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A trip to the Sydney Tramway Museum.
Well, Sunday 27 February 2022 was not to deter Corinne and me as we sallied forth the honour the previous tramway system and the boys and girls of te Sydney Tramway Museum. All to acknowledge the previous Sydney tramway system which met its doom on 25 February 1961. The weather wasn't very promising, but miraculously the rain kept away. Sausage sammies provided by the local Rovers consumed, the workshop inspected, we rode the trams.
Well done! The Museum grows, as does the collection.
Was once acknowledged as a strict mother,
But acknowledged by her grandchildren as a loving and friendly person.
When i asked my mum how she feels about this shot, she said she looks dead fierce. Yet when i look at it, she doesn't even look fierce here!
And i believe, it's her strictness and dedication that molded her children to be a well disciplined individuals, who i often look up to as my role models.
The Secondman acknowledges the right away signal from platform staff to allow Chiltern Railways liveried 68 014 to depart Wolverhampton with 1Z68, the late running 0538 Newport - Leeds charter, on December 6th 2014. This was Pathfinder Tours' "Yuletide Yorkshireman" &, following the withdrawal of a 68 on the "The Caterpillar Cat" tour back in July, marked the debut on a charter for one of the new Vossloh Class 68's.
Although Leni Riefenstahl's documentary film about the 1936 Berlin Olympics, called “Olympia,” has become an acknowledged classic, her book of photographs, “Schönheit im Olympischen Kampf” (Beauty in the Olympic Games), is less known but no less spectacular. Sometimes Riefenstahl relied on poses modeled on the antique Greek ideal… But far more original were her depictions of superbly athletic bodies soaring gracefully through the air and knifing effortlessly through the water. Riefenstahl applied certain devices characteristic of the new German photography – strong diagonals, tight croppings, and bird's-eye and worm's-eye views. No longer was the camera an earthbound witness; it took to the air and the water with the athletes. (Source: William A. Ewing, “The Body”).
Riefenstahl’s film “Olympia” documenting the 1936 Summer Olympics may be viewed on youtube:
Olympia Part 1: Festival of Nations
www.youtube.com/watch?v=lLnGqMoNXRI
Olympia Part 2: Festival of Beauty
Milner Gray became one of the acknowledged industrial designers of his generation and, along with his compatriots, was to form the Design Research Unit. Gray and the DRU were responsible for so many design and corporate identity products over the decades spanning the mid-twentieth century and the work I am most familiar with was that carried out for London Transport and the Victoria line. These are two 'experimental' packets and as described give us an idea as the the boldness the addition of colour would bring to the simplicity of the designs. I love the "4 1/2d" price circle on the date box. The Smith's Crisps packet, with an early use of clear cellophane to aid sales, reminds us that potato crisps were then a very delicate and short-shelf life product. The 'cocktail' packet was a rather upmarket way of selling 'salted potato crisps' as something 'special'!
www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html
This coat of arms was redesigned after WWI to acknowledge the union with the newest Romanian provinces ceded to Romania by the collapsed Austrian and Russian empires.
Romanian royals and aristocrats come to life in the pages of an Anthology entitled:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
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LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
Charles Marville (1813-1879) is widely acknowledged as one of the most talented photographers of the nineteenth century. He started making photographs in 1850. The medium of photography had been introduced just eleven years earlier.
Marville, born Charles François Bossu, was a Frenchman and, in the early days of photography, used both the paper and glass (collodion) negative process. He is most well known for taking pictures of ancient Parisian quarters before they were destroyed and rebuilt under "Haussmannization", Baron Haussmann's (Napoleon's chief urban planner) new plan for modernization of Paris. He also documented building and renovation projects in Paris and the provinces for prominent French architects. In 1862, he was named official photographer of Paris. Marville’s photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale.
Do you feel not worthy?
“OUR hearts may condemn us.” With those words, the Bible acknowledges that at times our heart may cause us to be overly critical of ourselves. Indeed, it may insist that we are unworthy of God’s love and care. Yet, the Bible reassures us: “God is greater than our hearts and knows all things.” (1 John 3:19, 20) God knows us better than we know ourselves. His view of us may be very different from the way we view ourselves. What, then, are we worth in the eyes of the one who really matters—Jehovah God? The answer can be found in a touching illustration that Jesus used on two separate occasions.
On one occasion, Jesus said that “two sparrows sell for a coin of small value.” (Matthew 10:29, 31) According to Luke 12:6, 7, Jesus also said: “Five sparrows sell for two coins of small value, do they not? Yet not one of them goes forgotten before God. . . . Have no fear; you are worth more than many sparrows.” This simple but powerful illustration teaches us how Jehovah views each of his worshippers.
Sparrows were among the cheapest of all birds used for food. Jesus had no doubt observed poor women—perhaps even his own mother—in the marketplace buying these tiny birds to feed their family. For one assarion, a coin worth less than five cents in modern values, a buyer could purchase two sparrows. These birds were so inexpensive that for two coins, the buyer received not four but five sparrows, an extra one being included at no additional charge.
Jesus explained that not a single sparrow “goes forgotten before God” or falls “to the ground without” the Father’s knowledge. (Matthew 10:29) Jehovah notices each time a sparrow falls to the earth perhaps because it is injured or alights on the ground in search of food. The seemingly insignificant birds that were not too little for Jehovah to create are not too little for him to remember. In fact, he values them, for they are precious living things. Do you see the point of Jesus’ illustration?
In his teaching, Jesus often used contrasts, reasoning from the lesser to the greater. For example, Jesus also said: “Ravens neither sow seed nor reap, and they have neither barn nor storehouse, and yet God feeds them. Of how much more worth are you than birds?” (Luke 12:24) Now the point of Jesus’ words about the sparrows becomes clear: If Jehovah cares for these tiny birds, how much more will he care for humans who love and worship him!
In light of Jesus’ words, we need not feel that we are too unworthy to be noticed and cared for by the God who “is greater than our hearts.” Is it not comforting to know that our Creator may see in us what we may be unable to see in ourselves?
That sparrow above accidentally hit the glass window and dropped dizzy. I got him in my hand and have this shot and I let him fly away.
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
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
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
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
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
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
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Thierry Geoffroy / Colonel
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.
“Perhaps one of the most under-acknowledged elements of totalitarianism identified by Arendt is the rise to political and social power of a corrupt business and governing class as well as a class of intellectuals that find corruption funny rather than outrageous.” ―Roger Berkowitz
lareviewofbooks.org/article/arendt-matters-revisiting-ori...
Acknowledge and take to heart this day
that the Lord is God in heaven above
and on the earth below. There is no other.
- Deuteronomy 4:39
Novorossiysk Imperial University Library. This institution in Odessa was founded in 1817, and was originally known as Richelieu Lycee. In 1865, by decree of the Emperor Alexander II, it was re-organized as Imperial Novorossiysk University. Still in existence to this day, it boasts many Nobel prize winning alumni in various sciences, and is now known as I. I. Mechnikov Odessa National University (named after alumni I.I Mechnikov, who won the Nobel prize for medicine in 1908.). It still has an impressive library as well; they have the largest scientific library of any university in the Ukraine, with 3.6 million volumes, ranging from the 15th century to the present day.
This book stamp is from a book looted by the Nazis and sorted by Colonel Seymour Pomrenze, one of “the Monuments Men,” at the Offenbach Archival Depot.
There are two scrapbooks of archival markings from the books sorted at the Offenbach Depot in the Seymour Pomrenze Collection held by the American Jewish Historical Society (Call number P-933) There is a finding aid for the collection here The digitized scrapbooks are available here and here.
For more information on this project check the Center’s blog: 16thstreet.tumblr.com/tagged/Offenbach-Depot
Dr. Mitch Fraas, Acting Director of the Digital Humanities Forum at the University of Pennsylvania Libraries' Special Collections Center is working on a similar project for the German book stamps based on NARA microfilm of the volumes the American Jewish Historical Society currently holds. See viewshare.org/views/mfraas/offenbach-bookplates/
The Center for Jewish History would like to acknowledge the following: The American Jewish Historical Society, who graciously allowed the use of their archival materials and digital content; Mitch Fraas, Acting Director of the Digital Humanities Forum at the University of Pennsylvania Libraries' Special Collections Center, for his data and technical assistance in this project; David Rosenberg, Senior Manager for Communications, and Melanie Meyers, Senior Reference Services Librarian for Special Collections, for managing and creating the digital map; as well as Reference Services Librarian Zachary Loeb and Reference Services Assistant Ilya Slavutskiy for their work on translating and mapping.
For copyright information, click here
Today I made a mistake on the lesson I just acknowledged yesterday. Thankfully the repercussions of this lesson are not as bad as it could have been. I took note of my inner voice speaking to me when it told me to take care of something, but I addressed other things rather than what was pointed out to me and ended up having my wallet stolen. I don't have enough evidence to file a police report against the people who have done it, but I know where I had placed my wallet and I know that I wouldn't have easily misplaced it.
