Commodities photos on Flickr

en.wikipedia.org/wiki/High_Line

Inspiration as commodity by Jason Hickey

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Commodity 1/4

Spoof -- you should read the fine print. This is the first time I've tried HDR, and I found that places like this with extreme dynamic range are still challenging.

Politics of property.

cat by Jelltex

2 1

We did 12,000 or so steps on Saturday, but we knew we would crush that today. I had looked at the map, and a plan had come together.

Only, I have man flu, and as the day went on my temperature went up and up and I was sweating for England. And sneezing. I was a mess. But also driven to take snaps and see thing I have only dreamed of seeing.

First of all we walked up Greenwich Street for about ten blocks, past all these grand old buildings, offices and tree lined streets, not having a village feel, but this was The Village.

We stopped off for breakfast at a café, sat at a table and pretended it wasn’t trying to rain. We both have pancakes and either bacon or sausage, and lashings of syrup. And plenty of hot joe.

Refuelled, we set off north some more, until we went one block west and in front of us, was the start of the High Line. The High Line is an old elevated freight railway, that has now been converted to a walk and wildflower garden

But before we walked that, we had an appointment with Mr Hopper at the Whitney Gallery. And we were half an hour ahead of schedule, so we sat outside a while, just resting up. I got talking to an artist who had set up a stall to sell her work, and got onto the subject of copyright theft as she thought I had snapped her work, and I said I would not do that as I respected people’s work.

She was very pleasantly surprised, and so we had a long talk, until it was time to go into the museum.

We went to the top of the building, out to the viewing platforms to get views over the city to the huge scrapers in Uptown.

Contemporary art can be challenging, and not all floats my boat, but there were some great stuff in there. And some blank canvasses, that’s all I’m saying.

Outside again, we buy a drink and a pretzel, then climb the steps onto the High Line and find a place to sit and eat.

Now, I like a walk, especially if there are plants and butterflies to look at, what I was not expecting is that half the city would also be out walking too, and getting in the way too, I mean, we’re all photographers these days, but damn, there were some crowds and slow walking people.

Highlight really was seeing a Monarch Butterfly, near enough to snap, even if I did not have the macro lens, but still, amazingly beautiful to see.

Near the end of the walk, the line winds through some spectacular new scrapers being built, then around the sidings for trains operating out of Penn Station, then one final corner and the walk drops to street level, right by the Mega Bus stops, and the place was even busier, that and the ComicCon taking place the other side of the street.

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The High Line is a 1.45-mile-long (2.33 km) elevated linear park, greenway and rail trail created on a former New York Central Railroad spur on the west side of Manhattan in New York City.[1] The High Line’s design is a collaboration between James Corner Field Operations (Project Lead), Diller Scofidio + Renfro, and Piet Oudolf. The abandoned spur has been redesigned as a "living system" drawing from multiple disciplines which include landscape architecture, urban design, and ecology. Since opening in 2009, the High Line has become an icon of contemporary landscape architecture.[3]

The park is built on a disused, southern viaduct section of the New York Central Railroad line known as the West Side Line. Originating in the Lower West Side of Manhattan, the park runs from Gansevoort Street – three blocks below 14th Street, in the Meatpacking District – through Chelsea to the northern edge of the West Side Yard on 34th Street near the Javits Center.[4] The West Side Line formerly extended south to a railroad terminal at Spring Street, just north of Canal Street, and north to 35th Street at the site of the Javits Center. Most of the viaduct's southern section was demolished in 1960,[5] and the section north of 34th Street was demolished and reconfigured in 1981.[6] Another small portion was demolished in 1991.[7] The High Line was inspired by the 3-mile-long (4.8 km) Promenade plantée (tree-lined walkway), a similar project in Paris which was completed in 1993.[8][9]

Because of declining usage, the railway viaduct was effectively abandoned in 1980. Repurposing the railway into an urban park began in 2006,[10][11] with the first phase opening in 2009[12] and the second phase opening in 2011.[13] The third and final phase opened to the public on September 21, 2014.[14] A short stub above Tenth Avenue and 30th Street will open by 2018, when the first phase of the Hudson Yards Redevelopment Project is complete.[15]

The High Line's success has inspired cities throughout the United States to redevelop obsolete infrastructure as public space.[16] The project has spurred real estate development in adjacent neighborhoods,[17] increasing real-estate values and prices along the route in an example of the halo effect.[18] As of September 2014, the park had nearly five million visitors annually

