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Breakfast the next morning was at the wonderful Cha Lounge. Realluy good top quality food in a lovely setting. It's our go-to breakfast place in Leeds theses days.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! x
Sunday night we went to see our lovely and so talented friends Smooth Operator playing in Hedon.
We went for delicious food at the Camerton pub beforehand and even managed dessert before heading to see the gig.
Helen (the singer in Smooth Operator) even borrowed my Orinoco womble to wear while she was singing Wombling Merry Christmas, ha ha!
Leica-M6 TTL 0.72 Elmarit 1:2.8/21mm ASPH. Ilford FP 4 Plus 125asa
Developer Ilford ID 11 1+1 20º 11 min.
Nikon Super Coolscan 5000 ED. Film Scanner.
De Pyramide van Austerlitz is een 17 meter (81 treden van 20 cm + 1 m. opstap) hoge piramide van aarde, in 1804 gebouwd door napoleontische soldaten op de Botterstop, een van de hoogste punten van de Utrechtse Heuvelrug, in de gemeente Woudenberg. Boven op de piramide staat een stenen obelisk uit 1894. De top van de aarden heuvel ligt op 71,60 meter boven NAP.[1]
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder
Leica-M 6 TTL 0.72 1998 Rangefinder
Leica-M6 TTL 0.85 2001 Rangefinder
Thank you everyone for your visit, favorites and comments.
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It's rainy and cold today. So far, we haven't even reached 10oC today (it is about 4pm right now) and I doubt it's going to be any warmer. I miss those hot summer days with beautiful skies and pretty sunsets.. The last weekend of summer vacation is fast approaching and I don't think we will be doing a lot of wandering about (it's suppose to be rainy, cloudy and cold..) So here it is, a little bit of days gone by to cheer all of us up.. ;D
Well, the sun finally played nice at Troy for this shot of the KCS "Belles" leading Q243 down the B&O. Unfortunately, the shadows didn't want to play nice. The trackside resident is apparently one of those people that don't think opinions are like ass holes.
PLEASE, no multi invitations or self promotion in your comments, THEY WILL BE DELETED. My photos are FREE for anyone to use, just give me credit and it would be nice if you let me know, thanks - NONE OF MY PICTURES ARE HDR.
Close scrutiny of this big building can reveal how an empire was run. To maintain royal sway over far-flung colonies, paperwork was as vital as fortresses and fleets. While the engineer built Louisbourg and the governor symbolized its authority, the man who lived here kept the colony running.
In the offices overlooking the quay, the administrator and his clerks filled up books of correspondence, maintained the colonial accounts, and compiled their statistical reports for the Ministry of Marine. They paid the colony’s bills from the well-guarded treasury here - see the barred windows - and filled the storerooms behind with their supplies. Everything from economic policy to civil justice was managed from here, and the power of the commissaires- ordonnateurs sometimes excited the governors’ jealousy. Built as a private residence, the house became royal property in 1733 and expanded with the power of its occupants.
The administrators were professional servants of the Crown who hoped to win promotion by proving themselves here. François Bigot established his reputation by able and devoted service as Île Royale’s commissaire-ordonnateur from 1739 to 1745, while his sharp investments simultaneously laid the foundation of his wealth. Duly promoted, he went on to both fortune and disgrace as the last Intendant of New France.
The main floor of this house is furnished as Bigot’s working and living space. The top floor houses an exhibit, Vestiges of Louisbourg, which contains artifacts from eighteenth century Louisbourg, and a gallery with paintings and ship models recreating aspects of Louisbourg’s busy port.
The stables behind the residence, at the corner of Rue Royale, are another sign of authority. Boats were needed more than horses in this colony. Few homeowners built large stables like these and a horse and carriage proclaimed wealth and prestige.
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Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Saturday dinner time we went to Almost Famous, the amazing burger place in Leeds. Their fries are so good, absolutely delicious!
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Leeds First Friday weekend was fantastic as always, had a really good time out and spent quality time with friends.
Sunday I had the immense pleasure to meet one of my old friends for a drink in the incredible Tiled Hall in Leeds Art Gallery. What an amazing place!
It was a delight to spend time with Suzanne, she is such a lovely person.
Thanks for your visit, hope you enjoyed, kindly leave your comment and mark as favorite that will be very rewarding
Must see View large On Black to enjoy the sunset.
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Sunset at Lake Tahoe : Panorama
This picture was taken this weekend when we went for a ski trip to beautiful Lake Tahoe. On our way back, the sunset was breathtaking, but I was driving down the winding road, and there’s no place to stop and I was thinking “Opps !! There goes another opportunity..” within a few min I found a shoulder on the road side and with no hesitation, I parked and grabbed my camera and tripod to take a few shots.
Location : Lake Tahoe , California.
Lake Tahoe is a large freshwater lake in the Sierra Nevada Mountains of the United States. It is located along the border between California and Nevada, west of Carson City, Nevada. Lake Tahoe is the largest alpine lake in North America
Picture taken using Canon 5D on tripod
Photoshop:
Stitched 2 pictures
A layer of contrast
Selective Noise reduction
Unsharp mask on Lab.