I did all the smart things like file a loss of possession with the Police and what not. I'm glad I handled this situation far better than I anticipated, it being the first time I've had this kind of situation happen to me. I'm also thankful that nothing more was taken, as well as, I pray that the people who took it have a need for the cash that was in my wallet. One other lesson I'm going to take from this is pronounced in Mathew 6:14-15.
"For if you forgive other people when the sin against you, your heavenly Father will also forgive you. But if you do not forgive others their sins, your Father will not forgive your sins."
Also, when your gut speaks - it comes first over anything else. Good Night.
After being acknowledged by Network Rail workers the 1017 6X01 Scunthorpe - Eastleigh East Yard approaches Treeton.
The southern entrance to Tinsley Yard can be seen to the left no longer operational.
Entrance to the yard from the north can still be gained via Shepcote Lane Junction.
The yard sees 3 fairly regular workings , the DBS operated Aldwarke - Tees Yard which uses Tinsley yard to run round , Immingham - Tinsley and return and the GBRF operated Bardon Hill - Tinsley stone train , which can be a bit hit and miss.
2 4 15
One of the first towns across the country to commission a permanent COVID memorial sculpture, Barnsley is paying tribute to those who have lost their lives and acknowledging the admirable and inspirational contribution of key workers, volunteers and local communities during the pandemic crisis.
Barnsley’s ground-breaking approach is demonstrated by the commissioning of a special sculpture that will feature ordinary working people who are hugely underrepresented in sculptures across the world.
The project and its initiatives will provide a way for people to remember their loved ones and acknowledge the admirable and inspirational contribution of key workers and others during the pandemic crisis.
Four initiatives and an engagement programme will honour those that have lost their lives and the key workers that continue to contribute in the fight against the coronavirus and provide a permanent reminder of this episode in our history.
The sculpture depicts seven figures cast in bronze, demonstrating that everyone has been affected by COVID, and represent a tribute to key workers. The figures include a young girl, older man, volunteer, nurse, carer, police officer and a teacher – representing different generations and various communities, and be reflective of everyone that has been affected throughout the pandemic.
We remember those students and teachers who had to leave school in 1938 because they were Jewish.
The topic "Holocaust" in the classroom
"Holocaust Education" in Austria from 1945 to today
The "direct" education by teachers respectively parents' house is often superimposed by society's socializing effects that are unconscious throughout life. Parents need to acknowledge today that mass media education largely substitutes parenting and schooling.
Austrian studies on "Holocaust education", which have been carried out by opinion research institutes or diploma theses in the last decade, must therefore also be considered in this respect.The articles that form the basis of this article mainly focus on the Holocaust and National Socialist education in Germany Parental home and school. What is partly missing is an in-depth study of how this issue has been and will be dealt with in the media of the Second Republic.
Taboo subject National Socialism
Eva Müllhofer-Gurion comes in her 1996 completed thesis on the topic of National Socialism in the parental home to the little surprising conclusion that in the family education of the Austrian post-war generation from 1945 to 1990 history images were conveyed that predominantly downplayed National Socialism. Even in 1990, in about half of the families, the events of National Socialism were either hushed up or justified. The number of parents who openly talk to their children about the Nazi period would have increased noticeably since 1980, summarizes Eva Müllhofer-Gurion. Nevertheless, young people still learn more about the Nazi era from television and radio than from their grandparents and parents.
As a study carried out in the late 1980s by the opinion polling agency Fessel revealed, even the discussion following the Waldheim affair did not change much. The Waldheim Cause was hardly taken as an opportunity in Austrian families to discuss the background of the Nazi period. In many cases, they limited themselves to commenting on the election campaign or the "watchlist" decision of the US government. Parents were afraid of arguments in the family or believed that the Nazi era was not an issue for young people.
However, this does not necessarily lead to the conclusion that adolescents at home would be indoctrinated with anti-Nazi ideas. Rather, it has to be taken into account what a study by the Fessel-Institut from 1993 reveals: young people are taking over less and less of the political attitude of the parents and grandparents generation without reflection. The number of those who agree on political issues with their parents or grandparents halved in the period from 1986 to 1992. The young people of the 90s are a largely politically and ideologically unbounded generation, which is only to a small extent open to right-wing attitudes. Thus one estimates the hard core of extreme right among young people on approximately 2%. However, about 20% in one form or another are in the broadest sense susceptible to right-wing extremist ideas.
The curricula and teachers at the schools in the period from 1945 to the 70s is a very bad testimony to education about the Nazi period issue. This is related to the lack of denazification of the teaching body after 1945 as well as to the general social situation in post-war Austria.
Syllabi of the post-war period
The curricula of the immediate post-war years were fully aligned with those of the inter-war period with the goal to "train the youth to faithful and efficient citizens of the republic." It was not until the 1970s that the goal was to educate students (male and female ones) to become mature citizens and promote their capabilites to form an independent opinion. The history lesson usually ended with World War I. Subjects such as National Socialism were barely discussed in the classroom, and about contemporary history teachers (male and female ones) did not believe that they had to say schoolgirls and schoolboys anything, "as recent history still does not go far enough into the past to be able to make statements about it ".
Dr. Hermann Lein, survivor of the Dachau and Mauthausen concentration camps and secondary school teacher in the 1950s, is one of the few exceptions here. He tried without telling of his personal fate - to enlighten the students intensively about National Socialism. The danger that his teaching would be considered implausible seemed too great.
Many teachers were neither didactically nor substantively trained in contemporary history during their training. It was not until the 1960s that this slowly changed as at universities departments of contemporary history were established and the recent past became the subject of scientific research. Other important impulses were the foundation of the "Scientific Commission for the Study of the History of the Republic of Austria" (1972) and the Decree of the Federal Ministry of Education (1978), which made political education an integral part of school education.
Thus, the prerequisites for the reform of the teaching content were also created in history lessons. Today at least 90% of pupils are taught about the Nazi period. This makes the school for young people by far the most important source of information about National Socialism and the Holocaust. Especially the curricula of the history lessons of the 4th grade Hauptschule/Gymnasium and the 8th grade Gymnasium provide this. In addition, the topic is often treated in German and religious education. 80% of the students visit today the former concentration camp Mauthausen. The Department of Political Education in the Ministry of Education offers constantly updated teaching materials, the Institutes for Contemporary History procure contemporary witnesses. And the interest is great. Compared to the school climate of the 1950s, it is the other way around: eyewitnesses are in demand because they can testify to the Nazi abominations from their personal experience. In recent years, schools have sometimes carried out quite remarkable projects on contemporary history.
"Secret" syllabus
What remains is the very different quality of teaching. It depends largely (still) on the personal commitment of teachers, whether and how the topic is treated. Sometimes teachers are overwhelmed with the topic itself. It still happens that students of both gender attend memorials without any preparation or follow-up. And unfortunately, some older teachers are unwilling to incorporate new content into their lessons. Too often, the "secret" curriculum seems to override the official curriculum, which can not change the best curricula, the best continuing education courses, the best teaching materials, teachers are part of society, and they also represent the full range of political attitudes, that exists in a society.
Christian Klösch, historian, former commemorative service at the Leo Baeck Institute New York
Das Thema „Holocaust" im Unterricht
„Holocaust-Education" in Österreich von 1945 bis heute
Die „direkte" Erziehung durch die Lehrerinnen bzw. das Elternhaus wird oft von während des ganzen Lebens unbewußt wirkenden Sozialisations-effekten der Gesellschaft überlagert. Eltern und Pädagoginnen müssen sich heute eingestehen, daß Meinungsbildung durch Massenmedien weitgehend Erziehung durch Elternhaus und Schule ersetzt.
Österreichische Studien über „Holocaust-education", die im letzten Jahrzehnt von Meinungsforschungsinstituten oder im Rahmen von Diplomarbeiten durchgeführt wurden, müssen deshalb auch unter diesem Aspekt betrachtet werden. Die diesem Artikel als Grundlage dienenden Arbeiten konzentrieren sich hauptsächlich auf die Aufklärung über Holocaust und Nationalsozialismus in Elternhaus und Schule. Was teilweise fehlt, ist eine eingehende Untersuchung, wie mit dieser Thematik in den Medien der Zweiten Republik umgegangen wurde und wird.
Tabuthema Nationalsozialismus
Eva Müllhofer-Gurion kommt in ihrer 1996 fertiggestellten Diplomarbeit zur Thematisierung des Nationalsozialismus im Elternhaus zu dem wenig überraschenden Schluß, daß in der familiären Erziehung der österreichischen Nachkriegsgeneration von 1945 bis 1990 Geschichtsbilder vermittelt wurden die den Nationalsozialismus überwiegend verharmlosen. Selbst 1990 wurden in etwa der Hälfte der Familien die Geschehnisse des Nationalsozialismus entweder totgeschwiegen oder gerechtfertigt. Die Zahl jener Eltern, die mit ihren Kindern offen über die NS-Zeit reden, hätte sich aber seit 1980 merklich erhöht, resümiert Eva Müllhofer-Gurion. Dennoch erfahren Jugendliche immer noch mehr über die NS-Zeit aus Fernsehen und Rundfunk als von ihren Großeltern und Eltern.