The park extends from Gansevoort Street to 34th Street. At 30th Street the elevated tracks turn west around the Hudson Yards Redevelopment Project[19] to the Jacob K. Javits Convention Center on 34th Street,[4] although the northern section is expected to be integrated with the Hudson Yards development and the Hudson Park and Boulevard.[20] When the Hudson Yards Redevelopment Project's Western Rail Yard is finished in 2018 it will be elevated above the High Line Park, so an exit along the viaduct over the West Side Yard will lead to the Western Rail Yard.[21] The 34th Street entrance is at grade, with wheelchair access.[4][21]

The park is open daily from 7 a.m. to 7 p.m. in winter, until 10 p.m. in spring and fall, and until 11 p.m. in summer (except for the Interim Walkway west of 11th Avenue, which is open until dusk). It can be reached through eleven entrances, five of which are accessible to people with disabilities. The wheelchair-accessible entrances, each with stairs and an elevator, are at Gansevoort, 14th, 16th, 23rd, and 30th Streets. Additional staircase-only entrances are located at 18th, 20th, 26th, and 28th Streets, and 11th Avenue. Street-level access is available at 34th Street via the Interim Walkway, which runs from 30th Street and 11th Avenue to 34th Street west of 11th Avenue.

In 1847, the City of New York authorized the construction of railroad tracks along Tenth and Eleventh Avenues on Manhattan's West Side. The street-level tracks were used by the New York Central Railroad's freight trains, which shipped commodities such as coal, dairy products and beef.[53][54] For safety the railroad hired "West Side cowboys", men who rode horses and waved flags in front of the trains.[55] However, so many accidents occurred between freight trains and other traffic that the nickname "Death Avenue" was given to Tenth[56][57] and Eleventh Avenues.[53] In 1910, one organization estimated that there had been 548 deaths and 1,574 injuries over the years along Eleventh Avenue.[53]

Public debate about the hazard began during the early 1900s.[58] In 1929 the city, the state, and New York Central agreed on the West Side Improvement Project,[54] conceived by Robert Moses.[59] The 13-mile (21 km) project eliminated 105 street-level railroad crossings and added 32 acres (13 ha) to Riverside Park; it also included construction of the West Side Elevated Highway. It cost more than $150 million,[60] worth about $2.14 billion in 2017 dollars.[61] The last stretch of street-level track was removed from Eleventh Avenue in 1941.[58]

The first train on the High Line viaduct, part of New York Central's West Side Line, ran along the structure in 1933.[62] The elevated structure was dedicated on June 29, 1934, and was the first part of the West Side Improvement Project to be completed.[63] The High Line, which originally ran from 35th Street to St. John's Park Terminal at Spring Street,[6] was designed to go through the center of blocks rather than over an avenue;[63][55] as a result, the viaduct's construction necessitated the demolition of 640 buildings.[63][58] It connected directly to factories and warehouses, allowing trains to load and unload inside buildings. Milk, meat, produce, and raw and manufactured goods could be transported and unloaded without disturbing street traffic.[55] This reduced the load on the Bell Laboratories Building (which has housed the Westbeth Artists Community since 1970)[64] and the former Nabisco plant in Chelsea Market, which were served from protected sidings in the buildings

Yellow Tour, Commodity Conference 2018 by Alabama Farmers Federation

Yellow Tour, Commodity Conference 2018

The woman - commodity by Eleanna Kounoupa

Hot Commodity by Paul Joseph

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I was sick over the Christmas holidays but had no way to be tested for COVID-19. Free rapid test kits were nowhere to be found and the assessment centre was booked for weeks. Although I have been working from home I found out my work had a bunch of kits on hand, so I went in to grab one. This week our government said that if you get a cold or the flu just assume it’s COVID-19. Guess I don’t really need a kit after all.

Look at those eyes... by RURO photography

May village - Waga Dia and Machhukanah Rabari tribal people.

The region of Gujarat has played host to many a tribal culture and nourished them from the very earliest periods of history. One such tribe here, the Rabaris, still pursue a pastoral lifestyle—much in the same way as they did ages ago.

The Rabaris are a semi-nomadic tribe—pursuing a pre-agrarian, pastoral lifestyle—found mainly in the Kutch and Saurashtra regions of Gujarat. Though living today in permanent settlements, they are believed to have originally migrated from Baluchistan more than a millennium ago.

