–33).This event takes place shortly after another famous miracle: the so-called ‘feeding of the five thousand’, which we have previously discussed here (exploring, among other things, why ‘feeding of the five thousand’ is a somewhat erroneous title for this event).In that famous miracle, Jesus asked the bread and fish to be brought to him, before telling the crowds of gathered people to sit down upon the grass.Jesus tells them to be of good cheer and not to be afraid. He tells them who he is, and Peter says to Jesus, ‘if it be thou, bid me come unto thee on the water.’ So Jesus ushers Peter to him, and Peter climbs out of the ship and, sure enough, he walks on the surface of the water towards Jesus.
Peter is afraid when the wind blows violently, and he calls to Jesus to save him. Jesus reaches out his hand and catches him, saying, ‘O thou of little faith, wherefore didst thou doubt?’
When Jesus and Peter made it onto the ship, the wind ceased. The disciples all worshipped Jesus, declaring it to be true that he is the Son of God.
Jesus took just five loaves and two fish and looked up to heaven, blessing them, before breaking the food. Then he gave the food to the disciples, who in turn gave it to the crowds of people. They all ate and were satisfied, and the disciples picked up twelve baskets full of leftovers. The number of those who ate was ‘about five thousand men, beside women and children’ (Matthew 14:21).
The story unfolds at the Sea of Galilee, which lies in the lower portion of the Jordan Valley in a mountain range that rises to 4,000 feet above sea level. The lake itself is 700 feet below the Mediterranean Sea. One of the more noteworthy aspects of this body of water is that it is greatly susceptible to sudden and extremely violent storms. These storms are caused by the cold air rushing down from the mountains surrounding it and colliding with the warm, moist air rising off the surface of the water itself.
“When evening came, his disciples went down to the lake, where they got into a boat and set off across the lake for Capernaum. By now it was dark, and Jesus had not yet joined them. A strong wind was blowing and the waters grew rough. When they had rowed three or three and a half miles, they saw Jesus approaching the boat, walking on the water; and they were terrified. But he said to them, ‘It is I; don’t be afraid.’ Then they were willing to take him into the boat, and immediately the boat reached the shore where they were heading” (John 6:16–21).
There are several significant points to recognize about this miracle. First, Matthew tells us that “the boat was already a considerable distance from land, buffeted by the waves because the wind was against it. During the fourth watch of the night Jesus went out to them, walking on the lake” (Matthew 14:24–25). Though they were only to travel a short distance, the storm was so violent that, despite all their efforts to control their boat, the storm had driven them nearly four miles out into the very midst of the sea. Being the fourth watch of the night (3:00 AM to 6:00 AM), they had been rowing and straining at their oars for approaching nine hours! They were totally exhausted.
Mark tells us that, when the disciples saw Jesus walking on the lake, they thought He was a ghost. They cried out, because they all saw Him and were terrified (Mark 6:48–50). And this brings us to the second significant point of this miracle. Jesus always comes to us in the storms of life. This is reminiscent of the words of God to Isaiah: “When you pass through the waters, I will be with you; and when you pass through the rivers, they will not sweep over you” (Isaiah 43:2). The Lord may not come at the time we think He should come, because He knows when we need Him the most. Jesus had waited until the boat was as far from land as possible, when all their hope was gone. In essence, Jesus was testing the disciples’ faith, and this meant removing every human prop. Why did Jesus walk on the water? To show His disciples that the very thing they feared, the raging, seething sea, was merely a set of steps for Him to come to them. Often we fear the difficult experiences of life such as illness, loss of loved ones, and financial hardships only to discover that these experiences can bring Jesus closer to us.
But we have to ask, why did they not recognize Jesus? The answer is they were not looking for Him. Had they been waiting by faith, they would have known Him instantly. Instead, they jumped to the false conclusion that His appearance was that of a ghost. The point is this: fear and faith cannot live in the same heart, for fear frequently blinds the eyes to the presence of the Lord.
The third significant point is that Jesus proved Himself to be in command of the elements, something only God can do. He revealed this truth to the disciples who recognized His divinity and responded with a confession of faith in Jesus as God: “The wind died down. Then those who were in the boat worshiped him, saying, ‘Truly you are the Son of God’” (Matthew 14:32–33). This was the first time Jesus was called the Son of God by the disciples, a statement that, in fact, built on what they had said earlier about Him in Matthew 8:27: “What kind of man is this? Even the winds and the waves obey him.” Here they answer their own question: “Truly you are the Son of God.”
Though they had a long way to go in their spiritual understanding, the disciples were growing in their faith in the Lord. Also, this was the first time the disciples are said to have worshiped Jesus. In Matthew 2:11, the magi from the East worshiped Jesus. Later, a leper is said to have worshiped Jesus (Matthew 8:2). A synagogue ruler does the same thing in Matthew 9:18. But this is the first time the disciples worshiped Him. It is also important to note that their worship is joined to their confession (Matthew 14:33).
And this is what worship is, acknowledging who God is and praising Him both for who He is and for what He has done. It was in this story that the disciples took the first step and worshiped Jesus as the Son of God.
Biblical narratives[edit]
Jesus walking on water in stained glass, St Giles' Cathedral
The story of Jesus walking on water is retold in the gospels of Matthew, Mark, and John; it is not in the Gospel of Luke. This episode is narrated towards the end of the Ministry of Jesus in Galilee before the key turning points halfway through the gospel narratives where Peter proclaimed Jesus as Christ and saw the Transfiguration.[1][2] In all three gospels it follows the feeding of the five thousand, where Jesus had withdrawn by ship to a desert place "belonging to"[3] Bethsaida after hearing of the death of John the Baptist, but was followed by the crowds who travelled on foot.[1]
At the end of the evening, the disciples boarded a ship to cross to the other side of the Sea of Galilee, without Jesus who went up the mountain to pray alone. John alone specifies they were headed "toward Capernaum".[4] During the journey on the sea, the disciples were distressed by wind and waves, but saw Jesus walking towards them on the sea. John's Gospel specifies that they were five or six kilometers away from their departure point. The disciples were startled to see Jesus, but he told them not to be afraid.[1]
Matthew's account adds that Peter asked Jesus, "if it is you", to tell him, or command him, to come to Jesus on the water (waters).[5] After Peter came down out of the ship and walked on the water, he became afraid of the storm and began to sink. He called out to Jesus for help. Jesus caught him, and commenting on his lack of faith led him back to the ship, whereupon the storm stopped. Matthew also notes that the disciples called Jesus the Son of God.[1] The fact that the John account also lacks this detail suggests that this account of "St. Peter's venture"[6] is a redactional addition by Matthew.[7]
Part of a series of articles on
Peter in the Bible
Detail from El Greco
In the New Testament
Walking on water Confession Servant's ear Denial Restoration Vision of a sheet Liberation Incident at Antioch Epistles 1 Peter 2 Peter
Other
Cross Sword Tomb Quo vadis? Primacy In Judaism In Islam
vte
In all three accounts, after Jesus got into the ship, the wind ceased and they reached the shore. Only John's account has their ship immediately reach the shore. Matthew's and Mark's accounts end at this point, but John mentions that the next day some people from the other side of the sea that looked for Jesus, noted that the disciples left without him, but they didn't know where he went. When they came to Capernaum and asked Jesus how he came there, instead of answering the question, he told the crowd that they followed him, not because they had seen signs, but because of the free loaves they had eaten the day before, and he advised them not to seek earthly gains, but aim for a life based on higher spiritual values.[1][8]
Gospel of Mark (c. 66–70 AD)[edit]
6:45 And straightway he constrained his disciples to enter into the boat, and to go before him unto the other side to Bethsaida, while he himself sendeth the multitude away. 46 And after he had taken leave of them, he departed into the mountain to pray. 47 And when even was come, the boat was in the midst of the sea, and he alone on the land. 48 And seeing them distressed in rowing, for the wind was contrary unto them, about the fourth watch of the night he cometh unto them, walking on the sea; and he would have passed by them: 49 but they, when they saw him walking on the sea, supposed that it was a ghost, and cried out; 50 for they all saw him, and were troubled. But he straightway spake with them, and saith unto them, Be of good cheer: it is I; be not afraid. 51 And he went up unto them into the boat; and the wind ceased: and they were sore amazed in themselves; 52 for they understood not concerning the loaves, but their heart was hardened. 53 And when they had crossed over, they came to the land unto Gennesaret, and moored to the shore.
— Mark 6:45–53 American Standard Version
Gospel of Matthew (c. 80–90 AD)[edit]
14:22 And straightway he constrained the disciples to enter into the boat, and to go before him unto the other side, till he should send the multitudes away. 23 And after he had sent the multitudes away, he went up into the mountain apart to pray: and when even was come, he was there alone. 24 But the boat was now in the midst of the sea, distressed by the waves; for the wind was contrary. 25 And in the fourth watch of the night he came unto them, walking upon the sea. 26 And when the disciples saw him walking on the sea, they were troubled, saying, It is a ghost; and they cried out for fear. 27 But straightway Jesus spake unto them, saying, Be of good cheer; it is I; be not afraid. 28 And Peter answered him and said, Lord, if it be thou, bid me come unto thee upon the waters. 29 And he said, Come. And Peter went down from the boat, and walked upon the waters to come to Jesus. 30 But when he saw the wind, he was afraid; and beginning to sink, he cried out, saying, Lord, save me. 31 And immediately Jesus stretched forth his hand, and took hold of him, and saith unto him, O thou of little faith, wherefore didst thou doubt? 32 And when they were gone up into the boat, the wind ceased. 33 And they that were in the boat worshipped him, saying, Of a truth thou art the Son of God. 34 And when they had crossed over, they came to the land, unto Gennesaret.
— Matthew 14:22–34 American Standard Version
Gospel of John (c. 90–100 AD)[edit]
6:15 Jesus therefore perceiving that they were about to come and take him by force, to make him king, withdrew again into the mountain himself alone. 16 And when evening came, his disciples went down unto the sea; 17 and they entered into a boat, and were going over the sea unto Capernaum. And it was now dark, and Jesus had not yet come to them. 18 And the sea was rising by reason of a great wind that blew. 19 When therefore they had rowed about five and twenty or thirty furlongs, they behold Jesus walking on the sea, and drawing nigh unto the boat: and they were afraid. 20 But he saith unto them, It is I; be not afraid. 21 They were willing therefore to receive him into the boat: and straightway the boat was at the land whither they were going.
— (John 6:15–21 American Standard Version)
in other versions at biblegateway Matthew.14:22–34;Mark.6:45–53;John.6:15–21 YLTTemplate:Bibleverse with invalid book.
Interpretations[edit]
Christ walking on the sea, by Amédée Varint
Christian teachings[edit]
The walking on the sea episode has specific interpretations within Christian teachings and has been viewed by scholars as important due to its perceived impact on the formation of Christian ecumenical creeds, as discussed below.[9]
This event is also seen as a divine fulfillment of words of Job, “Who alone spreadeth out the heavens and walketh upon the waves of the sea,” Job (9:8).[10]
One aspect of the pericope (passage) is how it highlights the relationship between Jesus and his apostles. Merrill Tenney states that the incident is in essence centered on that aspect, rather than their peril or the miracle itself.[11] Dwight Pentecost and John Danilson state that this miracle was deliberately designed by Jesus to instruct his apostles and increase their faith.[12] David Cook and Craig Evans note that "of little faith" is a somewhat common expression in Matthew (e.g. 8:26 when calming the storm or 16:8 regarding bread and the Pharisees just before the Confession of Peter) and may mean "of no faith".[13]
Richard Cassidy states that this episode sheds special light on the position of Peter who had faith in Jesus and acknowledged Jesus' extraordinary powers, and by considering to walk on water himself, wanted to share in the act of Jesus before the other disciples for he considered himself closest to Jesus.[14] Cook and Evans note that the "Lord Save me" cry of Peter is similar to Matthew 8:25 and Mark 4:38 in the calming the storm episode and again emphasizes the reliance of the disciples on Jesus.[13]
Cook and Evans also echo Pentecost's interpretation that the detail regarding "many stadia away" and "battered by the waves" were intended to emphasize that Jesus could walk on the water far away from the shore, on a rough sea, thus establishing his dominance over nature.[12][13] R. T. France has also pointed out that the details regarding the boat being a long way from the shore, and the portrayal of Peter sinking are intended as a confirmation of the depth of the water.[15]
Scholars such as Ulrich Luz and separately Dale Allison view the pericope as instrumental in asserting the divinity of Jesus among early Christians.[9] Alan Robinson sees the pericope as important in establishing the belief in the early Church that the disciples viewed Jesus as the Son of God.[16] Dale Allison states that Matthew's presentation emphasizes that God the Father is willing to share divine power with his son and that the impact of this pericope on the affirmation of the divinity of Jesus in the ecumenical creeds is undeniable.[17]
Historical-critical analysis[edit]
François Boucher Cathédrale Saint-Louis (1766) Versailles
The beach of the Sea of Galilee, in Israel
Jesus walking on water. Armenian manuscript. Daniel of Uranc gospel, 1433.
