Comment photos on Flickr

March 2022 - Leeds First Friday weekend by Emily Jayne

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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!

by Evan Booth

5 8

I saw inception again.

i think i can say, it was honestly better the second time.

+some in comments

goodbye.

Synthèse visuelle du MOOC Travailler en français "Où et comment trouver du travail" par Christine Bouin by Marion Charreau

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territoiresdeslangues.com/2014/01/26/mooc-travailler-en-f...

MANMADE WATERFALLS STO DOMINGO PHILIPPINES by JHON DSAINT

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oktavdsaint.wordpress.com/

www.youtube.com/oktavdsaint

www.youtube.com/sjhon87

www.youtube.com/TAVIE100

IF YOU LOVE THE FIRST LOOK OF MY CRAFTS

YOU WILL LOVE MOST OFMY COLLECTIONS

FEEL FREE TO EXPLORE MORE ON MY PHOTOSTREAM IN THIS WAY

CRAFT REVOLUTION / MOSAIC APPLICATION IN A PATCHWORK APPROACH, A TRULLY NEW LINE IN A ROW

Doing things like no other before is like walking in another line, why we need to do being different from them, how do we see things in another side? Is this possible to have a new line in a row?

I attend seminars about Quality Control, this seminars tackles the main cause of the real problem is in the organization itself, yes, and is true no need to attend seminar for this, if we know ourselves is our best enemy, but how we need to know more ourselves, our environment dictates us to be being with them, and our mind action accordingly in this way of thinking.

Working in an Export Company for long years as a research and product development officer is not a good job, but paying you a lot sometimes per project, and your Boss saying you always; “our sale will get high after this project out of the market! You can go to vacation after this! Yes vacation after finish the particular project, hmm sound nice, as I said this is not a good job after all. Vacation is also not good in this kind of works. Why I say this. How you can say you are free after your kids out in school and you are watching American idol and praying for the artist you want to be declared as a real winner,

How can we say we are free and in vacation with family and thinking what you can do to be more careful for the kids if all with you, or even if you alone and feel bored and open your pc for something else just to get out of your mind, how?

Being free is acceptance just live with them walk with them and feel with them, my master in this seminar put this thing in our mind , the second things he share to us is everybody need a free space for our self, as a person and different from the other person.

He share to us a line in a bible , I forgot the pages and the verses, but something like this I am not particular in the bible things and thoughts but the messages is clear, you are so special from the other person in your words ,in your thought , in your actions too,

And he shouting to all of us saying hey get out of the box his face look like red and I feel he is angry for what ever reason,

Then he put here things in the bag and walking outside the hall never turn back and go to small coffee table and put some head set on his ear, we all get shock we feel confuse, me I am thinking he get mad to someone , that time the seminar is running up to more hours and this person sitting , look like relax and we are thinking what s wrong , the company paying much for him, and the 2 long hours to wait him , feel more confusing , I see also he snap a bit and his eyes is close for almost 15 minute , and we are so silent , and no body want to talk , hey what’s wrong , I go to the other side of the room and I fall asleep, somebody doing that things and fall asleep too, but the only thing I notice no one get out of the room , we are all waiting for something, boring and everybody no one to talk just the eyes talking that time and our lips add some smile,

Time running and one of the participant decide to talk to all of us and saying we don’t need him in this kind of seminar , he never say anything to us just sip his coffee for long hours and we left nothing to do. and one of my colleagues saying , how can we say it in a nice way, everybody saying something ,suggesting , and one off the participant crumble the papers and want to throw to the master , that moment we are all smile and saying yes do it if you can! But after that no one, want to do that kind of things to his master after all,

Or maybe being polite much better that throwing things as our action for that particular situation and the message is clear , everybody even they have a good actions they don’t want to go out of the box,

New line in a row is a fresh and clear action ,as an artist , as a creator of this particular crafts , I love to share what I have after my long journey , this world is so fast in many particular , technology ,development, high-rise building new phone , everything that we can consider as our home outside our home or a chips on our big pockets , weight less but full of everything what we put inside that chips for our own purposes,

