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städtisches museum abteiberg, mönchengladbach, 1982, architect: hans hollein;
sculpture ‚pointes et courbes’, 1970, artist: alexander calder
„In the historic center—of the city of Mönchengladbach, adjacent to the cathedral and a baroque abbey—a museum of contemporary art was built into the face of a prominent hillside. Areas for a permanent collection, for temporary exhibitions and for didactic uses had to be provided. Contextual integration into the neighborhood and topography were prime concerns. The complex is a “walk–on”–building, its surface is for public use (and for open air sculptures). Outside a complex architectural ensemble, it is inside a succession of a variety of white, neutral, yet characteristic spaces in different configurations and light situations. Rather than following a forced linear arrangement it is a 3-dimensional matrix, making a walk through the museum a dialectic and spatial experience. Landscaping was an integral part of the design.
The museum was awarded with the Reynolds Memorial Award, USA, 1984.”
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
German postcard by Ross Verlag, Berlin, no. 2091/3, 1927-1928. Photo: United Artists. Norma Talmadge in The Dove (Roland West, 1927).
Norma Talmadge (1894-1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols of the American screen.
Norma Talmadge was the daughter of one of the most famous "mothers of artists" in film history: Peg Talmadge. Norma, her mother, and her sisters Natalie and Constance were abandoned by their alcoholic and jobless father Fred right on Christmas Day. Thus, the three teenagers had to start earning money as vaudeville models and actresses. In 1909, Norma began working in the cinema thanks to her discoverer, Vitagraph editor Breta Breuill. She acted in numerous Vitagraph shorts, a.o. Uncle Tom's Cabin (Stuart Blackton, 1910), Love of Chrysanthemum (Van Dyke Brooke, 1910), and A Tale of Two Cities (William Humphrey, 1911). Helped by Vitagraph leading actor Maurice Costello, her career blossomed. By 1913, she was the major star of Vitagraph Studios and had played in hundreds of shorts there. Her co-actors from the Vitagraph 'stable' were a.o. Maurice Costello, Van Dyke Brooke, Lilian Walker, Hughie Mack, Leo Delaney, and Clara Kimball Young.
In 1915 Norma Talmadge had a breakthrough when acting in Vitagraph's anti-German propaganda-film, the feature The Battlecry for Peace, but mother Talmadge was unsatisfied with Vitagraph and arranged a two-year contract at National Pictures. Yet, when Norma's first film there flopped, and the company went bankrupt, she called on director D.W. Griffith and was able to act in seven features at Triangle. In 1916 she met Joseph Schenck, a wealthy exhibitor who wanted to make films himself. Smitten by her, Schenk proposed marriage and a studio. They founded the Norma Talmadge Film Corporation. In Schenk's New York-based studio, Norma would act in her dramas on the ground floor, while her sister Constance would do comedies on the first floor, and the comic unit with Fatty Arbuckle played on the top floor, while sister Natalie Talmadge worked as a secretary and occasionally had small parts as well. Arbuckle brought along Buster Keaton and Al St. John. When Arbuckle was lent to Paramount to do features, Keaton took over the comic unit and married Natalie.
NormaTalmadge's first film at the studio, Panthea (Allan Dwan, 1917) was a straight hit. Between 1917 and 1921 Norma made four to six films per year, under Schenk's supervision. After her greatest success, the drama Smilin' Through (Sydney Franklin, 1922), Schenk closed the New York studio. The family continued in Hollywood, where Norma's films became bigger and glossier. She worked with top directors, cinematographers, and costume designers and by 1923 she was the best-paid film actress in Hollywood, earning 10.000 a week. In 1924 under Frank Borzage's direction, she did her best film (artistically and at the box office) Secrets. While Schenk became head of United Artists in 1924, Norma was still tied to distributor First National by contract and continued to make films for them in the mid-1920s, including Camille (Fred Niblo, 1926). During the filming of Camille, she fell in love with her co-actor Gilbert Roland and asked Schenk for a divorce. He refused but saw they were a winning couple and matched them in several films. After that, she made films with UA, but the first two were flops and marked the end of her silent film career.
Norma Talmadge took voice lessons for a year, and despite expectations, produced a perfectly non-dialectical voice, but her first two sound films simply weren't good films, so she called it a day and left the film world. As she was very rich by now, she could permit herself to do so. Divorced from Schenck in 1934, she married her second husband, George Jessel, who eagerly brought her on his ailing radio shows, but both his shows and the marriage ended in failure. Norma married for the third time in 1946, with Carvel James, and died relatively young, on Christmas Eve 1957, at age 64, because of pneumonia. It is said that we owe to Norma Talmadge the tradition of stamping the handprints of the stars in front of the Grauman's Chinese Theater, when in 1927, accidentally, she left her own when falling on wet cement in the same place.
Sources: Wikipedia (English, Dutch, and Spanish), and IMDb.
And, please check out our blog European Film Star Postcards.
A Leyland Atlantean PDR1A/1 with East Lancs bodywork, new in 1971 and seen in Accrington on Monday 2nd July 1979. By now (I assume in 1974) Accrington Corporation had become Hyndburn Borough Transport, which had, at least, retained an approximation to its predecessor's pleasingly unusual livery. Let us give thanks for small mercies.
Interesting period details are disclosed as the inquiring eye takes in peripheral incident. Another Atlantean, of the neighbouring Blackburn fleet, follows. Between the two buses a surprisingly modern-looking Bedford lorry. Whatever happened to Bedford? The railway bridge is still blemished by a certain amount of soot discolouration. Some of the stone blocks are blackened, others not. Why? How? Why does the soot not cross the boundary from one block to the next? Would that be the Working Men's Club off right? Thwaite's Ales are advertised. AEW? Allied Electricians' Union? Or was it Engineers'? Whichever, the initials summon before the mind's eye the dialectic-creased features of Hugh Scanlon ...to be seen almost nightly on the television news in those days, pate shining and steel-rimmed specs flashing back discs of TV arc light as, grimacing from behind the dais at some conference or other, he nasalized his committee's demands for "dialogue" (usually "free and frank") at local and national level, concerning the members' latest pay claim. An agreeable Morris Minor convertible reposes beside the BR departures board in what must be the station approach road.
Karlsplatz Stadtbahn Station is a former station of the Viennese Stadtbahn. The buildings above ground on Karlsplatz are a well-known example of Jugendstil architecture. These buildings were included in The Vienna Secession, as they followed many of the artistic styles of that movement. They were designed by Otto Wagner, adviser to the Transport Commission in Vienna and Joseph Maria Olbrich and are, unlike the other Stadtbahn stations, made of a steel framework with marble slabs mounted on the exterior. These stations allowed Otto Wagner to achieve his goal of creating two modern axes of architecture in a city that was becoming one of the most modern cities of its time. These buildings went on to become the most modern monument of the modern city. Architectural critic and poet Friedrich Achleitner commented on the Stadtbahn stations as follows "...In these two station buildings Wagner reached a highpoint of his dialectic (in his planning of the Stadtbahn) between function and poetry, construction and decoration, whereby a severe rationalism engages in competition with an almost Secessionist kind of decoration.
Vision conceived as "transparency" is the Buddhist ideal: "as one sees through clear water, the sand, the gravel, and the color of the pebbles, simply by reason of its transparency, so one who
seeks the path of liberation must have just such a clear mind."
The image that illustrates the manner in which an ascetic apprehends the four truths of the Ariya is this: "If at the edge of an alpine lake of clear, transparent and pure water there were to stand a man with keen sight looking at the shells and shellfish, the gravel and the sand and the fish, watching how they swim and how they rest; this thought would come to him: 'This alpine lake is clear, transparent, and pure; I see the shells and shellfish, the gravel, the sand and the fish, how they swim and rest'”.
In this same manner an ascetic apprehends "in conformity with truth" the supreme object of the doctrine. The formula "in conformity with truth" or "with reality" is a recurrent theme in the texts, like the attributes, "eye of the world", or "become eye", or "become knowledge", of the Awakened Ones.
This is naturally an achievement only through a gradual process. "As an ocean deepens gradually, declines gradually, shelves gradually without sudden precipices, so in this law and discipline there is a gradual training, a gradual action, a gradual unfolding, and no sudden apprehension of supreme knowledge."
Again: "One cannot, I say, attain supreme knowledge all at once; only by a gradual training, a gradual action, a gradual unfolding, does one attain perfect knowledge. In what manner? A man comes, moved by confidence; having come, he joins (the order of the Ariya); having joined, he listens; listening, he receives the doctrine; having received the doctrine, he remembers it; he examines the sense of the things remembered; from examining the sense, the things are approved of; having approved, desire is born; he ponders; pondering, he eagerly trains himself; and eagerly training himself, he mentally realizes the highest truth itself and, penetrating it by means of wisdom, he sees." These are the milestones of the development.
It is hardly worth saying that the placing of "confidence" at the beginning of the series does not signify a falling back into "belief": in the first place, the texts always consider that confidence is prompted by the inspiring stature and the example of a master; in the second place, as we can see clearly from the development of the series, it is a matter of a provisional admission only; the real adherence comes when, with examination and practice, the faculty of direct apprehension, of intellectual intuition, absolutely independent of its antecedents, has become possible.
Therefore it is said: "He who cannot strenuously train himself, cannot achieve truth; through strenuous training (an ascetic) achieves truth: therefore strenuous training is the most important thing for the achieving of truth."
