A male Roseate Spoonbill shows off his colors in a whole lot of different ways.

 

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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.

 

...And now was acknowledged the presence of the Red Death. He had come like a thief in the night . And one by one dropped the revellers in the blood -bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of tripods expired.

And Darkness and Decay and the Red Death held illimitable domination over all.

 

Edgar Allen Poe

A Pee Wee aged team was visiting the region all the way from Iqaluit, Nunavut, just a short 2100km airplane ride away.

 

They were the next age level from Jonathan, but we decided to support the night anyway as there was some community involvement to acknowledge the visitors.

 

They were very good and completely dominated our boys. But it was fun to take in the event.

 

I think this was me best shot of the night. We were in white, but the team colours were the same.

 

© AnvilcloudPhotography

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.

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Today I awoke to the oh so familiar feeling of "the morning after drinking". My head was pounding, my eyes hurt to open and despite the copious amounts of water I drank before bed and anytime I woke throughout the night, I was still dehydrated. I knew full well that my poor liver, stomach and intestines were still dealing with the onslaught of amazing tasting Guinness. First thing I did when waking was grab my computer and see just how bad my blog was. For being stupid drunk I was actually able to articulate pretty well. Of course there were the occasional mistakes, but hell, I make those while sober. For having my head cocked to one side while typing using the backspace more than the keys, I did a damn good job.

 

So today we spent most of the day recovering. My headache somehow manifested into a sinus headache and that sucked worse than the hangover. I felt as if some little green man was trying to push my eyes out of my skull from the inside. He has no respect for his landlord! At about 4pm I finally came out of it and decided it was time to start my day. First order of business… Checking messages, emails and whatnot. when I started my computer I received 13 new work related emails, 4 voicemails and two missed calls. I love when people decided today is the day they call me. The day I decided to take off! Tomorrow will be catch up day.

 

So, if I didn't work today what did I do? Shawn wanted to get his line ticket for his reserved copy of COD MW3 so we decided to carpool and do everything all in one trip. We first headed to the park to try a new technique I've been wanting to try. Its called Bokehrama. In stead of a panorama its a matrix of photos taken and stitched together to accentuate shallow depth of field. Unfortunately it needs to be done when there is more light. Sunrise, sunset and night won't work. I'll attempt the technique another time. We then headed to Walmart and GameStop. The line was about 70 people long just for door tickets for the midnight release. A ticket to save your spot in line to get into the door took us 1.5 hours to get. You must have already reserved the game before midnight to ensure a copy… There going fast. The line was full of all types of characters. From the 12 - 14 year old kids who severely whoop my ass in the game all the way to 60 year old people most likely getting it for a kid or grandkid. Anyway you look at it… it will be one hell of a cluster fuck tonight when millions of people get online all at once. Sony's servers will most likely be so bogged down we all will lag!

 

I've promised Joyce I will not spend the next week straight playing the game. She leaves next monday for Nevada for a month and a half. I won't be meeting her there until the day after christmas. In which time I will end this crazy adventure in a strange place. I don't yet know what the final picture will be but I'll tell you one thing…. It has to be epic!!

 

So tonights shot came from pretty much nowhere. I thought it would be cool to have a little me interacting with Rylan's toys. I also wanted a person in the shot full size for reference. Who better than Joyce and her expressive faces. Shot in two parts. I was shot against a white backdrop with identical lighting as I'd be using for the main shot of Joyce. I knew the backlight would be much higher than my little self so I jacked it pretty high up. The main light was a boomed beauty dish at an equal hight to the back light. About 8 or 9 feet up. After I was shot it was on to the main shot. Joyce laid down with Rylan's toys, something she later would blame the need for a shower on. Even though we were heading out shortly after finishing this blog she would still have to get clean. I had set the lights up identical to the shot of me and we started shooting. At first I had her hold a power ranger figurine in her hand. This would give both me and her reference to how she would be holding the mini me. After we got the handling part down I had her put the figure down and fake it. Half way through Gidget the cutest Yorkie ever and verified camera hog walks into frame, sits down right by Joyce's face and looks at the camera. This is a dog were talking about! She is hilarious when she does this. After Joyce acknowledged her, she turned to joyce and with her 2 foot tongue, licked Joyce's face. Now, joyce is down on the "nasty" ground and a dog just licked her across her face. A shower would most definitely be in order now.

 

We finished off and went to preview the shots. I couldn't believe my eyes… the shot of me was blurry! I rarely get a blurry shot and would of been mortified if this was shot on location! Luckily it was shot just 20 yards away, in my living room. We quickly set back up and snapped a sharp shot of the tiny me reacting to a tiny airplane hurling at my face.

 

Post Production was quick and straight forward. Making and shrinking myself down to the right size was first. Followed by shadowing the areas around Joyce's fingers to help sell the effect. I even went as far as to put a shadow on the floor where I would be. Its not even that visible but knowing its there makes me feel better. I heavily dodged and burned the image to give it that extra 3D look. To finish off the shot I adjusted the exposure on the background. I didn't have enough space to limit the light spill on the background. This is where Photoshop comes in handy. I simply added a Exposure adjustment layer, darkened to my liking and then masked away the areas that I didn't want effects. After all that it still needed something. Ah, motion blur! I masked out a copy of Joyce's arm and applied a motion blur on it. I then adjusted the pivot point of the layer to right at her elbow and rotated it ever so slightly. I reduced the opacity and took a step back… it was done! a quick signature and that was a wrap to day 311

 

Now its off to the Big COD MW3 Launch party to get Day 312 down early!

 

Lighting:

 

Same for both shots

 

AB800 Med Gridded Softbox 2:00 3/4 power

AB800 Beauty Dish Boomed overhead at 6:00 1/4 power

 

Triggered Via Cyber Syncs and Commander.

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.

At the end of February and well into March Wild Turkey Courtship begins!! This Florida race of Wild Turkey is putting on his best show for this female and from a little different angle!! As always thanks for looking and all the wonderful comments!! See everyone on Thursday!!

 

A note from yesterdays photo, the Deer is pregnant ....

 

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Question of the day: Why does an accumulation of trash and discarded building materials look almost majestic when held below the surface of stagnant water, with a developing skim layer of ice?

 

Statement of the day: I believe information provided via Flickr is *not* admissible in court. So, with that feeling of indemnity, I hereby acknowledge my intention on becoming a full-fledged stalker of Neko Case. I am beyond smitten:

 

♫ ♪ ~~ Tune by Neko Case - “Hold On, Hold On” ~~ ♪♫ (don’t worry mate…opens in new window…click it!)

The Rundāle Palace, Latvia.

 

What you're seeing here is a recreation of the original interior. The restoration cost over 8 million Euros, which, when you see the results, doesn't seem nearly enough to produce the splendors one encounters at every turn.

 

What's not clear to me is whether any of decoration is original and restored and how much is brand new. This always frustrates me because I'm hung up on the concept of authenticity. I'll just come right out and say I don't get the same satisfaction from replicas that I do from originals.

 

One way to resolve this conundrum is to say this is an authentic replica of an 18th century palace that was, as the text below explains, "demolished in 1812 during the Franco-Russian [Napoleonic] War," and then "demolished [again in 1919] by the men of the Bermondt-Avalov army," which was commanded by a Cossack warlord who decided to take over newly-independent Latvia instead of fighting the Bolsheviks.

 

Still, this begs the question of the meaning of such a place. A hot take is that it's an expression of Latvian nationalism. However, in the 18th century this region was ruled by Germans and then by Russians. Most ethnic Latvians were serfs. Perhaps the nationalist message is that the Latvians, once free from the rule of Germans, Czarist Russians, Nazis and the Soviets, had the wherewithal to recreate a palace once owned by an overlord and make it their own. To further make the point, the compound is now a major tourist attraction, so interiors once intended solely for the aristocracy, royalty and their hangers-on and servants are today filled to the brim with tourists like us.

 

Is is also a acknowledged center for the study of 18th-century interior design? The devil is in the details, and I haven't yet had time to delve into that

 

If you're wondering why the point of view in these photos is from the top of the windows to the ceiling, it's because there were mobs of visitors that made it almost impossible to photograph whole walls, much less floors.

 

Here is the whole history of the construction of the palace from the palace's informative Web site. I recommend visiting it if for no other reason than to see the rooms devoid of visitors. Also, there's a section on the restoration.

rundale.net/en/

 

The name of Rundāle comes from the German place-name Ruhenthal (Valley of Peace).

 

The Rundāle Palace built during the 16th century was located on the northern side of the pond. It can be seen in the design of F. B. Rastrelli as a small square field with towers in the corners.

 

Rundāle Manor was already created at the end of the 15th century. It belonged to the Grotthus family from 1505 to 1681 and the palace was mentioned in the list of Livonian castles in 1555.

 

Facade finishing components have been found in the territory of the palace – cast fragments and fragments of coats of arms carved in stone dating to the middle of the 17th century. In 1735 Ernst Johann von Biron bought the Rundāle property for 42 000 thalers.

 

The old palace was

completely torn down, and the stones, bricks and even the mortar were used in the construction of the new palace.

 

Duke Ernst Johann died in 1772, and the palace was inherited by his widow Duchess Benigna Gottlieb; during her time orchards were formed around the palace. Duke Peter did not come to Rundāle often, he mostly resided in the smaller Vircava Palace near Jelgava.

 

In 1795 Duke Peter gave up his throne and the Duchy of Courland and Semigallia was added to the Russian Empire. Catherine II gave Rundāle Manor as a present to Count Valerian Zubov who died in 1804.

 

During the distribution of inheritance Rundāle became the property of his brother Prince Platon Zubov, the last favourite of Catherine II.

 

During the time of Zubov the palace was refurnished, however the building itself remained untouched, only entrance porticos were added to the central building and several fireplaces were built inside.

 

The palace was demolished in 1812 during the Franco-Russian War – mirrors were smashed, silk wallpaper was torn down, the library given as a present from Catherine II was destroyed.

 

Prince Platon Zubov died in Rundāle Palace on 7 April 1822. His widow married Count Andrey Shuvalov, and Rundāle Manor belonged to this family until the agrarian reform of the Republic of Latvia in 1920.

 

The Shuvalovs rarely stayed in the palace, excluding the time period from 1864 to 1866 when Count Pyotr Shuvalov was the governor-general of the Baltic region and used Rundāle Palace as his official summer residence.

 

During this time unsuccessful renovation of the palace rooms was carried out, however during the 1880’s careful renovation of the interior design was performed. At the end of the 19th century part of the palace’s furniture and works of art was taken to Saint Petersburg.

 

During the time from 1915 to 1918 a German army commandant’s office and an infirmary was established in the palace. In 1919 the palace was demolished by the men of the Bermondt-Avalov army.

 

The palace was renovated in 1923 and some of its rooms were used as the primary school of Rundāle Parish. In 1924 Rundāle Palace was handed over to the Latvian Union of Disabled Veterans, but in 1933 it was taken over by the Board of Monuments which started the renovation of the building and the restoration of some of the rooms, and the western building was constructed for the needs of the primary school.

 

In 1938 the palace was handed over to the State Historical Museum that was planning to create a church art and decorative art museum there. The palace was also open to the public during World War II.

 

In 1945 a grain storage was formed in the halls of the palace, and the palace was closed to the public after that.

 

In 1963 some of the palace’s rooms were given to the Museum of Regional Studies and Art of Bauska, but in 1972 a permanent Rundāle Palace Museum was created and its main aim was to renew the whole ensemble of the palace by mainly orientating towards the condition of the palace during the second part of the 18th century.

 

The first restored rooms in the eastern building of the palace were opened to the public in 1981, gradually being followed by new interiors. Restoration of the palace was finished in 2014.

 

Construction history

 

Count Ernst Johann von Biron bought the Rundāle manor complex on 26 June 1735. In August of the same year the court architect of Russia Francesco Rastrelli came to Courland. From September until December agreements were being concluded with carpenters, masons, brickmakers, construction material suppliers, potters – stove makers.

 

The construction project was ready in January of 1736. The eight pages of the project are located in the graphic art collection “Albertina” in Vienna. It consists of a situation plan, two floor plans, a sketch of four facades and the altar of the palace church.

 

The first construction period from 1736 to 1740.

 

On 24 May 1736 the foundation-stone of the palace was set. Construction of the foundation was completed on 6 July, whereas on 13 October the central building was built to the level of the windowsill of the second floor. The construction of 12 brick-kilns and 12 brick storages was finished in June. 268 masons were working in the palace, but Rastrelli requested 500 men.

 

Construction was stopped on 1 November due to cold.

The construction works were restarted on 12 April 1737. On 28 May the central building was finished, and on 18 June covering was started to be placed on the side buildings, whereas the construction of the central building roof was finished at the end of June.

 

When the works were stopped on 10 October, one side building was roofed over, and the other one was covered with a temporary roof. The foundations of the stables were also ready. The bricklaying works were finished on 1 October 1737.

 

After Biron was elected Duke, he ordered to simplify the building. The finishing materials were produced by the master carpenters and woodcarver A. Kamaev of the Imperial Construction Bureau of Saint Petersburg, master potter I. Ushakov of the Neva brick factory with his team and painters I. Mizinov, I. Pilugin and I. Yevdokimov. Austrian potters were working in Vircava. The finishing materials were also being produced in Saint Petersburg.

 

In 1738 the volume of work in Rundāle decreased, as construction works of Jelgava Palace began. Some of the produced components were also taken to Jelgava. However, the works were moving forward – chimneys and room arches were being built, roofs were being finished.

 

From 14 June, when the construction of the main residence in Jelgava began, the construction works in Rundāle were moving at a slower pace. Master carpenter Eger had finished oak-wood panels for 33 rooms, as well as 13 oak-wood parquet floors. Ceilings boards were put up in the rooms, so that the plastering works could be started. In September the carpenters started working on the outside staircases. The construction of the gate tower was also started.

 

Entwurf von Rastrelli: die Nordfassade des Schlosses Rundāle mit dem Torturm

Rastrelli’s design, nothern facade of the palace with the gate tower.

 

In 1739 the interior plastering works were supposed to be carried out, but the Duke ordered to decrease the amount of plasterers and to simplify the work. Stucco formations were made only for the main staircase rooms and halls, the other rooms were left with smooth ceilings. Only ten craftsmen were working in Rundāle.

 

On 1 February after the order of Empress of Russia Anna Ioannovna all of the Saint Petersburg Construction Office masons were sent to Courland.

 

The components made for Rundāle, including carved doors, panels, parquet, Austrian potter stoves, plafonds painted on canvas and cast-iron facade decorations made by Bartolomeo Tarsia that can be seen in the Jelagava Palace facade, were transported to the main residence in Jelgava.

 

N. Vasilyev assisted Rastrelli in managing the construction works. Russian chamberlain Ernst Johann von Buttlar was in charge of finances and organisation and he was sending reports to Saint Petersburg regarding the work process.

 

In 1740 the woodcut altar of the palace church was transported to Jelgava. Supposedly the room decoration in the palace had been finished, but not all of the wall panels had been mounted and some of the stoves were also not set up, as a lot of the materials were in storage.

 

Work was stopped after the palace revolution of 20 November in Russia and the arrest and exile of Duke Ernst Johann. The prepared finishing materials and construction components were sent to Saint Petersburg, and some of the built-in components, such as doors, wall panels and parquet, were broken.

Overall more than a thousand different profession craftsmen and workers were employed in the construction works of the palace.

 

The second construction period from 1764 to 1770.

 

In 1762 Ernst Johann von Biron was granted mercy and returned to Courland in January of 1763.

In January of 1764 Johann Gottfried Seidel was appointed the court architect of the Duke, but in August Francesco Rastrelli returned to work for the Duke and was appointed to the position of main administrator of the Duke’s buildings.

 

During this time he arranged his construction designs and carried out general supervision of the Duke’s construction works.

The unfinished gate tower was torn down and the stable building construction was started. Latvian carpenters and woodworkers were sent from the Duke’s domain manors to Rundāle up until 1768. In 1765 woodworker Blanks, sculptor Zībenbrods, locksmith Šreibfogels, gold plating master Johans Endress, potter Šēfers, locksmith Horstmanis and coppersmith Mēmels were working in the palace.

 

In 1766 Severin Jensen from Denmark started working as the court architect. His style can be seen in the gateposts and in the stable buildings, which obtained a semicircular shape in contrast to Rastrelli’s rectangular design. A dating – 16 May 1766 – has been made in the keystone of the northern facade window.

 

In 1768 the gate was built and the forgings were placed.

 

The palace interior planning was changed slightly. By merging five smaller rooms the grand dining-room – the Grand Gallery – was created, whereas a dance hall known as the White Hall was created in the place of the palace church. Both front staircases, the Small Gallery, the lobby and galleries of the first floor were preserved from the original interiors of the first construction period.

 

The stucco decorative finishing of the interiors was carried out by the Berlin sculptor and stucco marble master Johann Michael Graff together with his team – his brother Josef and assistants Bauman and Lanz – from 1765 to 1768.

 

Sculpturesque decorations were made in twenty-seven rooms, but in two rooms of the Duke’s apartments and in the hall – synthetic marble panels. Works were started in the central building first.

 

The Marble Hall and the marble panel of the Gold Hall in which the dating has been engraved on the door lining, were finished in 1767. In July of 1768 Graff received payment for his final works – the White Hall, Oval Cabinet, Duchess’ Boudoir and vases for the 22 stair banisters.

 

The ceilings were painted by the Italian painters Francesco Martini and Carlo Zucchi from Saint Petersburg. They started working in August of 1766, but only the name of Martini is mentioned in documents starting with March of 1768. Francesco Martini received his last payment in March of 1769.

 

Ceilings of eight rooms, as well as the walls of two rooms were painted. One of the ceiling paintings got destroyed. The repainted wall paintings were later uncovered in the Grand Gallery and in the second study of the Duke.

 

The Duke came to Rundāle Palace in April of 1767 and stayed there until December with interruptions, although the finishing works were still in progress. The palace was also inhabited in 1768. The final works were carried out in 1770 when a fellow of J. M. Graff placed mirrors in the White Hall.

 

20.04.2018

   

With the driver acknowledging my childrens waves with a long 'WAAAA WAAA' on the horn, 31233 in its 55th year of service passes Leaton on 3q01 Derby - Shrewsbury via Ironbridge and Wrexham 11.5.15

Highest I know on Explore # 230 on 7.22.07

. . . . .