This new craft was born in this particular world of arts but I found out, this craft is out of the line , the material is there , the colors is in there, the meaning is there , the message is there , everything is there , and still I cannot fine the right line for this particular crafts,

I start doing craft on my early age, I still remembering cutting pages of full colored magazine cut in a small piece and paste it, collect all the colored papers and cut and paste it just my start, I love to draw plant animals flowers birds everything about nature, and this track considering of my actions whom I am now, in my own world,

I never finish college, as my root, but I take a fine arts courses in one best school in Philippines (U.S.T. University Of Santo Tomas) Manila the oldest School in Asia the school for Architecture and Fine Arts, that time I feel bless, it because I never dream to get enter in that school, I walk barefooted in my young age, I never dream one day I was in one of the room in there. In my teenage days I was always in a church I am a member of a choir group, but my voice is not good at that time, but I feel important when I am part of this group , our master telling me you are part of this group and your voice is to important to us, I joint also a theater club my master told me , here in our company money is hard to find and the only things I can share to you is how they praise you after the production is done, this group is a community base just for a public information and services, and that’s true I feel different from other person when I joint in this group I have many friends , they all like me as a devil in my characters I always portray , this group give ME more opportunity to explore my space more on the way I never do and think before, or maybe I get out of that box I never notice in this way, or I walk in a new line in a row ,

This group also sent me to college, and I walk out in this group and stop my study up to 2nd years in colleges of course the main reason is money, yes this is my hard times at that moment I need to decide which way I need to walk, to finish or make another way like a new line in a row, I need to force my self to work hard for my daily bread.

New line in a row is a formation of things on how we see and need to act patiently specially in our materials that surround us. Or a CALL on how we make a line in a way we can move perfectly, and this is what I want to share to you,

New line in a row is my greatest achievement, after searching and looking for arts and crafts, i look more books, searching more artist, looking for the master, site in the internet, regarding arts and crafts, and still I never see anything that need to compare on my crafts, but this crafts more on mosaic, patchwork, color pixel in our computer and idea coming from cross stitching, and how it make it different from them,?

Mosaic is a form of arts more on glass and stone or anything that form pattern and pastes it,

Patchwork is a form of arts too start from our old clothes recycled it and form pattern too.

Cross stitching is also form of arts that need to count and have pattern too.

Color pixel normally found in our computer if we want to see or using magnifying glass to see thing clear.

I never research much on this particular meaning (mosaic, patchwork, cross stitching, pixels,) suggestion is always welcome or comment to this particular is will help much,

This kind of words build my composition and remind me, where I start thinking and looking in different way, how can I called my crafts , or where can I place it , I thinking is there a room for me, the answer is YES , I can place it in a galleries of mosaic,

In a patchwork, in pixel room, but not in a wall that hangs cross stitching arts,

But more on more that way, my experiment get more wild and run, colored pixel is always many colors in his single square form, I decide to get out in this category,

I try more research about patchwork , and I see more clear things in this room , the next things I open my mind to the mosaic room and get involved more on more , and I notice a clear picture and help me to categories my craft more in this way.

I draw another line, a new line in a row

After fifteen years searching for the soul of my arts, I try to make room for them, I want to be different from them, I want to be more careful and I want to have a free form from them,

Arts is copying nature I thought, and maybe I think in this way, but copying is like doing things you admire and seeing things that guide us, copying is the only easy way to make us more competitive or maybe more to be exact, new line in a row starting in this way collect the things that have a connection on me make a clear picture and transform in a way I do now,

New line in a row is a form of arts with the relationship to the crafts world,

Arts is different from the crafts, arts is unique form and creation of human no same things have in common with out copying using special tools we have..

Crafts are more on copying have pattern to create more precise and get to perfectly conclusion.

New line in a row is my first step to get out of the box, I never notice for long way before.

New line in a row is a form of CRAFTS after all!