But over these thousand and more years, the Rabaris have undergone many changes and have been widely influenced by the local cultures with which they came in contact. Not only are they divided into distinct clans, they also prefer to trace their origin to Hindu Gods and even the Rajputs.

Without delving into the garbled clues provided by folk lore about their origin, a closer look at the Rabari today leads one into his quaint, colourful and rugged lifestyle.

By no means are the Rabaris an isolated people. The men are on the move—almost 10 out of the 12 months—in search of grazing pastures for their livestock; while the women and children remain in their villages. These villages are normally small, devoid of more than superficial amenities and, almost always, set in bleak, barren suroundings.

In a typical village, their rectangular houses, called vandhas, are built in rows. The white-washed mud walls and tiled roofs may have an appearance of starkness when viewed from outside. But within each house, the Rabari’s fondness for patterns is easily visible from the many geometric patterns that adorn its interiors. The tiny mirrors embedded into these mud-plaster patterns only enhance their beauty as they catch the faint glimmer of light streaming in from a small window or a low doorway. A home usually consists of two rooms, and an extended enclosure in the verandah which forms the kitchen.

The room at the back is normally used as a storehouse—a virtual treasure house of embroidered clothes and quilts kept in carved wooden pataras (chests); and the kothis and kothlas (granaries) made of mud and cowdung. The other room is mainly a living room decorated with embroidered torans or decorated doorways, while the doors are covered with brass foil etched in a myriad patterns. Often, the only piece of furniture that one might find is a carved, wooden cradle.

The community’s main stay is milk and milk produce from their livestock in order to purchase commodities that they trade in various forms at the local village or town markets.

Much of the handiwork seen in their decorated homes is that of their women. In fact, Rabari women are famous for their embroidery work, called bharat kaam, from which they make numerous traditional garments and furnishings. The kediyun, a gathered jacket with an embroidered smock, worn by young Rabari men and children, skirts and blouses for the women and girls—are al dexterously embroidered. Interestingly, the Rabari girl, completes over the years, her entire dowry which includes clothes as well as beautiful quilts or derkee.

Kokulashtami, after the rains, is marriage time. The men are back from their wanderings for this al important occasion. All marriages take place on this one day. Since child marriage is still very much in vogue within this tribe, outsiders are distrusted. Again, the Rabari marries only within the tribe and often into families which are closely located. Marrying outside the fold leads to social castigation and is very rare. While Rabari couples are probably the most exotically dressed, the marriage is a simple ritual performed by a Brahmin priest.

Rabaris, by and large, and ardent followers and worshippers of the Mother Goddess. Each clan has its own tribal goddess as the patron deity, though their homes often have pictures of other gods and goddesses as well. Strong tendencies of deifying and invoking the dead are still prevalent—a pointer to the community’s old world origin.

Another old world custom that has persisted is the custom of tattooing and there is a marked similarity In the motifs used in their embroideries and tattoos.

As an outsider it is difficult to communicate with these people since they speak a dialect which is a mixture of Marwari and Gujarati. But once they understand the visitor’s innocent curiosity, they exude the warmth and friendship that has always been a part of their make-up.

Garlic, onion and salt at the weekly market of Yanonge - DRC.

Photo by Axel Fassio/CIFOR

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org

Community not commodity by A Disappearing Act

Alleyway between Saint-Laurent and Clark, at Saint-Viateur St., Montreal, 5 June 2017.

classic-18-433 by ZimmComm

Commodity society by FISHER YU

Kodak Tmax 100-Voigtlander colorskopar 35mm-Leica M6

american commodity by bob the builder of luv

1933. Our country was recovering from a depression and was declared bankrupt. Why were the American people never told about this? - Public policy and National Security overruled the public right to know. Read the following Congressional quote:

"My investigation convinced me that during the last quarter of a century the average production of gold has been falling off considerably. The gold mines of the world are practically exhausted. There is only about $11,000,000,000 in gold in the world, with the United States owning a little more than four billions. We have more than $100,000,000,000 in debts payable in gold of the present weight and fineness. . . As a practical proposition these contracts cannot be collected in gold for the obvious reason that the gold supply of the entire world is not sufficient to make payment."

-- Congressional Record, Congressman Dies, March 15, 1933.