Naturally, there is here an implicit assumption, which we shall discuss before long in detail, an assumption, that is to say, that the men to whom the doctrine was directed were not entirely in the state of brute beasts: that they recognised, not as an intellectual opinion, but through a natural and innate sense, the existence of a reality superior to that of the senses. For the "common man," one who thinks in his heart: "There is no giving, no offering, no alms, there is no result of good and bad actions, there is no this world, there, is no other world, there is no spiritual rebirth, there are not in the world ascetics or Brāhmans who are perfect and fulfilled and who, having with their own understanding comprehended, and realised this world and the other world, make known their
knowledge" - for such the doctrine was not considered to have been expounded, since they lack the elementary quality of "confidence" that defines the "noble son" and that is the first member of the series we have mentioned.
Such men, according to an apt textual illustration, are as "arrows shot by night”.
As for the preeminence accorded (in a pragmatic and anti-intellectualistic spirit) to action in the Doctrine of Awakening, we quote another Buddhist simile. A man struck by a poisoned arrow, for whom his friends and companions wish to fetch a surgeon, refuses to have the arrow extracted before learning who struck him, what his name might he, who his people are, what his appearance, if his bow was great or small, of what wood it was made, with what it was strung, and so on. This man would not succeed in learning enough to satisfy him before he died. Just so (says the text) would a man behave who followed the Sublime One only on the condition that the latter gave him answers to various speculative problems, telling him if the world was eternal or not, if body and the life-principle are distinct or not, what happens to the Accomplished One after death, and so on. None of this—says the Buddha—has been explained by me. "And why has it not been explained by me? Because this is not salutary, it is not truly ascetic, it does not lead to disgust, it does not lead to detachment, it does not lead to dispassion, it does not lead to calmness, it does not lead to contemplation, it does not lead to awakening, it does not lead to extinction: therefore has this not been explained by me”.
In the opposing theories regarding the world and regarding man, characteristically reminiscent of the Kantian antinomies, either one opposite or the other might he true. One thing is certain, however: the state in which man actually finds himself, and the possibility of his training himself, during his lifetime, to achieve the destruction of this state.
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Julius Evola: The Doctrine of Awakening - Part I., Chapter 4. - Destruction of the Demon of Dialectics (excerpt)
Italian postcard by Edizioni A. Traldi, Milano, no. 302. Photo: A. Badodi, Milano.
Dina Galli (1877-1951) was a classic Italian comedian who also performed in Italian silent and sound cinema.
Dina Galli, born in Milan as Clotilde Annamaria Galli, was a real figlia d'arte. As a comedienne, with her flashing eyes, her pointed face, her wit, and irony, she soon conquered the Italian stage. After having joined the theatre company of Milanese actor Edoardo Ferravilla in 1890, she managed a decade later to enter the renowned Talli-Gramatica-Calabresi theatre company. For years she excelled in pochades by Feydeau, Hennequin, Veber et. al., such as La Dame de chez Maxim. During the First World War, she obtained successes with 'La Maestrina' and with 'Scampolo' by Nicodemi. Galli took sidesteps into silent cinema during the First World War: Veli di giovinezza, 1914; La monella, 1914; L'ammiraglia, 1915; all three were directed by Nino Oxilia, who was killed during the war. In 1917 followed Le nozze di Vittoria, which was directed by Ugo Falena. After that, Galli took to dramatic acting on stage in plays, in particular, the dialectical theatre by Giuseppe Adami in which Galli talked in vernacular Milanese, as in Felicità Colombo (1935), the role that stuck to her.
From the late 1930s on, Dina Galli regularly acted in Italian sound cinema of which Felicità Colombo (1937) and Nonna Felicità (1938), both directed by Mario Mattoli and previous stage successes of Galli, showed her skills. Other films she played in, in those years, were Nini Falpalà (Amleto Palermi 1933), Frenesia (Mario Bonnard 1939), La zia smemorata (Ladislao Vajda 1941), Il sogno di tutti (Oreste Biancoli/Laszlo Kish 1941), Stasera niente di nuovo (Mario Mattoli 1942), l biricchino di papà (Raffaele Matarazzo 1943), Tre ragazze cercano marito (Duilio Coletti 1944), Lo sbaglio di essere vivo (Carlo Ludovico Bragaglia 1945), Vanità (Giorgio Pastina 1946), and Sambo (Paolo William Tamburalla 1950). Her last, uncredited, role was in I cadetti di Gascogna (1950). After the Second World War, Galli returned to the stage with various comedies such as Noel Coward's Blythe Spirit, together with Rina Morelli, and Arsenic and Old Lace by Kesserling, both in 1945. Her last performance was in the revue Quo Vadis? (1950), together with Enrico Viarisio. Dina Galli died in Rome in 1951. She was one of Federico Fellini's favourite actresses.
Sources: Wikipedia, Sipario.it, arabafelice.it, mymovies.it, and IMDb.
And, please check out our blog European Film Star Postcards.
Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art .
Robert Smithson
Since cash is obsolete, we must reduce its carbon footprint! We must transition to a green economy! The dialectic tears down and recycles. It’s currently tearing down capitalism and recycling it into stakeholder capitalism (stakeholder [public–private partnership] fascism). There’s a blitzkrieg coming!
(IMF) International Monetary Fascism: Careful decisions must also ensure that new forms of digital money are environmentally sustainable—that the energy they require is kept in check. The path to digital money adoption must be guided by a clear and responsible vision of tomorrow’s broader payment, financial, economic, and environmental landscape.
(UN) United Nazis: Through the adoption of the 2030 Agenda for Sustainable Development and the Paris Agreement on Climate Change, world leaders have given humanity a universal plan to transform our world for the better. Our task is to stay true to these agreements and take action on their implementation.
(WEF) World Economic Fascism: You’ll own nothing. And you’ll be happy.
Russia agrees to chair BRICS in 2024. BRICS represents 45% of the world’s population. BRICS produces 43% of the world’s oil. BRICS countries occupy 29% of the world’s land surface. 30 countries are prepared to Join BRICS in 2024. In 2023 about 20% of oil was bought with currencies other than the US dollar. America: Who cares about oil, we’re going green (broke). Chip…chip…chip away…the US dollar can only hold its position as the world’s reserve currency for so long.
130 countries are exploring CBDCs. These countries produce 98% of the world’s GDP. 64 of these countries are in the advanced stages of developing CBDCs. The United Arab Emirates and China have already made a cross-border payment using the Digital Dirham.
Roll in the Central Bank Digital Currencies! Roll in the deposit tokens! Good-bye cash! Good-bye freedom! See-ya later, Bitcoin! We will kill the middle class. We will kill small businesses. We will build back better with corrupt governments, intelligence agencies, multinational corporations, and centralized banking. As for the European farmer protests: Centralized corporate farms are the way of the future, so is starvation…eat ze bugz! Indeed, we will bankrupt everyone into authoritarianism. One day you will wake up in a fascist world order, where you will be enslaved by the state and corporate powers. We call it friendly fascism…fascism with a smile:)
Big Brother and AI will shape your reality. We will issue an internet ID. We will establish a United Nations regulatory body to oversee AI and the internet. End encryption! End privacy! We can’t have free speech in the new authoritarian world order.
Sidenote: Elon Musk bought X, so that he can data mine its users for his new artificial intelligence company xAI. But who cares about data mining if I can talk to Grok, Elon’s AI chat bot. Digital wokeness: We must understand reality through false reality. Ouch, that hurt my brain-computer interface! Indeed, Elon Musk is a grifter.
These Central Bank Digital Currencies will only be temporary. They will be further centralized into a one world currency. With the breakthrough of on-skin and under-skin computing technology, we will now tie a person’s digital ID and digital wallet to an AI-chip tattoo. Without this new on-skin and under-skin transhuman surveillance chip, you will not be able to be a part of this new one world monetary system. This microchip system will be implanted in the hand or the forehead of every human…changing their being.
Join the techno-evolution and become a part of the new Aryan techno-race. Join the techno-revolution and become a part of the new techno-transhuman race. Join the digital woke cult: You are trapped in the wrong body; therefore, you must become a born again transhuman. Then you must go out and preach the gospel of the Fourth Industrial Revolution: Diversity, equity, inclusion, and sustainability. Like a hoe, you can ride the seven-headed beast of linguistics (false doctrines) until your language is turned to Babel. Thank God, the Fourth Reich will not prevail!
Daniel 7:23 “He gave me this explanation: ‘The fourth beast is a fourth kingdom that will appear on earth. It will be different from all the other kingdoms and will devour the whole earth, trampling it down and crushing it.’”
Daniel 12:10 “Many will be purified, made spotless and refined, but the wicked will continue to be wicked. None of the wicked will understand, but those who are wise will understand.”
A Short history of the Andaman Islands
The Andamans are a chain of 184 odd islands in the Andaman sea at approx 1100 Kms to the south of Kolkata. The largest among them, The Andaman Island is 355 Kms long and 60 Kms wide. There was a time when ancient tribes lived here. Some of the natives it is said bore a remarkable resemblance to the aboriginaltribes of Australia. Today some tribes have receded into the deep forest while others have been resettled. Port Blair, it's principal port, is a picturesque and bustling town, full of greenery. It is well connected to the main land by regular passage of ships and scheduled flights from KolKata and Madras. Different communities are living in harmony and use hindi as their language.