I called this crafts MOSAIC CLOTH IN A PATCHWORK APPROACH

A truly NEW LINE IN A RAW

Only the dead man can make his canvass clear and white

I choice freedom that make my life to be complicated and open for more restriction after all

Oktavdsaint

The author

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies by Biennalist Emergency topic by Thierry Geoffroy / Colonel : Artist

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.

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

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--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

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

Glen Canyon Dam by Paige Terhune

5 1

Arizona

Moon above by Simon Felton

3

Comments welcome

The Plague by david pacey

2

Comments most Welcome

Comment Please by tjtrainedwrestler's+

12

Tired if people asking me to ship first when I've done a bunch of deals on here without any problems.

S8 by Cropsncuffs

5

Comments always welcome. The more interest, the more get posted.

December 2022 - LFF by Emily Jayne

1

Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx

December was a bitterweet month at LFF. Sadly our starting venue, the Marriott, is no longer available to us as it's being turned into an Italian restaurant.

THe Marriott has been a brilliant start venue for the last year and a bit and it's sad to have to move, but we got a professional photographer in to take some photos of the last one, and some incredible group photos outside the Marriott which just go to show what an amazing event Leeds First Friday is.

We helped another newbie on her first time out - Carla. And I met up with my friend Beth - Beth helped me out the first time I ever went, and she doesn't get out much so it was amazing to see her again. And bumped into lots of friends old and new.

All in all, a great night!

Pictures from the new venue, The End which is a great place. We really liked it in there.

462 by Aloysius Gogarty

13 3

Comments and faves are welcome, but please read my profile first.

PRESIDENT GEORGE W. BUSH ISSUED ORDERS TO ASSASINATE ME LORI ZARLENGA-BLAQUIERE by lori.zarlenga

2-16-08

My name is Lori Zarlenga- Blaquiere. I was born on September 14, 1961 in the state of Rhode Island. I am writing to you for your immediate help. My life is in immediate danger from orders issued by President George W. Bush and Rhode Island Governor Donald Carcieri to

assassinate/murder me. You can contact me at my email LoriZarlenga@gmail.com and

my space.com/lorizz Also, you can find me on “google” by entering my name as keyword. My case is legitimate. Please do not disregard my case.

I have evidence and tapes on top officials and law enforcement among others to support my

claims. The current Rhode Island Senators Sheldon Whitehouse , Senator Jack Reed and former Senator Lincoln Chafee, among others are covering up and will not help me.

I posted a diary on the Daily Kos website on August 12, 2007 with regard to my life being in immediate danger from orders issued by President George W. Bush and Rhode Island Governor Donald Carcieri to assassinate/murder me.

I continued to stay on the Daily Kos website until sometime after 5:00 am and received

comments from the Daily Kos members community. The Daily Kos has over 1 million

members on their website.

On August 12, 2007, I was uploading exhibits, photos, and evidence to the Daily Kos members that support my claims against the United States Government et al.

On August 12, 2007 at approximately between 5:00 am & 6:00 am a West Warwick

Police officer came out to my house at 101 Border Street West Warwick, R.I. and violently banged at the doors at my house and continued to violently bang at the doors of my house for a long period of time in a terrorizing manner. The West Warwick Police Officer was given orders to stop me from getting the truth out to the American public .

I Lori Ann Zarlenga state that on August 21, 2007, a West Warwick Police vehicle came

up behind the vehicle where I was located in the back seat with my 5 year

old granddaughter and my mother Victoria Zarlenga who was seated on the passenger

side and my son Michael Zarlenga who was driving the vehicle on Cowesett Avenue

West Warwick, R.I.

I Lori Ann Zarlenga state that the police officers proceeded to get out of their police

vehicles with their guns drawn and aimed at the vehicle where I was located in the back

seat of the vehicle along with my 5 year old granddaughter, my mother and son .

The Coventry police, East Greenwich Police, the Rhode Island State Police, and the West

Warwick Police were on the scene.

I Lori Ann Zarlenga state that a West Warwick Police Officer pulled me out of the

vehicle where I was located in the back seat near my 5 year old granddaughter, with my

mother and son in the front seat of the vehicle.