Wie eine Ende der 80er Jahre durchgeführte Untersuchung des Meinungsforschungsinstitutes Fessel ergeben hat, haben selbst die Diskussion in Folge der Waldheim-Affäre nicht viel daran geändert. Die Causa Waldheim wurde in österreichischen Familien kaum zum Anlaß genommen, Hinter-gründe der NS-Zeit zu diskutieren. In vielen Fällen beschränkte man sich auf die Kommentierung des Wahlkampfes oder der „Watchlist'-Entscheidung der US-amerikanischen Regierung. Eltern scheuten sich vor Auseinandersetzungen in der Familie oder glaubten, daß die NS-Zeit kein Thema für Jugendliche sei.
Daraus ist jedoch nicht unbedingt der Schluß zu ziehen, daß Jugendliche zu Hause mit NS-verharmlosenden Gedankengut indoktriniert würden. Vielmehr ist zu berücksichtigen, was eine Untersuchung des Fessel-Instituts aus dem Jahr 1993 feststellt: Jugendliche übernehmen zu einem immer geringeren Teil politische Einstellung der Eltern- und Großelterngeneration unreflektiert. Die Zahl jener, die in politischen Fragen mit ihren Eltern bzw. Großeltern übereinstimmen, hat sich in der Zeit von 1986 bis 1992 halbiert. Bei den Jugendlichen der 90er Jahre handelt es sich um eine größtenteils politisch und weltanschaulich ungebundene Generation, die auch nur zu einem geringen Teil offen rechtsextremistisch ist. So schätzt man den harten Kern von Rechts-extremen unter Jugendlichen auf zirka 2 %. Allerdings sind etwa 20 % in der einen oder anderen Form im weitesten Sinne für rechtsextremes Gedankengut anfällig.
Den Lehrplänen und Lehrenden an den Schulen in der Zeit von 1945 bis in die 70er Jahre ist ein sehr schlechtes Zeugnis bezüglich Aufklärung über die NS-Zeit auszustellen. Dies hängt mit der mangelnden Entnazifizierung des Lehr-körpers nach 1945 ebenso zusammen wie mit der allgemeinen gesellschaftlichen Situation im Österreich der Nachkriegszeit.
Lehrpläne der Nachkriegszeit
Die Lehrpläne der unmittelbaren Nachkriegsjahre knüpften an jene der Zwischenkriegszeit vollinhaltlich an und hatten das Ziel, „die Jugend zu treuen und tüchtigen Bürgern der Republik zu erziehen". Erst seit den 70er Jahren verfolgt man das Ziel, Schülerinnen zu mündigen Staatsbürgerinnen zu erziehen und ihre Fähigkeiten, sich eine eigenständige Meinung zu bilden, zu fördern. Der Geschichteunterricht endete meist mit dem 1. Weltkrieg. Themen wie Nationalsozialismus wurden im Unterricht kaum behandelt. Über Zeitgeschichte glaubten viele Lehrerinnen ihren Schülerinnen nichts sagen zu müssen, „da die jüngere Geschichte noch zu wenig weit zurückliege, um darüber Aussagen treffen zu können".
Dr. Hermann Lein, Überlebender der Konzentrationslager Dachau und Mauthausen und Gymnasiallehrer in den 50er Jahren ist hier eine der wenigen Ausnahmen. Er versuchte ohne von seinem persönlichen Schicksal zu erzählen - die Schülerinnen intensiv über den Nationalsozialismus aufzuklären. Die Gefahr, daß sein Unterricht als unglaubwürdig betrachtet werden würde, erschien ihm zu groß.
Viele Lehrerinnen wurden während ihrer Ausbildung weder didaktisch noch inhaltlich in Zeitgeschichte ausgebildet. Erst in den 60er Jahren veränderte sich dies langsam, als an den Universitäten Zeitgeschichteinstitute eingerichtet und die jüngste Vergangenheit Gegenstand der wissenschaftlichen Forschung wurde. Weitere wichtige Impulse waren die Gründung der „Wissenschaftlichen Kommission zur Erforschung der Zeit-geschichte der Republik Österreich" (1972) und der Erlaß des Bundesministeriums für Unterricht (1978), der Politische Bildung zu einem integrativen Bestandteil im Schulunterricht machte.
Damit waren die Voraussetzungen für die Reform der Lehrinhalte auch im Geschichteunterricht geschaffen. Heute werden zumindest 90% der SchülerInnen über die NS-Zeit unterrichtet. Damit ist die Schule für Jugendliche die mit Abstand wichtigste Informationsquelle über Nationalsozialismus und Holocaust. Vor allem die Lehrpläne des Geschichteunterrichts der 4. Klasse Hauptschule/Gymnasium und der 8. Klasse Gymnasium sehen dies vor. Darüber hinaus wird das Thema vielfach im Deutsch- und Religionsunterricht behandelt. 80% der Schülerinnen besuchen heute das ehemalige Konzentrationslager Mauthausen. Die Abteilung für Politische Bildung im Unterrichtsministerium bietet ständig aktualisierte Unterrichtsmaterialien an, die Institute für Zeitgeschichte vermitteln ZeitzeugInnen. Und das Interesse ist groß. Im Vergleich zum Schulklima der 50er Jahre ist es gerade umgekehrt: ZeitzeugInnen sind gefragt, weil sie die Nazi-Greuel aus ihrem persönlichen Erleben bezeugen können. In den letzten Jahren wurden an Schulen teilweise sehr beachtliche Projekte zum Thema Zeitgeschichte durchgeführt.
„Heimlicher" Lehrplan
Was jedoch bleibt, ist die sehr unterschiedliche Qualität des Unterrichts. Es hängt weitgehend (noch immer) vom persönlichen Engagement der LehrerInnen ab, ob und wie das Thema behandelt wird. Manchmal sind Lehrende mit der Thematik selbst überfordert. Noch immer geschieht es, daß Schülerinnen ohne jegliche Vor- und Nachbereitung Gedenkstätten besuchen. Und leider sind einzelne ältere Lehrende nicht bereit, neue Inhalte in ihren Unterricht zu integrieren. Zu oft noch scheint der „heimliche" Lehrplan den offiziellen außer Kraft zu setzen. Dies können die besten Lehrpläne, die besten Fort-bildungskurse, die besten Unterrichtsmaterialien nicht ändern. LehrerInnen sind Teil der Gesellschaft und auch sie repräsentieren das gesamte Spektrum an politischen Einstellungen, das in einer Gesellschaft vorhanden ist.
Christian Klösch, Historiker, ehem. Gedenkdienstleistender am Leo Baeck Institute New York
“Perhaps one of the most under-acknowledged elements of totalitarianism identified by Arendt is the rise to political and social power of a corrupt business and governing class as well as a class of intellectuals that find corruption funny rather than outrageous. In a section of The Origins of Totalitarianism subtitled “The Temporary Alliance of the Mob and the Elite,” Arendt describes the original reception in 1928 Berlin of Bertolt Brecht’s The Threepenny Opera:” ―Roger Berkowitz
“The play presented gangsters as respectable businessmen and respectable businessmen as gangsters. The irony was somewhat lost when respectable businessmen in the audience considered this a deep insight into the ways of the world and when the mob welcomed it as an artistic sanction of gangsterism. The theme song in the play, “Erst kommt das Fressen, dann kommt die Moral” [“First comes the animal-like satisfaction of one’s hunger, then comes morality,” memorably rendered by Marc Blitzstein as “First feed the face, and then talk right and wrong.” — RB], was greeted with frantic applause by exactly everybody, though for different reasons. The mob applauded because it took the statement literally; the bourgeoisie applauded because it had been fooled by its own hypocrisy for so long that it had grown tired of the tension and found deep wisdom in the expression of the banality by which it lived; the elite applauded because the unveiling of hypocrisy was such superior, wonderful fun.” ―Hannah Arendt
lareviewofbooks.org/article/arendt-matters-revisiting-ori...
―original image by @ktt921
Acknowledging the September birthday celebrants (myself included). This was right after having our weekly evening Bible study with The Cornerstone SJ Church fam. This was at the Mt. Hamilton Grange Hall around my neck of the woods in San Jose, CA. (Tuesday evening, September 26, 2023)
*“God gave us the gift of life; it is up to us to give ourselves the gift of living well.” — Voltaire.
By the 1430s, Rome was forced to acknowledge the strength and determination of the Hussites and officially recognise the beliefs of the Utraquist Church in a treaty called the Basel Compacts.