 

So, as you might imagine, I was the "artistic" one in the family.

 

And it wasn't necessarily the most flattering assessment. It somehow acknowledged that I saw things differently than my parents and siblings. That I had a talent for making things look attractive. That I was good with my hands. But it also implied I was the one out of sync with everyone else's experiences and desires. The unpredictable one. The (assumedly but falsely imagined) impractical one. The one with my head in the clouds. My family, though they loved me, treated my interests and talents with the same sort of tolerant but skeptical misunderstanding that most of society bestows on most artists. "How did this one get to be one of us???"

 

I imagine most of those reading this essay occupied the same position in their families.

 

There are some people who develop finely honed skills and interests in areas that are narrow, but deep. For lack of a better word, I think of them as specifists. Medical specialists who read professional journals on their beach vacations ... for fun. Baseball fans who can recite stats for their favorite team going back 40 years. Cooks who can make a perfect beurre blanc without looking at a cookbook. Sometimes I envy them. I, as is rather obvious from my photostream- and my distressingly complex resume- am a generalist.

 

Without writing a book, it would be impossible to make a list of all the things in life- both vocationally and avocationally- that interest me. I'm the curious type, and like to think of myself as an intellectual adventuress. As opposed to the specifists of the world with their extremely deep puddles of expertise, I swim in a vast ocean that's quite shallow... with a few larger holes that surprise you here and there below the surface. It's not that I prefer it that way... but after all these years I've made peace with the fact that this is the way I am.

 

Though I vaguely remember drawing a bit as a very young child, it was on the summer playground that I began tumbling down the slippery slope of art. I was the princess of popsicle stick jewelry boxes. The doyenne of tiny-tile & grout ashtrays. Reigned supreme in the realm of gimp lanyards and keychains (I mastered twelve patterns!). Headed the team on sidewalk-chalk murals. Made everyone their grocery bag costumes for the end-of-summer parade.

 

Seven of us lived in a 4 room house with three small closets, so my mother had quite the task figuring out where to stash all the "art" I brought home each week. Still... both she and my dad worked hard to support my interests. With little money to spare, I always had change for the craft supplies at the playground. They bought me a "John Nagy Learn to Draw" set (you put a piece of plastic on the TV screen and drew along with John). And when the craze started, they bought me the popular "paint by number" kits. Paper dolls, clay figures, embroidery, beginner knitting, baking "fancy" cakes. I don't remember ever being told I was making too much of a mess, or denied what I needed to make those messes. My dad bought me a Kodak Brownie camera when I was still in elementary school. And the list of artforms I explored expanded exponentially as I got older.

 

As an adult, I've narrowed a bit the list of art projects I pursue, but it's still pretty broad. I paint a bit (costume renderings, scenery), knit and embroider, make paper sculpture, design block prints, batik easter eggs, teach "surface design" for fabric, sew everything from personal clothing to elaborate period costumes, create soft-sculpture, and sculpt puppets in a wide variety of media (paper mache is still my favorite). And there's a lot of "art" in my everyday life. Though you wouldn't know it from my present home, I've dabbled in interior design. I've made wedding cakes and bridal gowns for friends. On the bookshelf in my studio there are manuals for how to make another half dozen types of art I've not tried yet..

 

When I was working toward my MFA in costuming and theatrical design, and heading toward a career, I stopped thinking of myself as "artistic" and began to think of myself as an artist. But it wasn't until years later, right after I'd begun to make a meager living as a quiltmaker, that I had the breakthrough that let me think of myself as an Artist... with a capital "A".

 

I had started out making the traditional sort of quilt that involves repeated pattern. That felt "artistic". Then I started making those quilts in wool instead of cotton- both because I love the deep and rich tones of the wool, and to differentiate my work from that of thousands of others who make quilts. The next step up the mountain came when I took a weekend workshop with the amazing Nancy Crow (www.nancycrow.com). The workshop wasn't to teach us to make quilts like hers, but an opportunity to talk about inspiration and techniques. I walked into that weekend as a traditional quiltmaker, and walked out as a quilt artist making more abstract work.

 

But then one fortuitous day about 20 years ago I walked in to an exhibit at the Rhode Island School of Design Museum called "New American Landscapes"... or maybe "The New Landscape"... and had one of those rare cathartic moments. There was one particular "painting" that was made up of about 30 smaller paintings. and there was something in that rather bland, but interesting work that got some wheels turning in my head, and caused me to see an entirely new, completely unique way to approach my own work. I rushed home to "begin anew"... and the first art quilt I made in the new style is the one that finally opened doors in the art world for me. It was accepted into a major biennial competition- Quilt National" , toured internationally, was published in several periodicals and a book, and proved to be my initiation into the-then small- circle of acknowledged and accomplished art quilt makers. Later, better art quilts were made, other competitions were won, more quilts were published, solo shows occurred across the country, and other milestones achieved... but that first day when I sat down at my drawing table to design "Colors on a Rainy Day" was the day I began to think of myself as an Artist.

 

Alas, just because you're an Artist doesn't mean you'll make a good living at it. My skills as a maker of studio art quilts far outshone my skills as a marketer and self-promoter, so after more than a decade of living in genteel poverty, I gave up the glamour of being an artist for the glamour of being an arts administrator. Which of course has its own considerable rewards. As alert readers of this "blog" know, I'm currently looking for my next professional challenge, and so of course have been thinking longingly of the days when I got to wake up every morning looking forward to making interesting and beautiful Art..

 

So now I'm beginning the cycle again. One of the things that keeps me sane while I look for the right job is taking breaks from the resume slog to go out on "camera outings". I approach picture-taking like everything else... I'm a generalist who's interested in taking photographs of pretty much anything. Buildings. Flowers. Odd shadows. Colorful what-ever-they-ares. Lately people. The process makes me feel artistic. Friends are encouraging. If I study it enough and work hard enough at it, maybe some day I can feel like I've become an artist in the medium. And if I'm very, very, very lucky, someday I'll have another epiphany, and find my own unique voice....

 

... and then I can create photographs that I consider Art.

   

Attention Americans! This note applies to YOU!

 

(Quite a few of you were acknowledged in my last novel, Martha's Mirror...so this is meant for you. I have tagged you on the image...feel free to remove the tag.)

 

This is my husband, David Thiel. We have been married since 1987. He has been an entertainer and a magician for nearly as long as we have been married.

 

This week, David will meet up with some of the best known mentalists in the world, in Vegas, at the Mindvention convention.

 

David has been working very hard in the world of mentalism, he has published one eBook, and is now working on a second one. All to do with the craft of mentalism. The first book has been very well received.

 

We have combined our talents and now produce custom pendulum props for mentalists. So, I will be going to Vegas, too.

 

That's where YOU come in....if you purchased TWO copies of Martha's Mirror (print editions NOT Kindle)...my promise to you was that I would send you a FREE signed copy, the next time I was in the USA.

 

Well, I will be in the USA.

 

So...

 

If you have purchased TWO copies of Martha's Mirror (not Kindle editions), AND you left a review on Amazon.com and .ca, please do the following:

 

1) Send me an email with your name, address, and phone number.

 

2) Tell me whether you want a collectible "Author's Edition" (the one that sold for a month that needed edits)...or a "First Edition" (edits made).

 

3) Tell me how you want the book signed (or I will sign it my usual way).

 

4) You are on your honor...if you tell me you have purchased 2 copies of Martha's Mirror, and you live in the USA, and you left a review on Amazon (both .com and .ca), then I will mail a signed copy to you.

 

5) Purchases can be made in the next few days...if you have not already done so.

 

Please get your request in before Friday.

 

Thank you!

 

Love and hugs to all my FB and Flickr friends,

Sheree

 

PS When on Amazon, please read some of the reviews and click YES!

 

PPS If you are a Canadian buyer, you can send me your address anytime. So long as you have purchased TWO print editions, and you have left reviews on both Amazon.com and Amazon.ca, I will send you a FREE signed book.

Written in pen on back:

"Veneta Ida (Iola?) Slack

Christmas-1917

acknowledged"

 

Found on ancestry.com

Veneta Ida Slack was born on November 7, 1908, in Kalispell, Montana, the child of Theodore Samuel and Laura Jacoby.

She married her first husband, Neil James O'Connell, on April 5, 1931, in Kalispell, Montana.

On March 21, 1936, she married her second husband, Thomas N McFarland, in Kalispell, Montana.

She died on March 17, 1989, in Englewood, Colorado, at the age of 80.

 

This Photo appears to be taken by

T. J. (Tomar Jacob) Hileman (1882–1945)

 

He was an American photographer born in Marienville, Pennsylvania,[1] who is renowned for his photos of Glacier Park in Montana, and Blackfoot people.

 

After working a while in Chicago and graduating from Effingham School of Photography there, he moved to Colorado and began to take photographs. In 1911, Hileman moved to Kalispell, Montana to open his own portrait studio. He and Alice Georgeson were the first couple to marry in Glacier National Park in 1913.[2]

 

Appointed the official photographer for the Great Northern Railway in 1924, Hileman took photos of Glacier National Park and Waterton Lakes National Park in Alberta, Canada, moving bulky camera equipment by packhorse, even at times perching on a narrow ledge to get just the right image on film. He also photographed the Prince of Wales Hotel in Waterton, Alberta, which was built by the railway. In 1926, Hileman opened photo-finishing labs in both Glacier Park Lodge and Many Glacier Hotel, which were convenient for tourists who could drop off their film evenings and pick up their prints the next morning.

  

You are welcome to pin, re-post, embed and share this image, but please do not reproduce for your personal gain or profit without my permission.

----------------------

This is a scanned image from a batch of vintage snapshots, cabinet cards, publicity photos and real photo postcards purchased from auction.

 

I did some small, cosmetic clean-up retouches in photoshop.

 

Any comments or observations are much appreciated!

Stachytarpheta lythrophylla Schauer (Verbenaceae, Lamiales). Agradecimentos a Pedro Cardoso pela determinação da espécie. I acknowledge Pedro Cardoso for species ID. Agradeço a Pedro Cardoso por la identificación de la especie.

 

Coastal Lunar Lanterns

 

To acknowledge that we are fortunate to be able to gather on the unceded territory of the Coast Salish People, these lanterns are created with the designs of Indigenous artists from the Stó:lō, Dené, Musqueam, and Tsleil-Waututh nations in 2020 to celebrate one of the most important traditions in Asia - Lunar New Year. Celebrate like no other - LunarFest, with support from Tourism Vancouver, Vancouver Convention Centre and Indigenous Tourism BC, is proud to present these lanterns that are truly unique to the City of Vancouver.

 

For complete information, please visit: lunarfest.org/coastal-lunar-lanterns/

 

Salish Sea - Thomas Cannell / Musqueam

 

This design is a Salish Seat motif featuring the teachings and culture of the artist's ancestors. This contemporary iconography of the Pacific Northwest includes representations of Black Fish, Dog Fish, Eagles and Salmon.

  

Lone Wolf - John Velten / Dené

 

A lost lone wold who's been separated from its pack, calls out each night to communicate for others who may feel similar. This piece is a reflection of some people's lives, who are abandoned, separated or forgotten and as the world keeps moving without them, they keep fighting for themselves.

  

Red Fawn - Carrielynn Victor / Sto:lo

 

The piece is a combination of Coast Salish design principles, from hand drawn or carved mediums and also from woven textile patterns. The red fawn is representative of the medicine that a fawn offers, in its curiosity, exuberance of life, and its gentleness.

  

Protector of the Mountain - Zachary "SKOKAYLEM" George / Tsleil-Waututh

 

The face on top represents the artist's ancestors sending prayers out to cover the land and people. The mountains are shaped like salmon heads because the snowmelt is the water they swim in and represents a strong connection in the artist's Salish culture.

   

copyright 2017 Chris Hall

 

Thanks for all the previous comments and group invitations. Please don't feel obligated to comment here.

 

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 chrishall713@gmail.com for services we have available

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.

 

Queensland State Archives Item ID 436368

 

The Birth of South Bank (or, why one should always read the legislation)

Anthony S Marinac

 

This article speaks only of the modern history of the area now known as South Bank. The author respectfully acknowledges the Yuggera and Turrbal people, who first occupied the lands now constituting South Bank.

 

As we press towards 2020, it has become difficult to imagine a Brisbane without the South Bank parklands. The parklands have become the city’s playground; a garden and exercise space; a space for public performance; an important restaurant quarter; and an urban beach for a city which has ideal beach weather, but which lacks a Bondi or a St Kilda. With the release of the 1988 Queensland cabinet papers, it has become possible to take a deeper look at the genesis of this key feature of modern Brisbane. In reality, South Bank began with three key events which live in Brisbane’s historical memory: the 1974 floods, the 1982 Commonwealth Games, and the 1988 World Expo.

 

Early history

For much of its early European history, the southern side of the Brisbane River’s city reach was a commercial hub. The interstate railway terminal was located adjacent to where the South Brisbane railway station still stands, and the southern side of the city had wharves, and warehouses, and the infrastructure which went along to support them, including some of the less legitimate types of business: “Between the wharves and the interstate railway station built in the 1880s, were streets of sly grog and loose women, dance halls and theatres, a place where local mixed with foreign. In the years after the second world war, however, the area fell into something of a decline. 3 By the later 1960s, there were plans to redevelop part of the area into a cultural precinct. The Exhibition Building on Gregory Terrace, which housed the Queensland Art Gallery and the Queensland Museum, had been well and truly outgrown, and was damaged by winds in Brisbane’s 1974 flood crisis. The South Brisbane site was purchased in 1969, and the Art Gallery opened there in 1982.

 

The Queensland Performing Arts Centre followed in 1985, the Queensland Museum in 1986, and the State Library of Queensland in 1988. The latest addition, the Gallery of Modern Art, opened in 2006. During the era of the cultural centre’s development, the South Brisbane area lost its centrality as a transport hub, when the interstate rail terminus shifted to the Roma St Transit Centre in 1986. To make matters worse, South Brisbane was inundated by the cataclysmic Brisbane River flood in 1974. Following the flood, it was clear that some form of redevelopment was going to be necessary in the South Brisbane area, well beyond the cultural centre. In 1982, Brisbane hosted the Commonwealth Games, a major international event which began the city’s transition into a modern, world city. One of the defining moments of the Commonwealth Games was the victory, in the Marathon, of Australia’s Robert de Castella. The marathon began and ended on what is now South Bank, in the shadow of the cultural centre. 5 Almost immediately after the Commonwealth Games, bolstered by the confidence engendered by the games itself, planning began in earnest for the World Exposition – Expo.

 

Expo

The Queensland Parliament passed the Expo ’88 Act 1984, which created the Expo Authority, properly titled the “Brisbane Exposition and South Bank Redevelopment Authority” although virtually everyone, it seems, immediately forgot the second half of the title. The authority, under the leadership of former Liberal leader Sir Llewellyn Edwards, had extensive powers to enable the Expo to be undertaken, including the power to resume land. Many of those who were moved on for the purpose of Expo were essentially voiceless, however close to the opening of Expo, the Courier Mail newspaper gave attention to renters in the surrounding areas of South Brisbane and West End, who were being squeezed out of rental markets by demand from, for instance, delegation staff from overseas. Section 30 of the Expo ’88 Act 1984 gave the Expo Authority the power to dispose of the lands resumed for the purpose of Expo. During initial planning for the Expo, these land sales were expected to form a substantial proportion of the income which would make Expo financially viable, hence the requirement that the Expo authority “secure for itself the maximum return that is reasonable to expect at the material time.”

 

Even in the immediate leadup to Expo, there was widespread concern about its potential success or failure. It was, however, a triumph, and a halcyon moment for the city. Its success appeared to occur at two levels: as a purely commercial venture it was successful, both in its own terms and in terms of generating longer term investment; but at a social level, Expo became a place to meet and socialise, particularly for the many thousands of Brisbane residents who had purchased season passes. Somewhere along the line, Queenslanders became proprietorial about Expo itself, and there was a substantial public desire to retain something of the spirit of what had become, in essence, an open and beloved public space.

 

Cabinet’s approach to redevelopment

At this point, we turn to the Cabinet documents, and things become somewhat odd. In 1986, expressions of interest were invited for the redevelopment of the site by private development consortia.8 Based on the Expo ’88 Act 1984, one would have expected those expressions of interest to have been assessed by the Expo Authority, most likely with input from the Brisbane City Council.9 However Cabinet called for these expressions of interest – it is not clear by what authority – and Cabinet established a committee to evaluate those proposals and to report back to Cabinet. The Committee was chaired by the Director General of the Premier’s Department, and included the Under Treasurer, the Chairman of the Expo Authority, and the Town Clerk of the Brisbane City Council. It is worth noting, as an aside, that the Council’s concerns were quite different from those of the Expo authority. Had South Bank become a rival commercial precinct across the river from the Brisbane CBD, there was the possibility of massive reductions in the commercial viability of office space in the CBD. The Council’s later push for open public space may therefore not have been entirely altruistic. The fact that Cabinet had absolutely no authority to call for, or assess these tenders, and that the Expo Authority had the right, if it wished, to simply proceed with the disposition of the land, does not seem to have occurred to anybody. Indeed the legislation itself is not mentioned anywhere in the Cabinet submission. Four submissions were shortlisted by the committee and considered by Cabinet: they were offered by the Kern Corporation, the CM Group, the World City 2000 Consortium, and the River City consortium. Cabinet considered the pros and cons of each submission, but it was always clear that budget considerations would take priority. At this stage (February 1988) it was not yet known whether Expo would be a success, and budgeting for the event required site sales of $150 Million in order for Expo to break even. Ultimately Cabinet settled on the proposal by River City 2000 consortium. The consortium included the Roma Street Development Group, Kern Corporation (which had also put in a separate bid), and the Conrad Hilton/Conrad Jupiters Group. The net present value of the offer was $136.83 Million, to be made as $200 Million in staged payments between 1989 and 1995. The general proposal was for two harbours and a substantial canal to be cut into the foreshore at South Bank, and the spill to be used to create a large island, to be called Endeavour Island, on the southern side of the river. Endeavour Island was to be dominated by an exhibition and convention centre, a hotel, a casino, and a proposed World Trade Centre. The shore-side of the canal was to include further office buildings, and the southern end was to include residential complexes. There were three immediate complications with this proposal. First, there were reservations expressed by the Brisbane City Council about the total amount of commercial and office floor space which was proposed by the River City consortium. Second, Cabinet had no capacity to influence the location of a World Trade Centre in the city. The World Trade Centres Association had granted to a company called the Fricker company the exclusive right to develop a world trade centre in Brisbane. Fricker was examining a number of sites in the Brisbane CBD and on Kangaroo Point. Cabinet could (and did) encourage the Fricker company “to examine the possibility of developing [a] World Trade Centre or associated facilities on the Expo site”10 but that was as far as Cabinet could go. Third, there was little appetite in the conservative Cabinet for a new casino. The Jupiters Casino had opened on the Gold Coast in 1985, and held a guarantee that no other casino would be developed in south-east Queensland until at least 1992 (although this may not have been insisted on since Conrad Jupiters were part of the River City consortium). Instead, Cabinet decided:

 

That no action be taken at this time to enter into any arrangement with the “preferred developer” for granting a casino licence for the site, but that the “preferred developer” be required to [include] provision for a casino facility within the site, at a location and under conditions acceptable to the Government. That the Under Treasurer be asked to investigate all aspects of the granting of a casino licence for the site and report back to Cabinet through the Cabinet Budget Committee.