I Lori Ann Zarlenga state that the Police proceeded to slam me to the ground and force

handcuffs on me and force me in the back seat of the West Warwick Police Vehicle.

I repeatedly asked the West Warwick Police Officer why the police forced handcuffs on

me and forced me in the back seat of the police vehicle, but the West Warwick Police

Officer repeatedly ignored me.

I continued to ask the West Warwick Police Officer why the police forced handcuffs on

me and forced me in the back seat of the police vehicle, he then stated to me that he was

trying to protect me .

While I was in the West Warwick Police vehicle, I observed police officers saluting to

each other with regard to capturing me.

While I was in the back seat of the West Warwick Police vehicle, a West Warwick Police

Officer asked me if I was injured and if I needed to go to the hospital inorder to lure me

into consenting to go to the hospital.

I stated to the West Warwick Police officer that I did not need to go to the hospital.

The West Warwick Police Officer told me that the fire rescue was going to take me to the

hospital for a psych evaluation.

I stated to the West Warwick Police officer that I did not want to go to the hospital and

that I did not need a pych evaluation. However, the West Warwick Police Officer told me

that I had to get into the Fire Rescue and go to the hospital. As a result, I had no other

choice but be taken by fire rescue to Kent County Memorial Hospital for a psych

evaluation without my consent.

My mother told me that the police officers apologized to her and stated to my mother

that they made a mistake .

I was subsequently taken by ambulance and transferred

to Land mark Medical Center without my consent and held hostage in lock down mental

health unit against my will. All of the evidence that was in my favor was ignored

by the doctors, social workers, and psychiatrist at Kent County Memorial Hospital and

Landmark Medical Center. The doctors, social workers, and psychiatrist at Kent County

Memorial Hospital and Land mark Medical Center manipulated and skewed the true facts

to cause me harm in connection with helping law enforcement and United States

Government from preventing me from exposing the truth to the American people and

my case continuing on Appeal with regard to the criminal acts committed by law

enforcement and the United States Government.

My Mother stated to the psychiatrist and nurses at Landmark Medical Center that I was

not delusional or paranoid and that I have never been a danger to myself or others and

that I have no history of mental health, and that I have never had a history of being

prescribed psychiatric medication and that I did not need psychiatric medication

my complaints against law enforcement are legitimate.

However, Dr. Elahi disregarded my mother statements and proceeded to contact his lawyer to

discuss whether or not he should discharge me, despite all evidence in my favor.

My family member stated to me that nurses at Landmark Medial Center made

statements about being disgusted with Dr. Shahid Elahi for consulting with his lawyer

with regard to whether or not to discharge me and delaying my discharge.

The nurses at Landmark Medical Center stated to me that I did not belong at Landmark

Medical Center Mental Health Unit

I have never had a history of mental illness.

On September 4, 2007, I was discharged from Landmark Medical Center.

I have never had a history of being targeted by the United States Government, Federal

and State law enforcement, among others prior to my L-tryptophan lawsuit.

In August of 2007, I had an Appeal pending in the First Circuit United States Court of

Appeals with regard to my December 7, 2006 Complaint against the United States

Government et al. As a result, of being held hostage in the hospital from August 21, 2007

to September of 2007, along with intimidation from law enforcement, among others in

connection with the United States Government I was unable to respond important

deadlines set by the First Circuit United States Court of Appeals . As a result, my Appeal with the First Circuit United States Court of Appeals is in default/dismissed for lack of

diligent prosecution.

As a result of my ingestion of contaminated L-tryptophan manufactured by Showa

Denko K.K., I developed a disease Eosinphilia Myalgia Syndrome. There are

approximately 5,000 people who ingested contaminated L-tryptophan

manufactured by Showa Denko K.K., and developed a disease Eosinphilia Myalgia

Syndrome. There maybe more unreported cases of Eosinphilia Myalgia

Syndrome caused by ingestion of contaminated L-tryptophan .