Scholars who hold that the story records actual events do so on the basis that Jesus, as Son of God, was above the laws of nature; or, in a variation, that Jesus projected an image himself while actually remaining on the shore.[18] The meaning of the episode is held to be inherent in its miraculous nature: "The meaning of the pericope (story) ... only has meaning ... if it is understood as relating a miraculous event which really took place" (Leopold Sabourin, 1975).[18]
In recent scholarship, Bart Ehrman has championed the view that in general, it is impossible to either prove or disprove supernatural events such as miracles using the historical method, for proving them would require belief in a supernatural world not amenable to historical analysis, and disproving them would require historical evidence that is usually hard to come by.[19]
Catholic scholar John P. Meier believes that the miraculous walk on water is a purely theological narrative, without historical foundation. Oral tradition, according to Meier, is intertwined with references to the Old Testament (Jesus' answer "I am" is in accordance with the vision of Jesus as Yahweh of the Early Church) and post-resurrection perceptions. In particular, the narrative part of the story seems to fall into the apocalyptic genre, meaning by this term a genre characterized by an accentuated symbolism and light-shadow contrasts. Initially Jesus collects the Apostles on a boat and sends them away alone, to go alone to the mountain to pray, but promising to meet them on the other side of the "sea"; the apostles have difficulty in reaching the other shore, but Jesus appears and everything ends well. According to Meier this is a metaphor of the Early Church immediately after Easter: Jesus leaves his disciples with the ascension promising to return, but occasionally visits them during the journey to support them (through the Eucharist). Like all apocalyptic literature, his function is to comfort a community in need.[20]
Some scholars have held the view that while this event took place, it was not miraculous: Albert Schweitzer, for example, suggested that the disciples saw Jesus walking on the shore, but were confused by high wind and darkness; some scholars who accept this "misperception thesis" argue that Mark originally wrote that Jesus walked on the seashore rather than on the sea, and that John had a more accurate version.[21] Others have held that the entire episode is a "pious legend" (B. H. Branscomb, 1937), based perhaps on some lost incident; perhaps Jesus waded through the surf (Vincent Taylor, 1957), or perhaps he walked on a sand bar (Sherman Johnson, 1972, J.D.M. Derrett, 1981).[22]
There are scholars who regard the story as an example of "creative symbolism", or myth,[23] which probably was understood by a part of the audience literally and by others allegorically.[24] Rudolf Bultmann pointed out that the sea-walking theme is familiar in many cultures.[23] Furthermore, the motif of walking on water was associated with kings like Xerxes or Alexander, but also rejected and satirized as humanly impossible and as proverbial for the arrogance of the rulers by Menander, Dio Chrysostom or in 2 Maccabees 5:21.[24]
Others look for an origin in the mythic world of the Old Testament itself (Christ's victory over the waters paralleling Yahweh's defeat of the primeval Sea, representing Chaos),[25] or within the New Testament, as an originally simple story later embellished with Hellenistic and Old Testament details.[26] In the Hebrew Bible, God gives power over the sea, e.g. to Moses (Ex 14:21–29) or to Elijah (2 kg 2:8).[24]
Adela Yarbro Collins concludes that the text characterizes Jesus as Messiah and king of Israel endowed with divine properties.[24]
Russian skeptic Kirill Eskov in his "Nature"-praised work The Gospel of Afranius argues that it was politically prudent for the local Roman administration to strengthen Jesus's influence by spreading rumours about his miracles via active measures, with this story originating as a well-crafted deliberate lie.
Literary-critical analysis[edit]
See also: Subversive Symmetry
Biblical scholar George W. Young dismisses the naturalistic explanations, the traditional and the historical critical perspectives. He contends that these methods of exegesis rely on factual interpretations and fail to capture the full meaning of the text based on its structure. Instead, Young explores the pericope with literary-critical methods as narrative art. Young views the text as fiction, and uses tools and terms often associated with fantastic literature to analyze it.[27]
Young analyses the pericope as the expression of three entangled, conflicting perspectives on reality: (i) the "conventional reality" based on sensory perception; (ii) the "impossible" vision of Jesus resulting in the astonishment of the observers; (iii) the narrator's metaphysical comment in Mark 6:52 identifying Jesus as the Son of God.[28]
See also[edit]
iconChristianity portal
Wikimedia Commons has media related to Jesus Christ walking on water.
Life of Jesus in the New Testament
This image is my prior art which got acknowledged for publication ESA/Hubble website - Hubble Captures NGC 2276
NGC 2276 from Hubble Space Telescope, based on raw data from Hubble Legacy Archive, as processed by me. It's one of those hidden gems, which were captured by HST for scientific purposes alone, but haven't yet been presented to public until now. As usually present in Hubble images, there are quite a few of faint and more distant galaxies visible in this field.
NGC 2276 is an intermediate spiral galaxy in the constellation Cepheus. The galaxy lies 105 million light-years away from Earth. NGC 2276 has an asymmetrical appearance, most likely caused by gravitational interactions with its neighbor, elliptical galaxy NGC 2300. One of the many starburst spiral arms contains an intermediate mass black hole with 50,000 times the mass of the Sun, named NGC 2276-3c. NGC 2276-3c has produced two jets: a large-scale radio jet, approximately 2,000 light years long, and an "inner jet" about 6 light years long. The galaxy shows an enhanced rate of star formation that may have been triggered by a collision with a dwarf galaxy or by the gravitational interaction with its neighbor compressing gas and dust.
It was discovered by Friedrich Winnecke in 1876. In the Atlas of Peculiar Galaxies, the galaxy is mentioned twice, once as Arp 25, in the category spiral galaxies with one heavy arm, and one more time as Arp 114, in the category elliptical galaxies close to and perturbing spiral galaxies, in pair with NGC 2300. NGC 2276 has been home to six supernovae in the last 60 years.
Image credits: ESA/Hubble & NASA, Paul Sell
Processing & copyright: Leo Shatz
Text source and credits: Wikipedia
Let me acknowledge that 'The Word' means many things to different people. Here, the reference is to a specific passage in the Bible.
When I was well into my 2nd marriage, I just began to understand the following: "Therefore a man shall leave his father and his mother and cling to his wife and they shall become one flesh."
~ Genesis 2:24
When a person partners and chooses to begin a new family, the direction of life is forward and not stuck in ancient conflicts with his/her family of origin.
Yes, forward into the new, that too is Heritage. HMM!
The pilot of Freedom Fighter 23-04 acknowledges the crowds at Park & View West having just arrived at Fairford to take part in the static display at the 2024 Royal International Air Tattoo.
Aircraft: Spanish Air and Space Force Casa/Northrop SF-5M Freedom Fighter AE.9-10/23-04 from 231 Escuadrón, Ala 23.
Location: RAF Fairford (FFD/EGVA), Gloucestershire.
The gang of track workers acknowledge K1 62005 as it heads past Rabbit Bridge on the Great Central Railway during a Timeline Events photo charter.
Locomotive: LNER Thompson/Peppercorn K1 Class 2-6-0 62005.
Location: Rabbit Bridge, near Quorn, Great Central Railway, Leicestershire, UK.
New York Times opinion writer Charles M. Blow reminds us, “Republican politics have become oppositional politics: Deny the science, demean the media, own the libs. Conservatives are less defined by what they are for than by what they are against.” It’s important to remember: the best interests of the American people mean nothing to the GOP. Accepting changing demographics by working with minorities rather than restricting their right to vote is not on their agenda. And neither is acknowledging the destruction caused by climate change. Sadly, logic, common sense, and working with Democrats to solve these issues are MIA.
Ron DeSantis, governor of Florida, has become just one of the latest poster boys for the ongoing and derelict actions of the GOP. Donald Trump has left the White House. But politicians are vying to become his successor. And there are 74,222,958 reasons why.
On July 30, 2021, DeSantis issued an executive order prohibiting local school districts from mandating masks for students. His press release said this was “after the Biden Administration issued unscientific and inconsistent recommendations that school-aged children wear masks. The Florida Department of Health will enter rulemaking in collaboration with the Florida Department of Education to protect parents’ freedom to choose whether their children wear masks” (emphasis mine). Before looking at studies that show that masks do work, DeSantis’ reasoning, to protect parents’ freedom to choose, directly contradicts the GOP’s stance on a woman’s right to decide whether she has an abortion. But remember, logic means nothing to Republicans.
An extensive study recently conducted in Bangladesh has shown that wearing surgical masks can reduce the infection rate from COVID-19. Over 340,000 people in 600 villages were part of this study. It showed a reduction of 9.3% in confirmed COVID infections and an 11.9% reduction in symptoms. Jason Abaluck, an economist at Yale who helped lead the study, said, “I think a big error would be to read this study and to say, ‘Oh, masks can only prevent 10 percent of symptomatic infections.’” He believes the reduced rate of infections would be a lot higher if mask-wearing were universal. While this study is under peer review by the publication Science, there are at least forty-one other studies that have been peer-reviewed and have come to similar conclusions.
At least seven county school districts have defied DeSantis’ “mandate against mandates.” Many of these districts are Republican strongholds. And the Florida Board of Education voted in mid-August to punish two districts that defied the governor’s ban on requiring students to wear masks. At the end of August, Leon County Circuit Judge John Cooper blocked DeSantis’ prohibition stating his executive order was “without legal authority, arbitrary, and capricious.” He went on to say, “The law expressly permits school boards to adopt policies regarding the health care of students, such as a mask mandate, even if a parent disagrees. Parents’ rights are very important, but they are not without some reasonable limitations.” The governor has filed an appeal with the courts and continues to withhold school board members’ salaries in counties that have ignored his directive.
Governor DeSantis, here are some facts. Over 5000 students and staff of Florida’s Hillsborough County public schools are in isolation or quarantine because of spreading COVID infections. In the first 15 days of school, they registered over a 10% increase over the rate during the last 17 months. Fifteen Miami-Dade school staff and educators have died of the coronavirus since school started this year. Two teachers and a teaching assistant recently died of COVID in Broward County. And an unvaccinated and unmasked elementary school teacher in Marin County, California, passed on COVID to half of her students and some of their family members. Despite these statistics, Governor DeSantis and others, like Texas Governor Greg Abbott, refuse to follow the science. Donald Trump was initially responsible for politicizing this disease, but many Republican legislators continue to endanger our children and their families. This is political opportunism at its deadliest.
Mask-wearing and vaccinations can reduce the effects of COVID. They save lives. Putting a price on resistance through vaccine mandates or weekly testing is gaining traction. You can lose your job or be prohibited from eating in restaurants or attending concerts. Last month, a Harris Poll COVID-19 tracking survey showed that almost two-thirds of Americans believe we should require proof of vaccination to fly domestically. Actions have consequences. That’s what I’ve taught my children. Sadly, many adults never learned that lesson. This is a public health issue, one that outweighs personal liberties.
Ron DeSantis and others like him don’t care about us. They certainly don’t care about our children. They care only for their political futures. And people are dying because of it.
Feel free to pass this poster on. It's free to download here (click on the down arrow just to the lower right of the image).
See the rest of the posters from the Chamomile Tea Party! Digital high res downloads are free here (click the down arrow on the lower right side of the image). Other options are available. And join our Facebook group.
Follow the history of our country's political intransigence from 2010-2020 through a seven-part exhibit of these posters on Google Arts & Culture.
Emerging from the car are my uncle Fred, aunt Sylvia, and their daughter Alex. Kara and I make our way up the driveway to meet them. Uncle Fred notices us coming, and waves.
"So, you must be Chris and Kara!! It's nice to finally meet you!" He cheers with a bright smile, as he makes his way towards us.
"Nice to meet you too, Uncle Fred! Dads told us a lot about you." Kara replies with a smirk, acknowledging his presence.
"All good things, I hope." His heartbeat slightly rises with his response.
"Of course! This is your brother we're talking about, after all." I respond, my voice somewhat hesitant. Really hope I guessed right there. I know dad has mentioned them before, but I honestly don't recall which of them he's related to fully... Judging by uncle Fred's laugh in response, I'm right. "And you must be our cousin, Alex." I mention after a moment of silence, looking over at my cousin. I didn't expect this, coming to Earth. Having this family, that I wasn't born into. Sure, we have Clark, but this is slightly different. The first cousin of ours, that is 100% human. I'll be honest, I'm not exactly sure what to do here. Alex has short, brown hair, that reaches just above her shoulders. Her heartbeat, is surprisingly calm. She's not nervous at all. She has perfect posture too, though I guess that shouldn't come as much of a surprise. If memory serves me right, she served in the military. She reaches her hand out, as if to shake my hand.
"Yeah, that's right. It's a pleasure to meet you, Chris." She replies, going for more of a formal tone.
"A handshake? What is this, a business meeting? C'mon, we're family. Get in here!" I blurt out, wrapping my arms around her to give a nice, welcoming hug.
"Force of habit, sorry. Comes with the job and all." She apologizes, managing a smile, while returning the hug.
"Don't worry about it. Anyways, we should probably get inside, you're all probably starving after such a long drive! Which is good, cause dads holing up in the kitchen, preparing all sorts of yummy food." I reply with a smile, before leading them into the house.
-------------------------------------------------
"So, Kara, your dad tells me you're quite the star student." My aunt Sylvia mentions, after finishing her friend chicken.
"I'm not sure I'd go that far, but I'm trying my hardest."
"Y'know, you're being way too modest Kara. Any university would be lucky to have you! Especially with your SAT scores." I say, after taking a sip of lemonade.
"But I could've done better. I know I could've done better, and that's the frustrating part."
"Kara, you're putting too much pressure on yourself. You've got a lot on your plate; with school, work, friends and uh everything else going on... Sometimes it's tough to keep up that balancing act. Just know that no matter what, I'm proud of you." Dad replies. For a second, I was worried he'd slip up and accidentally reveal everything, but I should know better by now. If anyone was going to slip up, it would be me.
"Thanks dad."
"Any idea on what you'll major in?" Alex asks Kara.
"I'm thinking maybe history, since it's always interested me. Still trying to figure out what exactly I would like to do with that though."
"History, huh? Following in her mother's footsteps... Admirable." Aunt Sylvia acknowledges, before drinking her lemonade.
"What about you Chris? Any post-secondary plans?" Uncle Frank asks, after a moment of silence.
I've spent so much time recently caught up fighting supervillains, and hanging out with Alicia, that I haven't had time to sit down, and truly think about my future. "I hadn't really thought about it that much. Guess I'll take a gap year or something to figure things out?"
"Why not? This is something you should be thinking about. This is your future we're talking about here! Not having a plan is-- " She says, slamming the bottom of her fist against the table.
"Sylvia, don't rush the boy!" My uncle Fred interrupts, before continuing. "These days, university is not the end all be all to success, and that's okay. If he needs a year off, to 'figure things out', so be it. Everyone has their own path. This is him taking his." With that, my aunt backs off.
"Right, of course." She mutters under her breath with a nod.