In 1458 Bohemia elected its first native Czech king in around 150 years, Jiří z Podĕbrad, who became an extremely popular ruler. In 1462, King Jiří sent a delegation to Rome to confirm his election and the religious privileges that had been granted to the Utraquist Church in the Basel Compacts. Not only did Pope Pius II refuse to recognise the treaty; he sent one of his cardinals back to Prague to order Jiří z Podĕbrad to ban the Utraquist Church and return the kingdom of Bohemia to the rule of Rome.
In this painting, Mucha depicts Cardinal Fantin’s visit to Prague and his ensuing confrontation with King Jiři. Cardinal Fantin stands arrogantly in red robes as the king kicks over his throne in anger and defiance. His refusal to acknowledge the papal authority is met by awe and astonishment among the members of his court. A young boy in the foreground closes a book entitled Roma, indicating that the period of cooperation with Rome has come to an end.
“Perhaps one of the most under-acknowledged elements of totalitarianism identified by Arendt is the rise to political and social power of a corrupt business and governing class as well as a class of intellectuals that find corruption funny rather than outrageous. In a section of The Origins of Totalitarianism subtitled “The Temporary Alliance of the Mob and the Elite,” Arendt describes the original reception in 1928 Berlin of Bertolt Brecht’s The Threepenny Opera:” ―Roger Berkowitz
“The play presented gangsters as respectable businessmen and respectable businessmen as gangsters. The irony was somewhat lost when respectable businessmen in the audience considered this a deep insight into the ways of the world and when the mob welcomed it as an artistic sanction of gangsterism. The theme song in the play, “Erst kommt das Fressen, dann kommt die Moral” [“First comes the animal-like satisfaction of one’s hunger, then comes morality,” memorably rendered by Marc Blitzstein as “First feed the face, and then talk right and wrong.” — RB], was greeted with frantic applause by exactly everybody, though for different reasons. The mob applauded because it took the statement literally; the bourgeoisie applauded because it had been fooled by its own hypocrisy for so long that it had grown tired of the tension and found deep wisdom in the expression of the banality by which it lived; the elite applauded because the unveiling of hypocrisy was such superior, wonderful fun.” ―Hannah Arendt
lareviewofbooks.org/article/arendt-matters-revisiting-ori...
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.
How do you acknowledge a milestone? Are milestones important?
Today I reached Day 4000 of my picture a day project. Unlike some of the other big milestone days this one crept up on me and so I had nothing special planned to commemorate it’s passing.
Day 4000 was just another day, a morning walk along the canal, overcast December weather and nothing special in my diary. Does it matter that all I could do was photograph this stone (which looked a bit like a milestone) and include the path that will take me forward? No, not one bit. Life is a continuum and this picture is sufficient. One doesn’t need anything grand to be content with doing the best you can in any given situation. I’m happy with my pseudo milestone and a path that will take me onwards in life.
U.S. Secretary of State John Kerry acknowledges the crowd, as they gather in the main lobby of the Department's Harry S. Truman building, before delivering farewell remarks on his final day in office on January 19, 2017. [State Department photo/ Public Domain]
Firstly, I should acknowledge the splendid restoration by Bob Jeffrey of the preserved vehicle on which this digital creation is based. Bedford didn’t build four-axle trucks but conversions were available from third-party specialists. This is the only example that I’ve come across and I’m surprised that it seems to be based on the TK rather than the heavier KM chassis. Knowles Transport regularly displays its heritage fleet alongside that of RC Jeffrey & Son and I trust that this digital livery swap will be accepted without offence to either party. Thanks to Dave Stickland for the base image (12-Jul-19).
All rights reserved. For the avoidance of doubt, this means that it would be a criminal offence to post this image on Facebook or elsewhere (please post a link instead). Please follow the link below for further information about my Flickr collection:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
Varosha - Maras is the southern quarter of the Famagusta, a de jure territory of Cyprus, currently under the control of Northern Cyprus. Varosha has a population of 226 in the 2011 Northern Cyprus census. The area of Varosha is 6.19 km2 (2.39 sq mi).
The name of Varosha derives from the Turkish word varoş (Ottoman Turkish: واروش, 'suburb'). The place where Varosha is located now was empty fields in which animals grazed.
In the early 1970s, Famagusta was the number-one tourist destination in Cyprus. To cater to the increasing number of tourists, many new high-rise buildings and hotels were constructed. During its heyday, Varosha was not only the number-one tourist destination in Cyprus, but between 1970 and 1974, it was one of the most popular tourist destinations in the world and was a favorite destination of such celebrities as Elizabeth Taylor, Richard Burton, Raquel Welch, and Brigitte Bardot.
Before 1974, Varosha was the modern tourist area of the Famagusta city. Its Greek Cypriot inhabitants fled during the Turkish invasion of Cyprus in 1974, when the city of Famagusta came under Turkish control, and it has remained abandoned ever since. In 1984 a U.N. resolution called for the handover of the city to UN control and said that only the original inhabitants, who were forced out, could resettle in the town.
Entry to part of Varosha was opened to civilians in 2017.
In August 1974, the Turkish Army advanced as far as the Green Line, a UN-patrolled demilitarized zone between the Greek Cypriots and Turkish Cypriots, and controlled and fenced Varosha. Just hours before the Greek Cypriot and Turkish armies met in combat on the streets of Famagusta, the entire Greek Cypriot population fled to Paralimni, Dherynia, and Larnaca, fearing a massacre. The evacuation was aided and orchestrated by the nearby British military base. Paralimni has since become the modern-day capital of the Famagusta province of Greek Cypriot-led Cyprus.
The Turkish Army has allowed the entry of only Turkish military and United Nations personnel since 2017.
One such settlement plan was the Annan Plan to reunify the island that provided for the return of Varosha to the original residents. But this was rejected by Greek Cypriots in a 2004 referendum. The UN Security Council Resolution 550 states that it "considers attempts to settle any part of Varosha by people other than its inhabitants as inadmissible and calls for the transfer of this area to the administration of the United Nations".
The European Court of Human Rights awarded between €100,000 and €8,000,000 to eight Greek Cypriots for being deprived of their homes and properties as a result of the 1974 invasion. The case was filed jointly by businessman Constantinos Lordos and others, with the principal judgement in the Lordos case dating back to November 2010. The court ruled that, in the case of eight of the applicants, Turkey had violated Article 1 of Protocol 1 of the European Convention on Human Rights on the right of peaceful enjoyment of one's possessions, and in the case of seven of the applicants, Turkey had violated Article 8 on the right to respect for private and family life.
In the absence of human habitation and maintenance, buildings continue to decay. Over time, parts of the city have begun to be reclaimed by nature as metal corrodes, windows are broken, and plants work their roots into the walls and pavement and grow wild in old window boxes. In 2014, the BBC reported that sea turtles were observed nesting on the beaches in the city.
During the Cyprus Missile Crisis (1997–1998), the Turkish Cypriot leader, Rauf Denktaş, threatened to take over Varosha if the Cypriot government did not back down.
The main features of Varosha included John F. Kennedy Avenue, a street which ran from close to the port of Famagusta, through Varosha and parallel to Glossa beach. Along JFK Avenue, there were many well known high rise hotels including the King George Hotel, The Asterias Hotel, The Grecian Hotel, The Florida Hotel, and The Argo Hotel which was the favourite hotel of Elizabeth Taylor. The Argo Hotel is located near the end of JFK Avenue, looking towards Protaras and Fig Tree Bay. Another major street in Varosha was Leonidas (Greek: Λεωνίδας), a major street that came off JFK Avenue and headed west towards Vienna Corner. Leonidas was a major shopping and leisure street in Varosha, consisting of bars, restaurants, nightclubs, and a Toyota car dealership.
According to Greek Cypriots, 425 plots exist on the Varosha beach front, which extends from the Contandia hotel to the Golden Sands hotel. The complete number of plots in Varosha are 6082.
There are 281 cases of Greek Cypriots who filed to the Immovable Property Commission (IPC) of Northern Cyprus for compensation.
In 2020, Greek Cypriot Demetrios Hadjihambis filed a lawsuit seeking state compensation for financial losses.
The population of Varosha was 226 in the 2011 Northern Cyprus census.
In 2017, Varosha's beach was opened for the exclusive use of Turks (both Turkish Cypriots and Turkish nationals).
In 2019, the Government of Northern Cyprus announced it would open Varosha to settlement. On 14 November 2019, Ersin Tatar, the prime minister of Northern Cyprus, announced that Northern Cyprus aims to open Varosha by the end of 2020.
On 25 July 2019, Varosha Inventory Commission of Northern Cyprus started its inventory analysis on the buildings and other infrastructure in Varosha.
On 9 December 2019, Ibrahim Benter, the Director-General of the Turkish Cypriot EVKAF religious foundation's administration, declared all of Maraş/Varosha to be the property of EVKAF. Benter said "EVKAF can sign renting contracts with Greek Cypriots if they accept that the fenced-off town belongs to the Evkaf."