Before 1933 all contracts with the government were payable in gold. Now I ask you, who in their right mind would enter into contracts totaling One Hundred billion dollars in gold, when there was only eleven billion in gold in the whole world, and we had about four billion? To keep from being hung by the American public they obeyed the bankers demands and turned over our country to them. They never came out and said we were in bankruptcy but, the fact remains, we are. In 1933 the gold of the whole country had to be turned in to the bankers, and all government contracts in gold were canceled. This is bankruptcy.

"Mr. Speaker, we are here now in chapter 11. Members of Congress are official trustees presiding over the greatest reorganization of any bankrupt entity in world history, the U.S. government. We are setting forth hopefully, a blueprint for our future. There are some who say it is a coroner's report that will lead to our demise."

"It is an established fact that the United States Federal Government has been dissolved by the Emergency Banking Act, March 9, 1933, 48 Stat. 1, Public Law 89-719; declared by President Roosevelt, being bankrupt and insolvent. H.J.R. 192, 73rd Congressional session, June 5, 1933 - Joint Resolution To Suspend the Gold Standard and Abrogate The Gold Clause dissolved the Sovereign Authority of the United States and the official capacities of all United States Governmental Offices, Officers, and Departments and is further evidence that the United States Federal Government exists today in name only."

"The receivers of the United States Bankruptcy are the International Bankers, via the United Nations, the World Bank and the International Monetary Fund. All United States Offices, Officials, and Departments are now operating within a de facto status in name only under Emergency War Powers. With the Constitutional Republican form of Government now dissolved, the receivers of the Bankruptcy have adopted a new form of government for the United States."

-- Congressman Traficant on the House floor, March 17, 1993 (The Bankruptcy of The United States, United States Congressional Record, March 17, 1993, Vol. 33, page H-1303).

The wealth of the nation including our land was turned over to the bankers. In return, the nations 100 billion dollar debt was forgiven. I have two papers that have circulated the country on this subject. Remember Jesus said "money is the root of all evil" The Congress of 1933 sold every American into slavery to protect their asses. Read the following Congressional quotes:

"I want to show you where the people are being imposed upon by reason of the delegation of this tremendous power. I invite your attention to the fact that section 16 of the Federal Reserve Act provides that whenever the Government of the United States issues and delivers money, Federal Reserve notes, which are based on the credit of the Nation--they represent a mortgage upon your home and my home, and upon all the property of all the people of the Nation--to the Federal Reserve agent, an interest charge shall be collected for the Government."

-- Congressional Record, Congressman Patman, March 13, 1933.

"That is the equity of what we are about to do. Yes; you are going to close us down. Yes; you have already closed us down, and have been doing it long before this year. Our President says that for 3 years we have been on the way to bankruptcy. We have been on the way to bankruptcy longer than 3 years. We have been on the way to bankruptcy ever since we began to allow the financial mastery of this country gradually to get into the hands of a little clique that has held it right up until they would send us to the grave."

-- Congressional Record, Congressman Long, March 11, 1933.

What did Roosevelt do? Sealed our fate and our childrens fate, but worst of all, he declared War on the American People. Remember the War Powers Act, the Trading with the enemy Act? He declared emergency powers with his authority being the War Powers Act, the Trading with the enemy Act. The problem is he redefined who the enemy was, read the following (remembering that the Social Security Number is a license to work):

The declared National Emergency of March 9, 1933 amended the War Powers Act to include the American People as enemies:

"In Title 1, Section 1 it says: The actions, regulations, rules, licenses, orders and proclamations heretofore or hereafter taken, promulgated, made, or issued by the President of the United States or the Secretary of the Treasury since March 4, 1933, pursuant to the authority conferred by subdivision (b) of section 5 of the Act of October 6, 1917, as amended, are hereby approved and confirmed."

"Section 2. Subdivision (b) of section 5 of the Act of October 6, 1917, (40 Stat. L. 411), as amended, is hereby amended to read as follows: emergency declared by the President, the President may, through any agency that he may designate, or otherwise, investigate, regulate, or prohibit, under such rules and regulations as he may prescribe, by means of licenses or otherwise, any transactions in foreign exchange, transfers of credit between or payments by banking institutions as defined by the President, and export, hoarding, melting, or earmarking of gold or silver coin or bullion or currency, BY ANY PERSON WITHIN THE UNITED STATES OR ANY PLACE SUBJECT TO THE JURISDICTION THEREOF."