After everyone finishes eating, we continue making small talk for a few more hours, with Alex telling us a couple of stories from her time in Vlatava. Goes to show once again that you don't necessarily need superpowers to do some good in the world.
"I've got something to give you Chris, after they leave." Dad mutters under his breath.
So, at 9:30pm, after they've left, I follow my dad into his office.
"You said you had something to give me?"
"Yeah, that's right. I know, it's a little early to be getting you any gifts, with no holidays or birthday coming up soon. But, I figured, given recent events, it was necessary." He says, before grabbing a box from underneath his desk, and placing ontop.
I look at it, curious at what it could be. It's just an ordinary box . No special inscriptions, or anything. I go to shake it, but it doesn't make much of a sound. I'm almost half tempted to just cheat and use my x-ray vision, but my dad just laughs.
"What are you waiting for? Open it up already!" He insists.
With that, I open the box. Inside, is a new costume. Pulling the costume out, I place my other hand on the new suit. It still has that unique fresh costume smell.. The smell that Clark told me about, when me and Kara started the hero gig. I always thought he was kidding, until now. The fabric feels very similar to my old one, but that's where the similarities end. The House of El crest, now resembles my cousins more than it used to, with the s not being as thick as it once was. A brighter blue replaces the darker hue used on my old costume. There are two red bands, one wrapping around each wrist. Instead of the gold, the new suit has a vibrant red belt. Then, to top it all off, there are red chevrons on both of the knees. I'm still unsure what exactly that means, as they just look like incomplete triangles to me. But that's beside the point.
"Dad, this is awesome!!" I say with the biggest grin, before continuing. "Looks like Martha Kent's still got it.
"Actually, this was me. I mean sure, I asked her for some advice, since she's done this a long time. Other than that, though? It was all me."
"Wait what? My dad, at the sewing machine? I never thought I'd see the day. Consider me impressed. Thanks dad!"
"Oh, it was nothing, really!" He replies, trying to be modest, before continuing his train of thought. "You're welcome, Chris. Figured you could use a new one, since your old one got ripped up and all."
"Careful now, anymore of that, and you'll run Martha Kent outta business." I say with a laugh. "I'm going to test it out, if that's okay?"
"Of course! Just be careful, alright?"
"Always! I'll be back soon, promise!" I say, before putting the costume on at super speed, and leaving the office, heading towards the back door. Once outside, I take a quick glance, while listening to make sure no neighbours are around to spot me. Coast is clear . With that, I lift myself up off the grass, and into the air.
The costume's not tearing up at the seams, which is a good start. I fly around the city, continuing to test out the new suit. I'm not sure what it is exactly, but there's something about this new suit that is way more comfortable than my previous one. It could be the fact it's not filled with kryptonite bullet holes, or torn to shreds by a Kanima. That probably helps at least a little bit, right? Maybe it's something else entirely. I guess at the end of the day, the reason doesn't really matter. On another note, is it bad that I kind of want something to happen? Like a robbery, or maybe a fire? At this point I'd even take a mugging. I could really use it right about now, especially to distract myself from the interrogation I got from my Aunt Sylvia.
As I float in the air, above the city, I listen to everything going on in the city, at once. My ears start blaring, and I'm remembering just how overwhelming it is, trying to listen to everything at once. My hands instinctively go to my ears, trying to cover them, even though I know it won't do anything. Like always, there's a mix of emotions throughout the city. From a couple welcoming their newborn daughter into the world, to the laughter as children play. There's also sadness, with the passing of a loved one, or anger from someone not getting the promotion they rightfully deserve. One by one, I'm able to tune these everyday moments, some beautiful, others devastating, out, as I focus my hearing. I'm just looking for someone, anyone at all, calling out for help. Sure enough, about a minute later, I find that sound.
"I sure hope one of you Kryptonians can hear me, because I could use your help. I know where the Elite's going to strike next." A young woman's voice calls out. Focusing on her voice, I'm able to pinpoint her location.
I'm not sure how she got this info, but at this point, we're pretty desperate for a lead. So, I'll take what I can get. Hopefully, this isn't a trap.
I'm on my way.
Copenhagen ULTRACONTEMPORARY Biennale / periode Venice Biennale 2019
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale in Venice :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
---
invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
-----
other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
The Postcard
A postally unused Colourmaster Heritage Series postcard that was published by Pitkin Pictorials Ltd. of 11, Wyfold Road, London SW6. The photography was by Bryn Colton.
The following is printed on the divided back of the card:
"Prince Andrew served as a
helicopter pilot on anti- submarine
patrols in the Falkland Islands war.
Here he is seen acknowledging
the cheers of crowds on his return
to Portsmouth.'
Prince Andrew, Duke of York
Prince Andrew, Duke of York, KG, GCVO, CD was born Andrew Albert Christian Edward on the 19th. February 1960.
He is a member of the British royal family, and the younger brother of King Charles III and the third child of Queen Elizabeth II and Prince Philip, Duke of Edinburgh.
Andrew is eighth in the line of succession to the British throne, and the first person in the line who is not a descendant of the reigning monarch.
Andrew served in the Royal Navy as a helicopter pilot and instructor, and as the captain of a warship. During the Falklands War, he flew on multiple missions including anti-surface warfare, casualty evacuation, and Exocet missile decoy.
In 1986, he married Sarah Ferguson and was made Duke of York. They have two daughters: Princess Beatrice and Princess Eugenie. Their marriage, separation in 1992, and divorce in 1996 attracted extensive media coverage.
Andrew served as the UK's Special Representative for International Trade and Investment for 10 years until July 2011.
In 2014, the American-Australian campaigner Virginia Giuffre alleged that, as a 17-year-old, she was sex-trafficked to Andrew by the American financier and convicted sex offender Jeffrey Epstein.
Andrew denied any wrongdoing. Following criticism for his association with Epstein, Andrew resigned from public roles in May 2020, and his honorary military affiliations and royal charitable patronages were removed by Queen Elizabeth II in January 2022.
He was the defendant in a civil lawsuit over sexual assault filed by Giuffre in the State of New York. The lawsuit was settled out of court in February 2022.
Prince Andrew - The Early Years
Andrew was born in the Belgian Suite of Buckingham Palace on the 19th. February 1960 at 3:30 p.m. He was baptised in the palace's Music Room on the 8th. April 1960.
Andrew was the first child born to a reigning British monarch since Princess Beatrice in 1857. As with his siblings, Charles, Anne, and Edward, Andrew was looked after by a governess, who was responsible for his early education at Buckingham Palace.
Andrew was sent to Heatherdown School near Ascot in Berkshire. In September 1973, he entered Gordonstoun, in northern Scotland, which his father and elder brother had also attended.
He was nicknamed "the Sniggerer" by his schoolmates at Gordonstoun, because of "his penchant for off-colour jokes, at which he laughed inordinately".
While there, he spent six months—from January to June 1977—participating in an exchange programme to Lakefield College School in Canada. He left Gordonstoun in July two years later with A-levels in English, History, and Economics.
Prince Andrew's Military Service
Royal Navy Service
The Royal Household announced in November 1978 that Andrew would join the Royal Navy the following year.
In December, he underwent various sporting tests and examinations at the Aircrew Selection Centre at RAF Biggin Hill, along with further tests and interviews at HMS Daedalus, and interviews at the Admiralty Interview Board, HMS Sultan.
During March and April 1979, he was enrolled at the Royal Naval College Flight, undergoing pilot training, until he was accepted as a trainee helicopter pilot and signed on for 12 years from the 11th. May 1979.
On the 1st. September 1979, Andrew was appointed as a midshipman, and entered Britannia Royal Naval College, Dartmouth.
During 1979 Andrew also completed the Royal Marines All Arms Commando Course for which he received his Green Beret. He was commissioned as a sub-lieutenant on the 1st. September 1981, and appointed to the Trained Strength on the 22nd. October.
After passing out from Dartmouth, Andrew went on to elementary flying training with the Royal Air Force at RAF Leeming, and later, basic flying training with the navy at HMS Seahawk, where he learned to fly the Gazelle helicopter.
After being awarded his wings, Andrew moved on to more advanced training on the Sea King helicopter, and conducted operational flying training until 1982. He joined carrier-based squadron, 820 Naval Air Squadron, serving aboard the aircraft carrier, HMS Invincible.
The Falklands War
On the 2nd. April 1982, Argentina invaded the Falkland Islands, a British overseas territory, leading to the Falklands War.
Invincible was one of the two operational aircraft carriers available at the time, and, as such, was to play a major role in the Royal Navy task force assembled to sail south to retake the islands.
Andrew's place on board and the possibility of the Queen's son being killed in action made the British government apprehensive, and the cabinet desired that Prince Andrew be moved to a desk job for the duration of the conflict.
The Queen, though, insisted that her son be allowed to remain with his ship. Prince Andrew remained on board Invincible to serve as a Sea King helicopter co-pilot, flying on missions that included anti-submarine warfare and anti-surface warfare.
Andrew's other roles included acting as an Exocet missile decoy, casualty evacuation, transport, and search and air rescue. He witnessed the Argentinian attack on the SS Atlantic Conveyor.
At the end of the war, Invincible returned to Portsmouth, where Queen Elizabeth II and Prince Philip joined other families of the crew in welcoming the vessel home.
The Argentine military government reportedly planned, but did not attempt, to assassinate Andrew on Mustique in July 1982.
Though he had brief assignments to HMS Illustrious, RNAS Culdrose, and the Joint Services School of Intelligence, Prince Andrew remained with Invincible until 1983. Commander Nigel Ward's memoir, Sea Harrier Over the Falklands, described Prince Andrew as:
"An excellent pilot and a
very promising officer."
Prince Andrew's Career as a Naval Officer
In late 1983, Andrew transferred to RNAS Portland, and was trained to fly the Lynx helicopter. On the 1st. February 1984 he was promoted to the rank of Lieutenant, whereupon Queen Elizabeth II appointed him as her personal aide-de-camp.
Prince Andrew served aboard HMS Brazen as a flight pilot until 1986, including deployment to the Mediterranean Sea as part of Standing NRF Maritime Group 2.
On the 23rd. October 1986, the Duke of York (as he was by then) transferred to the General List, enrolled in a four-month helicopter warfare instructor's course at RNAS Yeovilton, and, upon graduation, served from February 1987 to April 1988 as a helicopter warfare officer in 702 Naval Air Squadron, RNAS Portland.
He also served on HMS Edinburgh as an officer of the watch and Assistant Navigating Officer until 1989, including a six-month deployment to the Far East as part of Exercise Outback 88.
The Duke of York served as flight commander and pilot of the Lynx HAS3 on HMS Campbeltown from 1989 to 1991. He also acted as Force Aviation Officer to Standing NRF Maritime Group 1 while Campbeltown was flagship of the NATO force in the North Atlantic from 1990 to 1991.
Andrew passed the squadron command examination on the 16th. July 1991, attended the Staff College, Camberley the following year, and completed the Army Staff course. He was promoted to Lieutenant-Commander on the 1st. February 1992, and passed the ship command examination on the 12th. March 1992.
From 1993 to 1994, Prince Andrew commanded the Hunt-class minehunter HMS Cottesmore.
From 1995 to 1996, Andrew was posted as Senior Pilot of 815 Naval Air Squadron, at the time the largest flying unit in the Fleet Air Arm. His main responsibility was to supervise flying standards and to guarantee an effective operational capability.
He was promoted to Commander on the 27th. April 1999, finishing his active naval career at the Ministry of Defence in 2001, as an officer of the Diplomatic Directorate of the Naval Staff.
In July 2001, Andrew was retired from the Active List of the Navy. Three years later, he was made an Honorary Captain. On the 19th. February 2010, his 50th. birthday, he was promoted to Rear Admiral.
Five years later, he was promoted to Vice Admiral.
Andrew ceased using his honorary military titles in January 2022. The action came after more than 150 Royal Navy, RAF and Army veterans signed a letter, requesting that Queen Elizabeth II remove his honorary military appointments in the light of his involvement in a sexual assault civil case.
However it was reported that he would still retain his service rank of Vice Admiral.
Prince Andrew's Personal Life
Personal Interests
Andrew is a keen golfer, and has had a low single-figure handicap. He was captain of the Royal and Ancient Golf Club of St. Andrews between 2003 and 2004—during the club's 250th. anniversary season.
He was also patron of a number of royal golf clubs, and had been elected as an honorary member of many others. In 2004, he was criticised by Labour Co-op MP Ian Davidson, who in a letter to the NAO questioned Andrew's decision to fly to St. Andrews on RAF aircraft for two golfing trips.
Andrew resigned his honorary membership of the Royal and Ancient Golf Club of St. Andrews when the Queen removed royal patronages at several golf clubs. His honorary membership of the Royal Dornoch Golf Club was revoked in the following month.
Andrew is a Liveryman of the Worshipful Company of Shipwrights, the senior maritime City livery company.
Prince Andrew's Relationship with Koo Stark
Andrew met the American photographer and actress Koo Stark in February 1981, before his active service in the Falklands War. In October 1982, they took a holiday together on the island of Mustique.
Tina Brown said that Stark was Andrew's only serious love interest. In 1983, they split up under pressure from press, paparazzi, and palace.
In 1997, Andrew became godfather to Stark's daughter. When Andrew was facing accusations in 2015 over his connection to Jeffrey Epstein, Koo came to his defence.
Prince Andrew's Marriage to Sarah Ferguson
Andrew had known Sarah Ferguson since childhood; they had met occasionally at polo matches, and became re-acquainted with each other at Royal Ascot in 1985.
Andrew married Sarah at Westminster Abbey on the 23rd. July 1986. On the same day, Queen Elizabeth II created him Duke of York, Earl of Inverness, and Baron Killyleagh.
The couple appeared to have a happy marriage and had two daughters together, Beatrice and Eugenie, presenting a united outward appearance during the late 1980's. His wife's personal qualities were seen as refreshing in the context of the formal protocol surrounding the royal family.