Port Blair was named after the East India Companies' Lt. Archibald Blair who occupied the Andamans in 1789 to keep his ships safe and protected in the rains as a safe harbour and as a penal settlement for prisoners. But because of the unhygienic climate and outbreak of diseases and the expenses in maintaining the harbour he had to abandon the Andamans in 1796. Early in the first decade of the 19th century the roots of the East India Company were firmly entrenched in India. The British were subjecting Indians to a lot of abject atrocities, snatching away land from peasants, destroying the livelihood of craftsmen, increasing taxes, usurping the states from the Nawabs and native kings. Ordinary people, soldiers, nawabs and kings were all being terrified and harassed. Generally everywhere there was resentment and revolt. People were determined to do away with the East India Company
Recapture of Andaman Islands to keep Political Prisoners
The Andamans reminds us of those freedom fighters who on 10th May 1857, gave the clarion call to rise against the British rule. This was our First War of Independence, what the British in their history books refer to as the Sepoy Mutiny. To totally stomp out the uprising the British sent thousands to the gallows and even hung them up from trees, tied them to cannons and blew them up, destroyed them with guns and swords as if they had gone mad and were out to get revenge.
The revolutionaries, who survived, were exiled for life to the Andamans so that their connection with their families and their country would be severed and their countrymen would forget them forever. For this reason, in January 1858, the British reoccupied Port Blair, Andamans. For the first time on 10th March 1858, Supdt. J.B. Walker arrived with a batch of 200 freedom fighters. The second batch of 733 freedom fighter prisoners arrived in April 1868 from Karachi. They had been sentenced for life imprisonment. After this however it is not known how many thousands of freedom fighters were sent to the Andamans from the harbours of Bombay, Kolkata and Madras. Their numbers, names and addresses are not known.
It is said that all records were burnt when the Japanese occupied the Andamans. Some preliminary research was done by our organisation in the India Office Library, London, but no light could be shed. This worried us because whatever else the British might have been they were excellent record keepers. The truth is still not known and it needs to be. It is the responsibility of our present Indian Government to have a thorough research done to fill these gaps and to put forward in front of our countrymen, the true history of our freedom struggle and the different streams and revolts involved. The Cellular Jail was inalienably linked to the long and glorious struggle of our revolutionary freedom movement fought on the mainland and it had deep political significance. Leading figures from revolutionary upsurges on the mainland were invariably banished to languish and suffer in the Andamans.
Atrocities committed on early freedom fighters
In almost perennial rainy weather, with heavy bar fetters and shackles on their feet, surrounded by snakes, leeches and scorpions the freedom fighters were expected, in deep primeval forests to clear a path for roads through marshy land. They were punished and faced hard labour if they slowed down. In March 1868, 238 prisoners tried to escape. By April they were all caught. One committed suicide and of the remainder Supdt. Walker ordered 87 to be hanged.
Sher Ali: The killing of Lord Mayo
Despite these atrocities the freedom fighters used to resist and fight for their self-respect and for the love of their country. Sher Ali was given life imprisonment during the Wahabi movement against the British Raj. He assassinated Lord Mayo, Viceroy of India with a knife on 8th February, 1872. He was hanged on Viper Island.
The Construction of the Cellular Jail
From 1896 the construction of Cellular Jail was started and it was completed in 1906 with 698 cells. The Jail was constructed with seven wings, spreading out like a seven-petal flower. In its centre it had a tower with a turret. Connected to this were the three storey high seven wings with 698 isolated cells. This is why it is called the Cellular Jail.
Freedom Fighters of the National Revolutionary Movements
National movements were flaring up against the British rule all over India and the freedom fighters related to these movements were sent to Andamans or the "Kala Pani" with long sentences. Prominent among these were those from The Wahabi Movement (1830 - 1869), Mopla Rebellion (1792 - 1947), First Rampa Rebellion (1878 - 1879), Second Rampa Rebellion (1922 - 1924), Tharawadi Peasant Rebellion, Burma (1930). Etc.
The National Revolutionary Movement had prominent among them in Punjab, the Heroes of The Gadar party, The Hinduthan Republican Association in U.P. formed by Sachin Sanyal, in Maharashtra with the Savarkar brothers and of course with the partition of Bengal in 1905, secret societies and lots of underground groups were beginning to form. Lots of conspiracy cases started in the courts and the number of revolutionary freedom fighters in the jails began to swell. Most of the leaders of these movements if not hanged outright were deported to the Andaman Cellular Jail. Several died due to inhuman treatment and torture.
Alipore Conspiracy Case
Bengal's Alipore Conspiracy Case (1908) saw 34 revolutionaries being accused. In which were Barin Ghosh, Ullaskar Dutt, Upendranath Banerjee and Hem Chandra Das. They were sent to the Andamans in 1909. Later revolutionaries from U.P. and Maharashtra were also sent.
Veer Savarkar
For the assassination of Collector Jackson of Nasik District in the Nasik Conspiracy Case Veer Vinayak savarkar was convicted and sent to the Cellular jail on 7th April, 1911. According to Savarkar Freedom Fighters were made to do hard labour. They had to peel coconuts and take out oil from them. They were forced to go around like bullocks to take out oil from mustard seeds. Outside they were forced to clear the jungles and trees on hillside levelling marshy land. They were flogged on refusal. On top of this they did not even get a full meal every day.
Gadar Party Revolutionaries in Cellular Jail (1914)
The Gadar Party whose president was Baba Sohan Singh and the secretary was Lala Har Dayal was formed in America to get our country free from the British. In 1914, with arms and ammunition, Gadar Party members, travelling by the ship Kama Gata Maru arrived in Calcutta. They were arrested by the British.
Repatriation of prisoners from Andamans (1921)
The rise of socialism in Russia and the rising influence of the Chinese Revolution gave rise to revolutionary thoughts and action here in our country, and were very popular with the young. The Bengal revolutionary parties like Anushilan and Yugantar again became active. In Punjab and Uttar Pradesh, the Naujavan Bharat Sabha provided a good platform for the youth. The Hindusthan Socialist Republican Association and its leader Shaheed Bhagat Singh's ideas are symptomatic of those times.
Assembly Bomb Case (1929)
On 8 April 1929 in protest against the trade dispute bill Sardar Bhagat Singh and Batukeshwar Dutt threw a bomb in the central constituent assembly. They threw leaflets and got themselves arrested. There was a tremendous impact on the nation. On 12 June 1929 both were given life imprisonment.
The Second Lahore Conspiracy Case
The British government filed the second Lahore Conspiracy Case against Bhagat Singh and 16 of his colleagues. In 1930, Bhagat Singh, Sukh Dev and Rajguru were hanged. Shri Yatendra Nath died because of hunger strike. Bhagat Singh's other friends Batukeshwar Dutt, Bejoy Kumar Sinha, Shiv Verma, Jaidev kapoor, Dr. Gaya Prasad, Kamal Nath Tiwari, Mahabir Singh were given life imprisonment and were sent to Andaman Cellular Jail.
The Chittagong Revolt (1930)
On the night of 18th April 1930 revolutionaries occupied Chittagong Armoury. For many days they battled with British army on the hills of Jalalabad. Many died a heroic death and many were arrested on 1st March 1932., 12 out of 32 people were given life imprisonment. Revolutionary leader (Master Da Surya Sen) was arrested and hanged on 12th Jan 1934. Ambika Chakraborty, Ganesh Ghosh, Anant Singh, Lok Nath Bal, Anand Gupta, Randhir Dass Gupta, Fakir Sen and other compatriots were sent to Cellular Jail.
The Reopening of the Andaman Cellular Jail (1932)
All around the country there were revolts against the British. In Bengal, Bihar, Uttar Pradesh and Punjab a chain of revolutionary conspiracies started. On a large scale there were arrests and long sentences were given. National revolutionary movement leaders and active participants started being sent to the Cellular Jail in Andamans.
Inhuman treatment in Jail (1932)
The food that was given was not fit for human consumption. There were worms when you opened the bread and wild grass was boiled and served in lieu of vegetables. Rain drinking water was full of insects and worms. The 13' X 6' cells were dark and damp and dingy thickly coated with moss. There were no toilets. There were no lights, no reading material. Prisoners were not allowed to meet with each other. The guards carried out physical torture and flogging. Their behaviour was insulting. Things had become unbearable.
The first mass hunger strike
12 May 1933 The only alternative before the freedom fighters was to resort to a hunger strike against these atrocities. On 12 May 1933 they started a fast undo death. Mahavir Singh, Mohan Kishore Namo Das and Mohit Moitra died during this hunger strike. Their bodies were quietly ferreted away and thrown out to sea. Punjab's jail inspector Barker was called to break the hunger strike. He issued orders to stop the issuing of drinking water. The freedom fighters were resolute. There was a huge outcry throughout India because of this hunger strike. After 46 days the British Raj had to bow and the demands of the freedom fighters had to be accepted. The hunger strike ended on 26 June 1933.
Facilities obtained after the hunger strike
After the death of three colleagues the facilities won from jail authorities proved beneficial for the future. There was light in the cells. The prisoners started getting newspapers, books and periodicals. They were allowed to meet. The facility to read individually or on a collective basis was allowed. The opportunity to play sports and organise cultural events was given. The jail work was reduced to minimal. Above all there was respect for the freedom fighters from the prison officials and a marked improvement in their behaviour. A new environment was created as the freedom fighters met to discuss and read. A thirst for books and knowledge began. There were students, doctors, lawyers, peasants, and workers all together. They discussed politics, economics, history and philosophy.