 

Public reaction to the proposal was swift and negative. Neither the committee proposal nor the cabinet process had included any public consultation at all; the Endeavour Island concept failed to capture the public imagination; and the Courier Mail newspaper led a campaign sharply critical of the proposal. The title of its editorial said it all: South Bank – selling the city’s birthright. Sir Llew Edwards tried to distance the Expo Authority from the decision, but the Courier Mail was having none of it – and clearly journalist Don Petersen had read the legislation: The seven-member board of the Expo Authority meets today to vote on the State Government’s preferred developer for the post-Expo site … Authority Chairman Sir Llew Edwards said last week the vote was not necessary because responsibility for the decision rested with the Governor in Council. This is strange since the Expo 88 Act of 1984 specifically charges the authority with “disposing” of the land in an endeavour to gain the best possible price that might reasonably be expected. Public reaction became even more important after Expo commenced at the end of April 1988. As noted above, Expo exceeded all possible expectations, and despite its entry fees, the expo park became in essence a public space, with the many season pass holders making repeated visits. The lack of public input into the plan was a decisive aspect of its eventual downfall. The other key feature was the conduct of the River City consortium itself. Despite section 30, Cabinet continued to be the lead agency on behalf of government, and the River City consortium began immediately to push for government commitments in relation to both the World Trade Centre and the casino. Just a week after the initial decision, Cabinet made a curious decision, on the basis of an oral submission by the Premier, that the initial cabinet decision “be confirmed” and that “the River City 2000 Consortium be advised accordingly.” Once can only surmise that Cabinet had been asked to review its earlier decision, Cabinet not being in the habit of routinely reaffirming earlier decisions. Initially, Cabinet had set a deadline of 18 February 1988 to finalise agreement with the River City Consortium on outstanding issues. On that date, a two week extension was granted. A further extension was granted on 29 February 1988, setting the deadline at 8 April, and when it became clear that this deadline, too, would be missed, the Premier returned to Cabinet with a substantive report. Unsurprisingly, two of the three outstanding matters were:

 

negotiations with Fricker Developments regarding a World Trade Centre or a component thereof on the site; (iii) the interpretation of Cabinet’s decision regarding a Casino facility on the Expo site. The Premier asked for the timing of negotiations to be left to his discretion “in view of my continuing personal involvement in the negotiations, which I consider is necessary now.”

 

The fall of River City and the birth of the South Bank Development Corporation

The Premier’s involvement turned out to be decisive. Somewhere along the line, after the Premier became personally involved, someone finally seems to have fully grasped the importance of section 30 of the Expo ’88 Act. The Premier met with Sir Llew Edwards, and then returned to Cabinet to sound the death knell for River City 2000: Arising from my detailed involvement in the negotiations, I have become very much aware of the legislative requirements regarding the disposal of the Expo site. These requirements, in effect, are that the Expo authority shall dispose of the site in a way which will achieve a net financial result that will not impose a burden of cost on the Government of Queensland … in dealing with these details, I questioned why the Government is, in fact, embroiled in much of this public debate and criticism, when in fact most of the matters should be negotiated between the Expo Authority, Brisbane City Council, and the preferred developer, for submission in due course to the Government.19 Cabinet decided to withdraw preferred developer status from River City 2000, and to instruct the Expo Authority to commence the tender process all over again. This second process was to be based on the clear understanding that the Government had no capacity to influence the location of a World Trade Centre, and that any question of a casino licence would be completely divorced from South Bank redevelopment. This approach relieved pressure on the government in terms of the casino and World Trade Centre, but there remained the issue of public expectations. By this stage, Expo was well underway, and the enthusiasm of the people of Brisbane was a key element in its success. Expo forecasts required approximately 8 million visitors through the gate in order to meet its budget; it quickly became apparent that this number would be comprehensively surpassed. In the end, more than 18 million visitors passed through the gates. This, in turn, relieved financial pressure on the sale of the site. Thus the people themselves, in the process of falling in love with Expo, had helped to create the economic circumstances which allowed the government to seek a path other than a real estate fire sale. After the Expo Authority took responsibility for the tender process, it “subsequently became apparent that under this [tender] approach, it would be very difficult to meet public expectations for significant open space on the site with minimal commercial development together with the need for a financial return sufficient to enable the Expo Authority to break even.”

 

Instead, at the end of June 1988, the Premier joined with the Expo Authority Chairman and the Lord Mayor of Brisbane to announce the formation of the South Bank Development Corporation, which would take possession of both the assets and the liabilities of the Expo authority, including the land space, and which could then develop the site. Having learned from the first process, the Expo Authority produced a:

 

Statement of Development Principles for the South Bank together with some graphics showing the conceptual proposal for development of the main Expo site plus a land use proposal for the broader area. This material together with further graphics will be presented to the public as a set of eighteen display panels of which it is proposed that ten such displays be manned at various centres throughout Brisbane for a month within which the public will have the opportunity of commenting on the proposals. A press and media campaign will complement the static displays.

The public reception on this second occasion was far more positive, and the following year, Ahern introduced the South Bank Corporation Bill. In his second reading speech, he stated that the Act: provides the necessary statutory foundation from which the Expo South Bank area in particular, as well as the surrounding area, can be developed to produce a result of outstanding merit. Such a result will bring benefits not only to the City but to the State as a whole through tourism and its ability to identify Queensland to the World.

 

It need hardly be stated that this was far from the end of the South Bank story. The legislation has been repeatedly amended, and South Bank itself has continued to evolve in the three decades since its foundation. It is, however, well to remember the fact that the site was very nearly sold to private developers, and that the South Bank of today exists in its current form only because some anonymous angel on Ahern’s staff remembered to read the relevant legislation, and discovered section 30 of the Expo Act.

 

www.publications.qld.gov.au/dataset/76d9d6d4-9749-4fcc-a1...

 

Acknowledging existence

OK, let’s begin by acknowledging that this is no award winning photograph :-) It is the first image that I am posting with my new Camera; a Pentax K-1. I have been a long time fan of Pentax cameras. They handle well and produced very nice results. Sadly, at this time, DxO Optics Pro does not support the Pentax K-1 and, in my humble opinion, Adobe Camera Raw comes nowhere close to being as good at squeezing ‘goodness’ out of raw files.

 

I took this photo for a very specific reason. I had recently tried this with my Sony A7 and got the most horrendous issue with internal reflections that rendered the image totally useless. Despite Sony wanting their users to believe that the artefacts I observed were “normal”, this image, taken with the same lens shows that it is not.

 

I have to say I miss the EVF on the Sony and am having to switch back to thinking slightly more about what I am doing. However, I am loving the Pentax K-1. It feels robust and handles very well. The controls are beautifully laid out and feel quality. It is everything I would expect from a Pentax and I hope the post better images taken with it as I get used to using it.

  

Copyright © Dave Sexton. All Rights Reserved.

 

This image is protected under international copyright laws and agreements. No part of the image or the Flickr Photostream to which is belongs may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the Copyright owner’s prior permission.

The driver acknowledges my hastily arranged shot as for once a London Overground unit was held at the red aspect whilst this light engine movement was given priority. 57312 and 37800 are seen working a very late 0L53 Leicester to Ilford movement for 2 separate unit drags later in the day. Pictured at Caledonian Road and Barnsbury on the NLL on 31 July 2020

Devils Tower (also known as Bear Lodge Butte) is a butte, possibly laccolithic, composed of igneous rock in the Bear Lodge Ranger District of the Black Hills, near Hulett and Sundance in Crook County, northeastern Wyoming, above the Belle Fourche River. It rises 1,267 feet (386 m) above the Belle Fourche River, standing 867 feet (265 m) from summit to base. The summit is 5,112 feet (1,559 m) above sea level.

 

Devils Tower was the first United States national monument, established on September 24, 1906 by President Theodore Roosevelt. The monument's boundary encloses an area of 1,347 acres (545 ha).

 

Native American names for the monolith include "Bear's House" or "Bear's Lodge" (or "Bear's Tipi", "Home of the Bear", "Bear's Lair"); Cheyenne, Lakota: Matȟó Thípila, Crow: Daxpitcheeaasáao ("Home of Bears"), "Aloft on a Rock" (Kiowa), "Tree Rock", "Great Gray Horn", and "Brown Buffalo Horn" (Lakota: Ptehé Ǧí).

 

The name "Devil's Tower" originated in 1875 during an expedition led by Colonel Richard Irving Dodge, when his interpreter reportedly misinterpreted a native name to mean "Bad God's Tower". All information signs in that area use the name "Devils Tower", following a geographic naming standard whereby the apostrophe is omitted.

 

In 2005, a proposal to recognize several Native American ties through the additional designation of the monolith as Bear Lodge National Historic Landmark were opposed by United States Representative Barbara Cubin, arguing that a "name change will harm the tourist trade and bring economic hardship to area communities". In November 2014, Arvol Looking Horse proposed renaming the geographical feature "Bear Lodge" and submitted the request to the United States Board on Geographic Names. A second proposal was submitted to request that the U.S. acknowledge what it described as the "offensive" mistake in keeping the current name and to rename the monument and sacred site Bear Lodge National Historic Landmark. The formal public comment period ended in fall 2015. Local state senator Ogden Driskill opposed the change. The name was not changed.

 

The landscape surrounding Devils Tower is composed mostly of sedimentary rocks. The oldest rocks visible in Devils Tower National Monument were laid down in a shallow sea during the Triassic.[citation needed] This dark red sandstone and maroon siltstone, interbedded with shale, can be seen along the Belle Fourche River. Oxidation of iron minerals causes the redness of the rocks. This rock layer is known as the Spearfish Formation. Above the Spearfish Formation is a thin band of white gypsum, called the Gypsum Springs Formation, Jurassic in age.[citation needed] Overlying this formation is the Sundance Formation. During the Paleocene Epoch, 56 to 66 million years ago, the Rocky Mountains and the Black Hills were uplifted.[citation needed] Magma rose through the crust, intruding into the existing sedimentary rock layers.

  

Devils Tower is composed of a porphyritic phonolite (left), and close-up view of the columns (right)

Geologists Carpenter and Russell studied Devils Tower in the late 19th century and came to the conclusion that it was formed by an igneous intrusion. In 1907, geologists Nelson Horatio Darton and C. C. O'Harra (of the South Dakota School of Mines) theorized that Devils Tower must be an eroded remnant of a laccolith.

 

The igneous material that forms the Tower is a phonolite porphyry intruded about 40.5 million years ago, a light to dark-gray or greenish-gray igneous rock with conspicuous crystals of white feldspar. As the magma cooled, hexagonal columns formed (though sometimes 4-, 5-, and 7-sided columns were possible), up to 20 feet (6.1 m) wide and 600 feet (180 m) tall.

 

As rain and snow continue to erode the sedimentary rocks surrounding the Tower's base, more of Devils Tower will be exposed. Nonetheless, the exposed portions of the Tower still experience certain amounts of erosion. Cracks along the columns are subject to water and ice erosion. Portions, or even entire columns, of rock at Devils Tower are continually breaking off and falling. Piles of broken columns, boulders, small rocks, and stones, called scree, lie at the base of the tower, indicating that it was once wider than it is today.

 

The geologically-related Missouri Buttes are located 3.5 mi (5.6 km) northwest of Devils Tower.

 

According to the traditional Indigenous beliefs of the Kiowa and Lakota, a group of girls went out to play and were spotted by several giant bears, who began to chase them. In an effort to escape the bears, the girls climbed atop a rock, fell to their knees, and prayed to the Great Spirit to save them. Hearing their prayers, the Great Spirit made the rock rise from the ground towards the heavens so that the bears could not reach the girls. The bears, in an effort to climb the rock, left deep claw marks in the sides, which had become too steep to climb. Those are the marks which appear today on the sides of Devils Tower. When the girls reached the sky, they were turned into the stars of the Pleiades.

 

Another version tells that two Sioux boys wandered far from their village when Mato the bear, a huge creature that had claws the size of tipi poles, spotted them, and wanted to eat them for breakfast. He was almost upon them when the boys prayed to Wakan Tanka the Creator to help them. They rose up on a huge rock, while Mato tried to get up from every side, leaving huge scratch marks as he did. Finally, he sauntered off, disappointed and discouraged. The bear came to rest east of the Black Hills at what is now Bear Butte. Wanblee, the eagle, helped the boys off the rock and back to their village. A painting depicting this legend by artist Herbert A. Collins hangs over the fireplace in the visitor center at Devils Tower.

 

In a Cheyenne version of the story, the giant bear pursues the girls and kills most of them. Two sisters escape back to their home with the bear still tracking them. They tell two boys that the bear can only be killed with an arrow shot through the underside of its foot. The boys have the sisters lead the bear to Devils Tower and trick it into thinking they have climbed the rock. The boys attempt to shoot the bear through the foot while it repeatedly attempts to climb up and slides back down leaving more claw marks each time. The bear was finally scared off when an arrow came very close to its left foot. This last arrow continued to go up and never came down.

 

Wooden Leg, a Northern Cheyenne, related another legend told to him by an old man as they were traveling together past the Devils Tower around 1866–1868. An Indigenous man decided to sleep at the base of Bear Lodge next to a buffalo head. In the morning he found that both he and the buffalo head had been transported to the top of the rock by the Great Medicine with no way down. He spent another day and night on the rock with no food or water. After he had prayed all day and then gone to sleep, he awoke to find that the Great Medicine had brought him back down to the ground, but left the buffalo head at the top near the edge. Wooden Leg maintained that the buffalo head was clearly visible through the old man's spyglass. At the time, the tower had never been climbed and a buffalo head at the top was otherwise inexplicable.

 

The buffalo head gives this story special significance for the Northern Cheyenne. All the Cheyenne maintained in their camps a sacred teepee to the Great Medicine containing the tribal sacred objects. In the case of the Northern Cheyenne, the sacred object was a buffalo head.

 

N. Scott Momaday (Kiowa) was given the name Tsoai-talee (Rock Tree Boy) by Pohd-lohk, a Kiowa elder, linking the child to the Devils Tower bear myth. To reinforce this mythic connection, his parents took him there. Momaday incorporated the bear myth as unifying subtext into his 1989 novel The Ancient Child.

 

The Bighorn Mountains are a mountain range in northern Wyoming and southern Montana in the United States, forming a northwest-trending spur from the Rocky Mountains extending approximately 200 mi (320 km) northward on the Great Plains. They are separated from the Absaroka Range, which lie on the main branch of the Rockies to the west, by the Bighorn Basin. Much of the land is contained within the Bighorn National Forest.

 

The Bighorns were uplifted during the Laramide orogeny beginning approximately 70 million years ago. They consist of over 9,000 ft (2,700 m) of sedimentary rock strata laid down before mountain-building began: the predominantly marine and near-shore sedimentary layers range from the Cambrian through the Lower Cretaceous, and are often rich in fossils. There is an unconformity where Silurian strata were exposed to erosion and are missing. The granite bedrock below these sedimentary layers is now exposed along the crest of the Bighorns. The precambrian formations contain some of the oldest rocks in the world, at 3.25 billion years old. Following the uplift, large volumes of sediments, rich in early Tertiary fossils, were deposited in the adjoining basins. The ice ages of the Pleistocene led to extensive glaciation. Though many cirques, U-shaped valleys and glacial lakes can be found in the mountain range, the only remaining active glacier is the Cloud Peak Glacier, which is on the east slope of Cloud Peak.

 

Geologist N.H. Darton with the U.S. Geological Survey produced one of the earliest studies of geology in the area, drawn from field research from 1901-1905.

 

Despite extensive prospecting in the Bighorns, no major deposits of precious metals have been found to date. Brief gold rushes of placer deposits occurred at Bald Mountain City and Porcupine Creek, and in Big Goose Canyon. The lack of precious metals helped stave off development and settlement in the mountains, in contrast to the Colorado Rockies.

 

The Madison limestone aquifer provides a significant source of groundwater for the town of Dayton. Limestone karst formations throughout the range contain many fissures and cracks that have developed into extensive cave systems, including Tongue River Cave, and the caves adjacent to Medicine Mountain. The Natural Trap Cave on the west slope of the Bighorns contains numerous remains of prehistoric mammals.

 

The highest peaks within the Bighorns are located in Wyoming in the 1.12×106-acre (4,500 km2) Bighorn National Forest. Two peaks rise to over 13,000 feet (3,960 m): Cloud Peak (13,175 ft, 4013 m) and Black Tooth Mountain (13,005 ft, 3964 m). There are a dozen more that rise to over 12,000 feet (3,650 m). From the east the mountains present a vertical relief of over 8,000 feet (2,450 m), rising abruptly from the plains. Overall, the Bighorns are more rounded than their sister mountain ranges to the west.

 

The Cloud Peak Wilderness is the centerpiece of a roadless block of land around 189,000 acres in size. The Wilderness is surrounded by acreage of U.S National Forest as well as Bureau of Land Management, state, and some private land. Most of the Cloud Peak Wilderness is above the tree line; the National Forest lands surrounding it are lower in elevation and covered in coniferous forests. Mule deer, elk, moose, black bear, and mountain lion are found throughout the area.