However, Andrew's frequent travel due to his military career, as well as relentless, often critical, media attention focused on the Duchess of York, led to fractures in the marriage.
On the 19th. March 1992, the couple announced plans to separate, and did so in an amicable way. Some months later, pictures appeared in the tabloid media of the Duchess in intimate association with John Bryan, her financial advisor at the time, which effectively ended any hopes of a reconciliation between Andrew and Sarah.
The marriage ended in divorce on the 30th. May 1996. The Duke of York spoke fondly of his former wife:
"We have managed to work together
to bring our children up in a way that
few others have been able to, and I
am extremely grateful to be able to
do that."
The couple agreed to share custody of their two daughters, and the family continued to live at Sunninghill Park (built near Windsor Great Park for the couple in 1990) until Andrew moved to the Royal Lodge in 2004.
In 2007, Sarah moved into Dolphin House in Englefield Green, less than a mile from the Royal Lodge. In 2008, a fire at Dolphin House resulted in Sarah moving into Royal Lodge, again sharing a house with Andrew.
Andrew's lease of Royal Lodge is for 75 years, with the Crown Estate as landlord, at a cost of a single £1 million premium and a commitment to spend £7.5 million on refurbishment.
In May 2010, Sarah was filmed by a News of the World reporter saying Andrew had agreed that if she were to receive £500,000, he would meet the donor and pass on useful top-level business contacts.
She was filmed receiving, in cash, $40,000 as a down payment. The paper said that Andrew did not know of the situation. In July 2011, Sarah stated that her multi-million pound debts had been cleared due to the intervention of her former husband, whom she compared to a "knight on a white charger".
Prince Andrews' Activities and Charitable Work
The Duke was patron of the Middle East Association (MEA), the UK's premier organisation for promoting trade and good relations with the Middle East, North Africa, Turkey and Iran.
Since his role as Special Representative for International Trade and Investment ended, Andrew continued to support UK enterprise without a special role.
Robert Jobson said he did this work well and wrote:
"He is particularly passionate when dealing
with young start-up entrepreneurs and
bringing them together with successful
businesses at networking and showcasing
events.
Andrew is direct and to the point, and his
methods seem to work".
The Duke was also patron of Fight for Sight, a charity dedicated to research into the prevention and treatment of blindness and eye disease, and was a member of the Scout Association.
He toured Canada frequently to undertake duties related to his Canadian military role. Rick Peters, the former Commanding Officer of the Royal Highland Fusiliers of Canada stated that:
"Prince Andrew was very well
informed on Canadian military
methods".
While touring India as a part of the Queen's Diamond Jubilee in 2012, Andrew became interested in the work of Women's Interlink Foundation (WIF), a charity which helps women acquire skills to earn income.
He and his family later initiated Key to Freedom, a project which tries to "find a route to market for products made by WIF".
On the 3rd. September 2012, Andrew was among a team of 40 people who abseiled down The Shard (tallest building in Europe) to raise money for educational charities.
In 2013, it was announced that Andrew was becoming the patron of London Metropolitan University and the University of Huddersfield. In July 2015, he was installed as Chancellor of the University of Huddersfield.
In recognition of Andrew's promotion of entrepreneurship he was elected to an Honorary Fellowship at Hughes Hall in the University of Cambridge on the 1st. May 2018.
He became the patron of the charity Attend in 2003, and was a member of the International Advisory Board of the Royal United Services Institute.
In 2014, Andrew founded the Pitch@Palace initiative to support entrepreneurs with the amplification and acceleration of their business ideas. Entrepreneurs selected for Pitch@Palace Bootcamp are officially invited by Andrew to attend St. James Palace in order to pitch their ideas and to be connected with potential investors, mentors and business contacts.
The Duke also founded The Prince Andrew Charitable Trust which aimed to support young people in different areas such as education and training.
He also founded a number of awards including Inspiring Digital Enterprise Award (iDEA), a programme to develop the digital and enterprise skills, the Duke of York Award for Technical Education, given to talented young people in technical education, and the Duke of York Young Entrepreneur Award, which recognised talents of young people in entrepreneurship.
The Duke of York lent his support to organisations that focus on science and technology by becoming the patron of Catalyst Inc and TeenTech.
In 2014, Andrew visited Geneva, Switzerland, to promote British science at CERN's 60th. anniversary celebrations. In May 2018, he visited China and opened the Pitch@Palace China Bootcamp 2.0 at Peking University.
In March 2019, Andrew took over the patronage of the Outward Bound Trust from his father, the Duke of Edinburgh, serving up until his own resignation in November 2019. The charity tries to instil leadership qualities among young people.
In May 2019, it was announced that Andrew had succeeded Lord Carrington as patron of the Royal Fine Art Commission Trust.
On 13 January 2022, it was announced that his royal patronages had been handed back to the Queen to be distributed among other members of the royal family.
Prince Andrew's Health
On the 2nd. June 2022, Andrew tested positive for COVID-19, and it was announced that he would not be present at the Platinum Jubilee National Service of Thanksgiving at St. Paul's Cathedral on the 3rd. June.
Allegations of Sexual Abuse
Andrew was friends with Jeffrey Epstein, an American financier who was convicted of sex trafficking in 2008. BBC News reported in March 2011 that the friendship was producing "a steady stream of criticism", and that there were calls for him to step down from his role as trade envoy.
Andrew was also criticised in the media after his former wife, Sarah, disclosed that he helped arrange for Epstein to pay off £15,000 of her debts.
Andrew had been photographed in December 2010 strolling with Epstein in Central Park during a visit to New York City. In July 2011, Andrew's role as trade envoy was terminated, and he reportedly cut all ties with Epstein.
On the 30th. December 2014, a Florida court filing on behalf of lawyers Edwards and Cassell alleged that Andrew was one of several prominent figures, including lawyer Alan Dershowitz and "a former prime minister", to have participated in sexual activities with a minor later identified as Virginia Giuffre (then known by her maiden name Virginia Roberts), who was allegedly trafficked by Epstein.
An affidavit from Giuffre was included in an earlier lawsuit from 2008 accusing the US Justice Department of violating the Crime Victims' Rights Act during Epstein's first criminal case by not allowing several of his victims to challenge his plea deal; Andrew was otherwise not a party to the lawsuit.
In January 2015, there was renewed media and public pressure for Buckingham Palace to explain Andrew's connection with Epstein. Buckingham Palace stated that:
"Any suggestion of impropriety with
underage minors is categorically
untrue."
The denial was later repeated.
Requests from Giuffre's lawyers for a statement from Andrew about the allegations, under oath, were returned unanswered.
Dershowitz denied the allegations in Giuffre's statement and sought disbarment of the lawyers filing the suit. Edwards and Cassell sued Dershowitz for defamation in January 2015; he countersued.
The two parties settled in 2016 for an undisclosed financial sum. Epstein sued Edwards for civil racketeering, but later dropped his suit; Edwards countersued for malicious prosecution with the result that Epstein issued a public apology to the lawyer in December 2018.
Giuffre asserted that she had sex with Andrew on three occasions, including a trip to London in 2001 when she was 17, and later in New York and on Little Saint James in the U.S. Virgin Islands.
She alleged Epstein paid her $15,000 after she had sex with Andrew in London. Flight logs show Andrew and Giuffre were in the places where she alleged their meetings took place.
Andrew was also photographed with his arm around Giuffre's waist with an Epstein associate, Ghislaine Maxwell, in the background. Andrew's supporters have repeatedly said the photo is fake and edited.
Giuffre stated that she was pressured to have sex with Andrew and "wouldn't have dared object" as Epstein, through contacts, could have her "killed or abducted".
On the 7th. April 2015, Judge Kenneth Marra ruled that:
"The sex allegations made against
Andrew in court papers filed in Florida
must be struck from the public record".
Marra made no ruling as to whether claims by Giuffre are true or false, specifically stating that she may later give evidence when the case comes to court. Giuffre stated that she would not "be bullied back into silence".
Tuan "John" Alessi, who was Epstein's butler, stated in a deposition he filed for Giuffre's 2016 defamation case against Maxwell that Andrew's hitherto unremarked visits to the Epstein house in Palm Beach were more frequent than previously thought. He maintained that Andrew "spent weeks with us" and received "daily massages".
In August 2019, court documents for a defamation case between Giuffre and Maxwell revealed that a second girl, Johanna Sjoberg, gave evidence alleging that Andrew had placed his hand on her breast while in Epstein's mansion posing for a photo with his Spitting Image puppet.
Later that month, Andrew released a statement that said:
"At no stage during the limited time I
spent with Epstein did I see, witness
or suspect any behaviour of the sort
that subsequently led to his arrest
and conviction."
Andrew did however express regret for meeting him in 2010 after Epstein had already pleaded guilty to sex crimes for the first time.
At the end of August 2019, The New Republic published a September 2013 email exchange between John Brockman and Evgeny Morozov, in which Brockman mentioned seeing a British man nicknamed "Andy" receive a foot massage from two Russian women at Epstein's New York residence in 2010. He had realised that:
"The recipient of Irina's foot massage
was His Royal Highness, Prince Andrew,
the Duke of York".
In July 2020, Caroline Kaufman, an alleged victim of Epstein, said in a federal lawsuit that she had seen Andrew at Epstein's New York mansion in December 2010.
In November 2021 Lawrence Visoski, Epstein's pilot, testified in court during Ghislaine Maxwell's trial that Prince Andrew flew in Epstein's private plane along with other prominent individuals, including Bill Clinton, Donald Trump and John Glenn.
Visoski stated he did not notice any sexual activity or wrongdoing on the plane.
Similarly, Andrew's name was recorded on the 12th. May 2001 by Epstein's pilot David Rodgers in his logbook, and he testified that Andrew flew three times with Epstein and Giuffre in 2001.
The following month a picture of Epstein and Maxwell, sitting at a cabin on the Queen's Balmoral estate, around 1999, at the invitation of Andrew, was shown to the jury to establish their status as partners.
On the 5th. January 2022, Virginia Giuffre's former boyfriend, Anthony Figueroa, said on Good Morning Britain that Giuffre told him Epstein would take her to meet Prince Andrew. He said:
"She called me when she was on the trip
and she was talking about she knew what
they wanted her to do and she was really
nervous and scared because she didn't
know how to react to it".
He alleged the meeting had taken place in London. In a court filing, Andrew's lawyers had previously referred to a statement by Figueroa's sister, Crystal Figueroa, who alleged that in her bid to find victims for Epstein, Giuffre had asked her:
"Do you know any girls
who are kind of slutty?"
The same month, Carolyn Andriano, who as a 14-year-old was introduced by Giuffre to Ghislaine Maxwell and Jeffrey Epstein and was a prosecution witness in Maxwell's trial, said in an interview with the Daily Mail that then 17-year-old Giuffre told her in 2001 that she had slept with Prince Andrew. She stated:
"Giuffre said, 'I got to sleep with him'.
She didn't seem upset about it. She
thought it was pretty cool."
In an ITV documentary, former royal protection officer Paul Page, who was convicted and given a six year sentence following a £3 million property investment scam in 2009, recounted Maxwell's frequent visits to Buckingham Palace, and suggested the two might have had an intimate relationship, while Lady Victoria Hervey added that Andrew was present at social occasions held by Maxwell.
The Duke of York's name and contact numbers for Buckingham Palace, Sunninghill Park, Wood Farm and Balmoral also appeared in Maxwell and Epstein's 'Little Black Book', a list of contacts of the duo's powerful and famous friends.
In February 2022, The Daily Telegraph published a photograph of Andrew along with Maxwell giving a tour of Buckingham Palace to Andrew's guests Bill Clinton and Kevin Spacey, with a member of the tour party describing Maxwell as:
"The one who led us into
Buckingham Palace".
Tina Brown, a journalist who edited Vanity Fair, The New Yorker and The Daily Beast, maintains Epstein described Andrew behind his back as an idiot, but found him useful. Brown stated:
"Epstein confided to a friend that he used
to fly Andrew to obscure foreign markets,
where governments were obliged to
receive him, and Epstein went along as
HRH's investment adviser.
With Andrew as frontman, Epstein could
negotiate deals with these (often) shady
players".
In October 2022, Ghislaine Maxwell was interviewed by a documentary filmmaker while serving her sentence in prison, and when asked about her relationship with Andrew, Maxwell stated that:
"I feel bad for him, but I accept our
friendship could not survive my
conviction.
He is paying such a price for the
association.
I consider him a dear friend. I care
about him."
She also stated that she now believed the photograph showing her together with Andrew and Virginia Giuffre was not "a true image," and added that in an email to her lawyer in 2015 she was trying to confirm that she recognised her own house, but the whole image cannot be authentic as "the original has never been produced".
The Newsnight Interview
In November 2019, the BBC's Newsnight arranged an interview between Andrew and presenter Emily Maitlis in which he recounted his friendship with Epstein for the first time.
In the interview, Prince Andrew says he met Epstein in 1999 through Maxwell, although this contradicts comments made by Andrew's private secretary in 2011, who said that the two met "in the early 1990's".
The Duke also said he did not regret his friendship with Epstein, saying:
"The people that I met and the
opportunities that I was given to
learn, either by him or because
of him, were actually very useful".
In the interview, Andrew denied having sex with Giuffre on the 10th. March 2001, as she had accused, because he had been at home with his daughters after attending a party at Pizza Express in Woking with his elder daughter Beatrice.
Prince Andrew also added that Giuffre's claims about dancing with him at a club in London while he was sweaty were false, due to him temporarily losing the ability to sweat after an "adrenaline overdose" during the Falklands War.
However, according to physicians consulted by The Times, an adrenaline overdose typically causes excessive sweating in humans.
Andrew also said that he does not drink, despite Giuffre's account of him providing alcohol for them both. However accounts from other people have supported his statement that he does not drink.
Andrew said that he had stayed in Epstein's mansion for three days in 2010, after Epstein's conviction for sex offences against a minor, describing the location as "a convenient place to stay".