The L-tryptophan problem is the fault of the FDA due to lack of enforcement of 172.320,

among other violations of the FDA rules. Therefore, the FDA permitted the continued

illegal use of L-tryptophan.

If the FDA had enforced action against Showa Denko K.K., for violation of the FDA

rules mentioned herein, then L-tryptophan would not have been on the market and sold

to the American Public and caused death and illnesses associated with the sales of L-

tryptophan .

On October 25, 1995, I filed a products liability lawsuit against the Defendants

Showa Denko, K.K., Showa Denko America, Inc. General Nutrition Centers (GNC), et al. in

the State of Rhode Island Superior Court.

My case was transferred to Rhode Island District Court, (Blaquiere v. Showa Denko, K.K.,

Showa Denko America, Inc. General Nutrition Centers (GNC), et al., C.A.No.1:95-629 ).

My case was subsequently transferred for discovery to (MDL) United States District Court

Columbia, South Carolina, C. A. No. 3:96-361-0.

My case (Blaquiere v. Showa Denko, K.K., Showa Denko America, Inc. General

Nutrition Centers (GNC), et al., (C.A.No.1:95-629 ) was remanded to Rhode Island

District Court in 2003.

I hired a lawyer Dennis S. Mackin in 2000/2001 who used my case to file discovery

motions in the(MDL) United States District Court Columbia, South Carolina, (C. A. No. 3:96-

361-0), damaging to the defendant ShowaDenkoK.K.,their lawyers,Cleary,Gottlieb,Steen,and

Hamilton, and the United States Government.

My former lawyer Dennis Mackin was paid off to withdraw from my case and to

not go forward with the discovery motions and depositions damaging to Showa

Denko K.K., their lawyers, and the United States Government.

The discovery sought in my case that my former attorney Dennis Mackin filed in 2001 in the(MDL) United States District Court Columbia, South Carolina, (C. A. No. 3:96-361-0) was to demonstrate that Showa Denko K.K. and its attorneys have been involved in a continuing conspiracy to not only circumvent the discovery process, but to manipulate any scientific examination of Showa Denko K.K.’s reckless and wanton conduct”.

The United States Government wiretapped my phones, hacked my computers, surviellanced me during my L-tryptophan litigation and to the present. The United States Government obstructed justice, unlawfully sabotage my case inside and outside of the court system at every level.

My former attorney Dennis Mackin stated in his October 12, 2001 Reply of Plaintiff to Defendant's Motion to Qaush Deposition of Kenneth Rabin , that "additional questions must be answered about political pressure brought to bear upon members of the South Carolina Congressional delegation."" What information was given to Senator Thurmond, Senator Hollings and Congressman Ravenell?"

Documents made by Showa Denko K.K. included a budget attached to their public

relation scheme which was an amount determined for congressional

contracts, including the South Carolina delegation which was for 16, 000.00.

My former attorney Dennis Mackin stated in his motions that, “ The research of

this Eosinophilia Myalgia Syndrome has been twisted by the endless

manipulations by Showa Denko K.K and their lawyers,Cleary,Gottlieb,Steen,and

Hamilton and their confederates”. “ Worst of all, the scientific literature now

contains representations by shills for Showa Denko K.K. that will cause erroneous

medical science in the future”.

The United States Government is involved in the cover up .

My former attorney Dennis Mackin informed me that a promoter of an EMS

support group was being surveillanced and that anyone that who was viewed as a

threat was being surveillanced and intelligence was gathered .

The defendant Showa Denko K.K. a corrupt corporate giant, their corrupt lawyers,

and the United States Government conspired with all the courts at every level to

sabotage my case and the L-tryptophan litigation.

Showa Denko K.K., their lawyers, and the United States Government view me as

a threat, since my lawsuit still remains open that is damaging against Showa

Denko K.K. and General Nutrition Centers (GNC), among others. Also, Showa Denko K.K., their lawyers, and the United States Government, President George W. Bush and Rhode Island Governor Donald Carcieri fear the threat of civil and criminal action against them for their unlawful criminal activities.