Border
Enjoy!!!
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie 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
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
2 Comments on Instagram:
jyllianm: I couldn't find exactly the right stems for the homemade (or 'redneck') wineglasses like I did for the martini glasses, but I'm hoping the well meaning crafty-ness will fly.
summersworldfl: I love them!
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Saturday night we went to a lovely Indie night I've been going to on Prince's Avenue called Beat The Clock. Some great tunes all played from vinyl - less mainstream than many nights, some more obscure tracks mixed in with well known ones.
We started the evening with food at Crafted, then went on to 80 Days Bierhaus, then Hoi and finallu upstairs at Hoi to Beat The Clock. A great night!
On the dancefloor with Mike Monroe, one of the organisers of the evening.
Well peoples, it's that time of year again. My Flickr Year.
Most Comment:
'Good Bye': www.flickr.com/photos/mimi_angel/8647469080/
This was... a 'taking a break photo'. I moved away from my doll-photo taking because everyone was getting into loads of crap and I was through with it. I enjoy a good stir up some times but this past year was the year of the drama-queens/kings.
Most Likes:
'Happy Easter!': www.flickr.com/photos/mimi_angel/8607338349/
Personally, I love this photo. That's all I have to say. :)
Most Views:
'Minus Bar': www.flickr.com/photos/mimi_angel/9680686549/
This was a huge shock to me. This photo had over 500 views within the first 24 hours. I have no clue what happened, because it wasn't 'explored'. So how I got all those views is still stunning to me to this day. The editing on it is very basic, and nothing special is done to it. Up to that point my average view for photos was about 50 views. Now, it's about 200-350. Which is amazing.
Personal Favorites:
'Like Fire, Hell Fire': www.flickr.com/photos/mimi_angel/8972143115/
I was so super stoked to get Esmeralda's dress in a box of barbie junk from a yard sale. I love Disney in general and I was given the chance to re-create the spirit of one of their characters. I also did a crap-load of editing on this photo to make it perfect.
'She's A Princess': www.flickr.com/photos/mimi_angel/9128232741/
My first, and only Disney Store Princess doll. I was so happy to get her on sale, because she, Bell and Elsa are my favorite Disney Princesses. The details on her are mind boggling, because it's all so perfect.
'Principle. Relaunched October 2013': www.flickr.com/photos/mimi_angel/9753592686/
I love my one Fianna doll, she has a classic natural-like beauty to her that I adore.
That was My Flickr Year! I hope this coming year will be better for everyone, because this is a pretty amazing little group we got going and it would be really sad to see it die out.
Happy New Year!
<3 Mimi
Mi esposa e hija en la playa. vacaciones Chile
Meine Frau und Tochter am Strand in Chile
My wife and daughter at the beach in Chile.
please comment!
Comment interprétez-vous cette tache ???
Evaluation psychologique de la forme (Gestalt) par Hermann Rorschach (1921)
Voir les 10 planches de ce test sur :
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Saturday night in Lincoln was one of our best nights out there ever. We had such a great time, lots of interaction with other people.
We started out at the Skylight Bar in the Doubletree hotel on Brayford Wharf then went on to Popworld, which was a Fever Boutique last time we were there.
At Popworld we met the wonderful Ashliegh who was just great company all night! And we had a dance on the light-up dance floor too. A brill night all round!
At the Sylight Bar in the Doubletree.
One more photograph in first comment.
Leaving The Dallis Park I reach Murwillumbah. Then a wonderful landscape view comes up and I try to find a place to park the car on the roadside. The Tweed Shire is here as far as eyes can see.
The first people to live in the area were Bundjalung people. The name Murwillumbah derives from an Aboriginal word meaning "camping place" – from Murrie, meaning "aboriginal people", Wolli, "a camp"; and Bab, "the place of". Nearby Mount Warning and its attendant national park are known as Wollumbin, meaning "Cloud Catcher", in the Bundjalung language. Timber-getters were drawn to the region in the 1840s. The river port at Tumbulgum was initially the main settlement. In 1902, a local government municipality was declared with Murwillumbah as its centre.
Most of the town's business district was destroyed by fire in 1907. Murwillumbah is the location for Australia’s largest-ever bank robbery which occurred in 1978 and has not been solved. The major industry of the area, apart from tourism, is sugarcane growing. There were numerous tramways in the area serving the sugar mill at Condong. There is also some dairy farming in the area. Since 2002 an annual historic motor racing festival has been run through the streets of Murwillimbah, featuring a parade through town, a one kilometre hill climb course, and connected events, attracting thousands of spectators.
This trip ended here, and we went back home. We had to rest because we knew we'd had a long trip the next day: going to Lamington National Park. See you later Folks!
Click the image for a view in light box.