The Duke said that he met Epstein for the sole purpose of breaking off any future relationship with him. He also said that he would be willing to testify under oath regarding his associations with Epstein.
In the 2019 BBC interview, Andrew told Newsnight that his association with Epstein was derived from his long-standing friendship with Ghislaine Maxwell, who was later convicted of colluding in Epstein's sexual abuse.
The 2019 Newsnight interview was believed by Maitlis and Newsnight to have been approved by the Queen, although "palace insiders" speaking to The Sunday Telegraph disputed this. One of Prince Andrew's official advisors resigned just prior to the interview being aired.
Although Andrew was pleased with the outcome of the interview – reportedly giving Maitlis and the Newsnight team a tour of Buckingham Palace – it received negative reactions from both the media and the public, both in and outside of the UK.
The interview was described as a "car crash", "nuclear explosion level bad", and the worst public relations crisis for the royal family since the death of Diana, Princess of Wales.
Experts and those with ties to Buckingham Palace said that the interview, its fallout and the abrupt suspension of Andrew's royal duties were unprecedented.
In July 2022 it was announced that a film would be made of the preparations for the interview and the interview itself. Shooting was planned to start in November 2022. According to Deadline, Scoop is being written by Peter Moffat.
The Civil Lawsuit
In August 2021, Virginia Giuffre sued Prince Andrew in the federal District Court for the Southern District of New York, accusing him of "sexual assault and intentional infliction of emotional distress."
The lawsuit was filed under New York's Child Victims Act, legislation extending the statute of limitations where the plaintiff had been under 18 at the time, 17 in Giuffre's case.
On the 29th. October 2021, Andrew's lawyers filed a response, stating that:
"Our client unequivocally
denies Giuffre's false
allegations".
On the 12th. January 2022, Judge Kaplan rejected Andrew's attempts to dismiss the case, allowing the sexual abuse lawsuit to proceed.
In February 2022, the case was settled out of court, with Andrew making a donation to Giuffre's charity for victims of abuse.
The Guardian reported that:
"The Queen's decision to strip
Andrew of his royal patronages,
honorary military titles and any
official use of his HRH title, still
stands firm."
Criminal proceedings in the United States over Virginia Giuffre's claims are still possible but are now unlikely, as Virginia Giuffre died by her own hand on the 24th. April 2025 at a farm in the Neergabby area outside of Perth, Australia, where she had lived for the previous several years.
Repercussions
On the 18th. November 2019, accountancy firm KPMG announced it would not be renewing its sponsorship of Prince Andrew's entrepreneurial scheme Pitch@Palace, and on the 19th. November Standard Chartered also withdrew its support.
Also on the 19th. November 2019, the Students' Union of the University of Huddersfield passed a motion to lobby Andrew to resign as its chancellor, as London Metropolitan University was considering Andrew's role as its patron.
On the 20th. November 2019, a statement from Buckingham Palace announced that Andrew was suspending his public duties "for the foreseeable future".
The decision, made with the consent of the Queen, was accompanied by the insistence that Andrew sympathised with Epstein's victims. Other working royals took his commitments over in the short term.
On the 21st. November, Andrew relinquished his role as chancellor of the University of Huddersfield. Three days later, the palace confirmed that Andrew was to step down from all 230 of his patronages, although he expressed a wish to have some sort of public role at some future time.
On the 16th. January 2020, it was reported that the Home Office was recommending "a major downgrade of security" for Andrew, which would put an end to his "round-the-clock armed police protection".
It was later reported that he had been allowed to keep his £300,000-a-year security and the recommendation would be reviewed again in the future.
On the 28th. January 2020, US Attorney Geoffrey Berman stated that Prince Andrew had provided "zero co-operation" with federal prosecutors and the FBI regarding the ongoing investigations, despite his initial promise in the Newsnight interview when he said he was willing to help the authorities.
Buckingham Palace did not comment on the issue, though sources close to Andrew said that he "hasn't been approached" by US authorities and investigators, and his legal team announced that he had offered to be a witness "on at least three occasions" but had been refused by the Department of Justice.
The US authorities denied being approached by Andrew for an interview, and labeled his statements as:
"A way to falsely portray himself to
the public as eager and willing to
cooperate".
Spencer Kuvin, who represented nine of Epstein's victims, said Andrew could be arrested if he ever returns to the United States, saying:
"It is highly unlikely an extradition
would ever occur, so the Prince
would have to be here in the US
and be arrested while he's here."
In March 2020, Andrew hired crisis-management expert Mark Gallagher, who had helped high-profile clients falsely accused in Operation Midland.
In April 2020, it was reported that the Duke of York Young Champions Trophy would not be played any more, after all activities carried out by the Prince Andrew Charitable Trust were stopped.
In May 2020, it was reported that the Prince Andrew Charitable Trust was under investigation by the Charity Commission regarding some regulatory issues about £350,000 of payments to his former private secretary Amanda Thirsk.
According to The Times, senior personnel in the navy and army considered Andrew to be an embarrassment for the military, and believed he should be stripped of his military roles.
In May 2020 it was announced that Andrew would permanently resign from all public roles over his Epstein ties.
In June 2020, it became known that Andrew is a person of interest in a criminal investigation in the United States, and that the United States had filed a mutual legal assistance request to British authorities in order to question Andrew.
Newsweek reported that a majority of British citizens believe Andrew should be stripped of his titles and extradited to the United States. Following the arrest of Ghislaine Maxwell in July 2020, Andrew cancelled a planned trip to Spain, reportedly due to fears that he might be arrested and extradited to the United States.
In August 2020, anti-child trafficking protesters chanting "Paedophile! Paedophile!" referencing Andrew gathered outside Buckingham Palace, and videos of the protest went viral.
In August 2021, royal biographer Penny Junor maintained Prince Andrew's reputation with the public was damaged beyond repair.
It was reported in August 2021 that American authorities were pessimistic about being able to interview Andrew.
In January 2022, Andrew's social media accounts were deleted, his page on the royal family's website was rewritten in the past tense, and his military affiliations and patronages were removed to put an emphasis on his departure from public life.
Andrew also stopped using the style His Royal Highness (HRH) though it was not formally removed. In the same month, York Racecourse announced that it would rename the Duke of York Stakes.
Prince Andrew High School in Nova Scotia, which had announced two years earlier that it was considering a name change because the name "no longer reflects the values of the community", stated that it would have a new name at the next academic year.
In February 2022, Belfast City Council and the Northern Ireland Assembly decided not to fly a union flag for Andrew's birthday. In the same month, the Mid and East Antrim Borough Council announced that they would hold a debate in June 2022 regarding a motion to rename Prince Andrew Way in Carrickfergus.
On the 27th. April 2022 York City Council unanimously voted to remove Andrew's Freedom of the City. Rachael Maskell, York Central MP, said Andrew was the "first to ever have their freedom removed".
There have also been calls to remove the Duke of York title.
In March 2022, Andrew made his first official appearance in months, helping the Queen to walk into Westminster Abbey for a memorial service for his father, the Duke of Edinburgh. There was a mixed reaction by commentators to his presence, with some saying that:
"It would send the wrong message to
victims of sexual abuse about how
powerful men are able to absolve
themselves from their conduct."
Others argued that his appearance was required "as a son, in memory of his father".
In June 2022, The Telegraph reported that Andrew had asked the Queen to be reinstated as Colonel of the Grenadier Guards, to use his HRH (His Royal Highness) title and to be allowed to appear at official events due to his position as a 'prince of the blood'.
In the same month, he took part in private aspects of the Garter Day ceremony, including lunch and investiture of new members, but was excluded from the public procession following an intervention by his brother Charles and his nephew William that banned him from appearing anywhere the public could see him.
Andrew's name featured on one of the lists, showing that this was a last-minute decision.
In June 2022 Rachael Maskell MP introduced a 'Removal of Titles' bill in the House of Commons. If passed, this bill would enable Andrew to be stripped of his Duke of York title and other titles. Maskell maintains that 80% of York citizens want Andrew to lose all connection with their city.
The proposed bill would also enable other people considered unworthy to lose their titles. The bill is due to get its second reading on the 9th. December 2022.
In August 2022, it was reported that the Executive Committee for the Protection of Royalty and Public Figures had assessed the security threat against Andrew and concluded that he should keep his taxpayer-funded police bodyguards, at an annual cost estimated to be between £500,000 and £3 million.
In early 2021 there were at least two trespassing incidents reported at his Windsor property, and in December he was verbally abused by a woman as he was driving his car.
Following the death of the Queen on the 8th. September 2022, Andrew appeared in civilian clothing at various ceremonial events. As he walked behind his mother's coffin in a funeral procession in Edinburgh on the 12th. September, a 22-year-old man shouted "Andrew, you're a sick old man".
The heckler was arrested and charged with committing a breach of the peace.
Andrew wore military uniform for a 15-minute vigil by the Queen's coffin at Westminster Hall on the 16th. September. Lawyer Spencer Kuvin, who represented nine of Epstein's victims, was critical of Andrew's public role in the lead-up to the funeral, and stated that:
"He is attempting now to
see if he can rehabilitate
his image in the public."
New York lawyer Mariann Wang, who represented up to 12 Epstein's victims described Andrew's public profile as "quite outrageous. She went on to say:
"It is harmful for any survivor of
trauma to see an abuser or their
enablers continue to reap the
benefits of privilege, status and
power."
Controversies and Other Incidents
Prince Andrew as Special Representative for International Trade and Investment
From 2001 until July 2011, Andrew worked with UK Trade & Investment, part of the Department for Business, Innovation and Skills, as the United Kingdom's Special Representative for International Trade and Investment.
The post, previously held by Prince Edward, Duke of Kent, involved representing and promoting the UK at various trade fairs and conferences around the world.
Andrew's suitability for the role was challenged in the House of Commons by Shadow Justice Minister Chris Bryant in February 2011, at the time of the 2011 Libyan civil war, on the grounds that he was:
"Not only a very close friend of
Saif al-Islam Gaddafi, but also a
close friend of the convicted
Libyan gun smuggler Tarek
Kaituni".
Further problems arose as he hosted a lunch for Sakher El Materi, a member of the corrupt Tunisian regime, at the Palace around the time of the Tunisian Revolution.
Andrew also formed a friendship with Ilham Aliyev, the president of Azerbaijan who has been criticised for corruption and for abuses of human rights by Amnesty International, and visited him both during and after his tenure as the UK trade envoy.
As of November 2014, Andrew had met Aliyev on 12 separate occasions.
Andrew did not receive a salary from the UK Trade & Investment for his role as Special Representative, but he went on expenses-paid delegations, and was alleged to have occasionally used trips paid for by the government for his personal leisure, which earned him the nickname "Airmiles Andy" by the press.
On the 8th. March 2011, The Daily Telegraph reported:
"In 2010, the Prince spent £620,000
as a trade envoy, including £154,000
on hotels, food and hospitality and
£465,000 on travel."
The controversies, together with his ties to Jeffrey Epstein, made him step down from the role in 2011.
In November 2020, and following reviews of emails, internal documents, and unreported regulatory filings, as well as interviews with 10 former bank insiders, Bloomberg Businessweek reported on Andrew using his royal cachet and role as Special Representative for International Trade and Investment for helping David Rowland and his private bank, Banque Havilland, with securing deals with clients around the world.
The Rowland family are among the investment advisers to Andrew, and he was present for the official opening ceremony of their bank in July 2009.
Alleged Comments on Corruption and Kazakhstan
As the United Kingdom's Special Trade Representative, Andrew travelled the world to promote British businesses.
It was revealed in the United States diplomatic cables leak that Andrew had been reported on by Tatiana Gfoeller, the United States Ambassador to Kyrgyzstan, discussing bribery in Kyrgyzstan and the investigation into the Al-Yamamah arms deal.
She explained:
"The Duke was referencing an investigation,
subsequently closed, into alleged kickbacks
a senior Saudi royal had received in exchange
for the multi-year, lucrative BAE Systems
contract to provide equipment and training to
Saudi security forces."
The dispatch continued:
"His mother's subjects seated around the
table roared their approval. He then went
on to 'these (expletive) journalists, especially
from the National Guardian [sic], who poke
their noses everywhere' and (presumably)
make it harder for British businessmen to
do business. The crowd practically clapped!"
In May 2008, he attended a goose-hunt in Kazakhstan with President Nursultan Nazarbayev.
In 2010, it was revealed that the President's billionaire son-in-law Timur Kulibayev paid Andrew's representatives £15 million – £3 million over the asking price – via offshore companies, for Andrew's Surrey mansion, Sunninghill Park.
Kulibayev frequently appears in US dispatches as one of the men who have accumulated millions in gas-rich Kazakhstan. It was later revealed that Andrew's office tried to get a crown estate property close to Kensington Palace for Kulibayev at that time.
In May 2012, it was reported that Swiss and Italian police investigating "a network of personal and business relationships" allegedly used for "international corruption" were looking at the activities of Enviro Pacific Investments which charges "multi-million pound fees" to energy companies wishing to deal with Kazakhstan.
The trust is believed to have paid £6 million towards the purchase of Sunninghill which now appears derelict. In response, a Palace spokesman said:
"This was a private sale between
two trusts. There was never any
impropriety on the part of The Duke
of York".
Libby Purves wrote in The Times in January 2015:
"Prince Andrew dazzles easily when
confronted with immense wealth and
apparent power.
He has fallen for 'friendships' with bad,
corrupt and clever men, not only in the
US but in Libya, Kazakhstan, Uzbekistan,
Tunisia, wherever."
In May 2016, a fresh controversy broke out when the Daily Mail alleged that Andrew had brokered a deal to assist a Greek and Swiss consortium in securing a £385 million contract to build water and sewerage networks in two of Kazakhstan's largest cities, while working as British trade envoy, and had stood to gain a £4 million payment in commission.
The newspaper published an email from Andrew to Kazakh oligarch Kenges Rakishev, (who had allegedly brokered the sale of the Prince's Berkshire mansion Sunninghill Park), and said that Rakishev had arranged meetings for the consortium.