I pose a threat to Showa Denko K.K. and the United States Government since,

my L-tryptophan lawsuit could re-open previous settlements entered into by

2,000- 5,000 L-tryptophan litigants on the basis of fraudulent inducement and the

United States Government's involvement in the cover up.

They were entered into by L-tryptophan Plaintiffs who were unaware of the defendants fraudulent concealment and the United States Government's cover up.

Showa Denko K.K., the United States Government, President George W. Bush and

Rhode Island Governor Donald Carcieri fear a movie being made and publicizing

their criminal activities which has continued to date.

President George W. Bush's father former President George H. W. Bush Sr. was

President of the United States from 1989 to 1993 during the Eosiophilia Myalgia Syndrome epidemic.

I filed a Complaint on December 7, 2006 against the United States Government et al. in

the United States District Court of Rhode Island, CA. No. 06-534 ML. My complaint is

pending in the First Circuit Court of Appeals. The United States Government have hired

my family, among others as informants to surveillance and gather intelligence on me.

At the time that I filed my December 7, 2006 complaint against a number of defendants

who are employed by the United States Government, I was unaware of orders issued by

President George W. Bush and Rhode Island Governor Donald Carcieri to assasinate/

murder me.

I spoke to a state senator with regard to my circumstances of law enforcement on the state and federal level that have harassed, targeted, survillenced me and have come out to my house and follow me on a daily basis. Also, the West Warwick police have even parked at my grandchild’s school shortly after I exposed President George W. Bush orders to assassinate/murder me.

The state senator stated to me that federal law enforcement, the Attorney General of the United States, and the Department of Justice are employed by President George W. Bush.

Moreover, my case is not isolated by a small number of police and law enforcement targeting and surveillanceing me. There are to many law enforcement and police and government officials organized at the highest level on the federal and local level that have targeted and surviellanced me. The state senator stated that the orders to murder me are coming from the President George W. Bush .

Further, the Rhode Island State Police who have been targeting and surviellancing me are given orders from Rhode Island Governor Donald Carcieri

In June or July of 2007, President George W. Bush came to Rhode Island and went on a

private helicopter ride with Rhode Island Governor Donald Carcieri and had discussions.

Shortly after I filed my December 7, 2006 complaint against the United States

Government et al, two key defendants named in my complaint retired Captain Gregory

Johnson of the West Warwick Police Department and Supervisory Special Agent

Nicholas Murphy of the Federal Bureau of investigation of R.I., and there may be others

who have also retired.

I am targeted, followed, and surveillanced by police officers, among others in the towns and places I travel in the state of Rhode Island and out of the state of Rhode Island on a daily basis.

The level of intensity and the number of police targeting, surviellancing, and following me has increased after I filed my December 7, 2006 complaint. And now since I have exposed President George W. Bush who issued orders to assassinate/murder me, the level of intensity and the number of police surviellacing and following me has further increased.

My telephones are wiretapped. The United States Government is hacking my computers.

The Federal Bureau of investigation, among others covered up the investigation of the hacking of my computers.

The Federal Bureau of investigation, United States Attorneys Office , Attorney Generals office, Department of Justice, among others are covering up and aware of the fact that I was kidnapped and assaulted by a Warwick Police Officer Joseph Mee on January 22, 2006 that was organized at the highest level of United States Government to assassinate/ murder me.

Further, law enforcement, among others are covering up the fact that on December 15, 2005 and December 16, 2005, Captain Gregg Johnson and Officer Patrick Kelly and the Kent County Memorial Hospital Emergency Room Staff violated my constitutional rights and deprived me of liberty against my will and without my consent to cause me harm in connection with the United States Government and Showa Denko K.K.

On April 14, 2006, I spoke to Laura Lineberry who is Condalezza Rice's personal assistant. Laura Lineberry informed me that she could not help me with regard to my circumstances mentioned herein, and that I should leave a message with the Representative of Secretary of State. I left a message with the Representative of Secretary of State, but no one returned my call.