There were classes in biology and physiology given by the doctors amongst them. Others gave classes in historical and dialectical materialism. Knowledge, experience and books were hungrily shared. A jail library was started. A veritable university of freedom fighters had begun where revolutionaries were learning about Marxist and socialist ideas and how to disseminate these amongst the people whose freedom they were fighting for. A Communist consolidation was formed of 39 prisoners on 26 April 1935. This number later swelled to 200. The freedom fighters started feeling that the atmosphere for a world war was gathering and that before the war starts we should get back to our country to be with our people and take active part in the upheaval that was imminent. A petition was sent to the Viceroy on 9 July 1937 by the freedom fighters that all political prisoners should be repatriated to the mainland and released An ultimatum was given that if these demands were not met a hunger strike would begin.
The second hunger strike for the repatriation of freedom fighters began on 25 July 1937
A country wide movement on the mainland in support of the demands of the Andaman freedom fighters began as other political prisoners in other jails on the mainland also started hunger strikes in support. There was a mass demonstration of working people, intellectuals and students. This upsurge clearly showed that their people on the mainland did not forget them. After four weeks telegrams from Bengal's chief minister, leaders of the nation Jawaharlal Nehru, Subhash Chandra Bose, Sharad Chandra Bose, Rabindra Nath Tagore etc poured in imploring the freedom fighters to end their hunger strike.
On 28 August 1937, Gandhiji, poet Rabindra Nath Tagore and the Congress Working Committee sent a telegram…"the whole nation appeals to you to end the hunger strike… and assures you to take up your demands and to see them fulfilled…" After a lot of deliberation and discussion this historic 36-day hunger strike of 200 revolutionary freedom fighters ended. The process of repatriation started in September 1937. There were a total of 385 freedom fighters in jail at the time. 339 from Bengal, 19 from Bihar, 11 from Uttar Pradesh, 5 from Assam, 3 from Punjab, 2 from Delhi and 2 from Madras.
Netaji in Andamans
Netaji's Azad Hind Fauz first of all gave independence to Port Blair, Andaman. Netaji visited the Andaman Island and hoisted the tricolour flag on 30 December 1943. He had declared that the very first bastion to be relieved of the British yolk was Andamans, the Indian Bastille revolutionary freedom fighters were kept, very much like the Bastille in Paris during the French Revolution. The British reoccupied the Andaman and Nicobar Islands and abolished the Penal Settlement in 1945.
The Demolition of the Cellular Jail
We do not know on whose initiative the demolition of the Cellular Jail was begun. We revolutionaries who were incarcerated in the Cellular Jail intervened. We felt strongly that this symbol of tyranny needed to be preserved as a National Memorial to remind our future generations of the tremendous cost that was paid in Indian blood for the freedom of our country.
Source : hridyapalbhogal.hubpages.com/hub/Andaman-Cellular-Jail-Ka...
"Chinese socialism is founded upon Darwin and the theory of evolution." Mao Tse-tung (1893 – 1976). Kampf um Mao's Erbe (1977.)
Some of the famous atheists in the atheist Hall of Shame.
Stalin, Marx, Lenin, Kim Jong IL, Mao, Kim Jong Un, Pol Pot, Kruschev, Brezhnev, Honecker, Ceaușescu
Atheism proved itself, in the 20th century, to be the most horrendous, barbaric, murderous and criminal ideology the world has ever experienced. Countless millions suffered and died at the hands of this hideous ideology, they must never be forgotten.
The promised atheist/socialist utopia ... the idea of an atheist Heaven on Earth resulted in a diabolical Hell on Earth.
Who, but a complete idiot would want to resurrect such a monstrous, no-hope philosophy?
Present day, so-called 'new' (improved?) atheists (and communists) try to disassociate themselves from the disastrous record of the world's, first ever, official, atheist states, established in the great, atheist experiment of the 20th century.
But all the examples we have of official, atheist rule are horrendous. And, the tyranny still continues, wherever atheism is the dominant, ruling ideology, as in North Korea.
The ‘new’ atheists try to blame the 20th century’s persecution and brutality completely on communism. They claim it had nothing to do with atheism.
But, although communism is a disastrous economic system, there is no intrinsic reason why it should be brutal, or why it should hate religion, or why it should destroy churches and persecute and murder millions of Christians and people of other faiths.
That is the hallmark of atheist ideology, not of an economic system.
Communism is fatally flawed as an economic system. And, as it thrives on envy, class hatred and division, it is a an anathema to Christianity, and any other religion which preaches love for everyone. Consequently, it is the ideal bedfellow for atheism, but that is different from requiring an intrinsic hatred of God and religion as a matter of state, endorsed policy. That is essentially an atheist ideal.
If communists weren't atheists, why would they outlaw and attack all religion? Karl Marx, the founder of communism, hated religion, because he was also an atheist. He understood that communist, dialectic materialism, class war etc. is incompatible with most religions, so, it could be argued, that to be a bona fide communist, he also had be an atheist.
Lenin was a self-declared atheist who, together with his Soviet Bloc, atheist successors, tried to eliminate religion with brutal repression and wholesale murder.
Thus, history tells us that the atheist experiment has been tried and, from beginning to end, was a brutal and diabolical failure. The new atheists may say: “it's nothing to do with us gov.”
But who wants to risk such devastation again, by giving the atheist ideology another chance? Only a complete idiot would want to take that gamble.
However, it was only to be expected and it could easily have been predicted beforehand, that the inevitable result of atheism's lack of an absolute ethical or moral yardstick would be to wreak havoc on the world - and that is exactly what it did. .
Atheism hasn't changed at all in that respect, because it can't.
Atheism and secular humanism categorically reject the concept of intrinsic right and wrong. Therefore, the ephemeral values, moral relativism and situational ethics of atheism are the ideal recipe for abuse.
We can see from the belligerent, intolerant, rabble rousing rhetoric and anti-religious ranting of today's militant, new atheist zealots, that the leopard hasn't really changed its spots. Let no one doubt it - atheism has an horrendous and hideously, barbaric record... we must never let it happen again.
Moreover, it is a singularly perverse ideology that motivates its adherents to waste so much time of the only life they believe they have, trying to convince everyone else that they are doomed to eternal oblivion. The ultimate reward for atheists is to never know if they got it right, only if they got it wrong.
There is certainly no moral or rational defence for the atheist cult, past or present.
But what do atheists themselves say about their ethical and moral values?
They claim that they DO have an ethical and moral yardstick, and cite the Humanist Manifesto as representing the ethics and moral code of atheism.
So is it really true?
The Humanist Manifesto looks good at first glance, but like most proposals atheists have come up with, when examined closely, it is full of holes.
Problems, problems ....
1. You don’t have to sign up to the Humanist Manifesto to be an atheist.
2. Even if you do sign up to it, there is no incentive to follow it. No reward for following it, and no penalty for not following it. You are not going to be barred from being an atheist because you reject or break the rules of the Humanist Manifesto. It is not enforced in any way.
3. It borrows any desirable ethics, it may have, from Judeo-Christian values, there is no atheist, moral code per se.
Atheism is the ideology of naturalism. Genuine, naturalist, ethical values are basically the Darwinian, ‘law of the jungle’. Progressive evolution and improvement through the survival of the fittest/strongest, and the elimination of any who are weaker or unable to adapt - nature red in tooth and claw, In societal terms - the most powerful, wealthiest, most influential, most cunning, dominate and rule for their own benefit. Anything else in the Humanist Manifesto is actually a contradiction of social Darwinism and naturalism. Any socially desirable or compassionate ethics, which may be included in the H.M, are wholly inconsistent with atheist, materialist, naturalist, and evolutionist ideology.
4. By far the biggest flaw in the Humanist Manifesto is the fact that it is entirely ephemeral. It advocates 'situational ethics' and 'moral relativism'. And that major flaw makes it a worthless scrap of paper.
Why?
Because .....
Situational ethics is based on what people want or find desirable, not on any adherence to what is intrinsically right or wrong.
A good, example of humanist style, situational ethics in practice, is the gender selection abortions now being blatantly carried out in abortion clinics in Britain. It primarily discriminates against female babies, who are especially targeted for killing, because most of the parents who want it, prefer to have boys for cultural reasons.
The abortion clinics openly admit to it happening, and claim it is legal.
www.independent.co.uk/news/uk/home-news/pro-choice-aborti...
The abortion act of 1967 certainly did not intend that, and the Government admits it was not intended.
So we have a Government that knows it is going on, it also knows it is not what the abortion law intended, yet it is still reluctant to do anything about it.
Why?
Because it is wedded to the secularist concept of situational ethics, i.e. whatever people want, people get. Any concept of intrinsic right and wrong has to take a back seat, to whatever is the spirit of the times. And that is an example happening right now, in a so-called democracy.
The Nazi persecution of the Jews and other races they considered ‘inferior’ became popular through brainwashing of the public, and was eventually supported by a good proportion of the public.
Hitler cleverly used situational ethics to do what he had persuaded people was right and good.
So, all in all, the Humanist Manifesto and its purported ethical values, is a very dangerous document.
It gives carte blanche to any so-called ethical values, as long they become the fashionable or consensus opinion. Whatever people want, people get, or what a government can claim people want, they are justified in giving to them.