In 2019–20, inventory studies of buildings by the Government of Northern Cyprus were concluded. On 15 February 2020, the Turkish Bar Association organised a round table meeting at the Sandy Beach Hotel in Varosha, which was attended by Turkish officials (Vice President Fuat Oktay and Justice Minister Abdulhamit Gül), Turkish Cypriot officials, representatives of the Turkish Cypriot religious foundation Evkaf, and Turkish and Turkish Cypriot lawyers.
On 22 February 2020, Cyprus declared it would veto European Union funds to Turkish Cypriots if Varosha were opened to settlement.
On 6 October 2020, Ersin Tatar, the Prime Minister of Northern Cyprus, announced that the beach area of Varosha would reopen to the public on 8 October 2020. Turkey's president, Recep Tayyip Erdoğan, said Turkey fully supported the decision. The move came ahead of the 2020 Northern Cypriot presidential election, in which Tatar was a candidate. Deputy Prime Minister Kudret Özersay, who had worked on the reopening previously, said that this was not a full reopening of the area, that this was just a unilateral election stunt by Tatar. His People's Party withdrew from the Tatar cabinet, leading to the collapse of the Turkish Cypriot government. The EU's diplomatic chief condemned the plan and described it as a "serious violation" of the U.N. ceasefire agreement. In addition, he asked Turkey to stop this activity. The U.N. Secretary-General expressed concern over Turkey's decision.
On 8 October 2020, some parts of Varosha were opened from the Officers' Club of Turkish and Turkish Cypriot Army to the Golden Sands Hotel.
In November 2020, the Turkish President Recep Tayyip Erdoğan and Turkey's ambassador to Nicosia, visited Varosha. In addition, the main avenue in Varosha has been renamed after Semih Sancar, Chief of the General Staff of Turkey from 1973 to 1978, a period including the 1974 Turkish invasion of Cyprus.
The European Parliament on 27 November, asked Turkey to reverse its decision to re-open part of Varosha and resume negotiations aimed at resolving the Cyprus problem on the basis of a bi-communal, bi-zonal federation and called on the European Union to impose sanctions against Turkey, if things do not change. Turkey rejected the resolution, adding that Turkey will continue to protect both its own rights and those of Turkish Cypriots. The Turkish Republic of Northern Cyprus presidency also condemned the resolution.
On 20 July 2021, Tatar, the president of Northern Cyprus announced the start of the 2nd phase of the opening of Varosha. He encouraged Greek Cypriots to apply Immovable Property Commission of the Turkish Republic of Northern Cyprus to claim their properties back if they have any such rights.
Bilal Aga Mosque, constructed in 1821 and taken out of service in 1974, was re-opened on 23 July 2021.
In response to a decision by the government of Turkish Cyprus, the presidential statement of the United Nations Security Council dated on 23 July said that settling any part of the abandoned Cypriot suburb of Varosha, "by people other than its inhabitants, is 'inadmissible'." The same day, Turkey rejected the presidential statement of the UNSC on Maras (Varosha), and said that these statements were based on Greek-Greek Cypriot propaganda, were groundless and unfounded claims, and inconsistent with the realities on the Island. On 24 July 2021, the presidency of Northern Cyprus condemned the presidential statement of the UNSC dated on 23 July, and stated that "We see and condemn it as an attempt to create an obstacle for the property-rights-holders in Varosha to achieve their rights".
By 1 January 2022, nearly 400,000 people had visited Varosha since its opening to civilians on 6 October 2020.
On 19 May 2022, Northern Cyprus opened a 600m long X 400m wide stretch of beach on the Golden Sands beach (from the King George Hotel to the Oceania Building) in Varosha for commercial use. Sun beds and umbrellas were installed.
UNFICYP said it would raise the decision taken by Turkish Cypriot authorities to open that stretch of beach in Varosha with the Security Council, spokesperson for the peacekeeping force Aleem Siddique said on Friday. The UN announced its "position on Varosha is unchanged and we are monitoring the situation closely".
In October 2022, the Turkish Cypriots announced that public institutions will be opened in the city.
In April 2023, Cleo Hotel, the 7-floor Golden Seaside Hotel, and the 3-star Aegean Hotel were purchased by a Turkish Cypriot businessman (from their Greek Cypriot owners) who will operate them within 2025.
On 10 August 2023, the Government of Northern Cyprus decided to construct a marina and tourist facility in Varosha.
Varosha was analyzed by Alan Weisman in his book The World Without Us as an example of the unstoppable power of nature.
Filmmaker Greek Cypriot Michael Cacoyannis described the city and interviewed its exiled citizens in the film Attilas '74, produced in 1975.
In 2021, the Belarusian group Main-De-Gloire dedicated a song to this city that has become a ghostly place.
Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.
Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.
A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.
Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.
Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.
Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.
Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.
The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.
Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.
Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.
By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.
EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.
However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.
On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.
In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.
By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.
In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.
The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.
After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".
As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.
Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.
On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.
The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.
Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.
The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.
Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.
Main articles: Bloody Christmas (1963) and Battle of Tillyria
An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."
In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.
Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.
In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.
Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.
Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.
Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.
The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:
UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.
The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.
By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."
After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.
On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.
The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.
During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.
In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.
Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.
A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.
This smile is the expression of being acknowledged, from receiving recognition. It comes from hearing a sincere compliment, from having it confirmed that something is being done right, that someone is doing well.
So this is the daughter of some friends of mine. We had a lot of fun taking portraits of the whole family. Here she's wearing her very best dress, she said. She made a very good job as a model, and even helped her youngest brother stay focused :)
Exif: ISO 100 ; f/2.8 ; 1/80 ; @60mm
Window light
President Barack Obama acknowledges Ford Chief Executive Officer Alan, Mulally, and other auto industry leaders and government officials during the Rose Garden announcement of new fuel and emission standards for cars and trucks May 19, 2009. (Official White House Photo by Samantha Appleton)
This official White House photograph is being made available 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 or used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement of the President, the First Family, or the White House.
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Official White House Photo by Samantha Appleton
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.
Photos may be re-posted provided the copyright owner is acknowledged:
"Photographer - Jason Davis jad01@hotmail.com"
The jewel of Ely's Crown and acknowledged as one of the wonders of the Medieval world.
Disaster struck on 13 February 1322, when the Norman central tower collapsed. The noise was so great that the monks thought there had been an earth quake. Alan of Walsingham, the monk responsible for the building, was deeply shocked. One of his fellow monks wrote: 'He was devastated, grieving vehemently and overcome with sorrow... that he knew not which way to turn himself or what to do for the reparation of such a ruin.'
As rebuilding commenced, firmer foundations were found further out from the original pillars, and from this evolved the idea of building an octagon surmounted by a lantern. Its width of 74 feet (23m) was too great to support a stone vault, and so it was built in wood and covered in lead.
A masterpiece of medieval engineering, it took 18 years to build. The internal height is 142 feet (43m), and its total weight is 400 tons. In the centre, John of Burwell (a village south-east of Ely), carved the beautiful Christ in Majesty. Thousands come to Ely to climb the tower and the internal wooden structure which has baffled architects for centuries.
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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After a stirring solo the Double-crested Cormorant acknowledges the applause of a flock of gulls on Armand Bayou.
My Wabi-sabi entry for The Sunday Challenge.
Wabi-sabi, from Wikipedia:
"If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi." "[Wabi-sabi] nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.
The masked Desert Scorpion looks around and acknowledges the uncomfortable shuffles of those around him with a snort, an action waved off by his unmasked comrade.
Desert Scorpion (1): Don't worry about them, man. They don't know the Joker like we know him.
The masked desert trooper jerks his shoulders and sits back in his wooden chair.
Desert Scorpion (2): Yeah you're right. What do these guys know? They don't know what it's like to be a Brown Viper! They don't know what you it takes to out of that pit!
Desert Scorpion (1): And rise we did, meng! This drink's to us!
Both Desert Scorpions hold their dark ales up high.
Desert Scorpion (2): And to the Joker! Ha ha!
The pair are interrupted by a figure that joins them, seemingly appearing out of nowhere. The masked Desert Scorpion is about to question the interruption but holds his tongue just in time as he recognizes the intruder!
Desert Scorpion (2): Major Bludd!
The eye-patch wearing Major pulls up a third seat at the table with a sneer etched into his hard features.
Major Bludd: So you blokes are looking for a celebration, aye? Celebratin' in the name of the Joker?
The unmasked Desert Scorpion lowers his beer and forces his confidence to meet the Major's steely glare.
Desert Scorpion (1): Yeah. The man is our salvation! He hand picked us from the depths of the Brown Vipers!
Feeling his confidence grow by the momentum of his comrade, the masked desert trooper continues.
Desert Scorpion (2): Yeah, but you'd already know that, meng. You've worked with the Joker before. In fact, I've heard that you're part of his inner circle!
The unmasked soldier's eyes grow with enthusiasm.
Desert Scorpion (1): Hey, I guess we're part of his inner circle too now!