On April 14, 2006, I contacted the White House comments department in Washington, DC for help with regard to my circumstances mentioned herein, and spoke to a young lady number(77) who stated she would pass on my comments to her supervisor and that her supervisor would summarize my comments and give it to President Bush. On April 14, 2006, I was unaware that President George W. Bush issued orders to assassinate/ murder me.

President George W. Bush, Condalezza Rice's office , nor anyone associated with the White House, responded in any way shape or form to my plea for help with regard to my circumstances mentioned herein.

I have evidence of my telephone calls to the White House, among others.

The IP Addresses with regard to the hacking of my computers have been traced to Washington, D.C.

You can view my complaint at pacer.psc.uscourts.gov.

My login is: lz0129 My password is 3y6!pomz ( party name is under my married name of Blaquiere) December 8, 2006 thru December 8, 2007 is the date you would use to view my complaint, since December 8, 2006 is the date my complaint was entered by the United States District Court of Rhode Island.

The United States District Court of Rhode Island omitted my supporting exhibits on

Pacer website and have intentionally obstructed my case and deprived me of a fair judicial process, inorder to protect and insulate the United States Government et al.

UNITED STATES GOVERNMENT DOES NOT INITIATE ACTION AGAINST SHOWA DENKO K.K. FOR THE FOLLOWING VIOLATIONS:

The L-tryptophan problem is the fault of the FDA due to lack of enforcement of 172.320, among other

violations of the FDA rules. Therefore, the FDA permitted the continued illegal use of L-tryptophan.

If the FDA had enforced action against Showa Denko K.K.,for violation of the FDA rules mentioned

herein, then L-tryptophan would not have been on the market and sold to the American Public and

caused death and illnesses associated with the sales of L-tryptophan in violation of the FDA rule.

In 1970 FDA considered L-tryptophan (amino acids) , when used as nutrients or dietary supplements, to

be generally recognized as safe (GRAS) for those uses, and published that fact in the code of Federal

Regulations.

In 1972 FDA engaged in rule making to withdraw and remove approximately twenty amino acids

including L-tryptophan from the GRAS list ( generally recognized as safe) and to regulate them as

approved food additives that could not be sold without FDA's prior approval in the form of a food

additive petition, (37 Fed. Reg. 6938; April 6, 1972).

In 1973 FDA promulgated a binding substantive rule that is presently on the books, the Food additive

regulation that makes all amino acids, when used as components of dietary supplements,

unsafe food additives that violate the adulteration provisions of Act. 21 C.F.R. 172. 320.

In 1977, FDA seized L-tryptophan tablets on the grounds that the L-tryptophan that they contained

was an unapproved food additive. The court, however, found for the manufacturer of the tablets

because L-tryptophan was still on the FDA's GRAS list, (FDA had failed to remove it after the 1973

rulemaking), and the manufacturer was acting in accordance with the FDA's regulation.

In 1977, FDA deleted the listing of twenty amino acids that were the subject of the 1973 rulemaking

form the GRAS list, ( 42 Fed. Reg. 56720; October 28, 1977).

The FDA never renewed its regulatory action against dietary supplements containing L-tryptophan .

The food additive regulation that the FDA adopted in 1973 does not list (approve) L-tryptophan for

this use, and foods that contain unapproved food additive are deemed to be adulterated (21 U.S.C. 342

(a) (2) (c)).

FDA has not brought an action since 1977 against an L-tryptophan dietary supplement.

The FDA sought to enforce the rule prohibiting the use of amino acids in dietary supplements in two

seizure actions against products containing L-tryptophan. Those seizure actions were not successful.

The U.S. Government voluntarily dismissed the second lawsuit because the lawsuit was controlled by

a very hostile judge and the government feared that it would obtain an adverse ruling that would

insulate all dietary supplements from regulation under the food additive provisions of the act.

The FDA has not made any efforts to regulate amino acids since 1982. FDA ignored the food additive

regulations since 1982. In 1990, there was evidence showing that 30 amino acids other than L-

tryptophan were being sold by at least 22 companies.