Here is the legal phrase subject to the jurisdiction thereof, but at law this refers to alien enemy and also applies to Fourteenth Amendment citizens:

"As these words are used in the first section of the Fourteenth Amendment of the Federal Constitution, providing for the citizenship of all persons born or naturalized in the United States and subject to the jurisdiction thereof, the purpose would appear to have been to exclude by the fewest words (besides children of members of the Indian tribes, standing in a peculiar relation to the National Government, unknown to the common Law), the two classes of cases, children born of Alien Enemies, in hostile occupation, and children of diplomatic representatives of a foreign state, both of which, by the law of England and by our own law, from the time of the first settlement of the English colonies in America, had been recognized exceptions to the fundamental rule of citizenship by birth within the country."

-- United States v Wong Kim Ark, 169 US 649, 682, 42 L Ed 890, 902, 18 S Ct 456. Ballentine's Law Dictionary.

Congressman Beck had this to say about the War Powers Act:

"I think of all the damnable heresies that have ever been suggested in connection with the Constitution, the doctrine of emergency is the worst. It means that when Congress declares an emergency there is no Constitution. This means its death....But the Constitution of the United States, as a restraining influence in keeping the federal government within the carefully prescribed channels of power, is moribund, if not dead. We are witnessing its death-agonies, for when this bill becomes a law, if unhappily it becomes law, there is no longer any workable Constitution to keep the Congress within the limits of its constitutional powers."

-- Congressman James Beck in Congressional Record 1933.

permalink

[–]moneyprinter[S] 9 points 4 years ago*

The following are excerpts from the Senate Report, 93rd Congress, November 19, 1973, Special Committee On The Termination Of The National Emergency United States Senate. They were going to terminate all emergency powers, but they found out they did not have the power to do this so guess which one stayed in, the Emergency Act of 1933, the Trading with the Enemy Act October 6, 1917 as amended in March 9, 1933.

"Since March 9, 1933, the United States has been in a state of declared national emergency....Under the powers delegated by these statutes, the President may: seize property; organize and control the means of production; seize commodities; assign military forces abroad; institute martial law; seize and control all transportation and communication; regulate the operation of private enterprise; restrict travel; and, in a plethora of particular ways, control the lives of all American citizens."

"A majority of the people of the United States have lived all of their lives under emergency rule. For 40 (now 63) years, freedoms and governmental procedures guaranteed by the Constitution have, in varying degrees, been abridged by laws brought into force by states of national emergency....from, at least, the Civil War in important ways shaped the present phenomenon of a permanent state of national emergency."

-- Senate Report, 93rd Congress, November 19, 1973

You may be asking yourself is this the law, and if so where is it, read the following: In Title 12 U.S.C, in section 95b you'll find the following codification of the Emergency War Powers:

"The actions, regulations, rules, licenses, orders and proclamations heretofore or hereafter taken, promulgated, made, or issued by the President of the United States or the Secretary of the Treasury since March 4, 1933, pursuant to the authority conferred by subsection (b) of section 5 of the Act of October 6, 1917, as amended (12 U.S.C., 95a), are hereby approved and confirmed."

-- (March 9, 1933, c. 1, Title 1, 1, 48 Stat. 1)

The weekly market of Yanonge - DRC.

Photo by Axel Fassio/CIFOR

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

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org

AAAA - Scotlynn Commodities by tnsamiam

20190919-NRCS-LSC-0295 by U.S. Department of Agriculture

Norwood Farms owners and producers Don and son Grant Norwood work with U.S. Department of Agriculture (USDA) Farm Production and Conservation (FPAC) Natural Resources Conservation Service (NRCS) District Conservationist Ron Harrison to implement their crop rotation and residue management practices to reduce erosion leading to improved land use and crop production; they also practice no-till farming on nearly every acre in the operation, in Henry County, TN, on Sept 19, 2019.

The stover of remaining corn stalk stubs, leaves, and cobs that are expelled and and left behind the corn harvester becomes a cover crop. The stover can be seen between soybean crop.

Crop dusters adapted with a seed spreader can seed directly into standing corn and standing soybeans. This gives the seeds a chance to get established before it freezes. In the spring, the cover crop will grow up through the corn stover.