Bludd looks down at the drinks now placed on the table and absorbs the naivety of the newly promoted pair for a moment, then grits his teeth in disgust.
Major Bludd: You're not part of his inner circle mate, and if you know what's good for you, you never will be.
Bludd's sobering words refocus the Desert Scorpions for a moment.
Desert Scorpion (2): No look... he promoted us. The Joker wants us to work for him.
After a silent heartbeat, Bludd raises his head and stares straight into the eyes hidden behind the Desert Scorpion's mask.
Major Bludd: The Joker ain't no hero, mate. He ain't no hero and he's got no inner circle.
Desert Scorpion (2) shakes his head in disbelief.
Desert Scorpion (2): That's not what he told us, meng.
Bludd spits out a chuckle of incredulity.
Major Bludd: How'd you like to learn a thing or two about the Joker?
Widely acknowledged as one of the most beautiful tidal islands in Western Scotland, the island provides good shelter to a natural harbour which is overlooked by the village of Isleornsay. The "Ornsay" lighthouse stands on the neighbouring islet, Eilean Sionnach.
An adult Black-crowned Night Heron rests before a long night of hunting.
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The other day Keith told me this story about this lady who CLEARLY acknowledged him as she looked directly at him, rushed off of the phone, and raced across the parking lot from her vehicle just so that she could get into the bagel shop before him to place her undecided 16 bagel order. He could have given her a dirty look or made some sort of gesture however he chose to take the high road. He stood in line, and FINALLY when it was his time to order, he stepped up, placed his order and went about his day.
Today as I left the grocery store I proceeded over to Jamba Juice for a Caribbean Passion smoothie. As I approached the entrance I was still at least 12 paces away or so and I noticed a teenage son and his mother walking across the parking lot. It was obvious that they were headed towards the same entrance that I was, yet quite a few paces behind me. As this 15 second moment in time quickly unfolded I remembered the bagel story. Even though I was undoubtedly first to the door and the pair was still dodging parking lot traffic, I opened the door and proceeded to wait for them to enter before me. As they entered they both smiled and said “Thank you!” As in the bagel story, they didn’t know what they wished to order either. Knowing that may happen I held the door regardless. While they went back and forth with the gentleman behind the counter trying to decide which “power boosts” to include in their drinks, I pulled out my iPhone and settled in for a few minutes. Moments later I was placing my order then on my way home.
Now I tell these stories in their consecutive order not boast or exclaim “I’m a good person!” however only to depict the contagiousness of a smile or good deed. When someone does or shows you a good deed, most people want to pass that on. Something about making other people smile (for most) in return makes us happy. Perhaps sometime in the near future one of you will think about these two stories and choose to keep the butterfly effect going.
Sometimes it may seem that most of what I do in my 365 is spout on about positive and fun influences in life. The reality of life is actually sometimes not as pretty or positive as I make it appear. However even with that, it’s up to me to make something positive out of it. That’s just how I roll! If you don’t like it……..uuhem…(points to the door-)
Surround yourself with positive people and you will be positive. Surround yourself with negative people and…….well I’m sure you know the rest, right?!
No strobist info or behind the scenes for this shot. I have an exam to study for.
SMILE
U.S. Secretary of State John Kerry acknowledges applause from the crowd after delivering the commencement address for Northeastern University's Class of 2016 on May 6, 2016 in Boston, Massachusetts. [State Department photo/ Public Domain]
Art prize 2011 grand rapids michigan artprize
Carole Feuerman, Ron Burkhardt
Artist bio
Carole Feuerman is acknowledged as one of the world’s most prominent hyperrealist sculptors. Working in resin, marble and bronze, Feuerman sculpts life-size, monumental and miniature works that encompass her signature trompe-l’oeil technique. In her resin work, Feuerman treats each piece as a 3-dimensional canvas, applying multiple layers of paint to achieve realistic tones. Among her notable awards are the Amelia Peabody, the Betty Parsons Award, the Lorenzo de Medici Prize and First Prizes at the 2008 Beijing Biennale, Austrian Biennale and the Beijing Olympic Fine Arts. Her work is in the selected collections of His Majesty the Emperor of Japan, President Bill Clinton and Secretary of State Hillary Clintonn, as well as the permanent collections of 15 museums worldwide. Collaborator/abstract painter Ron Burkhardt founded both Notism and Earth Art and has won over 200 awards including the Medici Medal. His work is globally acquired by museums, universities and discerning collectors.
About the work
Title: Serenity Lake
Art form: 3-D
Medium: Oil on Resin (Sculpture), Acrylic on Canvas (Painting)
Year created: 2011
Description of work: Serenity Lake is a monumental 12 x 8 x 5' installation that combines Carole Feuerman's hyperrealistic sculpture with Ron Burkhardt's abstract painting.
The collaborative work, whose theme is water, took over a year to create, and reflects the timeless innocence of youth. The sun shining on the child's face, her arms around the colorful beach ball, and the sandy shore remind us of a time of peaceful playfulness, where nothing else matters but the moment. Those quiet, in-between moments where you connect with your thoughts and your soul. With "Serenity Lake", the viewer waits for the child to open her eyes while we wonder what she is thinking.
Michigan native Ron Burkhardt painted the vast acrylic and oil
canvas of his impression of Lake Michigan on which "Serenity" rests, the gorgeous body of water that stretches through miles of beach towns.
This sensual juxtaposition emerges as a joyful tribute to the beauty and ever-changing mysteries of water and life itself.
Height: 5 feet
Width: 12 feet
Depth: 8 feet
By the 1430s, Rome was forced to acknowledge the strength and determination of the Hussites and officially recognise the beliefs of the Utraquist Church in a treaty called the Basel Compacts.
In 1458 Bohemia elected its first native Czech king in around 150 years, Jiří z Podĕbrad, who became an extremely popular ruler. In 1462, King Jiří sent a delegation to Rome to confirm his election and the religious privileges that had been granted to the Utraquist Church in the Basel Compacts. Not only did Pope Pius II refuse to recognise the treaty; he sent one of his cardinals back to Prague to order Jiří z Podĕbrad to ban the Utraquist Church and return the kingdom of Bohemia to the rule of Rome.
In this painting, Mucha depicts Cardinal Fantin’s visit to Prague and his ensuing confrontation with King Jiři. Cardinal Fantin stands arrogantly in red robes as the king kicks over his throne in anger and defiance. His refusal to acknowledge the papal authority is met by awe and astonishment among the members of his court. A young boy in the foreground closes a book entitled Roma, indicating that the period of cooperation with Rome has come to an end.
Stagecoach acknowledges its heritage by keeping a number of 'heritage' vehicles which attend rallies, depot open days and also operate on special services. These include a number of A.E.C. Routemasters which were acquired when London Buses was privatised, including RML2761, SMK 671 F which is a member of the Stagecoach Cumbria & North Lancashire fleet and pictured at Brough whilst operating on the heritage bus service at the Cumbria Easter Rally 2022. Stagecoach's Routemasters are allocated numbers in the 5-digit numbering system but do not carry these numbers on the buses, carrying their original London Transport numbers instead. This bus was originally numbered 12671 when Stagecoach introduced the 5-digit numbering system but has since been renumbered 19958 in the 199xx series allocated to 'heritage double deckers.
Otro tratamiento HDR
No Photoshop
The Palace of Culture, acknowledged as effigy of the city of Iasi, was built in the neogothic style and as such was one of the last expressions of Romanticism in the official architecture.
Although it was not raised on top of ancient foundations, as people thought at the beginning of the 20th century, the Palace was partly built on top of the ruins of the mediaeval princely courts, mentioned in a document of 1434, and partly on top of the foundations of the former (neoclassical) palace, dated to the time of Prince Alexandru Moruzi (1806-1812), rebuilt by Prince Mihail Sturza (1841-1843) and finally demolished in 1904. It was from this latter building that the Palace inherited the legend of the 365 rooms, as many as the days within one year.
The edifice was built between 1906 and 1925, and is the most outstanding work of Romanian architect I.D. Berindei, who was trained at the Parisian School. Decoratively, the central hall shows a figurative mosaic including various representations of a gothic bestiarum, concentrically arranged: two-headed eagles, dragons, griffons, lions. The hall is superposed by a glass ceiling room, where initially a greenhouse was arranged.
In spite of its archaic-looking design, the Palace was designed so to integrate modern materials and technologies. Thus, the stone blocks were replaced with light and much cheaper materials. Besides, some rooms were decorated using a special material licensed by Henri Coanda, under the name of bois-ciment and imitating the oak wood. Decorative ironmongery elements are also remarkable and they can be admired for instance on the doors of the Voivodes’ Hall. The building was also equipped with high-tech facilities for those times, such as electric lighting, (pneumatic) heating, ventilation system, thermostat, vacuum cleaners, which were all directed from the machinery room, at the underground level. Taking also into account the 14 fires that affected the previous buildings, Berindei treated the wooden structure of the attic with an ignifugeous product called orniton, while for the roof he used a special material, named eternite.