 

Two more large roadless areas remained in the Bighorns as of 1992. It is unknown whether these areas have since been reduced in size by road-building and other development. Both areas straddle the Montana-Wyoming state line, in the northern part of the range. One area, north of U.S. Route 14A and containing the headwaters of the Little Bighorn River, is 155,000 acres of National Forest land. This little-known region features subalpine terrain cut by steep canyons. Pronghorn inhabit the area, as it includes a portion of the Great Plains. What little human use it receives is from hunters and fishermen. The second roadless area is located mainly on the Crow Indian Reservation in Montana; its 144,000 acres also includes 34,000 acres of Devil's Canyon on the Bighorn N.F. in Wyoming. In this part of the range, semidesert prairie is cut by steep canyons leading to Yellowtail Reservoir, and high, Douglas-fir cloaked ridges top out at over 9,000'. Colorful rock formations are common. Rocky Mountain juniper and limber pine are scattered on lower elevations, and wildlife includes pronghorn, rattlesnake, golden eagle, ferruginous hawk, and mule deer. The Crow Indians manage a wild bison herd on this portion of the Bighorns. The Crow lands are a sacred area, and thus are off-limits to non-tribal members.

 

The three highways traversing the Bighorns are designated Scenic Byways by the US Forest Service and the State of Wyoming. These include U.S. Routes 14, 14A, and 16.

 

The high elevation of the Bighorns results in condensation of air and significant yearly snowfall, creating a highland oasis of moisture towering over the otherwise arid plains that surround the range in all directions. The melting snow feeds many rivers through the summer months. The range is the location of the headwaters of the Little Bighorn, Tongue, and Powder rivers.

 

Bighorn Canyon National Recreation Area consists of approximately 120,000 acres (490 km2) within the Bighorn Mountains. It includes Bighorn Lake, a reservoir damming the Bighorn River.

 

In 2015, a sudden, huge 'gash' was found in Wyoming's Big Horn Mountains. The Wyoming Geological Survey studied the area and determined that "The Crack" may be the result of an "apparent active landslide" in the southern end of the Big Horn Mountains.

 

The Bighorns provided important resources for ancestral indigenous people, including plants, migratory big game, rock shelters, tepee poles, and stone for tools. American Indian trails crisscrossed the range, while the canyons provided important winter shelters. Stone game blinds in the high country were used by pedestrian hunters to kill migratory big game animals with atlatl-propelled spears or bows. The northern Bighorns and the Tongue River drainage were formerly a significant summer range for migratory bison that wintered in either the Bighorn Basin and the Powder River/Tongue River/Little Bighorn River drainages. The southern Bighorns, particularly in the Middle Fork of the Powder River, contained an important American Indian trail adjacent to a bison migration corridor. The Wilson Price Hunt expedition of Astorians noted in 1811 that the bison dung was so dense in this area that it resembled a "continuous barnyard" for several miles. Hunt noticed Shoshone and Crow Indians in the area. The Medicine Wheel on the northern end of the Bighorns is an important sacred site built by ancestral tribes that is still used in present-day American Indian ceremonies.

 

Ancestors of the Shoshone Tribe likely had the longest continuous association with the Bighorns, potentially dating back 1,000 years or more. Stone artifacts found in the Absaroka Range farther west are known to have originated in the Bighorns, suggesting ancestral movement between the two ranges.

 

The Apsalooke or Crow tribe located in this region about 300–400 years ago after discovering the sacred tobacco plant growing in the Bighorn Mountains below Cloud Peak. This ended a multi-generational sojourn that began near Devils Lake, North Dakota, where a leader named No Vitals received a vision to seek the tobacco. The Crow chief Arapooish gave a speech in the 1830s showing that his people were fully aware of the migratory behaviors of bighorn sheep and deer, which spent summer on high-elevation summer range in the Bighorns and other mountain ranges.

 

Cheyenne, Arapaho, and Lakota use of the Bighorns region mostly dates to the period after 1800, when they made incursions into traditional Shoshone and Crow territory. Of the Cheyenne, Arapaho and Lakota, the Arapaho had longest history on the east slope of the Rocky Mountains in a region spanning from the Yellowstone River to the Arkansas River, which included the Bighorns. The Cheyenne and Lakota were originally agricultural tribes based on rivers of the Great Plains and the Midwest. By the 1860s and 1870s, the Lakota showed a knowledge of the ancestral trail systems in the Bighorn Mountains, particularly in incidents like the Sibley Fight

 

Wyoming is a landlocked state in the Mountain West subregion of the Western United States. It borders Montana to the north and northwest, South Dakota and Nebraska to the east, Idaho to the west, Utah to the southwest, and Colorado to the south. With a population of 576,851 in 2020, Wyoming is the least populous state despite being the 10th largest by area, with the second-lowest population density after Alaska. The state capital and most populous city is Cheyenne, which had an estimated population of 63,957 in 2018.

 

Wyoming's western half consists mostly of the ranges and rangelands of the Rocky Mountains; its eastern half consists of high-elevation prairie, and is referred to as the High Plains. Wyoming's climate is semi-arid in some parts and continental in others, making it drier and windier overall than other states, with greater temperature extremes. The federal government owns just under half of Wyoming's land, generally protecting it for public uses. The state ranks sixth in the amount of land—-and fifth in the proportion of its land—-that is owned by the federal government. Its federal lands include two national parks (Grand Teton and Yellowstone), two national recreation areas, two national monuments, and several national forests, as well as historic sites, fish hatcheries, and wildlife refuges.

 

Indigenous peoples inhabited the region for thousands of years. Historic and currently federally recognized tribes include the Arapaho, Crow, Lakota, and Shoshone. Part of the land that is now Wyoming came under American sovereignty via the Louisiana Purchase, part via the Oregon Treaty, and, lastly, via the Mexican Cession. With the opening of the Oregon Trail, the Mormon Trail, and the California Trail, vast numbers of pioneers travelled through parts of the state that had once been traversed mainly by fur trappers, and this spurred the establishment of forts, such as Fort Laramie, that today serve as population centers. The Transcontinental Railroad supplanted the wagon trails in 1867 with a route through southern Wyoming, bringing new settlers and the establishment of founding towns, including the state capital of Cheyenne. On March 27, 1890, Wyoming became the union's 44th state.

 

Farming and ranching, and the attendant range wars, feature prominently in the state's history. Today, Wyoming's economy is largely based on tourism and the extraction of minerals such as coal, natural gas, oil, and trona. Its agricultural commodities include barley, hay, livestock, sugar beets, wheat, and wool.

 

Wyoming was the first state to allow women the right to vote (not counting New Jersey, which had allowed it until 1807), and the right to assume elected office, as well as the first state to elect a female governor. In honor of this part of its history, its most common nickname is "The Equality State" and its official state motto is "Equal Rights".[1] It is among the least religious states in the country,[15] and is known for having a political culture that leans towards libertarian conservatism.[16] The Republican presidential nominee has carried the state in every election since 1968.

 

There is evidence of prehistoric human habitation in the region known today as the U.S. state of Wyoming stretching back roughly 13,000 years. Stone projectile points associated with the Clovis, Folsom and Plano cultures have been discovered throughout Wyoming. Evidence from what is now Yellowstone National Park indicates the presence of vast continental trading networks since around 1,000 years ago.

 

The Union Pacific Railroad played a central role in the European colonization of the area. Wyoming would become a U.S. territory in 1868. It was the first state to grant women the right to vote in 1869 (although it was then still a territory). Wyoming would become a U.S. state on July 10, 1890, as the 44th state.

 

There is evidence of prehistoric human habitation in the region known today as the U.S. state of Wyoming stretching back roughly 13,000 years. Stone projectile points associated with the Clovis, Folsom and Plano cultures have been discovered throughout Wyoming. In the Big Horn Mountains there is a medicine wheel that has not yet been dated accurately due to disruption of the site prior to the two archaeological excavations of 1958 and 1978. However, the Big Horn Medicine Wheel's design of twenty-eight spokes is similar to the Majorville Medicine Wheel in Canada that has been dated at 3200 BCE (5200 years ago) by careful stratification of known artifact types. Throughout the Bighorn Mountains, south to Medicine Lodge Creek, artifacts of occupation date back 10,000 years. Large ceremonial blades chipped from obsidian rock formations in what is now Yellowstone National Park to the west of the Bighorns, have been found in the Hopewell burial mounds of Southern Ohio, indicative of vast continental trading networks since around 1000 years ago.[1] When White explorers first entered the region, they encountered numerous American Indian tribes including the Arapaho, Bannock, Blackfeet, Cheyenne, Crow, Gros Ventre, Kiowa, Nez Perce, Sioux, Shoshone and Ute.

 

Europeans may have ventured into the northern sections of the state in the 18th century. Most of the southern part of modern-day Wyoming was nominally claimed by Spain and Mexico until the 1830s, but they had no presence. John Colter, a member of the Lewis and Clark Expedition, was probably the first American to enter the region in 1807.[8] His reports of thermal activity in the Yellowstone area were considered at the time to be fictional. Robert Stuart and a party of five men returning from Astoria, Oregon discovered South Pass in 1812. The route was later followed by the Oregon Trail. In 1850, Jim Bridger located what is now known as Bridger Pass, which was later used by both the Union Pacific Railroad in 1868, and in the 20th century by Interstate 80. Bridger also explored the Yellowstone region and like Colter, most of his reports on that region of the state were considered at the time to be tall tales. During the early 19th century, fur trappers known as mountain men flocked to the mountains of western Wyoming in search of beaver. In 1824, the first mountain man rendezvous was held in Wyoming. The gatherings continued annually until 1840, with the majority of them held within Wyoming territory.

 

The route later known as the Oregon Trail was already in regular use by traders and explorers in the early 1830s. The trail snakes across Wyoming, entering the state on the eastern border near the present day town of Torrington following the North Platte River to the current town of Casper. It then crosses South Pass, and exits on the western side of the state near Cokeville. In 1847, Mormon emigrants blazed the Mormon Trail, which mirrors the Oregon Trail, but splits off at South Pass and continues south to Fort Bridger and into Utah. Over 350,000 emigrants followed these trails to destinations in Utah, California and Oregon between 1840 and 1859. In 1859, gold was discovered in Montana, drawing miners north along the Bozeman and Bridger trails through the Powder River Country and Big Horn Basin respectively.

 

The influx of emigrants and settlers into the state led to further encounters with the native people there, and settler military presence along the trails increased; military posts such as Fort Laramie were established. In 1851, representatives from the United States and American Indian nations signed the first Treaty of Fort Laramie in hopes of ensuring peace and the safety of settlers on the trails. While the 1850s were subsequently quiet, tensions rose again after settlers increasingly encroached upon lands promised to the tribes in the region. This was the case after settlers, in 1864, blazed the Bozeman Trail through the hunting grounds of the Powder River Country, which the United States had promised to the tribes in the 1851 treaty. As encounters between settlers and natives grew more serious in 1865, Major General Grenville M. Dodge ordered the first Powder River Expedition to attempt to quell the violence. The expedition ended in the Battle of the Tongue River against the Arapaho. In the following year, the fighting escalated into Red Cloud's War, which was the first major military conflict between the United States and the Wyoming Indian tribes. The second Treaty of Fort Laramie in 1868 ended the war by closing the Powder River Country to whites. Violation of this treaty by miners in the Black Hills led to the Black Hills War in 1876, which was fought mainly along the border of Wyoming and Montana.

 

In 1866, Nelson Story Sr. drove approximately 1000 head of Texas Longhorns to Montana through Wyoming along the Bozeman Trail—the first major cattle drive from Texas into Montana. The Wyoming Stock Growers Association is a historic American cattle organization created in 1873. The Association was started among Wyoming cattle ranchers to standardize and organize the cattle industry, but quickly grew into a political force that has been called "the de facto territorial government" of Wyoming's organization into early statehood, and wielded great influence throughout the Western United States. The association is still active to this day, but it is best known for its rich history and is perhaps most famous for its role in Wyoming's Johnson County War. In 1892 the Johnson County War, also known as the War on Powder River and the Wyoming Range War, took place in Johnson, Natrona and Converse County, Wyoming. It was fought between small settling ranchers against larger established ranchers in the Powder River Country and culminated in a lengthy shootout between local ranchers, a band of hired killers, and a sheriff's posse, eventually requiring the intervention of the United States Cavalry on the orders of President Benjamin Harrison. The events have since become a highly mythologized and symbolic story of the Wild West, and over the years variations of the storyline have come to include some of the west's most famous historical figures and gunslingers. The storyline and its variations have served as the basis for numerous popular novels, films, and television shows.

 

In 1870, roughly three-eights of Wyoming's population was foreign born, coming primarily from Ireland, Germany and England. The Union Pacific Railroad played a central role in the settlement of Wyoming. The land was good for cattle ranches, but without transportation it was too far for a cattle drive. The UP railroad companies had large land grants that were used to back the borrowings from New York and London that financed construction. UP was anxious to locate settlers upon the land as soon as possible, so there would be a steady outflow of cattle, and a steady inflow of manufactured items purchased by the ranchers. UP also built towns that were needed to service the railroad itself, with dining halls for passengers, construction crews, repair shops and housing for train crews. The towns attracted cattle drives and cowboys.

 

The UP reached the town of Cheyenne, which later became the state capital, in 1867. The railroad eventually spanned the entire state, boosting the population, and creating some of Wyoming's largest cities, such as Laramie, Rock Springs and Evanston. The railroad needed coal, which was discovered in quantity in the southwestern part of the state, especially around Rock Springs In 1885, a murderous riot known as the Rock Springs Massacre broke out when white miners drove out Chinese miners employed by the Union Pacific Coal Company in Rock Springs.

 

The name "Wyoming" was used by Representative J. M. Ashley of Ohio, who introduced the Ashley Bill to Congress to provide a "temporary government for the territory of Wyoming". The name was made famous by the 1809 poem Gertrude of Wyoming by Thomas Campbll. "Wyoming" is derived from the Delaware (Munsee) name xwé:wamənk, meaning "at the big river flat", originally applied to the Wyoming Valley in Pennsylvania.

 

After the arrival of the railroad, the population began to grow steadily in the Wyoming Territory, which was established on July 25, 1868. Unlike Colorado to the south, Wyoming never experienced a rapid population boom in the 19th century from any major mineral discoveries such as gold or silver.

 

Inclusion of women's suffrage in the Wyoming constitution was debated in the constitutional convention, but ultimately accepted. The constitution was mostly borrowed from those of other states, but also included an article making all the water in Wyoming property of the state. Wyoming overcame the obstacles of low population and of being the only territory in the U.S. giving women the right to vote, and the United States admitted Wyoming into the Union as the 44th state on July 10, 1890.

 

In 1869, Wyoming territory granted women the right to vote, becoming the first U.S. state to extend suffrage to women. Wyoming was also the home of many other firsts for U.S. women in politics. The first time women served on a jury was in Wyoming (Laramie in 1870). Wyoming had the first female court bailiff (Mary Atkinson, Laramie, in 1870), and the country's first female justice of the peace (Esther Hobart Morris, South Pass City, in 1870). Wyoming became the first state in the Union to elect a female governor, Nellie Tayloe Ross, who was elected in 1924 and took office in January 1925.

 

Following on the reports of men like Colter and Bridger, a number of organized expeditions were undertaken in northwestern Wyoming. The Cook–Folsom–Peterson Expedition in 1869 and the Washburn-Langford-Doane Expedition in 1870 confirmed the stories of the mountain men. In 1871, Ferdinand Vandeveer Hayden led a formal geological survey of the area, the result of which ultimately convinced Congress to set aside the region. Yellowstone National Park became the world's first National Park in 1872. In August 1886, the U.S. Army was given administration of the park. In 1917, administration of the park was transferred to the new National Park Service. Hundreds of structures have been built and are protected for their architectural and historical significance, and researchers have examined more than 1,000 archaeological sites. Most of Yellowstone National Park is located in Wyoming.

 

Wyoming is also home to the nation's first national monument (Devils Tower created in 1906), and the first national forest (Shoshone National Forest created in 1891).

 

The Homestead Act of 1862 attracted many new farmers and ranchers to Wyoming, where they congregated along the fertile banks of the rivers. Most of the land in Wyoming in the 2nd half of the 19th century was in the public domain and so was open for both homesteading and open range for grazing cattle. As individual ranchers moved into the state, they became at odds with the larger ranches for control of the range and water sources. Tensions rose to a boiling point in April 1892 as an armed conflict known as the Johnson County War, fought between the large cattle operators and smaller ranchers and homesteaders. The increased number of settlers also brought with them merchants, as well as outlaws. A number of notable outlaws of the time started their careers in Wyoming, including Butch Cassidy and Harry Longabaugh, both of whom were incarcerated in Wyoming as young men.[25] A remote area in Johnson County, Wyoming known as the Hole-in-the-Wall was a well known hideout for a loose association of outlaw gangs known as the Hole in the Wall Gang. It was used from the 1860s through the early 20th century by outlaws operating throughout Wyoming.

 

Precious metals were never discovered in great quantities, though a small amount of gold was discovered near South Pass prompting a small rush in the 1860s. Coal was discovered early and has been mined extensively through the state. Union Pacific Railroad ran several coal mines in the southern part of the state to supply the railroad. In 1885 tensions at a Union Pacific mine in Rock Springs resulted in the Rock Springs massacre, one of the largest race riots in U.S. history. Oil is also plentiful throughout the state. In 1924, irregularities over the allocation of naval reserves near Casper resulted in the Teapot Dome Scandal. Natural gas, bentonite and uranium have also been mined through the state's history.

 

One exception is the copper mines in Carbon County west of Encampment. The Ferris-Haggarty Mine Site supplied copper for the electrification of the world in the late 1800s and early 1900s.

 

After 1890, Wyoming pageants and parades, as well as school courses, increasingly told a nostalgic story of Wyoming as rooted in the frontier West. During the 1940s, Wyoming millionaire William R. Coe made large contributions to the American studies programs at Yale University and at the University of Wyoming. Coe wished to celebrate the values of the Western United States in order to meet the threat of communism.

 

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.

 

To honour and acknowledge the profound enrichment of our lives, the unconditional love and companionship, that our dogs have given to us over so many long years, and throughout so many shared Christmases…making it even more special...

 

When each Christmas comes around, I can't help but recall other times we shared our festive celebrations with those, who are no longer here to be part of it.

 

Bobby, my Best Boy, ( in front ) with good buddies, Harry, the Wolfhound, and Charlie, the Kengal/Border Collie.

 

A happy Christmas memory, out at a friend's donkey sanctuary.