Norwood Farms have successfully established the building blocks of conservation with conservation crop rotation on the entire Norwood operation. The crops are rotated between corn, wheat, soybeans and in some cases, corn cover crops and soybeans cover crops. The practices are implemented to reduced erosion sediment in surface water and are leading to improved land use and crop production.

Conservation Crop Rotation (Practice Code 328) is a management practices where growing a planned sequence of various crops takes place on the same piece of land for a variety of conservation purposes. Crops included in conservation crop rotation include high-residue producing crops such as corn or wheat in rotation with low-residue- producing crops such as soybeans. Crop rotations vary with soil type, crops produced, farming operations, and how the crop residue is managed. The most effective crops for soil improvement is fibrous-rooted high-residue producing crops such as grass and small grain.

Residue and Tillage Management (Practice Code 329) is managing the amount, orientation and distribution of crop and other plant residue on the soil surface throughout the year. For our area, we are utilizing reduced tillage and no-till. Residue and Tillage Management should be used on all cropland fields, especially where excess sheet and rill erosion are a problem. Residue and tillage management is most effective when used with other conservation practices like grassed waterways, contouring, field borders, etc.

NRCS has a proud history of supporting America's farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat. As the USDA's primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science. And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.

Farm Production and Conservation (FPAC) is the Department's focal point for the nationâs farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.

The agencies and services supporting FPAC are Farm Service Agency (FSA), NRCS, and Risk Management Agency (RMA).

For more information please see www.usda.gov

USDA Photo by Lance Cheung.

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

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]

-----

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

Commodities by D S

Chelsea, Massachusetts, 2023

Mamiya 645 1000S, Sekor C 55mm 2.8 N, Kodak Portra 160

Santee, SC, near Lake Marion, Rice Fields by Henry de Saussure Copeland

A rare example of a rice field under cultivation located in Clarendon County. Upland rice was once grown throughout the South Carolina Lowcountry. Photo taken in August 2009, near Lake Marion in the upper reaches of the Santee River basin.

This field is part of the upper Santee basin and is being used to attract waterfowl as well as for demonstrating a crop that was once the foundation of the state's economy. Long grain rice of the highest quality, known as Carolina Gold, was once South Carolina's calling card in the great ports of the world, from Bordeaux, Seville and Genoa to St. Petersburg, Madras and Shanghai. Ships loaded with rice returned with the best finished products these buyers had to offer. South Carolina's rice fed the industrial revolution, in some respects, while South Carolinians consumed the best products they and their factors could load for the return trip.

Dependent on hand labor and faced with competion from other parts of the world where rice could be grown more cheaply, rice all but disappeared from the Lowcountry. Only the abandoned rice fields remained for most of the 20th century. Most of the upland rice fields returned to swamps and woodlands, while the elaborate dikes and rice reserves along the coastal plain more slowly eroded to once again become saltwater marshes.

Starting in the 1990's, nearly 100 years after commercial rice cultivation in South Carolina crashed, the boutique food markets of the world are rediscovering the higher quality of what was widely known as Carolina Gold. Though long absent from commodity markets, its quality remains the standard of measure for rice to this day. With a new interest in its return, South Carolinians are attempting to learn how to cultivate it properly where it was once grown and harvested so successfully.

South Carolina rice was in high demand globally and universally accepted on the tables of industrial workers and those who owned the factories, too. It could be said, at least the end of the enlightenment and the beginning of the industrial revolution, Charleston and the South Carolina Lowcountry fueled the engine of economic change no less than the potato. Rice was also far more fungible and far less perishible than that other carb. Rice was far less class bound than the potato.

Was it simply good marketing by the wiser and practical elites who had learned to grow rice in America, or was it an accident that favored all rice sold in the markets of the 18th and 19th century. It was not an accident. Rice proved to be a nearly perfect crop, introduced at the right time in world history, bearing fruit beyond expectations in an ideal geographic location and filling a perfect demand as populations around the world exploded.

If good fortune was not enough for the rice barrons and those who tamed the wetlands for them, then It was probably the three crops that could be planted and brought to market in a single year. It also brough international fame to the state's ports and vast fortunes to its agrarian elite. One crop would have been good. Two crops a year made them rich. Three crops made them so fabulously wealthy, their names begat dynasties.