After initially saying the email was a forgery, Buckingham Palace sought to block its publication as a privacy breach. The Palace denied the allegation that Andrew had acted as a "fixer," calling the article "untrue, defamatory and a breach of the editor's code of conduct".
A former Foreign Office minister, MP Chris Bryant stated:
"When I was at the Foreign Office, it was
very difficult to see in whose interests he
[Andrew] was acting. He doesn't exactly
add lustre to the Royal diadem".
Arms Sales
In March 2011, Kaye Stearman of the Campaign Against the Arms Trade told Channel 4 News that CAAT sees Prince Andrew as part of a bigger problem:
"He is the front man for UKTI. Our concerns
are not just Prince Andrew, it's the whole
UKTI set up.
They see arms as just another commodity,
but it has completely disproportionate
resources. At the London office of UKTI the
arms sector has more staff than all the
others put together.
We are concerned that Prince Andrew is
used to sell arms, and where you sell arms
it is likely to be to despotic regimes.
He is the cheerleader in chief for the arms
industry, shaking hands and paving the way
for the salesmen."
In January 2014, Prince Andrew took part in a delegation to Bahrain, a close ally of the United Kingdom. Spokesman for CAAT, Andrew Smith said:
"We are calling on Prince Andrew and the
UK government to stop selling arms to Bahrain.
By endorsing the Bahraini dictatorship, Prince
Andrew is giving his implicit support to their
oppressive practices.
When our government sells arms, it is giving
moral and practical support to an illegitimate
and authoritarian regime and directly supporting
their systematic crackdown on opposition groups.
We shouldn't allow our international image to be
used as a PR tool for the violent and oppressive
dictatorship in Bahrain."
Andrew Smith has also said:
"The prince has consistently used his position
to promote arms sales and boost some of the
most unpleasant governments in the world, his
arms sales haven't just given military support to
corrupt and repressive regimes. They've lent
those regimes political and international
legitimacy."
Reactions to Prince Andrew's Election to the Royal Society
Andrew's election to the Royal Society prompted "Britain's leading scientists" to "revolt" due to Andrew's lack of scientific background, with some noting he had only a secondary school level of education.
In an op-ed in The Sunday Times, pharmacologist, Humboldt Prize recipient, and Fellow of the Royal Society, David Colquhoun opined, in references to Andrew's qualifications, that:
"If I wanted a tip for the winner of
the 14.30 at Newmarket, I'd ask a
royal. For most other questions,
I wouldn't."
Allegations of Racist Language
Rohan Silva, a former Downing Street aide, claimed that, when they met in 2012, Andrew had commented:
"Well, if you'll pardon the
expression, that really is
the n*gger in the woodpile."
Former home secretary Jacqui Smith also claims that Andrew made a racist comment about Arabs during a state dinner for the Saudi royal family in 2007.
Buckingham Palace denied that Andrew had used racist language on either occasion.
Allegations of Ramming Gates in Windsor Great Park
In March 2016, Republic CEO Graham Smith filed a formal report to the police, requesting an investigation into allegations that Andrew had damaged sensor-operated gates in Windsor Great Park by forcing them open in his Range Rover to avoid going an extra mile on his way home.
The Thames Valley Police dismissed the reports due to lack of details.
Treatment of Reporters, Servants and Others
During his four-day Southern California tour in 1984, Andrew squirted paint onto American and British journalists and photographers who were reporting on the tour, after which he told Los Angeles county supervisor Kenneth Hahn, "I enjoyed that".
The incident damaged the clothes and equipment of reporters and the Los Angeles Herald Examiner submitted a $1,200 bill to the British consulate asking for financial compensation.
The Guardian wrote in 2022:
"His brusque manner with servants
is well-documented. A senior footman
once told a reporter who worked
undercover at Buckingham Palace that
on waking the prince, 'the response can
easily be "f*** off" as good morning'."
Former royal protection officer Paul Page said, in an ITV documentary, that:
"Andrew maintained a collection of
50 or 60 stuffed toys, and if they
weren't put back in the right order
by the maids, he would shout and
scream and become verbally abusive."
Page later stated in the documentary 'Prince Andrew: Banished' that different women would visit Andrew every day, and when one was denied entry into his residence by the security, Andrew allegedly called one of the officers a "fat, lardy-ass c**t" over the phone.
The Duke's former maid, Charlotte Briggs, also recalled setting up the teddy bears on his bed, and told The Sun that when she was bitten by his Norfolk Terrier in 1996, he only laughed and "wasn't bothered".
She said that she was reduced to tears by Andrew for not properly closing the heavy curtains in his office, and added that his behaviour was in contrast to that of his brothers Charles and Edward who "weren't anything like him" and his father Philip whom she described as "so nice and gentlemanly".
Massage therapist Emma Gruenbaum said Andrew regularly overstepped the mark, making creepy sexual comments when she came to give him a massage. Gruenbaum maintained Andrew talked continually about sex during the first massage, and wanted to know when she last had sex. Gruenbaum said Andrew arranged regular massages for roughly two months, and she believed requests for massages stopped when he realised he would not get more.
Finance and Debt Problems
It is unclear how Andrew finances his luxury lifestyle; in 2021 The Guardian wrote:
"With little in the way of visible support,
questions over how Andrew has been
able to fund his lifestyle have rarely been
answered.
In the past he has appeared to live the
jetset life of a multimillionaire, with
holidays aboard luxury yachts, regular
golfing sojourns. and ski trips to
exclusive resorts."
The Duke of York received a £249,000 annuity from the Queen.
In the twelve-month period up to April 2004, he spent £325,000 on flights, and his trade missions as special representative for UKTI cost £75,000 in 2003.
The Sunday Times reported in July 2008 that for "the Duke of York's public role,... he last year received £436,000 to cover his expenses".
He has a Royal Navy pension of £20,000.
The Duke is also a keen skier, and in 2014 bought a skiing chalet in Verbier, Switzerland, for £13 million jointly with his ex-wife, Sarah Ferguson.
In May 2020, it was reported that they were in a legal dispute over the mortgage. To purchase the chalet, they secured a loan of £13.25 million, and were expected to pay £5 million in cash instalments which, after applying interests, amounted to £6.8 million.
Despite claims that the Queen would help pay the debt, a spokesperson for Andrew confirmed that she "will not be stepping in to settle the debt".
The Times reported in September 2021 that Andrew and Sarah had reached a legal agreement with the property's previous owner and would sell the house.
The owner agreed to receive £3.4 million, half of the amount that she was owed, as she had been under the impression that Andrew and Sarah were dealing with financial troubles. The money from selling the property is reportedly to be used to pay Andrew's legal expenses over the civil lawsuit as well.
In June 2022 it was reported in Le Temps, a Swiss newspaper, that the sale of the chalet has been frozen because of a £1.6 million debt that Andrew owes to unnamed people.
Law professor Nicolas Jeandin told Le Temps:
"A sale is in principle impossible,
except with the agreement of
the creditor."
In 2021 Bloomberg News reported that a firm connected to David Rowland had been paying off Andrew's debts. In November 2017, Andrew borrowed £250,000 from Banque Havilland, adding to an existing £1.25 million loan that had been "extended or increased 10 times" since 2015.
Documents showed that while the "credibility of the applicant" had been questioned, he was given the loan in an attempt to "further business potential with the Royal Family".
11 days later and in December 2017, £1.5 million was transferred from an account at Albany Reserves, which was controlled by the Rowland family, to Andrew's account at Banque Havilland, paying off the loan that was due in March 2018.
Liberal Democrat politician and staunch republican Norman Baker stated:
"This demonstrates yet again that
significant questions need to be
asked about Prince Andrew's
business dealings and his
association with some dubious
characters."
Several months after Andrew's controversial 2019 Newsnight interview, his private office established the Urramoor Trust, which owned both Lincelles Unlimited (established 2020) and Urramoor Ltd. (established 2013), and according to The Times was set up to support his family.
Lincelles was voluntarily wound up in 2022. Andrew was described as a "settlor but not a beneficiary", and did not own either of the companies, though Companies House listed him and his private banker of 20 years Harry Keogh as people with "significant control".
In March 2022 it was reported that on the 15th. November 2019 the wife of the jailed former Turkish politician İlhan İşbilen transferred £750,000 to Andrew in the belief that it would help her secure a passport.
The Duke repaid the money 16 months later after being contacted by Mrs İşbilen's lawyers. The Telegraph reported that the money sent to Andrew's account had been described to the bankers "as a wedding gift" for his eldest daughter, Beatrice, though the court documents did not include any suggestions that the princess was aware of the transactions.
Mrs İşbilen alleges that a further £350,000 payment was made to Andrew through businessman Selman Turk, who Mrs İşbilen is suing for fraud. Turk had been awarded the People's Choice Award for his business Heyman AI at a Pitch@Palace event held at St. James's Palace days before the £750,000 payment was made by Mrs İşbilen.
Even though he won the award through a public vote online and an audience vote on the night of the ceremony, there were concerns raised with a senior member of the royal household that Turk was "gaming the system" and should not have won as "he may have used bots – autonomous internet programs – to boost his vote".
Libyan-born convicted gun smuggler, Tarek Kaituni introduced Andrew to Selman Turk in May or June 2019 and held later meetings on at least two occasions. Kaituni, for whom Andrew allegedly lobbied a British company, had reportedly gifted Princess Beatrice with an £18,000 gold and diamond necklace for her 21st. birthday in 2009, and was invited to Princess Eugenie's wedding in 2018.
Titles, Styles, Honours and Arms
19th. February 1960 – 23rd. July 1986: His Royal Highness The Prince Andrew
23rd. July 1986 – present: His Royal Highness The Duke of York
As of September 2022, Andrew is eighth in the line of succession to the British throne. On rare occasions, he is known by his secondary titles of Earl of Inverness and Baron Killyleagh, in Scotland and Northern Ireland respectively.
In 2019, Inverness residents started a campaign to strip him of that title, stating that "it is inappropriate that Prince Andrew is associated with our beautiful city", in light of his friendship with the convicted sex offender Jeffrey Epstein.
Similar pleas have been made by people affiliated with the village of Killyleagh and the city of York regarding his titles of Baron Killyleagh and Duke of York, with Labour Co-op MP for York Central, Rachael Maskell, stating that she would look for ways to make Andrew give up his ducal title if he did not voluntarily relinquish it.
In January 2022, it was reported that, while Andrew retains the style of His Royal Highness, he would no longer use it in a public capacity.
In April 2022, several York councillors called for Andrew to lose the title Duke of York. Also in 2022, there was a renewed petition to strip him of the Earl of Inverness title.
-- Relinquishing of Titles
On the 17th. October 2025, following discussions with King Charles, Andrew agreed to cease using his titles of the Duke of York, Earl of Inverness and Baron Killyleagh, and his honours, including his knighthoods as a Royal Knight Companion of the Order of the Garter and a Knight Grand Cross of the Royal Victorian Order.
Andrew publicly stated:
"We have concluded the continued accusations
about me distract from the work of His Majesty
and the Royal Family."
Andrew was to remain a prince following the interactions with his older brother, but will cease to be the Duke of York, a title received from his mother, the late Queen Elizabeth.
Prince Andrew has been under increasing pressure over his links with late sex offender Jeffrey Epstein, and has faced a series of scandals - in the statement he reiterates:
"I vigorously deny the accusations
against me."
Andrew's former wife will be known as Sarah Ferguson and no longer Duchess of York, but their daughters will continue to have the title of Princess.
Sean Coughlan of the BBC commented in relation to the latest development:
"Andrew might be seen as having to jump before he
was pushed, as the Palace had seemed increasingly
exasperated at the scandals that kept swirling around
him."
On the 30th. October 2025, Buckingham Palace announced that Charles III had started the "formal process" to remove his brother's style, titles, and honours. Andrew's name was removed from the Roll of the Peerage the same day.
Although this did not revoke Andrew's peerages, it meant that he was no longer entitled to any place in the orders of precedence derived from them, and would cease to be addressed or referred to by any title derived from his peerages in official documents. Letters patent were issued on the 3rd. November officially removing Andrew of the style "Royal Highness" and title "Prince".
Andrew will henceforth be known as Andrew Albert Christian Edward Mountbatten Windsor.
Canon 5D Mark II with a Canon EF 70-300 f4-5.6 IS USM lens.
I may not have time to answer or acknowledge your visit here or any comments you leave right away but, I will thank you now in advance.
Water skiing was invented in 1922 when Ralph Samuelson used a pair of boards as skis and a clothesline as a tow rope on Lake Pepin in Lake City, Minnesota. The sport remained a little-known activity for several years. Then, Samuelson performed shows from Michigan to Florida. In 1966, the American Water Ski Association formally acknowledged Samuelson as the first water skiier on record. Samuelson was also the first ski racer, first to go over a jump ramp, first to slalom ski, and the first to put on a water ski show.[1] He experimented with different positions on the skis for several days until July 2, 1922. Finally, Ralph discovered that leaning backwards in the water with ski tips up and poking out of the water at the tip was optimal. His brother Ben towed him and they reached a speed of 20 miles per hour. Samuelson also achieved the first ski jump on July 8, 1925 using a greased 4 feet (1.2 m) by 16 feet (4.9 m) ramp, making him the first water ski jumper.
"Let us have the candor to acknowledge that what we call "the economy" or "the free market" is less and less distinguishable from warfare."