 

All of them are no longer here, in a physical presence, and I still miss them …

 

…………………………………………………………...

jsc2020e016784 (March 23, 2020) --- At the Gagarin Cosmonaut Training Center in Star City, Russia, Expedition 63 crewmember Chris Cassidy of NASA (standing) acknowledges the Russian State Commission’s approval of him for launch March 23 as his crewmates look on. From left to right are backup crewmembers Steve Bowen of NASA and Sergey Ryzhikov of Roscosmos, and prime crewmembers Anatoly Ivanishin and Ivan Vagner of Roscosmos. Cassidy, Ivanishin and Vagner will launch April 9 on the Soyuz MS-16 spacecraft from Baikonur for a six-and-a-half month mission on the International Space Station. Credit: Andrey Shelepin/Gagarin Cosmonaut Training Center

Aaron Rodgers of the Green Bay Packers acknowledges the cheers of the crowd after he scrambled out of the pocket and ran into the end zone for a touchdown in a game against the Oakland Raiders at Lambeau Field, in Green Bay, Wisconsin on October 20, 2019. Rodgers threw 5 touchdown passes and ran for another as he amassed a perfect quarterback rating. The Packers won 42-24. For more go to www.elviskennedy.com

One of the things that my wife loved about the house we bought several years ago was the hydrangea bushes planted by the original owner/builder. Additionally, beautiful flower photos are nice but I thought a beautiful flower photo with a quote from God's Word would be even better...

 

"Trust in the Lord with all your heart and lean not on your own understanding; in all your ways acknowledge him and he will make your paths straight." ~Proverbs 3:5-6

 

Technical Information:

Camera - Nikon D5200

Lens – Nikkor 18-300mm Zoom

ISO – 400

Aperture – f/5.6

Exposure – 1/50 second

Focal Length – 230mm

 

The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS5.

 

"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

A PW worker acknowledges the driver of 66015 as it passes through Droiwich Spa with 6V07 Round Oak - Margam empty steel. 10.05.19

It is a truth universally acknowledged, that tgirls of a certain age go through a kind of second adolescence about thirty years too late. We revel in a femininity which we were never able to express as teenagers, just for the sheer 10 denier joy of it. We discover a need for more than one pair of shoes. We are mad for makeup, in love with lingerie.

 

Having damn good legs, we might just wear slightly short skirts.

 

There's nothing at all wrong with that. I've been there, done that, got the designer jacket. And I know I'll go there again, because even a girl who lives in jeans and flatties likes to scrub up sometimes and turn on the glamour.

 

But right now, this is where I feel incredibly comfortable.

Eye Eye, Captain - a Naval reference; when acknowledging

an order from a superior officer... ~ Tavernier, Florida

South Florida ~ Monroe County ~ Florida Keys U.S.A.

 

Let's get up close & personal (from a distance), shall we?

How close is too close? - "I've got my eye on you."

 

"Look into my eyes.... Deep into my eyes...

...Now flip me your biggest fish." LOL

 

Geepers creepers, where'd you get those peepers !?!

 

(five more photos from this location in the comments)

 

********************************************************************

The Brown Pelican is a small pelican found in the Americas. It is one of the best known and most prominent birds found in the coastal areas of the southern and western United States. It is one of only 3 pelican species found in the Western Hemisphere. The Brown Pelican is one of the only two pelican species which feeds by diving into the water, and it is an amazing sight to see!

 

Through most of its range, the brown pelican is an unmistakable bird. Like all pelicans, this species has a very large bill (11 to 13.7 inches long) with a gular pouch on the bottom for draining water when it scoops out prey. The head is white but often gets a yellowish wash in adult birds. The bill is grayish overall in most birds, though breeding birds become reddish on the underside of the throat. The back, rump, and tail are streaked with gray and dark brown, sometimes with a rusty hue. In adult pelicans, the breast and belly are a blackish-brown and the legs and feet are black. Juveniles have brownish-gray necks & white underparts.

 

This bird is readily distinguished from the American White Pelican by its non-white plumage, smaller size and its habit of diving for fish from the air, as opposed to co-operative fishing from the surface. The Peruvian Pelican, previously considered a subspecies of Brown Pelican, is now considered to be a separate species. It has very similar plumage to the Brown, but it is noticeably larger. The Brown and Peruvian pelicans may overlap in some areas along the Pacific coast of South America.

 

en.wikipedia.org/wiki/Brown_Pelican

Linda and I had the pleasure of photographing White Tailed Deer, Turkeys and other wonderful wildlife on a friend's 1500 acre Tree Farm that he has turned into his own private wildlife preserve. The animals on his farm are much more tolerent of people than you would normally see as they go about thier normal daily lives as a wild animal!! This photo was taken from one of our photo blinds (Linda reminded me 4 hours in the blinds) . Even though they are much more friendly than they normally would be, they are still wild animals!! Thanks for looking and we will see everyone on Tuesday !!

 

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

 

Recent history proves that nothing good ever comes from Despots

 

This is what it means to be a slave; to be abused and bear it; compelled by violence to suffer wrong.

-- Euripides

 

Absolute power turns its possessors not into a God but an anti-God. God turned clay into men, while the absolute despot turns men into clay

--Eric Hoffer

 

Love of power more frequently originates in vanity than pride (two qualities, by the way, which are often confounded) and is, consequently, yet more peculiarly the sin of little than of great minds.

-- Frances Wright

 

The monuments of wit survive the monuments of power.

-- Francis Bacon

 

Absolute power does not corrupt absolutely, absolute power attracts the corruptible.

-- Frank Herbert

 

Properly, we should read for power. Man reading should be man intensely alive. The book should be a ball of light in one's hand.

-- Ezra Pound

 

The best and safest thing is to keep a balance in your life, acknowledge the great powers around us and in us. If you can do that, and live that way, you are really a wise man.

— Euripides

 

Giving is the highest expression of potency. In the very act of giving, I experience my strength, my wealth, my power. This experience of heightened vitality and potency fills me with joy. I experience myself as overflowing, spending, alive, hence as joyous. Giving is more joyous than receiving, not because it is a deprivation, but because in the act of giving lies the expression of my aliveness.

-- Erich Fromm

 

Every device employed to bolster individual freedom must have as its chief purpose the impairment of the absoluteness of power. The indications are that such an impairment is brought about not by strengthening the individual and pitting him against the possessors of power, but by distributing and diversifying power and pitting one category or unit of power against the other. Where power is one, the defeated individual, however strong and resourceful, can have no refuge and no recourse.

-- Eric Hoffer

 

People who grow rich almost always improve their sex life. More people want to have sex with them. That's just the way human beings work. Money is power. Power is an aphrodisiac. Money did not make me happy. But it definitely improved my sex life.

-- Felix Dennis

 

PS. -{one has to have a sense of humour! the evidence suggests that money makes you fat and impotent, viagra is a band aid solution}

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

  

Montréal ||| Interesting 50

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.

 

Biennalist @ Venice Biennale

 

during the Venice Biennale 2019 Biennalist format will express the Biennale concept with art work

Biennalist / Venice Biennale

 

www.emergencyrooms.org/biennalist.html

 

#ThierryGeoffroy

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2019

  

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)

  

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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

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Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

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Thierry Geoffroy / Colonel

 

Went up to the Liberty Outdoor Antique Show on Friday. This show is generally acknowledged as the best outdoor show held in North Carolina (the Metrolina Extravaganzas held twice yearly outside Charlotte used to be good competition, but lately it has thinned out a bit, and the quality is spotty, with a fair amount of flea market junk on offer amongst the antiques) and is held late in April and late in September, yearly.

 

Twas raining, and not just a little. Twas raining more or less incessantly, and hard at times. The usual crowd was smaller at the opening (as at any good antique show, the paying customers were lined up and chomping at the bit to get at the goods.) At eight o'clock sharp a horn sounded, the gates opened, and the crowd snaked through, not in wild chaotic fashion as at Brimfield, but in orderly progression, first in line allowed in first. I knew that the chances of finding any photos were slim. Dealers follow the weather forecasts, and knowing rain was predicted, many dealers probably left their photographs at home. And some who had brought photos might well have not gotten them out. Several dealers had not bothered to set up---though their tents were up, their goods were unpacked, still in their boxes. And of course those dealers with only tables and no tent had retired from the fray until the rain let up. All in all, not a good day (or weekend, for that matter, as the rain returned Saturday) for the antique show.

 

Long story short, i was in this tent. The rain had collected in pools at the edges of the canvas roof. Seeing a big puddle of water at the edge of the tarp, I reached up to poke it and let it cascade to the ground, fearing that instead, it might cascade on my head, if left tended too, when all-of-a-sudden the dealer, the proprietor of the booth, was shouting at me, "Don't pull on my tent while I'm at the other end working on it!" I can say that this man was literally shouting at me. More than a little irritated at his angry tone, I told him I wasn't pulling on his tent. Fearing a more forceful response from my angry affronted self, and burning within at his public remonstrance, I immediately left his booth and walked quickly away.

 

I was maybe ten yards from the booth where the encounter had taken place when I heard a loud crash and the breaking of glass. The dealer who had shouted at me came bounding out of his booth, shouting again, "is this effing day ever going to end?" or some such. i will tell you, and i tell you without shame, that never has my inner feeling changed so completely in an instant from anger and pique to pure joy. I don't know what item was broken, but I do hope the loss was enough to tip this dealer into bankruptcy, or madness, or better, both. Never throughout the course of my existence have I felt that God had acted so summarily in my life to right a wrong and bring the scales back into balance, with me the better for it. Oh it was sweet, that moment. If I may be permitted the liberty of quoting a friend who had accompanied me on this little jaunt, "I never saw a grown man jump up and down and crow with glee like a six-year-old until that moment."

 

Alas, I found few photos during the long soggy muddy miserable day. Yet I would drive the 150 miles (round-trip) just to re-live that moment, that little sequence, from the Valley of Unjust Persecution to the Peak of Righteous Vindication.

 

This little photobooth was one of the few photos I returned with. I actually found a booth with a lot of photos that I wanted to buy, some albums that were interesting, a photo of a grandma fondling the horns of a longhorn bull, but the dealer in that booth had vanished and left the front flap and a chair blocking entry (I went in anyway, seeing photographs in boxes). found a lot there, but the dealer never reappeared for the rest of the day, even though the sun finally came out. I couldn't just throw down money and take what I wanted. I hate it that I left photographs that I wanted unbought, but there was nothing to do but grin and bear it. Still, this little photobooth is quite nice. She looks a mrwaterslide sort, don't you think?

www.fluidr.com/photos/133762009@N02

“She seemed to know, to accept, to welcome her position, the citadel of the family, the strong place that could not be taken. And since old Tom and the children could not know hurt or fear unless she acknowledged hurt or fear, she had practiced denying them in herself. And since, when a joyful thing happened, they looked to see whether joy was on her, it was her habit to build laughter out of inadequate materials....She seemed to know that if she swayed the family shook, and if she ever deeply wavered or despaired the family would fall.”

 

Describing Ma Joad, in The Grapes of Wrath by John Steinbeck

  

It feels like a very long time ago that I posted anything!

 

I was originally going to post this photo later, along with others from the same set, but I decided to just go and post it. We've had a nasty heat stroke here recently, which has turned my mind often to the dust bowl, and the poor souls of The Grapes of Wrath. It's hard to imagine people mistaking California for the land of milk and honey they'd been promised, but I guess that's how it happened; they didn't know. No one had been here before, and there's no internet. For poor folk of modest means, all they can listen to is the gossip that makes it way across the states. The gossip that wrongly promises all will be well when they reach the golden state of sunshine. We're fresh out of happy endings here, folks.

 

I've been hard at work at a huge project and I can't wait to show it to you... another couple weeks, probably :)

 

Model: Katie Johnson. Y'all should check out her new pro Facebook page!

  

Click here for info about my fundraiser for the families of the Arizona Hotshots. The families of the 19 firemen are gonna need some help, and you can donate to them while getting a print, shirt, blank card, or Ipod/pad/phone case!

  

*Prints

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*Sarah Allegra Artistry

 

Let's first acknowledge that it's a ridiculous name for a road. I don't know the back story.

 

It's also a popular spot for locals to take in some beautiful sunsets. While the road is in New Hampshire, you're mainly looking across the river into nearby Vermont. This is up the hill and not far from where my mom and her siblings grew up.

 

This image was newly created from a few photos I'd taken years ago. I don't use a lot of HDR, and I tried to avoid going over the top with this one. Hopefully the result looks fairly normal!

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

  

Montréal ||| Interesting 50

Summer Holiday - July 2016

The regenerated apple

by

Michelangelo Pistoletto (born 23 June 1933 in Biella)

is an Italian painter, action and object artist, and art theorist. Pistoletto is acknowledged as one of the main representatives of the Italian Arte Povera. His work mainly deals with the subject matter of reflection and the unification of art and everyday life in terms of a Gesamtkunstwerk.

From 1947 until 1958, Pistoletto worked in his father’s restoration workshop in Turin. In the 1950s, he started painting figurative works and self-portraits. In 1959, he participated in the Biennale di San Marino. In the following year, he had his first solo exhibition in the Galleria Galatea in Turin. In the beginning of the 1960s, Pistoletto started painting figurative works and self-portraits which he painted on a monochrome, metallic background. Later on, he combined painting with photography using collage techniques on reflective backgrounds. Eventually, he switched over to printing photorealistic scenes on steel plates polished to a high finish. He did that using the screen-printing method which made the observer almost completely melt in with what was depicted.[1] In the mid-1960s, gallery owner Ileana Sonnabend brought him into contact with an international audience.

 

In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto’s early sculptural works. In 1966, Pistoletto had his first solo exhibition in the USA, at the Walker Art Center in Minneapolis. In 1967, his work was awarded first prize in the Biennale de São Paulo. In the same year, Pistoletto started focusing on performance, video art and theatre. He founded an action art group, called "Zoo Group", which gave several performances between 1968 and 1970. These took place in the studio, public buildings or on the streets of Turin or other large cities. As was already the case with Pistoletto’s 2-dimensional and sculptural works, the aim was to display the unity of art and everyday life. Pistoletto is represented by the Simon Lee Gallery in London and the Luhring Augustine Gallery in New York.

 

"Arte Povera"

Michelangelo Pistoletto began painting on mirrors in 1962, connecting painting with the constantly changing realities in which the work finds itself. In the later sixties he began bringing together rags with casts of omnipresent classical statuary of Italy to break down the hierarchies of "art" and common things. An art of impoverished materials is certainly one aspect of the definition of Arte Povera. In his 1967 Muretto di straci (Rag Wall) Pistoletto makes an exotic and opulent tapestry wrapping common bricks in discarded scraps of fabric. The work received a lot of feedback: Pistoletto, who started under the American influence of "post-pop art" and photorealism, was soon listed by gallery owners and critics in the catalogues as a significant representative of the novel, mostly Italian trend of the Arte Povera. Against the background of the 1968 student riots, Pistoletto withdrew his participation in the Venice Biennale. In the following years, he dealt with conceptual ideas, which he presented in the book L'uomo nero (1970). In 1974, he nearly completely withdrew from the art scene: he took an exam as a skiing instructor and spent most of his time in the mountains of San Sicario. At the end of the 1970s, he produced sculptures, heads, and torsos using polyurethane and marble. In doing so, he was a recipient of antique artifacts and he furthermore pursued other performance and theatre projects–including those in the USA in Athens, Atlanta, and San Francisco. At the beginning of the 1980s, he presented theatre works, such as Anno Uno (March 1981) in the Teatro Quirino in Rome. Since 1990, Pistoletto has been living and working in Turin.

 

FOR MORE INFORMATIONS:

en.wikipedia.org/wiki/Michelangelo_Pistoletto

For the place:

wikimapia.org/#lang=it&lat=45.484893&lon=9.203330...

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“It is an illusion that photos are made with the camera…

 

they are made with the eye, heart and head.”

 

[Henry Cartier Bresson]

 

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Pavel Srníček (10 March 1968 – 29 December 2015) was a Czech football coach and former professional player who played as a goalkeeper.

 

In a career that lasted from 1990 to 2007, he notably played in the Premier League mainly for Newcastle United. In addition, he represented Sheffield Wednesday, Portsmouth and West Ham United in England's top flight, and also played in Serie A for Brescia, Serie B with Cosenza, in Portugal for Beira-Mar, and in his native country for Baník Ostrava. After retiring, he worked as a goalkeeping coach for his own private school and for AC Sparta Prague.

 

Srníček played internationally for the Czech Republic from 1994 to 2001, earning a total of 49 caps. He was part of their squad that came runners-up at UEFA Euro 96, and was their first-choice goalkeeper when they came third at the 1997 FIFA Confederations Cup and contested UEFA Euro 2000.

 

Srníček made 30 appearances in the Czechoslovak First League for Baník Ostrava spanning the 1989–90 and 1990–91 seasons. He was signed for English side Newcastle United in January 1991 by manager Jim Smith for a fee of £350,000, being one of 23 players signed by Smith in a 2+1⁄2-year period as manager. Smith left just two months after Srníček's arrival. Under manager Ossie Ardiles, Srníček established himself as Newcastle's first-choice goalkeeper ahead of John Burridge and Tommy Wright. Srníček experienced difficulty in the first 15 games of the 1991–92 season, conceding 32 goals in that period including six in a single match against Tranmere Rovers. Ardiles replaced Srníček as goalkeeper with Wright and by February 1992, the club was merely one place from last in the Second Division. This led to Kevin Keegan replacing Ardiles as manager, with the club winning seven of their remaining 16 games, only managing to confirm their future status in the division with an away win against Leicester City on the last day of the season. The club started the 1992–93 season in the new Football League First Division, winning all of their first 11 matches. Wright lost his place as goalkeeper to Srníček after 14 games of the season. At the end of the season, Keegan's first full one as manager, the club was promoted to the Premier League with 96 points. 1993 saw the arrival of Mike Hooper from Liverpool, who competed with Srníček for the position of goalkeeper.

 

Srníček marked the opening of the 1994–95 season, a 3–1 away victory against Leicester City, by being sent off. A "terrible error" by Srníček in a September 1994 match against Liverpool resulted in a goal for Liverpool striker Ian Rush, ending Newcastle's perfect start to the season and leading Glenn Moore of The Independent to question how much longer the goalkeeper would remain in the first team.

 

During Srníček's league suspension in 1995, former Reading man Shaka Hislop assumed position as the team's goalkeeper. Later an injury to Hislop enabled Srníček to return to the first team, upon which he entered into an impressive run of form. He was named man of the match in a December 1995 match against Everton, his team winning 1–0. During the 1990s, Srníček became the longest-serving foreign Newcastle player, passing the time spent at the club by Chilean brothers George and Ted Robledo.