Perhaps Carolina Gold, now merely the trade name of a popular rice sold in the moder supermarkets of old Bordeaux, will one day be packed and sold as the real thing. The people of Bordeaux expect world markets to know that fine wines should be distinguished from the ordinary. A wine from Bordeaux should convey both the expectation of quality and its enjoyment. Bordeaux built its business reputation and its international port on nothing less. For over 200 years the same was said of rice, especially rice from the Carolina Lowcountry.

With care, a fine dinner in Bordeaux may once again include an excellent local wine and the finest imported rice. Just as a fine dinner in Charleston may also include the finest local rice and an exceptional claret imported from Bordeaux. Indeed, the past is prologue.

Camp Woodie, near Lake Marion and Santee, SC. Photo taken August 2009.

Photo and text posted: 14 August 2009.

Revised: 1 October 2010.

Copyrights reserved: hdescopeland.

Commodity: Sneakers by Hailey Zhao

3 1

My favorite comfortable shoes, Keds!

Commodity by Paul Jarvie

Chelsea, MA

London Agricultural Commodities by Mike Wood

The London Agricultural Commodities Thamesville Processing Plant's railside terminal in Thamesville, ON. May 2015

Yellow Tour, Commodity Conference 2018 by Alabama Farmers Federation

Yellow Tour, Commodity Conference 2018

Vegetable stall at the weekly market of Yanonge - DRC.

Photo by Axel Fassio/CIFOR

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org

Baker Commodities Inc by kmgilligan99

Baker Commodities Frieghtliner

220113acp300mb139.jpg by UK College of Agriculture, Food & Environment

Conner Raymond of UK stood with Scott Goetz, Joe Goetz, Justin Goetz and Tate Goetz of Goetz Brothers Farm as they received an Ky Extension Soybean Yield Contest State Champion award from Larry Thomas at the 2021 Crop Production Awards Banquet held at the Sloan Convention Center in Bowling, Green Kentucky.

Vegetable stall at the weekly market of Yanonge - DRC.

Photo by Axel Fassio/CIFOR

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org

andy warhol 32 campbell's soup cans by Andy Warhol： 32 Campbell’s Soup Cans

26/32

Andy Warhol (American, 1928–1987). Campbell’s Soup Cans (detail). 1962. Synthetic polymer paint on 32 canvases, each 20 x 16″ (50.8 x 40.6 cm).

[MOMA Exhibition]

Andy Warhol: Campbell's Soup Cans and Other Works, 1953–1967

April 25–October 18, 2015

Prints and Illustrated Books Galleries, second floor

Andy Warhol’s Campbell’s Soup Cans is the signature work in the artist’s career and a landmark in MoMA’s collection. The 1962 series of 32 paintings is the centerpiece of an exhibition focusing on Warhol’s work during the crucial years between 1953 and 1967. The Soup Cans mark a breakthrough for Warhol, when he began to apply his seminal strategies of serial repetition and reproduction to key subjects derived from American commodity culture. Warhol also developed his signature use of the flat, uniform aesthetic of photo-screenprinting just after he completed the Soup Cans. For the first time at MoMA, the 32 Soup Cans are shown in a single line (rather than a grid), echoing the way they were first exhibited at the Ferus Gallery, Los Angeles, in 1962. The exhibition also includes drawings and illustrated books Warhol made in the 1950s, when he started his career as a commercial artist, and other paintings and prints from the 1960s, when he became a beacon of the Pop art movement.

Global Commodities Forum (7-8 April 2014) by UN Trade and Development (UNCTAD)

UNCTAD hosted the fifth annual Global Commodities Forum on 7–8 April 2014.

Forum participants examined and debate the theme of global value chains, transparency and commodity-based development.

This challenging theme links two topical concepts in the development discourse – global value chains and transparency – and applies them to challenges faced by commodity-dependent developing countries.

IMG_1664 by Alabama Farmers Federation

Turtuk..... Angels amidst the Apricots by pallab seth

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A remote village of about 4,000 residents, inhabited by ethnic Sufi Muslims, just a few kilometres away from the actual ‘Line of Control’ (LoC), between India and Pakistan, now on the Indian side. Until the year 1971, Turtuk was a part of Baltistan and was under the control of Pakistan occupied Kashmir (POK). Turtuk was only open to travellers in 2010 with an Inner Line Permit.

Turtuk at an altitude of 9,846 feet is situated on the edge of the Shyok Valley, a flat plateau amidst the mighty Trans-Himalayas - a part of the Nubra Valley area, located at a distance of 211 km from Leh and 92 km from Diskit along the Shyok river.