And for that reason it would not stop; a Lenin, a Stalin, a Hitler, a Mao, or a Pol Pot, even if they had signed up 100% to abide by the Humanist Manifesto.
In fact, the 20th century, atheist tyrants even called their regimes ... Democratic People's Republics. They claimed they were representing people's wishes, and thus carried out their 'situational ethics' on behalf of the people.
What about the common, atheist tactic of highlighting alleged crimes and wrongdoing committed by Christians?
The point is ....
Christians who do wrong, go against the teachings of Christianity. It is recognised as ‘sin’. If they blatantly and deliberately go against the intrinsic moral values and teaching of Christianity, they forfeit the right to continue to call themselves Christian. And they can even be excommunicated by the Church, if they fail to admit their actions are wrong.
And, without sincere sorrow and repentance, they don't get to go to the Christian Heaven.
End of story!
Atheists who do wrong, go against nothing, unless it is against the law of the land.
You cannot be chucked out of atheism for doing wrong, you cannot even be censored by atheism for doing wrong, it is a complete free for all, you can simply act with impunity according to your own desires and opinion. Atheists don’t recognise sin, right and wrong is not intrinsic or absolute. Atheism has no, unchanging, moral code. Right and wrong is, ultimately, just a matter of opinion
The atheist 'heaven' is right here on earth, and far from being a 'heaven' it is an horrendous nightmare. Anyone with any sense would call it a hell.
And even the law of the land need not stop atheists .....
Whenever, atheists get into a position of power they change the law to suit their situational ethics. Then they can do whatever they want.
That is what Stalin and all the other atheist tyrants did in their people's DEMOCRATIC republics.
And the atheist thirst for blood does not cease when they live in the so-called 'real' democracies, it is simply sanitised by atheist inspired, situational ethics.
They use their 'humanist' ethics to change the law, accompanied by 'newspeak' and propaganda.
So that what was once considered evil, is not only made legal, it is actually turned around so it is considered a virtue.
The wholesale and brutal slaughter, of the most vulnerable in society ... millions of unborn babies, is callously shrugged off as necessary, for 'free choice'.
Of course murder is always a free choice for the killer, only the dangerous, warped, atheist style, situational ethics could value a killer's free choice to kill, above the victim's right not to be killed, and make murder legal.
The callous slaughter of the unborn, which in most cases, was not even put to the people democratically (it was imposed on them by a handful of secularist politicians, lawyers and bureaucrats), is accompanied by the usual atheist lies and devious propaganda.
Doctors acting illegally over abortions get off scot-free ....
www.dailymail.co.uk/news/article-2609950/Scandal-doctors-...
So the secularists simply laugh off democracy, it doesn't stop them, if it gets in the way of their ideology, they just ignore it, like they do with science.
"Democratic societies" how do they impact on situational ethics?
We see, in practice, that democracy is treated with utter contempt .....
Why ask the people? They are apparently not qualified to consider such difficult matters of right and wrong, like whether babies should live or die? You can't give those ignorant peasants, plebs and rednecks a vote on it, ... leave it to the secularist EXPERTS and their wonderful, situational ethics based on 'reason' and 'science'.
We are told by atheist moralists that the unborn baby is not fully human, it is only a blob of jelly, which has, and deserves, NO rights. As usual, they deliberately ignore, or twist, the scientific facts.
And we are also told, anyone who supports the rights of the unborn babies not to be brutally ripped limb from limb is evil and a ‘far right’ fanatic, because they are interfering with free CHOICE.
So the atheist leopard certainly hasn't changed its deceitful, devious, brutal and murderous spots, even in so-called 'real' democratic societies. It simply legalises and sanitises evil and murder and makes it appear good.
Then it can claim atheism is extremely ethical and virtuous, with its own, beautiful, humanist code of morals and conduct .... Yeah Right!
Remind you of anyone?
Always remember ....
Atheist/humanist so-called ethics and morals depend entirely on OPINION, and that is why they are so extremely dangerous.
Atheism has no moral or ethical yardstick, no concept of God-given, human rights ... only OPINION.
But WHOSE opinion?
My opinion?
Your opinion?
Or maybe Richard Dawkins opinion?
Or Sam Harris's opinion?
Or how about Barrack Obama's opinion?
Or why not STALIN'S or POL POT'S opinion?
So don't be fooled by the relentless chorus from the 'new' atheists and humanists, that atheism has its own code of ethics and morals, their code of ethics is based on the OPINION of one or more of the following ... whoever is: the most vociferous, the most charismatic, the most cunning, the most influential, the most powerful, the wealthiest, the most successful propagandist, the most persuasive, the most repressive, or the most brutal.
www.flickr.com/photos/101536517@N06/14797003191
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Unjust laws/evil laws (such as legalised abortion) are effectively null and void. They should not be accepted by any right-thinking person. In any just society, the legalisation of abortion has to be regarded as a crime against humanity, and those guilty will surely be held to account by a more enlightened society.
“civil law cannot contradict right reason without losing its binding force on conscience. Every humanly-created law is legitimate insofar as it is consistent with the natural moral law, recognized by right reason, and insofar as it respects the inalienable rights of every person”. —St. Thomas Aquinas, Summa Theologiae, I-II, q. 95, a. 2.w
Why satanism is now on the center stage in the culture war.
www.crisismagazine.com/2019/why-satanism-is-now-on-the-ce...
EUbabel. The shocking occult symbolism of the European Union.
peuplesobservateursblog.wordpress.com/2017/09/23/togo-all...
My work explores the relationship between the tyranny of ageing and life as performance.
With influences as diverse as Nietzsche and L Ron Hubbard, new combinations are generated from both constructed and discovered narratives.
Ever since I was a child I have been fascinated by the essential unreality of meaning. What starts out as undefined soon becomes corroded into a dialectic of defeat, leaving only a sense of unreality and the prospect of a new undefined.
As subtle derivatives become transformed through frantic and personal practice, the viewer is left with an insight into the limits of our culture.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
cambridge, massachusetts
april 1970
"no more fun & games"
harvard square
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Alla ricerca continua della verità, l'uomo non sceglie mai una scienza in particolare, non avrebbe senso, in ognuna di esse vi è un pizzico di luce.
Piuttosto e' meglio ricercare quale in quella determinata situazione e' utile alla causa, non per opportunismo dialettico, bensì per avere l'indicazione di come riuscire ad essere comunque sempre capaci di discernere e capire la vera forza dell'Intelletto.
Così si avrà la forza di essere coscienti che i nostro passi avanti saranno comunque sempre piu' grandi di quelli che hanno una conoscienza specifica, e avremmo così ottenuto non soltanto le cose desiderate dalla massa, ma la profondità dell'Essere e il nostro vivere sara' piu' armonico con tutto il nostro Mondo.
C'e' grande latitanza di cervelli ultimamente, e non vedo lumi che illuminino il cammino gia' tortuoso di suo.
n the continuing search for truth, the man never chooses a science in particular, it wouldn't be right , in each siences there is a hint of light.
Rather it is better to seek which can be useful in that particular situation is the cause, not opportunism dialectic, but to get an indication of how to be always able to discern and understand the true strength of intellect.
So, you have the strength to be aware that our steps are always larger than those with a specific knowledge, and would thus obtained not only the things you want from the crowd, but the depth of Being and our living will more harmonious with our whole world.
Lately brain are abscondences, and I do not see the lights that enlighten already tortuous path of his own.
EP
The hawk circling in the blue loft.
While around me I heard the machinery of birds — what, trilling? — from their green enclave.
~ Steve Mueske, in "Sunday Afternoon Dialectic"
For all your hopes . . . .
How far are you willing to go down the dialectical hole?
Marxist religion is the opium of the people. Identity politics, critical race theory, and gender theory are all forms of repackaged Marxism: identity Marxism, race Marxism, and gender Marxism. Flee from wokeism (woke Marxism): diversity, equity, and inclusion! Climate change (climate Marxism): humans are the oppressors, the earth is the oppressed. The dialectic of climate change: shame the unmasked and unvaxxed...oops, I mean: Struggle Session the masses about climate change and carbon footprints (eventually people will not be allowed to travel around freely; they will be locked down in their 15 minute city smart homes; they will feel too guilty to leave their bedrooms). “The dialectic marries truth to a lie. It forms a synthetic view, a synthetic reality—a contrived reality.” In the end the dialectic swaps out the truth for a lie. It destroys the truth. It destroys society. It will replace capitalism with socialism. It will replace freedom with authoritarianism. Like the devil, it comes only to steal and kill and destroy. The dialectic is ever changing. It never remains the same. It’s always on the move, it’s always on the creep. The dialectic is steadily moving towards sustainability (universal socialism) and global citizenship. When I use the word socialism, I’m talking about a new spin (dialectic) of fascism and communism; it’s a universal neo-commufascism called “Antichristism (socialist/antichrist).” The dialectic of Global Citizenship Education:
www.unesco.org/en/global-citizenship-peace-education/need...
www.un.org/en/academic-impact/page/global-citizenship-edu...
www.globalcitizenshipfoundation.org/about/global-citizens...