 

Srníček played in the UEFA Cup, making a "vital save" from Amara Traoré and keeping a clean sheet as Newcastle beat Metz 2–0 in a December 1996 match in Newcastle, to qualify for the quarter finals of the competition.

 

Newcastle United Football Club is a professional association football club based in Newcastle upon Tyne, Tyne and Wear, England. The team compete in the Premier League, the first level of the English football league system, as of the 2023–24 season. Since the formation of the club in 1892, when Newcastle East End absorbed the assets of Newcastle West End to become Newcastle United, the club has played its home matches at St James' Park. Located in the centre of Newcastle, it currently has a capacity of 52,305.

 

The club has been a member of the Premier League for all but three years of the competition's history, spending 91 seasons in the top flight as of May 2023, and has never dropped below English football's second tier since joining the Football League in 1893. Newcastle have won four League titles, six FA Cups and an FA Charity Shield, as well as the 1968–69 Inter-Cities Fairs Cup, the ninth-highest total of trophies won by an English club. The club's most successful period was between 1904 and 1910, when they won an FA Cup and three of their League titles. Their last major domestic trophy was in 1955. More recently the club have been League or FA Cup runners-up on four occasions in the 1990s. Newcastle were relegated in 2009, and again in 2016. The club won promotion at the first time of asking each time, returning to the Premier League, as Championship winners, in 2010 and 2017. In October 2021, a consortium led by the Public Investment Fund, the sovereign wealth fund of Saudi Arabia, became majority owners of Newcastle United.

 

The team's traditional kit colours are black-and-white striped shirts, black shorts and black or white socks. Their crest has elements of the city coat of arms, which features two grey hippocamps. Before each home game, the team enters the field to "Going Home", with "Blaydon Races" also being sung during games. The 2005 film Goal! featured Newcastle United, and many signings mentioned the influence the film had on them.

 

The history of Newcastle United Football Club, an English professional association football club based in Newcastle upon Tyne, North East England, covers the club's entire history from its formation to the present day. Formed by a merger between Newcastle East End and Newcastle West End to become 'United' in 1892, the club was elected to the Football League, which they entered in 1893.

 

Newcastle are England's 9th most successful club of all time. They have been English champions four times (in 1905, 1907, 1909, 1927) and FA Cup winners six times (in 1910, 1924, 1932, 1951, 1952, 1955). The club have also won the 1909 Charity Shield, the 1968–69 Inter-Cities Fairs Cup, and the 2006 Intertoto Cup. Newcastle have reached the League Cup final twice, finishing runners-up in both years ( 1976 and 2023). They have played in England's top league from 1898–1934, 1948–61, 1965–78, 1984–89, 1993–2009, 2010–2016, and 2017–present, playing in the second tier at all other times.

 

The first record of football being played on Tyneside dates from 3 March 1877 at Elswick Rugby Club. Later that year, Newcastle's first association football club, Tyne Association, was formed. The origins of Newcastle United Football Club itself can be traced back to the formation of a football club by the Stanley Cricket Club of Byker in November 1881. They won their first match 5–0 against Elswick Leather Works 2nd XI. The team was renamed Newcastle East End F.C. in October 1882, to avoid confusion with the cricket club in Stanley, County Durham.

 

Shortly after this, another Byker side, Rosewood FC, merged with East End to form an even stronger side. Meanwhile, across the city, West End Cricket Club began to take an interest in football and in August 1882, they formed Newcastle West End F.C. West End played their early football on their cricket pitch, but in May 1886, the club moved into St James' Park. The two clubs became rivals in the Northern League. In 1889, Newcastle East End became a professional team, before becoming a limited company the following March.

 

West End soon became the city's premier club. East End were anxious not to be left behind and lured Tom Watson into becoming the club secretary/manager in the close season of 1888 and from that point, never looked back; Watson made several good signings, especially from Scotland, and the Heaton club went from strength to strength, while West End's fortunes slipped dramatically.

 

The region's first league competition was formed in 1889 and the FA Cup began to cause interest. Ambitious East End turned professional in 1889, a huge step for a local club, and in March 1890, they made an even more adventurous move by becoming a limited company with capital of 1,000 pounds in ten shilling notes. During the spring of 1892, in a season during which their results were at an all-time low, and in which they had lost to their bitter rivals, East End, five times, West End found themselves in serious trouble. They approached East End with a view to a take over, the directors having decided that the club could no longer continue.

 

What actually happened was that West End wound up, while some of its players and most of its backroom staff joined East End. East End also took over the lease on St. James' Park in May 1892.

 

With only one senior club in the city for fans to support, development of the club was much more rapid. Despite being refused entry to the Football League's First Division at the start of the 1892–93 season, they were invited to play in their new Second Division. However, with no big names playing in the Second Division, they turned down the offer and remained in the Northern League, stating "gates would not meet the heavy expenses incurred for travelling". In a bid to start drawing larger crowds, Newcastle East End decided to adopt a new name in recognition of the merger. Suggested names included Newcastle F.C., Newcastle Rangers, Newcastle City and City of Newcastle, but Newcastle United was decided upon on 9 December 1892, to signify the unification of the two teams. The name change was accepted by the Football Association on 22 December, but the club was not legally constituted as Newcastle United Football Club Co. Ltd. until 6 September 1895. At the start of the 1893–94 season, Newcastle United were once again refused entry to the First Division and so joined the Second Division, along with Liverpool and Woolwich Arsenal. They played their first competitive match in the division that September against Woolwich Arsenal, with a score of 2–2.

 

Turnstile numbers were still low, and the incensed club published a statement claiming "The Newcastle public do not deserve to be catered for as far as professional football is concerned". However, eventually figures picked up by 1895–96, when 14,000 fans watched the team play Bury. That season Frank Watt became secretary of the club, and he was instrumental in promotion to the First Division for the 1898–99 season. However, they lost their first game 4–2 at home to Wolves and finished their first season in thirteenth place.

 

In 1903–04, the club built up a promising squad of players, and went on to dominate English football for almost a decade, the team known for their "artistic play, combining team-work and quick, short passing". Newcastle started to purchase talented players, especially from Scotland, and soon had a squad to rival all of England. With players like Colin Veitch, Jackie Rutherford, Jimmy Lawrence and Albert Shepherd, Newcastle had a team of international talent. Bill McCracken, Jimmy Howie, Peter McWilliam and Andy Aitken were also household names in their day. Long after his retirement, defender Peter McWilliam said "The Newcastle team of the 1900s would give any modern side a two goal start and beat them, and further more, beat them at a trot".

 

Newcastle United went on to win the League on three occasions during the 1900s: in 1904–05, 1906–07 and 1908–09. Newcastle reached five FA Cup finals in the years leading up to World War I. In 1904–05, they nearly did the double, losing to Aston Villa in the 1905 FA Cup Final. They were beaten again the following year by Everton in the 1906 FA Cup Final. They reached the final again in 1908 where they lost to Wolves. In 1908 the team suffered a record 9–1 home defeat to local rivals Sunderland in the league but still won that season's league title. They finally won the FA Cup in 1910 when they beat Barnsley in the final. They lost again the following year in the final against Bradford City.

 

The team returned to the FA Cup final in 1924, in the second final held at the then new Wembley Stadium. They defeated Aston Villa, winning the club's second FA Cup.Three years later they won the First Division championship a fourth time in 1926–27. Record signing & Scottish international centre-forward Hughie Gallacher, one of the most prolific goal scorers in the club's history, captained the championship-winning team. Other key players in this period were Neil Harris, Stan Seymour and Frank Hudspeth. Seymour was to become an influential figure for the next 40 years as player, manager and director.

 

In 1930, Newcastle United came close to relegation, and at the end of the season Gallacher left the club for Chelsea, and at the same time Andy Cunningham became the club's first team manager. In 1931–32, the club won the FA Cup a third time in the infamous 'Over the Line' final. United won the game 2–1 after scoring a goal following a cross from Jimmy Richardson which appeared to be hit from out of play - over the line. There were no action replays then and the referee allowed the goal, a controversial talking point in FA Cup history.

 

Newcastle boasted master players like Sam Weaver and Jack Allen, as well as the first player-manager in the top division in Scottish international Andy Cunningham. But at the end of the 1933–34 season, the team were relegated to the Second Division after 32 seasons in the First. Cunningham left as manager and Tom Mather took over. Amazingly in the same season as they fell into the Second Division, United defeated Liverpool 9–2 and Everton 7–3 within the space of a week.

 

The club found it difficult to adjust to the Second Division and were nearly further relegated in the 1937–38 season, when they were spared on goal averages.

 

When World War II broke in 1939, Newcastle had a chance to regroup, and in the War period, they brought in Jackie Milburn, Tommy Walker and Bobby Cowell.

 

Newcastle United won no Wartime League trophies, but Jackie Milburn made his debut in 1943 in a "Stripes vs Blues" match. Milburn's side was losing at half-time 3–0, but following a switch from midfielder to centre forward, he scored 6 goals to help them win the match 9–3. Jackie went on to score 38 goals in the next 3 years of the league's life.

 

By the time peace was restored in 1945, Seymour was at the forefront of Newcastle's affairs, manager in all but name. He ensured that the Magpies possessed an entertaining eleven full of stars, a mix of home-grown talent like Jackie Milburn, Bobby Cowell and Ernie Taylor, as well as big signings in the shape of George Robledo, Bobby Mitchell, Joe Harvey, Len Shackleton and Frank Brennan.

 

Newcastle spent the first couple of years post-war in the Second Division. Crowds were extremely high after the return to football, and in 1946 Newcastle recorded the joint-highest victory in English League Football history, defeating Newport County 13–0. Len Shackleton, playing his debut in that match, scored 6 goals in the match, another record for Newcastle United.

 

Newcastle returned to the First Division in double of the time. Promotion was achieved in 1948 in front of vast crowds. An average of almost 57,000 at every home game saw United's fixtures that year, a national record for years to come. That was just the start of another period of success.

 

During the Fifties decade United lifted the FA Cup trophy on three occasions within a five-year period. In 1951 they defeated Blackpool 2–0, a year later Arsenal were beaten 1–0 and in 1955 United crushed Manchester City 3–1. The Magpies were known in every corner of the country, and so were their players; 'Wor Jackie' Milburn and Bobby 'Dazzler' Mitchell the pick of a side that was renowned the nation over. Other players of this time were Frank Brennan (like Mitchell a Scot), Ivor Broadis, Len White and Welshman Ivor Allchurch.

 

Despite having quality players throughout the era, stars like Allchurch, White and George Eastham during the latter years of the decade, United slipped from the First Division in 1961 under the controversial management of ex-Manchester United star, Charlie Mitten. It was a huge blow to the club.

 

An old war-horse returned to revitalise the Magpies in the shape of Joe Harvey, who had skippered the club to much of their post-war success. He teamed up with Stan Seymour to rebuild United and the Black'n'Whites returned to the elite as Second Division Champions in 1965. United then became very much an unpredictable side, always capable of defeating the best, but never quite realising their huge potential until very recently.

 

Joe Harvey's side qualified for Europe for the first time in 1968 and stunned everyone the following year by lifting the Inter Cities Fairs Cup; the forerunner of the UEFA Cup. United possessed a solid eleven and Newcastle's tradition of fielding a famous Number 9 at centre-forward since earliest years continued as big Welshman Wyn Davies was prominent along with the likes of Pop Robson, Bobby Moncur and Frank Clark.

 

In the years that followed European success, manager Harvey brought in a string of talented entertainers who thrilled the Gallowgate crowd. Pleasers like Jimmy Smith, Tony Green and Terry Hibbitt. And especially a new centre-forward by the name of Malcolm Macdonald.

 

Nicknamed 'Supermac', Macdonald was one of United's greatest hero figures. Brash, arrogant and devastating in front of goal, he led United's attack to Wembley in 1974, against Liverpool in the FA Cup. But the Magpies failed to bring the trophy back to Tyneside, and a complete lack of success in any of the competitions the next season resulted in Joe Harvey being sacked in mid-1975.

 

Blackburn manager Gordon Lee was appointed to replace Harvey, and despite a mediocre league campaign in 1975–76, led the club to its first League Cup final, which ended in defeat by Manchester City. Despite Macdonald controversially being sold to Arsenal for a cut price deal, the following season saw United's best League campaign for years, and by Christmas the club looked to have an outside chance of winning the title. However, Lee walked out on the club to take over at Everton at the start of 1977, and inexperienced coach Richard Dinnis was put in charge of the team after the players demanded that he be given the job. United's form initially remained quite consistent under Dinnis, and they secured 5th place and a UEFA Cup spot at the end of the season. However, the team totally fell apart the following season, and Dinnis was sacked after a run of ten straight League defeats and a thumping UEFA Cup exit at the hands of French team SC Bastia. Bill McGarry took over as manager, but was powerless to prevent United from being relegated in statistically their worst season ever. The only mercy they had was Leicester City's terrible goal difference preventing United from finishing bottom of the table.

 

McGarry remained in charge of the club, but only managed two midtable finishes before being sacked in the wake of an uninspiring start to the 1980–81 season, and it was his successor Arthur Cox who steered United back again to the First Division with ex England captain Kevin Keegan leading the attack, having joined the Magpies in a sensational deal in 1982.

 

The football inspired by Keegan captivated Tyneside and United stormed into the top division in a style only bettered by Kevin's own brand of football when he returned to the club as manager a decade later. Cox had also signed young winger Chris Waddle out of non-league football, as well as young striker Peter Beardsley, Liverpool midfielder Terry McDermott and former Manchester United midfielder David McCreery. The club was rocked however when Cox resigned after the board refused to offer him an improved contract in the aftermath of promotion, and, surprisingly, accepted an offer to take charge of Derby County - who had been relegated from the Second Division.

 

One of English footballs greatest talents, Paul Gascoigne or 'Gazza', emerged as an exciting 18-year-old midfielder in 1985-86, under Newcastle's next manager Jack Charlton, who left after only one season despite Newcastle achieving a secure mid-table finish on their return to the First Division. His successor was former player Willie McFaul. Newcastle consolidated their place in Division One but then a period of selling their best players (Beardsley to Liverpool, and Waddle and eventually Gascoigne both to Tottenham), rocked the club and led to supporter unrest, as did a share-war for control of the boardroom. The effect of this on the pitch soon proved evident, as McFaul was sacked after a dismal start to the 1988–89 season, and new boss Jim Smith was unable to turn Newcastle around, resulting in them finishing at the foot of the First Division in 1989 and dropping back into the Second Division.

 

Smith then signed Portsmouth striker Mick Quinn and Newcastle began the 1989–90 season on a high note, beating promotion favourites Leeds United 5–2 on the opening day with Quinn scoring four goals, and Newcastle appeared to be on the path to a revival. However, they missed out on automatic promotion by one place, before enduring a humiliating play-off exit at the hands of local rivals Sunderland. The intensifying boardroom battle soon took its toll on the club, and Smith resigned early in the following season with the side stuck in mid-table. Ossie Ardiles became the club's new manager, and despite being initially being the club's most popular manager since Joe Harvey, Newcastle dropped to the bottom of the Second Division in October 1991. Results failed to improve, despite the acquisition of a new striker in David Kelly and the efforts of promising young players including Steve Howey, Steve Watson and Gavin Peacock, and in February 1992 Ardiles was sacked. Despite being the best-supported side in the division and frequently still managing to pull in crowds of more than 20,000, Newcastle were also millions of pounds in debt and faced with the real prospect of third-tier football for the first time ever. A saviour was needed, and in came new chairman John Hall, who offered the manager's job to Kevin Keegan. Despite having vowed never to enter management following his retirement as a player, Keegan accepted the offer to manage Newcastle. His first task was to deliver Second Division survival.

 

Kevin Keegan returned as manager in the 1991–92 season, and survived relegation from the Second Division. The club's finances were transformed, with Hall aiming to put Newcastle among Europe's biggest clubs, and signings like Rob Lee and Andy Cole helped Newcastle to promotion the following season, 1992–93, as champions of the new First Division. The finish also secured qualification for the 1993–94 UEFA Cup upon return to the top flight in the 1993–94 Premier League season.

 

St James' Park was redeveloped during this time into an all-seated stadium with a capacity of 36,000. This increased to 52,000 in the late 1990s, after the rejection of Hall's proposal to build a larger stadium at Castle Leazes.

 

Keegan stunned fans and critics alike in 1995 when prolific striker Andy Cole was sold to Manchester United in exchange for £6 million and midfielder Keith Gillespie, leaving many to blame the sale to have affected Newcastle's title chances for the 1994–95 season, in which they finished sixth. The club, however, continued to build up a reputation for playing attacking football under Keegan. In the 1995–96 season, high-profile foreign stars David Ginola and Faustino Asprilla, in addition to British players Peter Beardsley and striker Les Ferdinand, guided the team to a second-place finish. During the 1996–97 season, Keegan made one signing, securing the services of England striker Alan Shearer for a then-world record transfer fee of £15 million to produce a shrewd partnership with Les Ferdinand, and claim a 5–0 victory over title rivals Manchester United. whilst remaining in contention to win the league.

 

With the team having failed to win any trophies under his reign, Keegan resigned as manager on 8 January 1997, saying, "I feel that I have taken the club as far as I can."

 

Kenny Dalglish replaced Keegan as manager, and maintained the club's good form through to the end of the season, finishing second. In the 1997–98 season, Les Ferdinand and David Ginola both left the club, whilst Alan Shearer broke his ankle in a pre-season friendly, keeping him out for the first half of the season. Dalglish signed Ian Rush, John Barnes, Duncan Ferguson and Stuart Pearce to bolster the squad, and achieved a 3–2 victory over Barcelona in the UEFA Champions League through a Faustino Asprilla hat-trick, but Dalglish's cautious brand of football, as opposed to the attacking style played under Keegan, did not prove successful—the club failed to progress beyond the Champions League group stage, finished 13th in the Premier League, and lost the FA Cup final to Arsenal. Dalglish began the 1998–99 season signing Nolberto Solano and Dietmar Hamann, but was soon dismissed following the club's declining form.

 

Ruud Gullit replaced him, however the club again finished the league in 13th place and again lost in the FA Cup final, this time to Manchester United F.C. Gullit resigned early in the 1999–2000 season, having fallen out with several senior players, including Alan Shearer and captain Rob Lee. Keith Gillespie later blamed Gullit's arrogance for his failure as manager of the club.