With lush green fields of buckwheat and barley, Turtuk looks like an oasis of green amidst all the barrenness. Village planning is simple, sustainable and inspiring with winding pathways running between houses, streams, and many apricot trees. Glacial melt water is channelled through the village in an elaborate series of channels - for everyday use, for grinding wheat and other food grains. Turtuk is famous for its apricots; at least with five varieties, famous for its richness and sweetness.

Strolling around this picturesque village is extremely enjoyable - not for the sweet smell of drying apricots in the air or the tranquil sound of glacial water flowing through numerous channels but for its little angels. Happy faces of children are everywhere - they happily posed for us with their glittering eyes! The people of Turtuk are simply beautiful; they are very friendly and claim that they are Aryan with Central Asian and Tibetan roots.

Presence of Indian military makes a very positive change to the communities. They build and maintain the roads, bridges, running the health centres and schools, bringing and distributing rations and other commodities (even gas cylinders). Most of the children go to school and can communicate either in Hindi or in English. Villagers consider India as 'more progressive' than Pakistan by way of 'opportunities, amenities and ideals'.

Turtuk is in every sense a delight with its culture and ethnicity, untouched by tourism and has plenty to explore!

Images of India

AAAA - Scotlynn Commodities by tnsamiam

MidAmerica Commodity Exchange by UIC Library Digital Collections

Variant Name: Chicago Mercantile Exchange (former name)

Architect: Skidmore, Owings & Merrill

Description: View of the trading-exchange building (one of two buildings comprising this exchange complex) under construction in 1972.

Photographer: Brubaker, C. William, 1972

Date: 1972

Geographic coverage: Loop (Chicago, Ill.)

Collection: C. William Brubaker Collection (University of Illinois at Chicago)

Repository: University of Illinois at Chicago. Library. Special Collections Department

File Name: bru003_11_kF

Rights: This image may be used freely, with attribution, for research, study and educational purposes. For permission to publish, distribute, or use this image for any other purpose, please contact Special Collections and University Archives, University of Illinois at Chicago Library at lib-spec@uic.libanswers.com

For more images from the collection, visit collections.carli.illinois.edu/cdm4/index_uic_bru.php?CIS...

AAAA - Scotlynn Commodities by tnsamiam

20200619-OSEC-LSC-1673 by U.S. Department of Agriculture

Aerial view of the Food Bank of the Rockies, in Denver, CO , on June 19, 2020.

The Food Bank of the Rockies distributes to about 640 food pantries in Northern Colorado and Wyoming. This warehouse receives and distributes U.S. Department of Agriculture (USDA) foods for several USDA programs: The Emergency Food Assistance Program (TEFAP), Commodity Supplemental Food Program (CSFP) a program for low-income seniors over 60, and the Food Purchase & Distribution Program (FPDP), part of trade mitigation. Additionally, the Food Bank of the Rockies works with three Farmers to Families Food Box distributors. This is one of two large Food Banks that receives USDA foods in Colorado. The other food bank is Care and Share which serves the Southern Colorado.

USDA Photo by Lance Cheung.

Commodities Now September 2010 by Commodity Business Awards

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Commodities Now is the global magazine for the traded commodity – covering the majot traded commodity sectors – and the official publication for the Commodity Business Awards. Since 1997 we have been developing our expertise and market connections to provide commodity market professionals and the wider investment community with dedicated research and intelligence on the commodity complex.

As well as the published magazine, our online presence – commodities–now.com – provides updated news, key press releases, data, charts, research and reports dedicated to these markets.

Sky Commodities Performers by Sky Commodities

Growth beyond Commodities by World Economic Forum

David Pilling, Africa Editor, Financial Times, United Kingdom, Ngozi Okonjo-Iweala, Chair, GAVI Alliance, USA, Patrick Njoroge, Governor of the Central Bank of Kenya, Tonye Cole, Co-Founder and Chief Executive Officer, Sahara Group, Nigeria; Global Agenda Council on the Future of Oil & Gas, Andrew Dell, Chief Executive Officer, HSBC Africa, South Africa and Tiaan Moolman, Partner, Bain & Company, South Africa at the World Economic Forum on Africa 2016 in Kigali, Rwanda. Copyright by World Economic Forum / Benedikt von Loebell