Global Citizenship Education can be defined as a lifelong revolutionary pursuit that uses both dialectical learning and activism to brainwash and equip global citizen activists with the knowledge and skills to promote Sustainable (socialist) Development in order to forge [with a communist hammer] a more [un]equitable and [un]inclusive society. Global Citizenship Education harnesses cultural power dynamics, using modern educational institutions to foster an ecosystem of internationalization and globalization to promote the permanent pursuit of social(ist) justice. We will use a post-colonial, critical-transformative, and value-creating GCE-curriculum with a sustainable (socialist) paradigm that will direct us towards sustainable (socialist) societies. We will utilize Social and Emotional Learning to promote empathetic awareness of the interconnectedness of people to the global ecosystem, which is a key feature of the new Education for Sustainable (Socialist) Development. All graduates of this program will receive a Global Citizenship Certificate, acknowledging that the pupil (disciple) understands the social(ist) implications and ethics of Global Citizenship.
The United Nations is partnering with countries to rewire their educational systems for social(ist) transition, which will in turn rewire the minds of their people for social(ist) change. The Member (puppet) States of the United Nations must promote these Sustainable Development Goals. Their Educational Institutions have a responsibility to promote Global Citizenship. They must teach the youth about the benefits of being members of a larger global community. They must prepare them for the future global order. The concept of global citizenship is embedded in the 17 Corpus Hermeticum (occultic/demonic) Goals of Sustainable Development (goals toward perpetual universal authoritarianism). It will take a global effort among stakeholders (bankers, billionaires, politicians, CEOs), using public–private (government and corporations [fascism], and NGOs) partnerships (as a workaround [bypass around] democracy) to achieve these (New World Order) Goals. The United Nations’ Agenda 2030 Sustainable Development Goals will prepare the young people (Red Guards) for the Cultural Revolution, which will purge the Four Olds from society: Old Ideas, Old Customs, Old Culture, and Old Habits. The Great Reset (Build Back Better) will be like the Great Leap Forward under Mao; “it was an economic and social campaign that ended in digression and mass death.”
This dialectic will eventually lead us into a one world economic order in which all global citizens will receive a digital citizenship smart tattoo ID: 666. Take the jab, take the (micro)chip. If you refuse, we’ll use a Maoist style Struggle Season to publicly humiliate and beat and torture and execute (behead) you. Bow down and worship the Image of the Beast (the idol of the Supreme Leader—The True Social(ist) Man—the Antichrist). Take the Mark of the Beast and be reborn a true social(ist) man (transhuman/666)—a god, like the Beast who died and came back to life.
“Beware of false prophets who come disguised as harmless sheep but are really vicious wolves.” “Watch out! Guard against the yeast of the Pharisees and Sadducees.” “A little yeast works through the whole batch of dough.” “Dear children, the last hour is here. You have heard that the Antichrist is coming, and already many such antichrists have appeared. From this we know that the last hour has come.”
I will ask you again: how far are you willing to go down the dialectical hole?
“The night is far spent, the day is at hand. Therefore let us cast off the works of darkness, and let us put on the armor of light.” “Have nothing to do with the fruitless deeds of darkness, but rather expose them.”
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
Thinking too much can only cause problems . .
Too much problems can only cause . . thinking !
Let's dis-re-choose our perspective lines (lines of flight) . .
. . between hard, flexible, or vanishing ones ?
What's rhizome performativity ?
Is performativity the essence of all pleat dialectics ?
__________________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
From Wikipedia, the free encyclopedia
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For the album by The Creatures, see Anima Animus.
The anima and animus are described in Carl Jung's school of analytical psychology as part of his theory of the collective unconscious. Jung described the animus as the unconscious masculine side of a woman, and the anima as the unconscious feminine side of a man, each transcending the personal psyche. Jung's theory states that the anima and animus are the two primary anthropomorphic archetypes of the unconscious mind, as opposed to the theriomorphic and inferior function of the shadow archetypes. He believed they are the abstract symbol sets that formulate the archetype of the Self.
In Jung's theory, the anima makes up the totality of the unconscious feminine psychological qualities that a man possesses and the animus the masculine ones possessed by a woman. He did not believe they were an aggregate of father or mother, brothers, sisters, aunts, uncles, or teachers, though these aspects of the personal unconscious can influence a person's anima or animus.
Jung believed a male's sensitivity is often lesser or repressed, and therefore considered the anima one of the most significant autonomous complexes. Jung believed the anima and animus manifest themselves by appearing in dreams and influence a person's attitudes and interactions with the opposite sex. A natural understanding of another member of the opposite sex is instilled in individuals that stems from constant subjection to members of the opposite sex. This instilment leads to the development of the anima and animus.[1] Jung said that "the encounter with the shadow is the 'apprentice-piece' in the individual's development ... that with the anima is the 'masterpiece'".[2] Jung viewed the anima process as being one of the sources of creative ability. In his book The Invisible Partners, John A. Sanford said that the key to controlling one's anima/animus is to recognize it when it manifests and exercise our ability to discern the anima/animus from reality.[3]
Contents
1Origin
1.1Anima
1.2Animus
2Levels of anima development
2.1Eve - Object of desire, provider of nourishment, security and love
2.2Helen - Worldly achiever, intelligent and talented
2.3Mary - Righteous and a paragon of virtue
2.4Sophia - Wise and fully human, equal and not at all an object
3Levels of animus development
3.1Tarzan - Man of mere physical power
3.2Byron - Man of action or romance
3.3Lloyd George - Man as a professor, clergyman, orator
3.4Hermes - Man as a spiritual guide
4Anima and animus compared
5Jungian cautions
6References
7Further reading
8External links
Origin
Anima
Anima originated from Latin, and was originally used to describe ideas such as breath, soul, spirit or vital force. Jung began using the term in the early 1920s to describe the inner feminine side of men.[4]
Animus
Animus originated from Latin, where it was used to describe ideas such as the rational soul, life, mind, mental powers, courage or desire.[5] In the early nineteenth century, animus was used to mean "temper" and was typically used in a hostile sense. In 1923, it began being used as a term in Jungian psychology to describe the masculine side of women.[5]
Levels of anima development
Jung believed anima development has four distinct levels, which in "The psychology of the transference" he named Eve, Helen, Mary and Sophia. In broad terms, the entire process of anima development in a man is about the male subject opening up to emotionality, and in that way a broader spirituality, by creating a new conscious paradigm that includes intuitive processes, creativity and imagination, and psychic sensitivity towards himself and others where it might not have existed previously.[citation needed]
Eve - Object of desire, provider of nourishment, security and love
The first is Eve, named after the Genesis account of Adam and Eve. It deals with the emergence of a man's object of desire. The anima is completely tied up with woman as provider of nourishment, security and love.
The man at this anima level cannot function well without a woman, and is more likely to be controlled by her or, more likely, by his own imaginary construction of her. He is often impotent or has no sexual desire.[citation needed]
Helen - Worldly achiever, intelligent and talented
The second is Helen, an allusion to Helen of Troy in Greek mythology. In this phase, women are viewed as capable of worldly success and of being self-reliant, intelligent and insightful, even if not altogether virtuous. This second phase is meant to show a strong schism in external talents (cultivated business and conventional skills) with lacking internal qualities (inability for virtue, lacking faith or imagination).[citation needed]
Mary - Righteous and a paragon of virtue
The third phase is Mary, named after the Christian theological understanding of the Virgin Mary (Jesus' mother). At this level, women can now seem to possess virtue by the perceiving man (even if in an esoteric and dogmatic way), in as much as certain activities deemed consciously unvirtuous cannot be applied to her.[citation needed]
Sophia - Wise and fully human, equal and not at all an object
The fourth and final phase of anima development is Sophia, named after the Greek word for wisdom. Complete integration has now occurred, which allows women to be seen and related to as particular individuals who possess both positive and negative qualities. The most important aspect of this final level is that, as the personification "Wisdom" suggests, the anima is now developed enough that no single object can fully and permanently contain the images to which it is related.[citation needed]
Levels of animus development
Jung focused more on the man's anima and wrote less about the woman's animus. Jung believed that every woman has an analogous animus within her psyche, this being a set of unconscious masculine attributes and potentials. He viewed the animus as being more complex than the anima, postulating that women have a host of animus images whereas the male anima consists only of one dominant image.