The FDA has failed to date to bring charges against Showa Denko K.K. Showa Denko K.K. was in

violation of the FDA Food additive regulation that makes all amino acids, when used as components of

dietary supplements, unsafe food additives that violate the adulteration provisions of Act. 21

C.F.R. 172. 320. FDA should have gone after Showa Denko K.K. on an adulteration charge that the

L-tryptophan in the supplements is an unapproved food additive under 21 U.S.C. 342 (a) (2) (c).

Also, FDA failed to bring charges against Showa Denko K.K. with regard to L-

tryptophan being unfit for food, ( 21 U.S.C. 342 (a) (3). L-trytophan associated with illness

Eosinophilia Myalgia Syndrome, is unfit for food.

The FDA could have gone after L-tryptophan supplements as drugs. The FDA could have

developed evidence that L-tryptophan used for therapeutic purposes to combat sleeplessness and PMS

which is what L-tryptophan was advertized for is considered a drug and the FDA finding L-tryptophan

had not met the FDA's rational food supplement test would permit the FDA to bring drug charges

against the product under either 21 U.S.C. 321(g) (1) (B) or (c), National Nutritional Foods

Association v. Mathews, 557 F.2nd 325, 334 ( 2d Cir. 1977).

If the FDA had enforced action against Showa Denko K.K.,for violation of the FDA rules mentioned

herein, then L-tryptophan would not have been on the market and sold to the American Public and

caused death and illnesses associated with the sales of L-tryptophan in violation of the FDA rule.

On the Rhode Island ACLU website, there is a lawsuit against the United States

Government for Illegally surviellacing individuals attending a peace group in Rhode

Island and in other states.

The United States Government has files on these peace groups and have labeled these

peace group individuals as a threat because their simply anti-war.

The illegal acts of our United States Government is not an example of democracy, it is a

Dictatorship ruled by a dictator President George W. Bush who has committed crimes

against humanity and has violated our human rights.

Representative John Conyers Jr, was the Chairman re: the July 18, 1991 hearing on the FDA oversight of L-tryptophan. Representative John Conyers Jr, is currently the Chairman of the U.S.

House of Representatives Committee on the Judiciary who can call for an investigation and immediate congressional hearings into this matter.

Please help me by writing to congress and. to investigate and call for immediate congressional hearings into this matter. Also, contact Rhode Island Senator Sheldon Whitehouse and Senator Jack Reed to investigate and call for congressional hearings into this matter. If the American people place enough political pressure to investigate and call for congressional hearings into this matter, then an investigation into this matter will go forward and the truth will be exposed to the American people.

Also, please contact Senate Majority Leader, Senator Harry Reid, Senate Judiciary Chairman Patrick Leahy of Vermont, Senator Arlen Specter, Senator Charles E. Schumer, Senator Joseph R. Biden Jr., Senator John McCain, Senator Hillary Clinton, Senator Barack Obama, and all members of the Senate to call for investigation and congressional hearings with regard to law enforcement engaged in an ongoing organized crime to assassinate/murder me by orders issued by President George W. Bush.

President George W. Bush has scammed the American people into believing that the Iraq

war is a "just war" and that the United States military are fighting for democracy,

freedom and for our safety here at home, and yet at the same time President George W.

Bush is committing the worst crimes in american history against innocent american

citizens.

Please expedite the above and contact me at my email: LoriZarlenga@hotmail.com

You can view documents and obtain information about L-tryptophan and Eosinophilia Myalgia Syndrome on the National EMS Support Group website at www.nemsn.org

You can find me at myspace.com/lorizz

Also, you can find me at my website www.tiptopwebsite.com/lorizz.

I posted a letter explaining in more detail on my website and on my space.com/lorizz

If you have any questions or want to view my exhibits that support my December 7, 2006 complaint filed in the United States District Court of Rhode Island, then you can e-mail me and I will send you attachments you can view .

Thank You, Lori Zarlenga

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies, by Biennalist by Thierry Geoffroy / Colonel : Artist