The building, inaugurated on 11 October 1925, served as Palace of Justice until 1955, when its destination was changed, being assigned to the museums nowadays united under the name of “Moldova” National Museum Complex of Iasi.
Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as the ‘Night Watch’, Rembrandt Harmensz. van Rijn, 1642
The Sampling Officials of the Amsterdam Drapers’ Guild, known as ‘The Syndics’, Rembrandt Harmensz. van Rijn, 1662
oil on canvas, h 191.5cm × w 279cm More details
This is Rembrandt’s first and only corporate group portrait. The Syndics stands out for its exceptionally large format and more than life-sized figures. All eyes of the sampling officials – who assessed the quality of dyed cloth – are turned to us and one figure even rises from his chair as if to acknowledge our presence. Because of the low vantage point, the table seems to jut out of the picture.
olieverf op doek, h 379.5cm × w 453.5cm. More details
Identification
Title(s)The Sampling Officials of the Amsterdam Drapers’ Guild, known as ‘The Syndics’
The syndics: the sampling officials (wardens) of the Amsterdam drapers
Object typepainting
Object numberSK-C-6
Inscriptions / marks
signature and date: ‘Rembrandt f. 1662’
signature and date (false): ‘Rembrandt. f. 1661.’
DescriptionDe Staalmeesters: het college van staalmeesters (waardijns) van het Amsterdamse lakenbereidersgilde, bijeen rond een tafel waarop een Perzisch kleed ligt, op tafel het opengeslagen stalenboek. Voorgesteld zijn (van links naar rechts): Jacob van Loon (1595-1674), Volckert Jansz (1605/10-81), Willem van Doeyenburg (ca. 1616-87), de knecht Frans Hendricksz Bel (1629-1701), Aernout van der Mye (ca. 1625-81) en Jochem de Neve (1629-81). Rechts boven de haard een schilderij met een brandend baken.
Creation
Artist
painter: Rembrandt Harmensz. van Rijn
Dating1662
Material and Technique
Physical featuresoil on canvas
Materialcanvas oil paint (paint)
Measurementsh 191.5 cm × w 279 cm
Subject
What
officers trusted with control of quality
table
book - MM - book open
Where
Amsterdam
Who
Jacob van Loon
Volckert Jansz
Willem van Doeyenburg
Frans Hendricksz Bel
Aernout van der Mye
Jochem de Neve
Acquisition and rights
Credit line
On loan from the City of Amsterdam
Acquisition 1808
CopyrightPublic domain
Provenance
Commissioned by the sitters for the hall of the Drapers’ Guild (Staalhof), Staalstraat, Amsterdam; transferred to the 'Konstkamer' in the Town Hall, Amsterdam, 27 November 1771;{According to a label formerly on the reverse; see Van Eeghen 1957, p. 66.} on loan from the City of Amsterdam to the museum since 15 August 1808
Bibliography and list of abbreviations for the provenance (pdf)
Relations
Related
Hoofd van man met hoed
Kopie naar 'De Staalmeesters' van Rembrandt
Kopie van een detail van 'De Staalmeesters' van Rembrandt
De Staalmeesters
De Staalmeesters: het college van staalmeesters (waardijns) van het Amsterdamse lakenbereidersgilde
Documentation
Late Rembrandt, Jonathan Bikker, Gregor J.M. Weber, Marjorie Elizabeth Wieseman, Marijn Schapelhouman, Anna Krekeler, Christopher White, afb. 55, 56, p. 129
Rembrandt in perspectief : de veranderende visie op de meester en zijn werk, Jaco Rutgers, Mieke Rijnders, Xander van Eck, p. 249-250, afb. 8.30-8.32
Hollanders van de Gouden Eeuw, Maarten Hell, Emma Los, Norbert E. Middelkoop, Tom van der Molen, Paul Spies, p. 90-91, afb. 82
De geschiedenis van Nederland in 100 voorwerpen, Gijs van der Ham, p. 179 - 182, cat.nr. 33
Rembrandt in nieuw licht, Ernst van de Wetering, cat.nr. 11
Rembrandt : the painter at work, Ernst van de Wetering, p. 178, afb. 239
Rembrandt drawings, Seymour Slive, p. 28, afb. 3.5
Ontmoet Rembrandt : leven en werk van de meesterschilder, Gary Schwartz, p. 97, afb. 79
Salomon, Jan, Joseph en Dirck de Bray : vier schilders in één gezin, Pieter Biesboer, Friso Lammertse, Fred G. Meijer, p. 22, afb. 17
Rembrandt : pintor de historias, Teresa Posada Kubissa, Alejandro Vergara, Mariët Westermann, p. 44, afb. 19
De oude Meesters van de stad Amsterdam : schilderijen tot 1800, Judith van Gent, Norbert E. Middelkoop, Gusta Reichwein, p. 242
Hollanders in beeld : portretten uit de Gouden Eeuw, Quentin Buvelot, Rudolf E.O. Ekkart, Marieke de Winkel, p. 208-211, cat.nr. 60
Dutch portraits : the age of Rembrandt and Frans Hals, Quentin Buvelot, Rudolf E.O. Ekkart, Beverly Jackson, Marieke de Winkel, cat.nr. 60
Het Rembrandt boek [ : 1 2006], Gary Schwartz, p. 176
Nederlandse kunst in het Rijksmuseum 1600-1700, Jan Piet Filedt Kok, Reinier J. Baarsen, Bart Cornelis, Jan Daniël van Dam
De glorie van de Gouden Eeuw : Nederlandse kunst uit de 17de eeuw : schilderijen, beeldhouwkunst en kunstnijverheid, Jan Piet Filedt Kok, Judikje Kiers, Fieke Tissink, cat.nr. 147
Rembrandt : de meester en zijn werkplaats : schilderijen, Christopher Brown, Jan Kelch, Pieter J.J. van Thiel, p. 278-282, cat.nr. 48
Rembrandt, Annemarie A.E. Vels Heijn, p. 114, cat.nr. 54
Oud & Nieuw : Rembrandt van Rijn en Ger van Elk, Pieter de Dreu
Passen en meten, Judikje Kiers
De zichtbare Rembrandt, Wouter Theodoor Kloek, p. 208, afb. 7-8
Een gruwelijke en goedkope 'Rembrandt', Jonathan Bikker, p. 185, afb. 3
Tim Zeedijk, ‘Why Carpets are Beautiful’, in Kneeling, 5 years of Making Carpets, Eindhoven (MU Artspace) 2014, afb. p. 10.
N. Middelkoop, 'Kruisbestuiving : Schutters- en regentenstukken in Haarlem en Amsterdam', Kunstschrift (2014) nr. 4, p. 34, afb. 34-35.
The Rembrandt Database, Object information, Rembrandt, The sampling officials of the Amsterdam drapers guild, dated 1662, Rijksmuseum, Amsterdam, inv. no. SK-C-6, www.rembrandtdatabase.org/Rembrandt/painting/3046/the-sam..., accessed 2016 February 01
B. Alsdorf, La fraternité des individus: les portraits de groupe de Degas, in: La revue de Musée d'Orsay nr. 30 (automne 2010) 48, 14, p. 25, fig. 9
R. Bergmans, Rembrandts kijk op De Staalmeesters, 2009-07- mathart.come2me.nl/1014134/REMBRANDT-Staalmeesters [artikel over het perspectief]
Marleen Dominicus-Van Soest, 'Rembrandt in nieuw licht', Rijksmuseum Kunstkrant 19 (1993) nr. 3.
J.G. van Gelder, 'De Staalmeesters', Openbaar Kunstbezit (1964), p. 11a/b.
I.H. van Eeghen, "De Staalmeesters", Jaarboek Amstelodamum 1956, p. 65 - 80
Inzoomer object op zaal, 2013 (Nederlands/English).
Persistent URL
To refer to this object please use the following persistent URL: hdl.handle.net/10934/RM0001.COLLECT.5217
Questions?
Do you have a remark or extra information on this object? Please let us know!
Rembrandt’s largest, most famous canvas was made for the Arquebusiers guild hall. This was one of several halls of Amsterdam’s civic guard, the city’s militia and police. Rembrandt was the first to paint figures in a group portrait actually doing something. The captain, dressed in black, is telling his lieutenant to start the company marching. The guardsmen are getting into formation. Rembrandt used the light to focus on particular details, like the captain’s gesturing hand and the young girl in the foreground. She was the company mascot.
Rembrandt van Rijn (1606-1669)
Rembrandt Harmensz van Rijn was born in Leiden, the son of a miller. After finishing Latin School, his parents enrolled him at Leiden University. Rembrandt soon dropped out and became an apprentice painter under Jacob van Swanenburch in Leiden, and later Pieter Lastman in Amsterdam. Back in Leiden, he set up as an independent artist together with Jan Lievens. At this time, Rembrandt mainly painted biblical scenes in a precise style and with vibrant colours.