Jung stated that there are four parallel levels of animus development in a woman.[6]
Tarzan - Man of mere physical power
The animus "first appears as a personification of mere physical power - for instance as an athletic champion or muscle man, such as 'the fictional jungle hero Tarzan'".[7]
Byron - Man of action or romance
In the next phase, the animus "possesses initiative and the capacity for planned action...the romantic man - the 19th century British poet Byron; or the man of action - America's Ernest Hemingway, war hero, hunter, etc."[8]
Lloyd George - Man as a professor, clergyman, orator
In the third phase "the animus becomes the word, often appearing as a professor or clergyman...the bearer of the word - Lloyd George, the great political orator".[8]
Hermes - Man as a spiritual guide
"Finally, in his fourth manifestation, the animus is the incarnation of meaning. On this highest level he becomes (like the anima) a mediator of...spiritual profundity".[9] Jung noted that "in mythology, this aspect of the animus appears as Hermes, messenger of the gods; in dreams he is a helpful guide." Like Sophia, this is the highest level of mediation between the unconscious and conscious mind.[citation needed] In the book The Invisible Partners, John A. Sanford said that the key to controlling one's anima/animus is to recognize it when it manifests and exercise our ability to discern the anima/animus from reality.[3]
Anima and animus compared
The four roles are not identical with genders reversed. Jung believed that while the anima tended to appear as a relatively singular female personality, the animus may consist of a conjunction of multiple male personalities: "in this way the unconscious symbolizes the fact that the animus represents a collective rather than a personal element".[10]
The process of animus development deals with cultivating an independent and non-socially subjugated idea of self by embodying a deeper word (as per a specific existential outlook) and manifesting this word. To clarify, this does not mean that a female subject becomes more set in her ways (as this word is steeped in emotionality, subjectivity, and a dynamism just as a well-developed anima is) but that she is more internally aware of what she believes and feels, and is more capable of expressing these beliefs and feelings. Thus the "animus in his most developed form sometimes...make[s] her even more receptive than a man to new creative ideas".[11]
Both final stages of animus and anima development have dynamic qualities (related to the motion and flux of this continual developmental process), open-ended qualities (there is no static perfected ideal or manifestation of the quality in question), and pluralistic qualities (which transcend the need for a singular image, as any subject or object can contain multiple archetypes or even seemingly antithetical roles). They also form bridges to the next archetypal figures to emerge, as "the unconscious again changes its dominant character and appears in a new symbolic form, representing the Self".[12]
Jung's theory of anima and animus draws from his theory of individuation. In order for a person to reach the goal of individuation is to engage in a series of intrapersonal dialogues which help the person understand how he or she relates to the world. This process requires men and women to become aware of their anima or animus respectively, in so doing the individual will learn how not to be controlled by their anima or animus. As individuals are made aware of their anima or animus, it allows them to overcome thoughts of who they ought to be and accept themselves for who they really are. According to Jung, individuals can discover a bridge to the collective unconscious through the development of their anima or animus. The anima and the animus represent the unconscious. The anima and animus are not gender specific and men and women can have both, however, more empirical research is required to determine whether both men and women do possess both archetypes. [13]
Jungian cautions
Jungians warned that "every personification of the unconscious - the shadow, the anima, the animus, and the Self - has both a light and a dark aspect....the anima and animus have dual aspects: They can bring life-giving development and creativeness to the personality, or they can cause petrification and physical death".[14]
One danger was of what Jung termed "invasion" of the conscious by the unconscious archetype - "Possession caused by the anima...bad taste: the anima surrounds herself with inferior people".[15] Jung insisted that "a state of anima possession...must be prevented. The anima is thereby forced into the inner world, where she functions as the medium between the ego and the unconscious, as does the persona between the ego and the environment".[16]
Alternatively, over-awareness of the anima or animus could provide a premature conclusion to the individuation process - "a kind of psychological short-circuit, to identify the animus at least provisionally with wholeness".[17] Instead of being "content with an intermediate position", the animus seeks to usurp "the self, with which the patient's animus identifies. This identification is a regular occurrence when the shadow, the dark side, has not been sufficiently realized".[17]
References
Ewen, Robert B. (2003). An Introduction to the Theories of Personality. Taylor & Francis. p. 66. ISBN 9780805843569.
Jung quoted in Anthony Stevens On Jung (London 1990) p. 206
Sandford, John A. The Invisible Partners: How the Male and Female in Each of Us Affects Our Relationships, 1980, Paulist Press, N.Y.
"The definition of anima". www.dictionary.com. Retrieved 2018-05-31.
"The definition of animus". www.dictionary.com. Retrieved 2018-05-31.
Jung, Carl. The Psychology of the Unconscious, Dvir Co., Ltd., Tel-Aviv, 1973 (originally 1917)
M.-L. von Franz, "The Process of Individuation" in Carl Jung ed., Man and his Symbols (London 1978) p. 205-6
von Franz, "Process" p. 205-6
von Franz, "Process" p. 206-7
von Franz, Process p. 206
von Franz, Process p. 207
von Franz, Process p. 207-8
K., Papadopoulos, Renos (2012). The Handbook of Jungian Psychology : Theory, Practice and Applications. Taylor and Francis. ISBN 978-1-135-48078-3. OCLC 817888854.
von Franz, "Process" in Jung, Symbols p. 234
C. G. Jung, The Archetypes and the Collective Unconscious (London 1996) p. 124
C. G. Jung, Alchemical Studies (London 1978) p. 180
Jung, Alchemical p. 268
Further reading
The Invisible Partners: How the Male and Female in Each of Us Affects Our Relationships by John A. Sanford (Paperback – Jan 1, 1979).
External links
Archive for Research in Archetypal Symbolism website
Sample image with scholarly commentary: Hall of the Bulls at Lascaux
Jung on the anima and animus
vte
Carl Jung
Theories
Analytical psychologyCognitive functionsInterpretation of religionPersonality typeSynchronicityTheory of neurosis
Concepts
The psyche
Anima and animusCollective unconsciousComplexElectra complexInner childPersonal unconsciousPersonaSelfShadow
Jungian archetypes
ApolloTricksterWise Old Man and Wise Old WomanWounded healer
Other
Active imaginationEnantiodromiaExtraversion and introversionIndividuationParticipation mystique
Publications
Early
Psychology of the Unconscious (1912)Psychological Types (1921)Modern Man in Search of a Soul (1933)
Later
Psychology and Alchemy (1944)Aion: Researches into the Phenomenology of the Self (1951)Answer to Job (1954)Mysterium Coniunctionis (1956)
Posthumous
Memories, Dreams, Reflections (1961)Man and His Symbols (1964)Red Book (2009) Seven Sermons to the Dead (1916)Black Books (2020)
The Collected Works
of C. G. Jung
Psychiatric Studies (1970)Experimental Researche (1973)Psychogenesis of Mental Disease (1960)Freud & Psychoanalysis (1961)Symbols of Transformation (1967, a revision of Psychology of the Unconscious, 1912)Psychological Types (1971)Two Essays on Analytical Psychology (1967)Structure & Dynamics of the Psyche (1969)Archetypes and the Collective Unconscious (1969)Aion: Researches into the Phenomenology of the Self (1969)Civilization in Transition (1970)Psychology and Religion (1970)Psychology and Alchemy (1944)Alchemical Studies (1968)Mysterium Coniunctionis (1970)Spirit in Man, Art, and Literature (1966)Practice of Psychotherapy (1966)Development of Personality (1954)The Symbolic Life (1977)General Bibliography (Revised Edition) (1990)General Index (1979)
People
Jungfrauen
Marie-Louise von FranzBarbara HannahJolande JacobiAniela JafféEmma JungToni Wolff
Colleagues
Sigmund FreudMaria MoltzerWolfgang PauliSabina SpielreinVictor WhiteRichard Wilhelm
Followers
Joseph CampbellJames HillmanErich NeumannMaud OakesJordan PetersonLaurens van der PostSonu ShamdasaniJune SingerAnthony Stevens
Houses
Bollingen TowerC. G. Jung House Museum
Organizations
Bollingen FoundationC. G. Jung Institute in ZürichEranosInt'l Assoc. for Analytical PsychologyInt'l Assoc. for Jungian StudiesJungian Society for Scholarly StudiesPhilemon FoundationPsychology Club Zürich
Popular culture
A Dangerous MethodSynchronicity (albumsong 12)Shadow ManThe Soul KeeperPersona (series)Soul
Other
Archetypal literary criticismArchetypal pedagogyBollingen PrizeBurghölzliI ChingThe Secret of the Golden Flower
Commons page CommonsWikiquote page WikiquoteWikisource page Wikisource texts
en.wikipedia.org/wiki/Anima_and_animus
Jung and the idea of androgyny in human beings
Like all archetypal Jungian representations the anima, in which Jung was interested before the animus, is so named because it emanates from an inner image, an image in the soul, unlike the persona which is a exterior image.
Jung, in The Roots of Consciousness (p. 42.) gives a biological explanation for the fact that there is some kind of residue of the character of the opposite sex:
“The image of the opposite sex resides, to some extent, in each sex, since biologically it is only the greater number of male genes that tips the scales in the choice of male sex. The smaller number of female genes appears to constitute a female trait which, however, usually remains unconscious due to its quantitative inferiority. "
It is on this presence of the two elements male and female that he bases his idea of the androgyny of the human being.
This idea of the androgyny of the human being is rooted in the biological and in the conscious-unconscious psychic totality. The unconscious would then have the coloring of the opposite sex. How to recognize and make accessible to experience the manifestations of this archetype?
This is one of the subjects on which Jung is least clear. However, with many digressions on the general functioning of the psyche, he gives us indications in several guide books of which we will retain Dialectics of the Self and the Unconscious, The Roots of Consciousness, Aion, and Transference Psychology.First coined by famous psychiatrist Carl Jung, the terms “Anima” and “Animus” refer to the indwelling masculine and feminine energies that we all possess. Specifically, the anima is thought to be the feminine part of a man’s soul, and the animus refers to the masculine part of a female’s soul. Both the anima and animus are ancient archetypes (or raw forms of energy) that every being contains.
Let’s explore these parts of us more in depth …
The Anima Explained
Derived from Latin meaning “a current of air, wind, breath, the vital principle, life, soul,” the Anima refers to the unconscious feminine dimension of a male which is often forgotten or repressed in daily life.
As it’s generally considered taboo to embrace the inner female side, men often fail to fully embody and embrace this fundamental energy. Sadly, if a male does embrace his Anima, he is often criticized as being “a wimp,” “a sissy,” “a fag,” and other horribly derogatory names.
However, in the perspective of psychology, in order to fully step into a mature masculine role, a man must go on a quest to explore this inner Divine Feminine energy. In other words, he must unite with the other half of his Soul.