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Je Laisse Dallis Park et roule en direction de Murwillumbah. Juste avant d'entrer dans le village, j'assiste à un spectacle exceptionnel pour les yeux. Il faut que je trouve une place pour me garer, mais ce n'est pas facile ici. La place trouvée, le Comté de Tweed s'étale devans mes yeux.
Le premier peuple à vivre ici était les Bundjalung. Murwillumbah est d'origine aborigène et veut dire "point de peuplement". A proximité, le mont Warning et son parc national sont connus sous le nom de Wollumbin, ce qui signifie 'Attrapeur de Nuages' en langue Bundjalung. Des exploitants forestiers ont été attirés par cette région dans les années 1840. La première colonie s'est installée au port fluvial à Tumbulgum. En 1902, les élus locaux ont déclaré Murwillumbah comme centre principal.
La plus grosse partie du centre d'affaires a brûlé dans un incendie en 1907. Murwillumbah est aussi le lieu où a eu un spectaculaire vol à main armée en 1978, qui n'est toujours pas résolu. En dehors du tourisme, l'industrie de la canne à sucre est l'activité principale, et aussi quelques producteurs de lait. Depuis 2002 le festival historique de courses automobiles se déroule dans les rues de la ville, attirant ainsi des milliers de spectateurs.
Après ce périple quotidien, nous sommes rentrés contents de notre journée. Il fallait nous reposer car nous savions que le lendemain, nous devions aller dans le parc national de Lamington. A très bientôt donc!
Cliquer sur la photo ou appuyer sur 'L' pour une vue dans lightbox.
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Infos prises de vue
Canon 7D & EF 24-105mm f/4L IS USM ▪ 1/400s à f/14 ▪ Iso 125 ▪ 24mm ▪ Handheld | aperture priority |Raw|
See anything out of the ordinary in picture? If you do, please comment and tell me what you see. Thanks
In the 1970's a new family moved into what they believed to be the perfect home. Immediately the strange happenings began. Mr. and Mrs. Robert Fletcher and their four children moved into this 100 year old house that at one time had been a roadside inn. In the home there was a supernatural terror that had the family scared for their lives. They turned to exorcism and Fr. Alphonsus Trabold for help. He believed that the Fletcher home was possessed by a supernatural entity.
Mrs. Fletcher and the children first noticed a mysterious chanting sound when hiking in the hills near their home, which disappeared 3 weeks later. The phone would ring with no one on the other line, the family heard pounding noises, and money and other things would be displaced or completely disappear. Lights went on and off by themselves, the kitchen stove would turn on and off while cooking dinner, windows opened mysteriously and water faucets would turn on and off by themselves. One of the children heard dragging noises in the attic, only to have Mr. Fletcher check it out and find the chimney dismantled.
The family also witnessed things moving by themselves. The Fletchers, along with their friends, also began seeing apparitions, mostly of women dressed in long gowns, both inside and outside the house. Once the family saw several faces looking at them through the window, and when they went outside to check it out, the same faces were looking back at them from inside while the lights flickered on and off. They also witnessed other apparitions of strange animal-like creatures that were not of a known species. According to Fr. Alphonsus, apparitions can be caused by hallucinations or by a psychic force. "If the person is of a stable mind and the apparition is witnessed by others, you can eliminate the possibility of hallucinations," he said.
As the strange happenings progressed, the apparitions began leaving physical evidence behind. There would be indentations on chairs and beds when no one had sat on them, and the animal-like apparition jumped into the daughter's lap. Two family friends caught an apparition, that was in the process of disappearing, walking outside the house on film. Fr. Trabold and other priests thought it looked like the figure of a tormented American Indian.
After that, the haunting grew violent and the family began fearing for their lives. There was a large family photograph hanging in a room, and once the family found a letter opener suspended over the picture, pointing at one of the girls. It fell to the ground as the family tried to approach it. Another time, a lamp flew across the room at another one of the girls. The Fletchers cleaned up the glass and locked the door to the room, and when they returned sometime later, they found the ace of spades lying in the middle of the floor. Two of the children woke up one morning with strange burn marks all over their bodies.
A few days later, the grandmother heard the Fletchers' son Randy's car in the driveway. She looked out the window and saw Randy and a blonde haired woman drive up to the house and then drive away. Later on that day, the grandmother found out that Randy's car had been in the garage all day and was not in operable condition. A couple days after that, Randy was involved in a near fatal car accident when apparently his car went out of control and hit a tree. While he was semi-conscious in the hospital, he kept asking about the blonde woman, but she was never found. However, there was evidence of a passenger because the dashboard contained the indentation of a human head. A mechanic could not explain the nature of the car's malfunction. Randy has complete amnesia about the accident.
Fr. Trabold performed an exorcism on the house, with family members, researchers, and a film crew present. During the filming of the exorcism, the lights kept flickering. The house was calm for a few weeks after, but after the effects of prayer wore off, the strange occurrences began happening again, and the family eventually moved out.
web.sbu.edu/friedsam/archives/Biographies/Trabold/paranor...