— Wendell Berry
Getting down and dirty at a real market... the Souks of Marrakeshツ ツ ツ
* Nikon 1 V1 and 1 Nikkor VR 10-30mm f/3.5-5.6 Lens
My work is for sale via Getty Images and at Redbubble and 500px
----------------------------------------------------------------------------------------------------------------------------
© All rights reserved. Use without permission is illegal
©Todos los derechos reservados. El uso sin permiso es ilegal - ©Alle Rechte vorbehalten. Die Verwendung ohne Genehmigung ist illegal - جميع الحقوق محفوظة. استخدم من دون إذن هو غير قانوني© - ©保留所有权利。未经批准的使用是非法的 - ©Tous droits réservés. L'utilisation sans permission est illégal - © Όλα τα δικαιώματα διατηρούνται. Χρησιμοποιήστε χωρίς άδεια είναι παράνομη - ©Tutti i diritti riservati. Usare senza autorizzazione è illegale - ©すべての権利を保有。許可なしに使用することは違法です - ©Todos os direitos reservados. Use sem autorização é ilegal - ©Toate drepturile rezervate. Folosirea fără permisiunea este ilegală - ©Все права защищены. Использование без разрешения является незаконным - ©Tüm hakları saklıdır. İzinsiz kullanın yasadışı
©2013- Tom Raven - Toute reproduction, même partielle INTERDITE
The church, acknowledged as being one of the most interesting medieval churches in the Diocese of Durham, has been on my list to visit for some time.
Situated at the end of a road, just outside the village of Pittington in the hamlet of Hallgarth, it doesn't get the number of visitors it deserves.
This gorgeous historic church’s origins date back to around AD1100, although there is evidence of an even earlier, pre-Norman building.
In early February, it was feeling like Spring in the lovely sunshine.
c1975 Taken with a Mamiya C220 Professional & 80mm f2.8 Mamiya-Sekor on Ektachrome 64 slide.
Shenandoah National Park
Shenandoah National Park /'??n?n?do??/ (often /'?æn?n?do??/) is an American national park that encompasses part of the Blue Ridge Mountains in the Commonwealth of Virginia. The park is long and narrow, with the Shenandoah River and its broad valley to the west, and the rolling hills of the Virginia Piedmont to the east. Skyline Drive is the main park road, generally traversing along the ridgeline of the mountains. Almost 40% of the park's land—79,579 acres (124.3 sq mi; 322.0 km2)—has been designated as wilderness areas and is protected as part of the National Wilderness Preservation System. The highest peak is Hawksbill Mountain at 4,051 feet (1,235 m).
Creation of the park
Legislation to create a national park in the Appalachian mountains was first introduced by freshman Virginia congressman Henry D. Flood in 1901, but despite the support of President Theodore Roosevelt, failed to pass. The first national park was Yellowstone, in Wyoming, Montana, and Idaho. It was signed into law in 1872. Yosemite National Park was created in 1890. When Congress created the National Park Service (NPS) in 1916, additional parks had maintained the western pattern (Crater Lake in 1902, Wind Cave in 1903, Mesa Verde in 1906, then Denali in 1917). Grand Canyon, Zion and Acadia were all created in 1919 during the administration of Virginia-born president Woodrow Wilson. Acadia finally broke the western mold, becoming the first eastern national park. It was also based on donations from wealthy private landowners. Stephen Mather, the first NPS director, saw a need for a national park in the southern states, and solicited proposals in his 1923 year-end report. In May 1925, Congress and President Calvin Coolidge authorized the NPS to acquire a minimum of 250,000 acres (390.6 sq mi; 1,011.7 km2) and a maximum of 521,000 acres (814.1 sq mi; 2,108.4 km2) to form Shenandoah National Park, and also authorized creation of Great Smoky Mountains National Park. However, the legislation also required that no federal funds would be used to acquire the land. Thus, Virginia needed to raise private funds, and could also authorize state funds and use its eminent domain (condemnation) power to acquire the land to create Shenandoah National Park.
Virginia's Democratic gubernatorial candidate (and the late Congressman Flood's nephew), Harry F. Byrd supported the creation of Shenandoah National Park, as did his friend William E. Carson, a businessman who had become Virginia's first chairman of the Commission on Conservation and Development.[11][12] Development of the western national parks had assisted tourism, which produced jobs, which Byrd and local politicians supported. The land that became Shenandoah park was scenic, mountainous, and had also lost about half of its trees to the Chestnut blight (which was incurable and affected trees as they reached maturity). However, it had been held as private property for over a century, so many farms and orchards existed. After Byrd became governor and convinced the legislature to appropriate $1 million for land acquisition and other work, Carson and his teams (including surveyors and his brother Kit who was Byrd's law partner) tried to figure out who owned the land. They found that it consisted of more than 5,000 parcels, some of them inhabited by tenant farmers or squatters (who were ineligible to receive compensation). Some landowners, including wealthy resort owner George Freeman Pollock and Luray Realtor and developer L. Ferdinand Zerkel, had long wanted the park created and had formed the Northern Virginia Park Association to win over the national park selection committee.[13][14] However, many local families who had lived in the area for generations (especially people over 60 years old) did not want to sell their land, and some refused to sell at any price. Carson promised that if they sold to the commonwealth, they could still live on their homesteads for the rest of their lives. Carson also lobbied the new president, Herbert Hoover, who bought land to establish a vacation fishing camp near the headwaters of the Rapidan River (and would ultimately donate it to the park as he left office; it remains as Rapidan Camp).
A small family cemetery along Skyline Drive
The commonwealth of Virginia slowly acquired the land through eminent domain, and then gave it to the U.S. federal government to establish the national park. Carson's brother suggested that Virginia's legislature authorize condemnation by counties (followed by arbitration for individual parcels) rather than condemn each parcel. Some families accepted the payments because they needed the money and wanted to escape the subsistence lifestyle. Nearly 90 percent of the inhabitants worked the land for a living: selling timber, charcoal, or crops. They had previously been able to earn money to buy supplies by harvesting the now-rare chestnuts, by working during the apple and peach harvest season (but the drought of 1930 devastated those crops and killed many fruit trees), by selling handmade textiles and crafts (displaced by factories) and moonshine (illegal after Prohibition started).
However, Carson and the politicians did not seek citizen input early in the process, nor convince residents that they could live better in a tourist economy. Instead, they started with an advertising campaign to raise the funds, and courthouse property evaluations and surveys. Upon Mather's death in 1929, the new NPS director, Horace M. Albright also decided that the federal agency would only accept vacant land, so even elderly residents would be forced to leave. Thus, many families and entire communities were forced to vacate portions of the Blue Ridge Mountains in eight Virginia counties. Although the Skyline Drive right-of-way was purchased from owners without condemnation, the costs of the acreage purchased trebled over initial estimates and the acreage decreased to what Carson called a "fish-bone" shape and others a "shoestring".[15] Although Byrd and Carson convinced Congress to reduce the minimum size of Shenandoah Park to just over 160,000 acres (250.0 sq mi; 647.5 km2) to eliminate some high-priced lands, in 1933 newly elected President Franklin D. Roosevelt decided to also create the Blue Ridge Parkway to connect to then-under-construction Skyline Drive on the Shenandoah National Park ridgeline, which required additional condemnations.
When many families continued to refuse to sell their land in 1932 and 1933, proponents changed tactics. Freeman hired social worker Miriam Sizer to teach at a summer school he had set up near one of his workers' communities and asked her to write a report about the conditions in which they lived. Although later discredited, the report depicted the local population as very poor and inbred and was soon used to support forcible evictions and burning of former cabins so residents would not sneak back. University of Chicago sociologists Fay-Cooper Cole and Mandel Sherman described how the small valley communities or hollows had existed "without contact with law or government" for centuries, which some analogized to a popular comic strip Li'l Abner and his fictional community, Dogpatch. In 1933, Sherman and journalist Thomas Henry published Hollow Folk[16] drawing pitying eyes to local conditions and "hillbillies."[17][18][19] As in many rural areas of the time, most remote homesteads in the Shenandoah lacked electricity and often running water, as well as access to schools and health facilities during many months. However, Hoover had hired experienced rural teacher Christine Vest to teach near his summer home (and who believed the other reports exaggerated, as did Episcopal missionary teachers in other Blue Ridge areas).[20]
View from the summit of Hawksbill Mountain
Carson had had ambitions to become governor in 1929 and 1933, but Byrd instead selected George C. Peery of Virginia's southwestern region to succeed easterner Pollard.[21] After winning the election, Peery and Carson's successor would establish Virginia's state park system, although plans to relocate reluctant residents kept changing and basically failed. Carson had hoped to head that new state agency, but was not selected because of his growing differences with Byrd, over fees owed his brother and especially over the evictions that began in late 1933 against his advice but pursuant to new federal policies and that garnered much negative publicity.
Most of the reluctant families came from the park's central counties (Madison, Page, and Rappahannock), not the northern counties nearest Byrd's and Carson's bases, or from the southern end where residents could see tourism's benefits at Thomas Jefferson's Monticello since the 1920s, as well as the jobs available in the Shenandoah and new Blue Ridge projects. In 1931 and 1932, residents were allowed to petition the state agency to stay another year to gather crops, etc. However, some refused to cooperate to any extent, others wanted to continue to use resources now protected (including timber or homes and gardens vacated by others), and many found the permit process arbitrary. Businessman Robert H. Via filed suit against the condemnations in 1934 but did not prevail (and ended up moving to Pennsylvania and never cashed his condemnation check).
Carson announced his resignation from his unpaid job effective in December 1934. As one of his final acts, Carson wrote the new NPS director, Arno B. Cammerer, urging that 60 people over 60 years of age whose plots were not visible from the new Skyline Drive not be evicted. When evictions kept creating negative publicity in 1935, photographer Arthur Rothstein coordinated with the Hollow Folk authors and then went to document the conditions they claimed.[17]
View from Skyline Drive
The creation of the park had immediate benefits to some Virginians. During the Great Depression, many young men received training and jobs through the Civilian Conservation Corps (CCC). The first CCC camp in Virginia was established in the George Washington National Forest near Luray, and Governor Pollard quickly filled his initial quota of 5,000 workers. About 1,000 men and boys worked on Skyline Drive, and about 100,000 worked in Virginia during the agency's existence.[22][23] In Shenandoah Park, CCC crews removed many of the dead chestnut trees whose skeletons marred views in the new park, as well as constructed trails and facilities. Tourism revenues also skyrocketed. On the other hand, CCC crews were assigned to burn and destroy some cabins in the park, to prevent residents from coming back. Also, U.S. Secretary of the Interior Harold Ickes who had jurisdiction over the NPS and partial jurisdiction over the CCC, tried to use his authority to force Byrd to cooperate on other New Deal projects.
Shenandoah National Park was finally established on December 26, 1935, and soon construction began on the Blue Ridge Parkway that Byrd wanted.[24] President Franklin Delano Roosevelt formally opened Shenandoah National Park on July 3, 1936. Eventually, about 40 people (on the "Ickes list") were allowed to live out their lives on land that became the park. One of them was George Freeman Pollock, whose residence Killahevlin was later listed on the National Register, and whose Skyland Resort reopened under a concessionaire in 1937. Carson also donated significant land; a mountain in the park is now named in his honor and signs acknowledge his contributions. The last grandmother resident was Annie Lee Bradley Shenk. NPS employees had watched and cared for her since 1950; she died in 1979 at age 92. Most others left quietly. 85-year-old Hezekiah Lam explained, "I ain't so crazy about leavin' these hills but I never believed in bein' ag'in (against) the Government. I signed everythin' they asked me."[25]
“In all thy ways acknowledge
him, and he shall direct thy
paths.”
"God will make a way
Where there seems to be no way
He works in ways we cannot see
He will make a way for me
He will be my guide
Hold me closely to his side
With love & strength for each
new day." - God Will Make A Way
by Don Moen
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
---
invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
-----
other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Acknowledging the problems around Covid and the DVLA on strike, Kinchbus have taken the decision to reduce their 2, 5 and 9 services to hourly during Monday to Saturday daytimes, the 2 and 9 using four buses and the 5 using one.
As the 2 and 9 are temporarily interworking, it has allowed for the unusual sight of Wellglade Citaros back in Nottingham, a place they're well versed with what with being new to Calverton Connection (now The Calverton) back in 2009.
903 exits Nottingham into Meadows Way with a 9 to Loughborough via West Bridgford Asda, Bunny and Remsptone.
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".
Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and travelled in search of a better position.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologised.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Edward Hopper (1882-1967) is widely acknowledged as the most important realist painter of twentieth-century America. Among one of his last (1963) and largest paintings, 'Intermission' captures one of his most potent themes....a solitary figure in a public space, framed in an almost cinematic composition. While the artist's wife, Jo, was the model for nearly all of his female subjects, Hopper identified the woman seated here as an imagined persona named Nora. In the record book of her husband's paintings, Jo described this quiet, empty scene as a psychological portrait.
Edward Hopper was a lifelong devotee of cinema and theatre. It was a theme to which he returned to frequently. Typically for him as a master of solitude, instead of capturing the action on the stage or bustle of a crowd, he chose to focus on quiet moments before or, in this case, during a break in the performance.
This Hopper original was seen and photographed at San Francisco's Museum of Modern Art (SFMOMA).
Firstly I would like to acknowledge the distress caused by the deatha nad destruction caused to the many millions of people under the Nazi fascist regime in Germany prior to, and during WW II. In particular the ongoing pain caused by symbols used by the regime, including the 'Swastika', or four-legged cross. The depiction of the Swastika on the sail planes of the Zeppelin model is as a depiction of an historical artifact, in the context of it's place in history. No offense is intended in its use.
Please note the text regarding the placement of the Swastika on the Zeppelin airships during the 1930s, below.
A Zeppelin is a type of rigid airship named after the German Count Ferdinand von Zeppelin who pioneered rigid airship development at the beginning of the 20th century. Zeppelin's ideas were first formulated in 1874 and developed in detail in 1893. They were patented in Germany in 1895 and in the United States in 1899. After the outstanding success of the Zeppelin design, the word zeppelin came to be commonly used to refer to all rigid airships. Zeppelins were first flown commercially in 1910 by Deutsche Luftschiffahrts-AG (DELAG), the world's first airline in revenue service. By mid-1914, DELAG had carried over 10,000 fare-paying passengers on over 1,500 flights. During World War I the German military made extensive use of Zeppelins as bombers and scouts, killing over 500 people in bombing raids in Britain.