 

Ex-England manager Bobby Robson was brought in to replace Gullit in September 1999. He ensured Newcastle's survival in the Premiership, but the club remained in the bottom half of the table, finishing 11th in 1999–2000 and 2000–01. Robson, however, built up an exciting young squad, and an unlikely top four challenge emerged in 2001–02 season—Newcastle finished in fourth place.

 

Playing in the Champions League in 2002–03, Newcastle progressed to the second group stage in unlikely circumstances, beating Italian squad Juventus 1–0 along the way. United finished the 2002–03 season third in the Premier League, but lost their Champions League qualifier and played in the 2003–04 UEFA Cup instead, reaching the semi-final. In 2003–04, Newcastle finished fifth in the Premiership, lower than in previous seasons, and outside of Champions League contention.

 

Robson was then sacked following a poor start to the 2004–05 season and alleged discontent in the dressing room. In his autobiography, Robson was critical of Shepherd, claiming that while manager he was denied information regarding the players' contracts and transfer negotiations. He had previously publicly criticised the club's highly financed offer for Wayne Rooney, which the club later claimed they could not afford, stating young players were making excessive demands without first proving themselves on the pitch. He also criticised Shepherd and the club's deputy chairman Douglas Hall for their focus on the first team and St James' Park, causing them to neglect less glamorous issues, such as the training ground, youth development and talent scouts.

 

Graeme Souness replaced Robson and finished the season 14th in the league. Souness' arrival, however, was met with mixed reactions, with many expecting Robson being a hard task to improve upon, despite insisting he was aware of Sir Bobby's admiration and was ready for the role. In the January transfer window, Souness caused controversy in securing an £8 million bid for France international Jean-Alain Boumsong, who had joined Rangers for free just months before, prior to which Sir Bobby had travelled to France to review Boumsong but declined to sign him. The Stevens inquiry in 2007 documented that in this purchase Souness was accused of lack of consistency and was reviewed over the large media speculation the transfer received, but was eventually exonerated from any illegal participations. Going into 2005–06 season, despite signing several new players, including the return of Nolberto Solano from Aston Villa as well as Albert Luque from Deportivo de La Coruña for £10 million, Souness struggled with the opening games. He later blamed the state of the club's training ground for injuries suffered to players. The signing of Michael Owen (for a club record £17 million from Real Madrid) and his strike partnership with Alan Shearer produced goals at the end of 2005, but an injury caused Owen to miss the rest of the season and following a poor start to the new year, Souness was sacked in February 2006. Robbie Elliiot and Shay Given announced regret over his exit in the club's Season Review DVD but acknowledged his seeming favouritism of players and the amounting pressure on him damaged morale, whilst Alan Shearer blamed the injury crisis to first-team players.

 

Caretaker manager Glenn Roeder was issued the role of temporary first-team manager, seeing his first game against Portsmouth secure Alan Shearer's 201st goal for Newcastle United, becoming the club's all-time highest-scoring player. Roeder guided Newcastle from 15th to seventh place securing 32 league points from a possible 45 by the end of 2005–06, as well as securing a place in the UEFA Intertoto Cup and was given a two-year contract by chairman Freddy Shepherd. His appointment caused controversy, as at the time he did not hold the necessary UEFA Pro Licence to manage in the UEFA leagues and cup tournaments His role, however, was approved by UEFA who acknowledged that Roeder's diagnosis with a brain tumour in 2003 prevented him from developing his career, whilst Chairman Freddy Shepherd also fulfilled UEFA's request that he gain backing from all 19 other Premier League clubs to appoint him as manager. Alan Shearer retired at the end of the 2005–06 season scoring a record 206 goals.

 

Roeder encountered a difficult 2006–07 season, losing many players to injury, in particular Michael Owen, who had severely damaged his ligaments during the 2006 FIFA World Cup seeing him only play the final two games of the season. Newcastle won the 2006 Intertoto Cup, but a 5–1 exit to Birmingham City in the FA Cup, a round of 16 exit in the UEFA Cup and poor league results seeing a 13th-place finish led Roeder to resign in May 2007.

 

As the 2007 season drew to a close, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, was reported to be in the process of buying the club. Ashley successfully acquired Sir John Hall's majority stake in the club in May 2007, leaving many to believe chairman Freddie Shepherd was set to depart after stepping down as chairman, should Ashley acquire more than 50 percent, which would see Shepherd no longer in control of the club and Ashley able to replace the board. Shepherd dismissed all speculation and proceeded to appoint ex-Bolton Wanderers boss Sam Allardyce as Newcastle manager, but eventually met with Mike Ashley and the board on 29 May. On 7 June 2007, Shepherd ended his 11 years with the club after Mike Ashley accepted his bid to buy his shares and in his role as chairman of the board, also having Shepherd advise the remaining shareholders to sell to Ashley. Ashley then announced he would be delisting the club from the London Stock Exchange upon completion of the takeover. The club officially ceased trading on the Stock Exchange as of 8 am on 18 July 2007 at 5p a share. Ashley brought in lawyer Chris Mort as the new club "deputy chairman".

 

Despite signing and building a seemingly strong squad, Sam Allardyce soon became widely unpopular with fans and players alike, and was surprisingly sacked by Ashley halfway through his first season after underwhelming results and pressure from the fans. Ashley, however, defended his decision to sack Allardyce, stating he made a mistake in not appointing his own choice of manager before the season started.

 

Kevin Keegan then made a sensational surprise return as manager. His return had an instant impact on club ticket sales as he sat with the fans, Mike Ashley and Chris Mort for the FA Cup replay 4–1 win against Stoke City. Following his return, Keegan had a disappointing first ten games back, with the club not winning a single game until his decision to include strikers Obafemi Martins, Michael Owen and Mark Viduka into a 4–3–3 formation, which saw the club back on goal-scoring and winning form and eventually finishing 12th in 2007–08. In May Keegan met with Mike Ashley and Director of Football Dennis Wise after he had suggested Champions League qualification was out of Newcastle United's reach and expressed dissatisfaction with the board's financial backing. Ashley was battling reports that he had lost hundreds of millions of pounds in a disastrous attempt to rescue bank HBOS. The morning following, after the club's 3–0 defeat to Arsenal, rumours were circulating that Keegan had either been sacked or resigned as Newcastle boss, citing board interference and his lack of control over transfers. Keegan confirmed the reports the same week, and reportedly held unsuccessful resolution talks with Mike Ashley the following week, leading to fan fury and protests around St James' Park, and marring the club's home defeat to Hull City, with fans accusing Ashley and club executives Dennis Wise, Tony Jimenez and Derek Llambias of forcing Keegan out.

 

Following mass media coverage of Keegan's departure, the club struggled to find a replacement, with the majority of managers showing no interest in the role. Ashley released a statement to the club's fans that in fear of his and his families reputation and safety, he was placing the club for sale. It was then announced that former Nottingham Forest manager Joe Kinnear was appointed temporary manager His appointment, however, saw a backlash from fans, prompting a verbal tirade from Kinnear at the media, who questioned his decision to take the job at such a time. By the end of the year, Ashley took the club off the market claiming he was unable to find a suitable buyer.

 

In the remainder of 2008–09, Kinnear won four out of 18 matches before stepping down due to reported heart problems. Chris Hughton then took temporary charge before Alan Shearer returned to Newcastle United as manager in April with Iain Dowie as his assistant. After winning only one out of eight games, the club was relegated to the Championship for the first time since 1992. Mike Ashley then re-issued his desire to sell the club once again and issued a £100 million sale price tag.

 

Prior to the start of the 2009–10 season, Keegan's dispute with the club was resolved after a Premier League Arbitration Panel ruled that he had been misled to believe he had the final word on the club's transfer policy when in fact Director of Football Dennis Wise had been handed such control. The signings of Xisco and Nacho González were ruled to have been made without the manager's approval; with González, Dennis Wise signed him only after viewing him off of YouTube. Wise and Derek Llambias were ruled to have deliberately misled the media to believe Keegan had the final say, which amounted to constructive dismissal. Keegan was awarded £2 million in compensation and re-offered his job as Newcastle United manager under fresh new terms, though in response to the offer, he stated the fans had "had enough" for the time being and declined. He stated in 2013 he would consider a return should Mike Ashley leave the club.

 

Chris Hughton was appointed full-time manager early in the 2009–10 season. The club dominated the Championship, winning 30 games, drawing 12 and losing only four, scoring a total of 90 goals and finishing top of the league with 102 points, thus re-gaining Premier League status at the first attempt.

 

Beginning 2010–11, Hughton remained on course to secure survival from relegation with the club's first win at the Emirates over Arsenal, and a memorable 5–1 defeat over Sunderland. However, fury once again was caused by the board, as the club controversially sacked Chris Hughton after a 3–1 defeat to West Bromwich Albion on 6 December 2010. Critics players and fans alike were shocked by Hughton's dismissal, leading to protests prior to the club's game against Liverpool in a bid to thank him for his work and support. Alan Pardew was then announced as being appointed manager on a five-and-a-half-year contract, with the club announcing they wanted a manager with more experience. Pardew stated he had nothing but respect for Chris Hughton and acknowledged the fact that other managers questioned his appointment. He secured his first win on his debut as manager with a 3–1 win over Liverpool On 31 January 2011, Newcastle sold striker Andy Carroll to Liverpool for a club record of £35 million. The sale of a young player at a high value proved controversial for Liverpool, with Alan Shearer ridiculing the price Liverpool paid as well as expressing sorrow at Newcastle for losing Carroll. Carroll himself stated that he did not want to leave the club but was forced out by the club's directors after Liverpool's final offer of £35 million; the board responded that Carroll had previously handed in a transfer request. Pardew said he was disappointed to lose Carroll, but pledged to invest in the club's summer transfer window. The remainder of the season saw Leon Best score a hat-trick on his debut in a 5–0 defeat of West Ham United, a memorable 4–4 comeback against Arsenal, and a 4–1 defeat of Wolverhampton Wanderers, eventually finishing 12th in the league.

 

Entering 2011–12, Pardew was reportedly denied the £35 million from the sale of Andy Carroll for transfers and told to sell players to raise funds, having claimed he had been assured the finances upon Carroll's departure. Kevin Keegan had previously stated Alan Pardew should not have expected the money following his issues with the board in 2008. The club signed many French-speaking players in the transfer window, including Yohan Cabaye, Mathieu Debuchy, Sylvain Marveaux and Demba Ba. and with impressive results throughout the season, Newcastle finished fifth.

 

In the 2012–13 UEFA Europa League, Newcastle reached the quarter-finals, and in the January transfer window, the French revolution continued into the new year, with Moussa Sissoko and Yoan Gouffran joining the squad. The team, however, had a poor 2012–13 Premier League and finished 16th in the Premier League.

 

Beginning the 2013–14 season, in a surprise move Joe Kinnear returned to the club as Director of Football, instantly causing fan fury following his outburst that he was "more intelligent" than the fans and critics, as well as mispronouncing various players names during a radio interview. However, he resigned after just eight months on the job following further critique for managing to sign only two players on loan—Loïc Rémy and Luuk de Jong—throughout the season's summer and January transfer windows, as well selling Yohan Cabaye to Paris Saint-Germain for £20 million, considered to be one of the most influential players at the time. Following the lack of transfer activity, Mike Ashley once again faced a fan revolt, with protests being launched at him to sell the club, and entered a dispute with several media titles whom the club banned from Newcastle United media facilities, press conferences and player interviews, declaring stories reported were intensely exaggerated and aimed only to damage Ashley's image further. Throughout the season, the club remained on course to ensure a top half finish, notably defeating Manchester United at Old Trafford for the first time since 1972. Nonetheless, the team struggled for goals following the sale of Cabaye. Further dismay upon the season was caused when Pardew was banned for seven matches and fined £100,000 for an assault on Hull City midfielder David Meyler. The club then encountered a poor run of form, losing eight out of ten games and finishing the season tenth in the league, though the club confirmed Alan Pardew would stay on.

 

The opening eight games of the 2014–15 season proved disappointing, with the club failing to secure a win. After the dip in form, however, the club had an emphatic resurgence, seeing a five-game unbeaten run whilst also surprising League Cup holders Manchester City with a 2–0 win and progressing to the quarter-finals of the tournament. Pardew, however, resigned from the club on 30 December 2014 following immense pressure from fans calling for his departure, with many posters at games designed with the Sports Direct logo advertising a website demanding his resignation. Pardew admitted in the months leading up to his departure that protests from the fans were affecting his family and was subsequently feeling unhappy at the club. He was replaced by his assistant manager John Carver, though the team subsequently earned just 13 points out of a possible 50, surviving relegation on the final day of the season with a victory over West Ham, Carver was dismissed before the club's pre-season for 2016 began. The club paid tribute to player Jonás Gutiérrez following his successful recovery from testicular cancer to resume his playing career.

 

Beginning the 2015–16 season, former England F.C. Manager Steve McClaren was appointed manager, signing Georginio Wijnaldum, Aleksandar Mitrovic, Chancel Mbemba, Florian Thauvin, Henri Saivet, Jonjo Shelvey, Andros Townsend and Ivan Toney. McClaren however struggled to produce results winning 6 and drawing 6 out of 28 games, whilst exiting both the FA Cup and League Cup in the Third Round. McClaren was subsequently sacked on 11 March 2016 with critics and former players voicing their favour of the decision. Rafael Benítez was announced as McClaren's successor the same day, signing a three-year deal. Benítez recorded his first victory in 3–0 defeat of Swansea City in the Premier League on 17 April 2016 after 5 games in charge, and maintained an emphatic 5-game unbeaten streak to the end of the season. Newcastle were however relegated from the Premier League along with Aston Villa and Norwich finishing 18th place, 2 points below safety. Betting websites confirmed after the final game that the club's 5–1 defeat of Tottenham Hotspur matched the initial odds of Leicester City's 5000/1 win of the 2015–16 Premier League season.

 

Starting the 2016-17 season, Rafa Benítez signed 12 new players full-time and also acquired 5 players on loan, whilst 8 players left the club and another 12 on loan. New signings Dwight Gayle and Matt Ritchie proved popular scoring a combined total of 39 goals, finishing among the top goalscorers that season. Despite failing to improve on their dominant success in the 2009/10 championship season, the club remained in contention for the trophy throughout; threatened only by Brighton & Hove Albion Newcastle enjoyed a 3-game winning streak to the final day of the season and lifted the Football League Championship trophy on 8 May 2017 following a 3–0 win over Barnsley. Rafa Benítez denied speculation that he would leave the club following promotion to the Premier League and confirmed his commitment to the club for the foreseeable future. Shortly prior to the season's finish, the club was subject to raids by HMRC following suspicions of tax evasion. Managing Director Lee Charnley was arrested during the raid, but was later released without charge.

 

Ending the 2017-18 season, the club finished 10th in the Premier League defeating the current champions Chelsea on the final day of the season, the highest finish achieved within 4 years. Beginning the 2018–19 season, Mike Ashley again came under scrutiny following lack of major signings in the summer transfer window, with many fans accusing him of lacking interest in the club following his purchase of troubled retail chain House of Fraser for £90m. Despite the January signing of Miguel Almirón from Atlanta United FC for £21 million surpassing the club's transfer record fee of £16.8 million for Michael Owen in 2005, the club struggled throughout the season with 12 wins, 9 draws and 17 losses seeing a 13th place league table finish, whilst exiting the League Cup at the 2nd round in a 3–1 defeat of Nottingham Forest F.C and a 4th round exit of the FA Cup in a 2–0 defeat to Watford F.C. The season also saw heavy speculation regarding Rafa Benítez remaining at the club following reports he was still in negotiations following the end of the season.

 

Following fresh reports of Ashley's intention to sell the club, Sheikh Khaled Bin Zayed Al Nahyan, Founder and Chairman of The Bin Zayed Group of Companies, a member of the Al Nahyan royal family of Abu Dhabi, confirmed he had agreed terms to purchase the club for £350 million. On 5 June 2019 a company named Monochrome Acquisitions Limited was registered in Nahyan's name, whilst managing director Lee Charnley applied to have four companies linked to Ashley's company St James Holdings Ltd struck off, leaving many to believe the club was on course to be sold. Talks of a takeover however stalled throughout the summer transfer window, whilst Ashley confirmed he had not received an official bid from any prospective buyer.

 

Benítez rejected a new contract offer and departed the club on 30 June 2019, accepting a move to Chinese Super League side Dalian Yifang in a £12 million deal. Ashley criticised Benítez stating unfair demands were made making it impossible for him to remain as manager. Notable player departures saw Salomón Rondón join Benitez at Dalian Yifang after returning to West Bromwich Albion F.C. from loan, whilst Ayoze Perez joined Leicester City for £30 million and Mohamed Diamé was released by Newcastle upon the expiry of his contract at the end of the 2018–19 season.

 

BBC Sport reported in July 2019 that Steve Bruce had resigned from his managerial position at Sheffield Wednesday after he earlier admitted that he had held talks with Newcastle United over their managerial vacancy. His appointment was confirmed on 17 July. Sheffield Wednesday however stated there were still outstanding legal issues with Bruce having resigned just 48 hours before, leading a report being filed to the Premier League alleging misconduct in his appointment. Newcastle United denied any wrongdoing and stated they were confident no case could be escalated. Reaction from the fans was mixed, with some feeling Bruce would not achieve the standard set by Benítez, whilst his recent lack of Premier League football and management of rival club Sunderland proved controversial. Bruce later acknowledged Benítez's popularity and stated he hoped the fans would not rush to judgement and give him time to prove himself and manager of Newcastle. Due to visa problems in China, Bruce watched his first match as manager from the stands which saw Newcastle achieve a third-place finish in the pre-season 2019 Premier League Asia Trophy following a 1–0 victory over West Ham United F.C. Bruce quickly made his first transfer, signing Joelinton from TSG 1899 Hoffenheim for £40 million, breaking the club's transfer fee record previously held by Miguel Almirón at £21 million just 6 months before, before signing French international winger Allan Saint-Maximin from OGC Nice on a permanent deal for £16.5 million, Sweden international defender Emil Krafth for £5 million, central midfielder Kyle Scott on a free signing following his departure from Chelsea, and Netherlands international defender Jetro Willems on loan from Frankfurt F.C until the end of the 2019–20 season. Bruce made his final transfer of the pre-season on deadline day by re-signing striker Andy Carroll, who had left the club over 7 years earlier. On 4 February 2020, Steve Bruce's side ended a 14-year drought by reaching the 5th round of the FA Cup they beat League One side Oxford United 2–3 in a replay thanks to a late winner from Allan Saint-Maximin in extra time.