In 1631, he moved to Amsterdam where he received numerous commissions for portraits. His many pupils included Ferdinand Bol, Govert Flinck and Carel Fabritius. In this period, Rembrandt develop a more powerful chiaroscuro, a looser brush and a greater sense of drama. He focused more on historical scenes, and made numerous etchings and drawings.
In 1634, Rembrandt married Saskia Uylenburgh. They had a son, Titus, in 1641. Then a year later Saskia died. Later, in 1654, Rembrandt had a daughter with Hendrickje Stoffels. By now, he had accumulated huge debts and was forced to sell his house and property. He died in 1669 and was buried in Amsterdam's Westerkerk.
Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
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Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Bobby Orr is the Best Ever - article written by Christopher Lydon
Inscribed - "To Kevin / Best of luck / Bobby Orr /
Robert Gordon Orr OC (born March 20, 1948) is a Canadian former professional ice hockey player, widely acknowledged as one of the greatest players of all time. Orr used his skating speed, scoring, and play-making abilities to revolutionize the position of defenceman. He played in the National Hockey League for 12 seasons, the first 10 with the Boston Bruins, followed by two with the Chicago Black Hawks. Orr remains the only defenceman to have won the league scoring title with two Art Ross Trophies. He holds the record for most points and assists in a single season by a defenceman. Orr won a record eight consecutive Norris Trophies as the NHL's best defenceman and three consecutive Hart Trophies as the league's most valuable player. Orr was inducted into the Hockey Hall of Fame in 1979 at age 31, the youngest to be inducted at that time. In 2017, Orr was named by the National Hockey League as one of the "100 Greatest NHL Players" in history.
In 1966, Orr joined the Boston Bruins, a team that had not won a Stanley Cup since 1941 and had not made the playoffs since 1959. With Orr, the Bruins won the Stanley Cup twice, in 1970 and 1972. Both times, Orr scored the clinching goal and was named the playoff MVP. In the final achievement of his career, he was the MVP of the 1976 Canada Cup international hockey tournament. In 1976, Orr left Boston as a free agent to join the Black Hawks, but repeated injuries had effectively destroyed his left knee, and he retired in 1978 at age 30.
Orr's first professional contract was one of the first in professional hockey to be negotiated by an agent. It made him the highest-paid player in NHL history as a rookie. His second contract was the first million-dollar contract in the NHL. However, after his retirement, Orr learned he was deeply in debt and he had to sell off most of what he owned. Orr broke with his agent Alan Eagleson and sued the Black Hawks to settle his contract. Orr and his family returned to Boston where Orr went into business to rebuild his finances. Orr aided the investigations that led to Eagleson's fraud convictions and disbarment. Orr also supported a lawsuit that challenged the NHL over its control of its pension plan.
After his hockey career, he became a scout for several professional teams. Orr entered the player agent business in 1996 and was the president of the Orr Hockey Group agency, until its acquisition by the Wasserman Media Group in 2018. Orr is also active in charitable works and in television commercials. Since 1996, Orr has coached a team of junior hockey players in the annual CHL Top Prospects Game.
Orr's style of play was hard on his left knee, leading to injuries and surgeries that shortened his career. The left knee took all of the punishment and was operated on "13 or 14" times according to Orr. Orr was a left-hand shot who played the right side. He would race down the right wing with the puck and attempt to beat the opposing defenceman using his speed and strength. He 'protected the puck', leading with his left knee, and holding his left arm up to fend off opponents. This put him into a position where a hit by the opposing defencemen would often hit the left knee. Also, he would often end up crashing into either the opposing goalie, the net or the end boards. "It was the way I played," Orr has said. "I liked to carry the puck and if you do that, you're going to get hit. I wish I'd played longer, but I don't regret it." Orr stated in 2008. "I had a style—when you play, you play all-out. I tried to do things. I didn't want to sit back. I wanted to be involved." His right knee was basically undamaged during his career; his left knee looks like "a road map of downtown Boston" according to sportswriter Bob McKenzie. His left knee was used in a MasterCard commercial in 2008, his scar lines used in an animation connecting his many achievements to the year of the individual scar line. According to a 2009 Sports Illustrated article Orr has since had two knee replacement surgeries that have left him pain-free.
Despite playing only twelve seasons and 657 games (of which only his first nine seasons, totalling 621 games, were full seasons), and only playing 47 NHL games after his 27th birthday, Orr accomplished many records and achievements, a number of which still stand today, and are listed below.
As of the end of the 2018–19 season:
First and only defenceman to score nine hat tricks.
Only defenceman to win the Lester B. Pearson Award.
Only player ever to win the Norris Trophy, Art Ross Trophy, Hart Trophy, and Conn Smythe Trophy in one season (1969–70)
Only defenceman to win the Art Ross Trophy as league leader in scoring (1969–70, 1974–75)
First defenceman to score 30 goals (1969–70) and 40 goals (1974–75) in a season.
First player to record 100 assists in a season (1970–71)
Highest single season plus-minus rating, +124 in 1970–71.
Second all-time in career plus-minus rating (+597; retired as the overall leader)
Never finished a full season less than +30 since +/- became a statistic (beginning with the 1968–69 season)
Fourth in league history in career point-per-game average, all-time, (1.393) (highest among defencemen, minimum 500 career points).
Sixty-sixth overall in league history in career assists and tied for 109th in career points.
Awards
OHA first All-Star team – 1964, 1965, 1966
Awarded the Calder Memorial Trophy (rookie of the year) in 1967, the youngest ever to win the award, and the youngest ever to win a major NHL award up to that time.
Named to the NHL second All-Star team in 1967 (his only full season when he did not make the First Team, as a rookie)
Played in the NHL All-Star Game in 1968, 1969, 1970, 1971, 1972, 1973, 1975
Named to the NHL first All-Star team in 1968, 1969, 1970, 1971, 1972, 1973, 1974, 1975
Won the James Norris Trophy in 1968, 1969, 1970, 1971, 1972, 1973, 1974, 1975
NHL Plus/Minus leader in 1969, 1970, 1971, 1972, 1974 and 1975, the most in history.
Won the Art Ross Trophy in 1970 and 1975
Won the Hart Memorial Trophy in 1970, 1971, 1972
Awarded the Conn Smythe Trophy in 1970 and 1972, the first two-time winner of the playoff MVP award
Stanley Cup champion in 1970 and 1972
Won Lou Marsh Trophy as Canadian athlete of the year in 1970
Received Sports Illustrated magazine's "Sportsman of the Year" award in 1970
NHL All-Star Game MVP in 1972
Voted the greatest athlete in Boston history in the Boston Globe newspaper's poll of New Englanders in 1975, beating out baseball and basketball stars such as Ted Williams, Bill Russell, Carl Yastrzemski and Bob Cousy.
Awarded the Lester B. Pearson Award in 1975
Named the Canada Cup Tournament MVP in 1976
Awarded the Lester Patrick Trophy in 1979
His #4 Jersey was retired by the Boston Bruins on January 9, 1979.
Skates used by Orr during the 1970s, at the Orr exhibit of the Hockey Hall of Fame. Orr was inducted into the Hall in 1979.
Inducted into the Hockey Hall of Fame in 1979, with the mandatory three-year waiting period waived, making him the youngest inductee at 31 years of age.
Voted the second greatest hockey player of all time by an expert committee in 1997 by The Hockey News. Orr is behind only Wayne Gretzky and ahead of Gordie Howe as well as being named the top defenceman of all time. Gretzky said he would have voted for Orr or for his hero, Gordie Howe.
Ranked 31st in ESPN's SportsCentury: 50 Greatest Athletes of the 20th Century in 1999
Named the top defenceman of all time in 2010 by The Hockey News
In 2017, Orr was named by the National Hockey League as one of the "100 Greatest NHL Players" in history.
Named One of the Top 100 Best Bruins Players of all Time.
Named to the Boston Bruins All-Centennial Team
Records
Most 100-point seasons by a defenceman (6, from 1969–70 to 1974–75).
The only player to win four major NHL awards in one season (Hart, Norris, Art Ross, and Conn Smythe in 1970), as well as the only player to win the Norris and Art Ross in the same season.
Fastest goal from start of overtime to clinch the Stanley Cup (0:40; 1970, game 4)
Most points in one NHL season by a defenceman (139; 1970–71)
Most assists in one NHL season by a defenceman (102; 1970–71).
Highest plus/minus in one NHL season (+124; 1970–71)
Most assists in one NHL game by a defenceman (6; tied with Babe Pratt, Pat Stapleton, Ron Stackhouse, Paul Coffey and Gary Suter)
LINK to video - Bobby Orr, incredible!!! - www.youtube.com/watch?v=Ku2752x_Lac
LINK to video - Bobby Orr ESPN SportsCentury - www.youtube.com/watch?v=wVF5bKND_-U
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.