The defeat of Germany in 1918 temporarily halted the airship business. Although DELAG established a scheduled daily service between Berlin, Munich, and Friedrichshafen in 1919, the airships built for this service eventually had to be surrendered under the terms of the Treaty of Versailles, which also prohibited Germany from building large airships. An exception was made allowing the construction of one airship for the US Navy, which saved the company from extinction. In 1926 the restrictions on airship construction were lifted and with the aid of donations from the public work was started on the construction of LZ 127 Graf Zeppelin. This revived the company' fortunes, and during the 1930s when the airships Graf Zeppelin and the larger LZ 129 Hindenburg operated regular transatlantic flights from Germany to North America and Brazil. The Art Deco spire of the Empire State Building was originally, if impractically, designed to serve as a mooring mast for Zeppelins and other airships. The Hindenburg disaster in 1937, along with political and economic issues, hastened the demise of the Zeppelins.
The principal feature of Zeppelin's design was a fabric-covered rigid metal framework made up from transverse rings and longitudinal girders containing a number of individual gasbags. The advantage of this design was that the aircraft could be much larger than non-rigid airships, which relied on a slight overpressure within the single pressure envelope to maintain their shape. The framework of most Zeppelins was made of duralumin. Early Zeppelins used rubberised cotton for the gasbags, but most later craft used goldbeater's skin, made from the intestines of cattle.
The first Zeppelins had long cylindrical hulls with tapered ends and complex multi-plane fins. During World War I, following the lead of their rivals Schütte-Lanz Luftschiffbau, the design changed to the more familiar streamlined shape with cruciform tail surfaces, as used by almost all later airships.
With the delivery of LZ 126, the Zeppelin company had reasserted its lead in rigid airship construction, but it was not yet quite back in business. In 1926 restrictions on airship construction were relaxed by the Locarno treaties, but acquiring the necessary funds for the next project proved a problem in the difficult economic situation of post-World-War-I Germany, and it took Eckener two years of lobbying and publicity work to secure the realization of LZ 127.
Another two years passed before 18 September 1928, when the new dirigible, christened Graf Zeppelin in honour of the Count, flew for the first time. With a total length of 236.6 metres (776 ft) and a volume of 105,000 m3, it was the largest dirigible to have been built at the time. Eckener's initial purpose was to use Graf Zeppelin for experimental and demonstration purposes to prepare the way for regular airship traveling, carrying passengers and mail to cover the costs. In October 1928 its first long-range voyage brought it to Lakehurst, the voyage taking 112 hours and setting a new endurance record for airships. Eckener and his crew, which included his son Hans, were once more welcomed enthusiastically, with confetti parades in New York and another invitation to the White House. Graf Zeppelin toured Germany and visited Italy, Palestine, and Spain. A second trip to the United States was aborted in France due to engine failure in May 1929.
The Graf Zeppelin (I):
In August 1929 Graf Zeppelin departed for another daring enterprise: a circumnavigation of the globe. The growing popularity of the "giant of the air" made it easy for Eckener to find sponsors. One of these was the American press tycoon William Randolph Hearst, who requested that the tour officially start in Lakehurst. As with the October 1928 flight to New York, Hearst had placed a reporter, Grace Marguerite Hay Drummond-Hay, on board: she therefore became the first woman to circumnavigate the globe by air. From there, Graf Zeppelin flew to Friedrichshafen, then Tokyo, Los Angeles, and back to Lakehurst, in 21 days 5 hours and 31 minutes. Including the initial and final trips between Friedrichshafen and Lakehurst and back, the dirigible had traveled 49,618 kilometres (30,831 mi).
In the following year, Graf Zeppelin undertook trips around Europe, and following a successful tour to Recife, Brazil in May 1930, it was decided to open the first regular transatlantic airship line. This line operated between Frankfurt and Recife, and was later extended to Rio de Janeiro, with a stop in Recife. Despite the beginning of the Great Depression and growing competition from fixed-wing aircraft, LZ 127 transported an increasing volume of passengers and mail across the ocean every year until 1936. The ship made another spectacular voyage in July 1931 when it made a seven- day research trip to the Arctic. This had already been a dream of Count von Zeppelin twenty years earlier, which could not be realized at the time due to the outbreak of war.
Eckener intended to follow the successful airship by another larger Zeppelin, designated LZ 128. This was to be powered by eight engines 232 m (761 ft) with a capacity of 199,980 m3 (7,062,100 cu ft). However the loss of the British passenger airship R101 on 5 October 1930 led the Zeppelin company to reconsider the safety of hydrogen-filled vessels, and the design was abandoned in favour of a new project, LZ 129. This was intended to be filled with inert helium.
The coming to power of the Nazi Party in 1933 had important consequences for Zeppelin Luftschiffbau. Zeppelins became a propaganda tool for the new regime: they would now display the Nazi swastika on their fins and occasionally tour Germany to play march music and propaganda speeches to the people. In 1934 Joseph Goebbels, the Minister of Propaganda, contributed two million reichsmarks towards the construction of LZ 129 and in 1935 Hermann Goering established a new airline directed by Ernst Lehmann, the Deutsche Zeppelin Reederei, as a subsidiary of Lufthansa to take over Zeppelin operations. Hugo Eckener was an outspoken anti-Nazi: complaints about the use of Zeppelins for propaganda purposes in 1936 led Goebbels to declare "Dr. Eckener has placed himself outside the pale of society. Henceforth his name is not to be mentioned in the newspapers and his photograph is not to be published".
On 4 March 1936 LZ 129 Hindenburg (named after former President of Germany Paul von Hindenburg) made its first flight. The Hindenburg was the largest airship ever built. It had been designed to use non-inflammable helium, but the only supplies of the gas were controlled by the United States, who refused to allow its export. So, in what proved to be a fatal decision, the Hindenburg was filled with flammable hydrogen. Apart from the propaganda missions, LZ 129 was used on the transatlantic service alongside Graf Zeppelin.
The Hindenburg on fire in 1937
On 6 May 1937, while landing in Lakehurst after a transatlantic flight, the tail of the ship caught fire, and within seconds, the Hindenburg burst into flames, killing 35 of the 97 people on board and one member of the ground crew. The cause of the fire has not been definitively determined. The investigation into the accident concluded that static electricity had ignited hydrogen which had leaked from the gasbags, although there were allegations of sabotage. 13 passengers and 22 crew, including Ernst Lehmann, were killed.
Despite the apparent danger, there remained a list of 400 people who still wanted to fly as Zeppelin passengers and had paid for the trip. Their money was refunded in 1940.
Graf Zeppelin was retired one month after the Hindenburg wreck and turned into a museum. The intended new flagship Zeppelin was completed in 1938 and, inflated with hydrogen, made some test flights (the first on 14 September), but never carried passengers. Another project, LZ 131, designed to be even larger than Hindenburg and Graf Zeppelin II, never progressed beyond the production of a few ring frames.
Graf Zeppelin II was assigned to the Luftwaffe and made about 30 test flights prior to the beginning of World War II. Most of those flights were carried out near the Polish border, first in the Sudeten mountains region of Silesia, then in the Baltic Sea region. During one such flight LZ 130 crossed the Polish border near the Hel Peninsula, where it was intercepted by a Polish Lublin R-XIII aircraft from Puck naval airbase and forced to leave Polish airspace. During this time, LZ 130 was used for electronic scouting missions, and was equipped with various measuring equipment. In August 1939, it made a flight near the coastline of Great Britain in an attempt to determine whether the 100-metre towers erected from Portsmouth to Scapa Flow were used for aircraft radio location. Photography, radio wave interception, magnetic and radio frequency analysis were unable to detect operational British Chain Home radar due to searching in the wrong frequency range. The frequencies searched were too high, an assumption based on the Germans' own radar systems. The mistaken conclusion was the British towers were not connected with radar operations, but were for naval radio communications.
After the beginning of the Second World War on 1 September, the Luftwaffe ordered LZ 127 and LZ 130 moved to a large Zeppelin hangar in Frankfurt, where the skeleton of LZ 131 was also located. In March 1940 Göering ordered the scrapping of the remaining airships, and on 6 May the Frankfurt hangars were demolished.
(Text taken from excerpts on Wikipedia)
There are some spectacular images of Zeppelins in various situations. Beyond the spectacular images captured at the crash of the Hindenburg, there are artistic impressions of the planned airship docking station at the top of the Empire State Building in New York, with airships docked there. Additionally, prior to the Hindenburg crash, the airship flew over Manhattan Island, Swastikas in clear view, right over the Empire State Building, prior to the crash in New Jersey an hour or so later.
Maybach DS8 Zeppelin Cabriolet Sphon Streamliner
Wilhelm Maybach, collaborator and friend of Gottlieb Daimler and the ingenious designer of the “Mercedes”, the first “proper” car, left Daimler-Motoren-Gesellschaft, where he had worked as Chief Engineer, in 1907. Together with his son, Karl, he started developing his own engines which in his opinion were excellently suited to driving the airships which had just begun cruising the skies. He approached Count Zeppelin, convinced him of the quality and performance of his engines and together they founded "Luftfahrzeug-Motorenbau GmbH“ in Bissingen near Stuttgart in 1909. Maybach’s son Karl was appointed Technical Director of this new aero engine company.
In 1912, the company – an early joint venture – moved to Friedrichshafen, to premises adjacent to Count Zeppelin’s airship factory. Until around 1920, Wilhelm Maybach intensively supported his son in his development work, bringing forth top-quality and highly progressive petrol and diesel engines as well as transmissions over several decades.
In 1921, Karl Maybach began producing his own cars in Friedrichshafen, engaging in the manufacture and assembly of frame, suspension, engine, transmission, radiator, firewall and major components. Maybach and his staff were less interested in bodywork design – this was the realm of specialist bodybuilders who tailored their designs to the customers’ wishes.
Close cooperation developed in the course of the years with the bodybuilding company of Herrmann Spohn in nearby Ravensburg; they even engaged in the manufacture of mini-series. Nevertheless, Spohn had to share the cake with other bodybuilders like Gläser in Dresden, Auer in Stuttgart and Neuss and Erdmann & Rossi in Berlin, to name but a few.
Thanks to their outstanding engineering, smooth-running engines and the quality appointments of the bodies, crafted by hand to the customers’ wishes, the exclusive Maybach cars very quickly established themselves in the world market – as limousines, voluminous Pullman versions, two-to-seven-seater coupés, cabriolets and roadsters. They were direct competitors of – and in the opinion of some contemporaries even superior to – the “Grand Mercedes”, Rolls-Royce, Bentley, Isotta-Fraschini and other luxury models.
The Maybach “Zeppelin” is one of the most famous models in the line-up of international luxury cars from the nineteen-thirties – a terrific twelve-cylinder car that was built in numerous versions between 1930 and 1937.
A contemporary test report enthused “... The Maybach Zeppelin models rank among the few cars in the international top class. They are highly luxurious, extremely lavish in their engineering and attainable only for a chosen few, not only on account of the small series in which these splendid cars are built.” (Allgemeine Automobilzeitung 1933, no. 35).
The Maybach Zeppelin DS 8, model year 1932, with chassis number 1387, and today owned by the Mercedes-Benz Museum, is one of these luxury limousines. Its completely restored bodywork, specially tailored by Messrs. Spohn in Ravensburg, is a four-door six-to-seven-seater cabriolet with long wheelbase and ample space for feeling at ease in comfortable leather chairs. Itself a feast for the eyes, the eight-litre V12 engine (number 25041) is still in a virtually “straight-from-the-factory” condition and in perfect working order. It develops its power of 200 hp at a maximum of 3200 revolutions per minute in superior style – the epitome of smoothness – and gives the car a top speed of 170 kilometres per hour.
(Text Courtesy of Daimler-Benz Corporation)
The Lego miniland-scale Graf Zeppelin II airship and the Maybach DS8 Zeppelin Cabriolet Spohn Streamliner have been created for Flickr LUGNuts 79th Build Challenge, - "LUGNuts goes Wingnuts", - featuring automotive vehicles named after, inspired by, or connected to aircraft.
4.6.2015.Penzance was the first port in Cornwall to have its own lifeboat in the early 1800's.
Now a well respected Bistro, the Old Lifeboat House on Wharf Road was built in 1884. It was constructed from Lamorna granite with an arched bell cote and ball finial. Over the door are two terracotta roundels of the RNLI crest.
The building cost £575-6s-6d and was paid for by a generous gift from Henry Martin Harvey of Hexworthy - the money also paid for the new lifeboat 'Dora' and the horse drawn carriage.
In 1917 the Lifeboat House was closed (the new lifeboat was housed at Penlee) and the building sold to the Council.
'Dora' was a self righting boat built by Woolfe of Shadwell, London - she was 34ft x 10ft and had a crew of 13 and ten oars.
I must acknowledge the Old Lifeboat House Bistro's website for this information.
This duck is a treat to see in Florida, and never in large numbers!! This photo was taken at St Marks National Wildlife Refuge on a cold winter day!!! Thanks for looking and we will see everyone on Thursday !!
Please be advised that our images are fully protected by US Copyright Law. The images may not be downloaded for personal, commercial or educational use, copied to blogs, personal websites, used as wallpaper, screensavers, or be deeplinked, etc. With NO Exceptions. If you would like to use an image, you MUST contact us to obtain written permission. Acknowledging the source of the copyrighted material does not substitute for obtaining written permission.
If you would like to use one of our images for commercial use or if you find a picture that you would like for framing, please contact us at klshells@mindspring.com for services we have available.
President Barack Obama acknowledges applause after he delivers a speech at the Teatro Municipal in Rio de Janeiro, Brazil, Sunday, March 20, 2011. (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
Acknowledging our September birthday celebrants this evening right after our weekly One Accord Bible study sesh here at The Cornerstone SJ Church in San Jose, CA. Fun times indeed! I officially feel old lol. (Tuesday evening, September 24, 2024)
*Because time itself is like a spiral, something special happens on your birthday each year: The same energy that God invested in you at birth is present once again. — Menachem Mendel Schneerson.