 

From March 2020, the season was affected by the COVID-19 pandemic. On 13 March, following an emergency meeting between the Premier League, The Football Association (FA), the English Football League and the FA Women's Super League, it was unanimously decided to suspend professional football in England. On 19 March, the suspension was extended indefinitely, with a restart date of 17 June announced in late May with all remaining games to be played without crowd attendance.

 

Newcastle finished the season in 13th place. Defender Danny Rose was an outspoken critic of the decision to continue the season, citing the virus was still in major circulation and accused the FA of having no concern for footballers' health. Karl Darlow has since urged players at the club to get vaccinated following his hospitalisation from complications of Covid, whilst manager Steve Bruce admitted some players had voluntarily declined the vaccination.

 

The 2020-21 season saw all matches played without crowd attendance until May 2021, in light of the COVID-19 pandemic. Newcastle failed to improve on the previous season, finishing 12th in the premier league and were knocked out of the FA Cup in the third round added time to Arsenal and exited the EFL Cup in the quarter-finals losing 1–0 to Brentford.

 

In April 2020, it was widely reported that a consortium consisting of Public Investment Fund, PCP Capital Partners and the Reuben Brothers, was finalising an offer to acquire Newcastle United. The proposed sale prompted concerns and criticism, such as arguments considering it sportwashing of the country's human rights record, as well as ongoing large-scale piracy of sports broadcasts in the region. However the consortium announced its withdrawal from the Newcastle deal on July 30, 2020, after multiple media reports highlighted realm as the staunch violator of human rights, and the WTO ruled that it was behind the piracy campaign using pirate-pay-service beoutQ. "With a deep appreciation for the Newcastle community and the significance of its football club, we have come to the decision to withdraw our interest in acquiring Newcastle United Football Club," the group said in its statement upon withdrawal. The group also stated that the "prolonged process" was a major factor in them pulling out. The collapse of the takeover was met with widespread criticism from Newcastle fans, with Newcastle MP Chi Onwurah accusing the Premier League of treating fans of the club with "contempt" and subsequently wrote to Masters for an explanation. Despite the consortium's withdrawal, disputes over the takeover continued. On 9 September 2020, Newcastle United released a statement claiming that the Premier League had officially rejected the takeover by the consortium and accused Masters and the Premier League board of " acting appropriately in relation to [the takeover]", while stating that the club would be considering any relevant legal action. The Premier League strongly denied this in a statement released the next day, expressing "surprise" and "disappointment" at Newcastle's statement.

 

On October 7, 2021, the Public Investment Fund, PCP Capital Partners and RB Sports & Media confirmed that they had officially completed the acquisition of Newcastle United. Governor of the investment fund Yasir bin Othman Al-Rumayyan was appointed non-executive chairman, whilst Amanda Staveley and Jamie Reuben were both appointed as directors and each held a 10% shareholding in the club.

 

The takeover led to widespread speculation that manager Steve Bruce was expected to leave the club. Although not denying the speculation that the club was keen to appoint a new manager, Staveley stated Bruce was to remain for the new owners first game against Tottenham Hotspur; his 1000th match as a football manager. However following Newcastle losing the game 3-2 and alleged discontent among the players, Bruce left the club by mutual consent. Bruce stated his sadness at leaving the club and felt Newcastle fans launched unnecessary verbal abuse at him during his time there. Interim manager Graeme Jones as well as Arsenal manager Mikel Arteta supported Bruce's claims stating the abuse he received was off putting for other managers to take the role.

 

Eddie Howe was appointed as manager on 8 November 2021. The announcement was made following reports that the club had discussed the role with him the previous week and confirmed following his attendance at the away draw to Brighton & Hove Albion. On 19 November 2021, Newcastle announced that Howe had tested positive for COVID-19 and would miss his first game in charge, which instead forced him to watch his first game as manager from a hotel room as Newcastle drew 3–3 with Brentford on 20 November.

 

Lee Charnley, who acted as Managing Director under Ashley's ownership, left the club on 19 November 2021 following a six-week handover period. His departure was the final of Mike Ashley's hierarchy, with Staveley stating the club was undergoing a "formal process" to appoint a new figure to replace the role.

 

Eddie Howe had to wait until 4 December 2021 for his first win as Newcastle manager in a 1–0 win against Burnley, which was also the first win since the takeover happened. Howe then made five signings in the first January transfer window under the new ownership which included a marquee singing in Brazilian midfielder Bruno Guimarães from Olympique Lyonnais. The transfer window and the players that were already there that Howe improved helped Newcastle to go on a 9-game unbeaten run in the Premier League to get them 10 points clear from the relegation zone and increasing the chance of guaranteeing survival. After Newcastle's 1–0 win against Crystal Palace, this was the first time the club had managed to win 6 home games in a row since 2004 when Sir Bobby Robson was in charge. Newcastle finished in 11th place after a run of 12 wins in their final 18 games, and became the first team in Premier League history to avoid relegation after not winning any of the first 14 games they played.

 

On 30 May 2022, the club announced they had reached an agreement of a compensation fee with Brighton & Hove Albion to appoint Dan Ashworth as the new Sporting Director, the appointment was confirmed on 6 June 2022. On 15 July 2022, the club brought in Darren Eales, from MLS side Atlanta United, as the club's new Chief Executive Officer - acting as a "key member of the club's leadership structure".

 

Newcastle United was set up as a private company limited by shares on 6 September 1895. However, by the 1930s, ownership of the company was dominated by a small number of individuals: Alderman William McKeag, George and Robert Rutherford, and William Westwood, 1st Baron Westwood. George Stanley Seymour was allocated some shares when he joined the board in 1938.

 

By the second half of the 20th century, these shareholdings had passed to the next generation: Gordon McKeag, Robert James Rutherford, Stan Seymour Jr. and William Westwood, 2nd Baron Westwood. The Magpie Group led by Sir John Hall built up a large shareholding in the club and then took control in 1992. In 2007, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, secured control of the club and in 2021, the Public Investment Fund of Saudi Arabia, PCP Capital Partners and RB Sports & Media confirmed that they had acquired ownership of the club.

  

  

2019 " TOO LATE "exhibition at gallery Sabsay ( periode Venice Biennale)

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

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)

 

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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)

  

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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

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Thierry Geoffroy / Colonel

FBI Director Robert Mueller acknowledges applause during President Barack Obama's remarks in the Rose Garden of the White House, June 21, 2013. The President announced James Comey, right, as his nominee to succeed Mueller. (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.

The Rundāle Palace, Latvia.

 

What you're seeing here is part of the recreation of the interior of the Rundāle Palace, Latvia.. The restoration cost over 8 million Euros, which, when you see the results, doesn't seem nearly enough to produce the splendors one encounters at every turn.

 

What's not clear to me is whether any of decoration is original and restored and how much is brand new. This always frustrates me because I'm hung up on the concept of authenticity. I'll just come right out and say I don't get the same satisfaction from replicas that I do from originals.

 

One way to resolve this conundrum is to say this is an authentic replica of an 18th century palace that was, as the text below explains, "demolished in 1812 during the Franco-Russian [Napoleonic] War," and then "demolished [again in 1919] by the men of the Bermondt-Avalov army," which was commanded by a Cossack warlord who decided to take over newly-independent Latvia instead of fighting the Bolsheviks.

 

Still, this begs the question of the meaning of such a place. A hot take is that it's an expression of Latvian nationalism. However, in the 18th century this region was ruled by Germans and then by Russians. Most ethnic Latvians were serfs. Perhaps the nationalist message is that the Latvians, once free from the rule of Baltic Germans, Czarist Russians, Nazis and the Soviets, had the wherewithal to recreate a palace once owned by an overlord and make it their own. To further make the point, the compound is now a major tourist attraction, so interiors once intended solely for the aristocracy, royalty and their hangers-on and servants are today filled to the brim with tourists like us.

 

Is is also a acknowledged center for the study of 18th-century interior design? The devil is in the details, and I haven't yet had time to delve into that.

 

If you're wondering why the point of view in these photos is from the top of the windows to the ceiling, it's because there were mobs of visitors that made it almost impossible to photograph whole walls, much less floors.

 

Here is the whole history of the construction of the palace from the palace's informative Web site. I recommend visiting it if for no other reason than to see the rooms devoid of visitors. Also, there's a section on the restoration.

rundale.net/en/

 

The name of Rundāle comes from the German place-name Ruhenthal (Valley of Peace).

 

The Rundāle Palace built during the 16th century was located on the northern side of the pond. It can be seen in the design of F. B. Rastrelli as a small square field with towers in the corners.

 

Rundāle Manor was already created at the end of the 15th century. It belonged to the Grotthus family from 1505 to 1681 and the palace was mentioned in the list of Livonian castles in 1555.

 

Facade finishing components have been found in the territory of the palace – cast fragments and fragments of coats of arms carved in stone dating to the middle of the 17th century. In 1735 Ernst Johann von Biron bought the Rundāle property for 42 000 thalers.

 

The old palace was completely torn down, and the stones, bricks and even the mortar were used in the construction of the new palace.

 

Duke Ernst Johann died in 1772, and the palace was inherited by his widow Duchess Benigna Gottlieb; during her time orchards were formed around the palace. Duke Peter did not come to Rundāle often, he mostly resided in the smaller Vircava Palace near Jelgava.

 

In 1795 Duke Peter gave up his throne and the Duchy of Courland and Semigallia was added to the Russian Empire. Catherine II gave Rundāle Manor as a present to Count Valerian Zubov who died in 1804.

 

During the distribution of inheritance Rundāle became the property of his brother Prince Platon Zubov, the last favourite of Catherine II.

 

During the time of Zubov the palace was refurnished, however the building itself remained untouched, only entrance porticos were added to the central building and several fireplaces were built inside.

 

The palace was demolished in 1812 during the Franco-Russian War – mirrors were smashed, silk wallpaper was torn down, the library given as a present from Catherine II was destroyed.

 

Prince Platon Zubov died in Rundāle Palace on 7 April 1822. His widow married Count Andrey Shuvalov, and Rundāle Manor belonged to this family until the agrarian reform of the Republic of Latvia in 1920.

 

The Shuvalovs rarely stayed in the palace, excluding the time period from 1864 to 1866 when Count Pyotr Shuvalov was the governor-general of the Baltic region and used Rundāle Palace as his official summer residence.

 

During this time unsuccessful renovation of the palace rooms was carried out, however during the 1880’s careful renovation of the interior design was performed. At the end of the 19th century part of the palace’s furniture and works of art was taken to Saint Petersburg.

 

During the time from 1915 to 1918 a German army commandant’s office and an infirmary was established in the palace. In 1919 the palace was demolished by the men of the Bermondt-Avalov army.

 

The palace was renovated in 1923 and some of its rooms were used as the primary school of Rundāle Parish. In 1924 Rundāle Palace was handed over to the Latvian Union of Disabled Veterans, but in 1933 it was taken over by the Board of Monuments which started the renovation of the building and the restoration of some of the rooms, and the western building was constructed for the needs of the primary school.

 

In 1938 the palace was handed over to the State Historical Museum that was planning to create a church art and decorative art museum there. The palace was also open to the public during World War II.

 

In 1945 a grain storage was formed in the halls of the palace, and the palace was closed to the public after that.

 

In 1963 some of the palace’s rooms were given to the Museum of Regional Studies and Art of Bauska, but in 1972 a permanent Rundāle Palace Museum was created and its main aim was to renew the whole ensemble of the palace by mainly orientating towards the condition of the palace during the second part of the 18th century.

 

The first restored rooms in the eastern building of the palace were opened to the public in 1981, gradually being followed by new interiors. Restoration of the palace was finished in 2014.

 

Construction history

 

Count Ernst Johann von Biron bought the Rundāle manor complex on 26 June 1735. In August of the same year the court architect of Russia Francesco Rastrelli came to Courland. From September until December agreements were being concluded with carpenters, masons, brickmakers, construction material suppliers, potters – stove makers.

 

The construction project was ready in January of 1736. The eight pages of the project are located in the graphic art collection “Albertina” in Vienna. It consists of a situation plan, two floor plans, a sketch of four facades and the altar of the palace church.

 

The first construction period from 1736 to 1740.

 

On 24 May 1736 the foundation-stone of the palace was set. Construction of the foundation was completed on 6 July, whereas on 13 October the central building was built to the level of the windowsill of the second floor. The construction of 12 brick-kilns and 12 brick storages was finished in June. 268 masons were working in the palace, but Rastrelli requested 500 men.

 

Construction was stopped on 1 November due to cold.

The construction works were restarted on 12 April 1737. On 28 May the central building was finished, and on 18 June covering was started to be placed on the side buildings, whereas the construction of the central building roof was finished at the end of June.

 

When the works were stopped on 10 October, one side building was roofed over, and the other one was covered with a temporary roof. The foundations of the stables were also ready. The bricklaying works were finished on 1 October 1737.

 

After Biron was elected Duke, he ordered to simplify the building. The finishing materials were produced by the master carpenters and woodcarver A. Kamaev of the Imperial Construction Bureau of Saint Petersburg, master potter I. Ushakov of the Neva brick factory with his team and painters I. Mizinov, I. Pilugin and I. Yevdokimov. Austrian potters were working in Vircava. The finishing materials were also being produced in Saint Petersburg.

 

In 1738 the volume of work in Rundāle decreased, as construction works of Jelgava Palace began. Some of the produced components were also taken to Jelgava. However, the works were moving forward – chimneys and room arches were being built, roofs were being finished.

 

From 14 June, when the construction of the main residence in Jelgava began, the construction works in Rundāle were moving at a slower pace. Master carpenter Eger had finished oak-wood panels for 33 rooms, as well as 13 oak-wood parquet floors. Ceilings boards were put up in the rooms, so that the plastering works could be started. In September the carpenters started working on the outside staircases. The construction of the gate tower was also started.

 

Entwurf von Rastrelli: die Nordfassade des Schlosses Rundāle mit dem Torturm

Rastrelli’s design, nothern facade of the palace with the gate tower.

 

In 1739 the interior plastering works were supposed to be carried out, but the Duke ordered to decrease the amount of plasterers and to simplify the work. Stucco formations were made only for the main staircase rooms and halls, the other rooms were left with smooth ceilings. Only ten craftsmen were working in Rundāle.

 

On 1 February after the order of Empress of Russia Anna Ioannovna all of the Saint Petersburg Construction Office masons were sent to Courland.

 

The components made for Rundāle, including carved doors, panels, parquet, Austrian potter stoves, plafonds painted on canvas and cast-iron facade decorations made by Bartolomeo Tarsia that can be seen in the Jelagava Palace facade, were transported to the main residence in Jelgava.

 

N. Vasilyev assisted Rastrelli in managing the construction works. Russian chamberlain Ernst Johann von Buttlar was in charge of finances and organisation and he was sending reports to Saint Petersburg regarding the work process.

 

In 1740 the woodcut altar of the palace church was transported to Jelgava. Supposedly the room decoration in the palace had been finished, but not all of the wall panels had been mounted and some of the stoves were also not set up, as a lot of the materials were in storage.

 

Work was stopped after the palace revolution of 20 November in Russia and the arrest and exile of Duke Ernst Johann. The prepared finishing materials and construction components were sent to Saint Petersburg, and some of the built-in components, such as doors, wall panels and parquet, were broken.

Overall more than a thousand different profession craftsmen and workers were employed in the construction works of the palace.

 

The second construction period from 1764 to 1770.

 

In 1762 Ernst Johann von Biron was granted mercy and returned to Courland in January of 1763.

In January of 1764 Johann Gottfried Seidel was appointed the court architect of the Duke, but in August Francesco Rastrelli returned to work for the Duke and was appointed to the position of main administrator of the Duke’s buildings.

 

During this time he arranged his construction designs and carried out general supervision of the Duke’s construction works.

The unfinished gate tower was torn down and the stable building construction was started. Latvian carpenters and woodworkers were sent from the Duke’s domain manors to Rundāle up until 1768. In 1765 woodworker Blanks, sculptor Zībenbrods, locksmith Šreibfogels, gold plating master Johans Endress, potter Šēfers, locksmith Horstmanis and coppersmith Mēmels were working in the palace.

 

In 1766 Severin Jensen from Denmark started working as the court architect. His style can be seen in the gateposts and in the stable buildings, which obtained a semicircular shape in contrast to Rastrelli’s rectangular design. A dating – 16 May 1766 – has been made in the keystone of the northern facade window.

 

In 1768 the gate was built and the forgings were placed.

 

The palace interior planning was changed slightly. By merging five smaller rooms the grand dining-room – the Grand Gallery – was created, whereas a dance hall known as the White Hall was created in the place of the palace church. Both front staircases, the Small Gallery, the lobby and galleries of the first floor were preserved from the original interiors of the first construction period.

 

The stucco decorative finishing of the interiors was carried out by the Berlin sculptor and stucco marble master Johann Michael Graff together with his team – his brother Josef and assistants Bauman and Lanz – from 1765 to 1768.

 

Sculpturesque decorations were made in twenty-seven rooms, but in two rooms of the Duke’s apartments and in the hall – synthetic marble panels. Works were started in the central building first.

 

The Marble Hall and the marble panel of the Gold Hall in which the dating has been engraved on the door lining, were finished in 1767. In July of 1768 Graff received payment for his final works – the White Hall, Oval Cabinet, Duchess’ Boudoir and vases for the 22 stair banisters.

 

The ceilings were painted by the Italian painters Francesco Martini and Carlo Zucchi from Saint Petersburg. They started working in August of 1766, but only the name of Martini is mentioned in documents starting with March of 1768. Francesco Martini received his last payment in March of 1769.

 

Ceilings of eight rooms, as well as the walls of two rooms were painted. One of the ceiling paintings got destroyed. The repainted wall paintings were later uncovered in the Grand Gallery and in the second study of the Duke.

 

The Duke came to Rundāle Palace in April of 1767 and stayed there until December with interruptions, although the finishing works were still in progress. The palace was also inhabited in 1768. The final works were carried out in 1770 when a fellow of J. M. Graff placed mirrors in the White Hall.

 

20.04.2018