Often, this quest results in some sort of projection, that is, trying to find the ideal lover or soul mate in the form of another idealized person. But we can never embody the Anima through another person – only through our own concerted effort. The key realization here is that we must find this force within us, rather than disown it onto another.
As described by Jungian Psychologist Dan Johnston, the man who has connected with his feminine Anima displays “tenderness, patience, consideration and compassion.” However, repression of the female element within males often results in a negative Anima that emerges as personality traits such as “vanity, moodiness, bitchiness, and sensitivity to hurt feelings.”
Indeed, a man who has failed to embody his Anima also tends to fall prey to emotional numbness and toxic masculine traits such as aggression, ruthlessness, coldness, and a purely rational approach to life.
The Animus Explained
The Animus, which is a Latin word that means “the rational soul; life; the mental powers, intelligence,” is the unconscious male dimension in the female psyche. Due to societal, parental, and cultural conditioning, the Animus, or male element within the woman, is often inhibited, restrained, and suppressed.
But the Animus isn’t always repressed – sometimes, it is actually over-emphasized and imposed upon women. Take Western society for example. Here is a culture that ruthlessly imposes masculine ideals such as stoicism, emotional numbness, and ruthlessness as ways to excel and succeed in life.
All of these external elements can contribute towards a negative Animus, which can reveal itself in a woman’s personality through argumentative tendencies, brutishness, destructiveness, and insensitivity. However, integrating a positive Animus into the female psyche can result in strength, assertiveness, levelheadedness, and rationality.
From Wikipedia, the free encyclopedia
Karlsplatz Stadtbahn Station in Vienna, Austria
Karlsplatz Stadtbahn Station is a former station of the Viennese Stadtbahn. The buildings above ground on Karlsplatz are a well-known example of Jugendstil architecture. These buildings were included in The Vienna Secession, as they followed many of the artistic styles of that movement. They were designed by Otto Wagner, adviser to the Transport Commission in Vienna,[1] and Joseph Maria Olbrich and are, unlike the other Stadtbahn stations, made of a steel framework with marble slabs mounted on the exterior.[2] These stations allowed Otto Wagner to achieve his goal of creating two modern axes of architecture in a city that was becoming one of the most modern cities of its time.These buildings went on to become the most modern monument of the modern city. Architectural critic and poet Friedrich Achleitner commented on the Stadtbahn stations as follows "...In these two station buildings Wagner reached a highpoint of his dialectic (in his planning of the Stadtbahn) between function and poetry, construction and decoration, whereby a severe rationalism engages in competition with an almost Secessionist kind of decoration."
Hres triptych published in
. Y Sin Embargo Magazine 22 - cap it all/off
___________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
___________________________________
The mecanosphere draws out and actualises configurations which exist amongst an infinity of others in fields of virtuality. Existential machines are at the same level as being in its intrinsic multiplicity. (...) They are to themselves their own material of semiotic expression. Existence, as a deterritorialisation process, is a specific inter-machinic operation which superimposes itself on the promotion of singularised existential intensities. (...) Existence is not dialectical, not representable. It is hardly livable!
(...) The machines of desire, the machines of aesthetic creation, just as scientific machines constantly modify our cosmic frontiers. As such, they hold an eminent place within assemblages of subjectivation, themselves called to relieve our old social machines which are incapable of keeping up the efflorescence of machinic revolutions that shatter our epoch from all sides. Rather than adopting a reticent attitude with respect to the immense machinic revolution sweeping the planet (at the risk of destroying it) or of clinging traditional value systems, pretending to re-establish transcendence, the movement of progress, or if one prefers, the movement of process, will endeavour to reconcile values and machines.
(...) The machinic systems position themselves in a rhizome of interdependence, situating each actual machinic stasis at the conjunction of a passed filiation and a Phylum of future mutations. All value systems - religious, aesthetic, scientific, ecosophical, ... - install themselves at this machinic interface between the required actualised and the virtual possibilist. (...) Thus a double enunciation: finite, territorialised and incorporeal, infinite.
(...) To the sterile opposition between use-value and exchange-value will here be relinquished in favour of an axiological complexion including all machinic modalities of valorisation: the values of desire, aesthetic values, ecological values, economic values, etc. (...) Economic law, like juridical law, must be deducted from the ensemble of Universes of value, for whose collapse it continually strives. Its reconstruction, on the scaterred debris of planned economies and neoliberalism and according to new ethico-political finalities (ecosophy) calls for, in contradistinction, an untiring renewal of the consistency of machinic assemblages of valorisation.
( Félix Guattari - Chaosmosis - 1992 )
___________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Soviet postcard. Sergei Eisenstein in Dnevnik Glumova/Glumov's Diary (Sergei Eisenstein, 1923). This film clip was used in Sergei Tretiakov’s 'Enough Stupidity in Every Wiseman', based on the play by Alexander Ostrovsky, Proletkult First Workers’ Theatre (premiere: April–May 1923).
Sergei Mikhailovich Eisenstein (1898-1948) was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958).
Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, tr. Sergey Mikhaylovich Eizenshteyn) was born in 1898 in Riga, Latvia (then part of the Russian Empire in the Governorate of Livonia). He was the son of the famous architect Mikhail Osipovich Eisenstein. Eisenstein was raised as an Orthodox Christian but became an atheist later in life. As a young man, Eisenstein attended the Institute of Civil Engineering in Petrograd. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In 1920, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and later as a director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own 'The Montage of Attractions, written for art journal LEF. He briefly attended the film school established by Lev Kuleshov and the two were both fascinated with the power of editing to generate meaning and elicit emotion. The 'montage of attractions' is a sequence of pictures whose total emotional effect is greater than the sum of its parts. Eisenstein's and Kuleshov's individual writings and films are the foundations upon which Soviet montage theory was built, but they differed markedly in their understanding of its fundamental principles. Eisenstein's articles and books, particularly 'Film Form' and 'The Film Sense', explain the significance of montage in detail. He later theorised that this style of editing worked in a similar fashion to Marx's dialectic.
In 1923, Sergei Eisenstein made his first film, the short Dnevnik Glumova/Glumov's Diary. It was part of the theatre production 'Enough Stupidity in Every Wise Man' (Na vsyakovo mudretsa dovolno prostoty), a 1868 comedy by Alexander Ostrovsky made for the Proletkult organisation. Glumov's Diary marks Eisenstein's transition from theatre stage director to film director. Eisenstein's next film, Stachka/Strike (1925) was his first full-length feature film. The film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. The film is most famous for a sequence near the end in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered. Bronenosets Potyomkin/Battleship Potemkin (1925) was critically acclaimed worldwide. It presents a dramatised version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers. Mostly owing to this international renown, he was then able to direct Oktyabr': Desyat' dney kotorye potryasli mir/October: Ten Days That Shook the World (1928), as part of a grand tenth-anniversary celebration of the October Revolution of 1917. Then he directed Staroye i novoye/The General Line/Old and New (Sergei Eisenstein, Grigori Aleksandrov, 1929), a celebration of the collectivisation of agriculture. In these films, Eisenstein did not use professional actors. His narratives eschewed individual characters and addressed broad social issues, especially class conflict. He used groups as characters, and the roles were filled with untrained people from the appropriate classes; he avoided casting stars. While critics outside Soviet Russia praised these works, Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded directors such as Vsevolod Pudovkin and Alexander Dovzhenko under fire from the Soviet film community. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphors in his 'intellectual montage' sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how the film could move beyond its nineteenth-century predecessor, the Victorian theatre, to create abstract concepts with concrete images. The attacks of the Soviet film community forced him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to the increasingly specific doctrines of socialist realism.
In the autumn of 1928, with October still under fire in many Soviet quarters, Sergei Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse. Officially, the trip was supposed to allow the three to learn about sound film and to present themselves as Soviet artists in-person to the capitalist West. For Eisenstein, however, it was an opportunity to see landscapes and cultures outside the Soviet Union. He spent the next two years touring and lecturing in Berlin, Zürich, London, and Paris. In Switzerland, Eisenstein supervised an educational documentary about abortion, Frauennot – Frauenglück/Women's Misery - Women's Happiness (Eduard Tissé, 1929). In late April 1930, film producer Jesse L. Lasky, on behalf of Paramount Pictures, offered Sergei Eisenstein the opportunity to make a film in the United States. Paramount proposed a film version of Theodore Dreiser's 'An American Tragedy'. Eisenstein completed a script but Paramount disliked it and, Paramount and Eisenstein annulled their contract. Charles Chaplin recommended that Eisenstein would meet with American socialist author Upton Sinclair. Sinclair's works were widely read in the USSR and were admired by Eisenstein. Sinclair secured permission for Eisenstein to travel to Mexico to make a film produced by Sinclair. Whilst in Mexico, he mixed socially with Frida Kahlo and Diego Rivera. However, ¡Que viva México! met many problems and Sinclair shut down production before the film was finished. In 1978, Gregori Aleksandrov released his own version of ¡Que viva México!, which was awarded the Honorable Golden Prize at the 11th Moscow International Film Festival in 1979. Eisenstein's foray into the West made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear. He spent some time in a mental hospital in Kislovodsk in July 1933, ostensibly a result of depression born of his final acceptance that he would never be allowed to edit the Mexican footage. He was subsequently assigned a teaching position at the State Institute of Cinematography where he had taught earlier, and in 1933 and 1934 was in charge of writing the curriculum.
Finally, Sergei Eisenstein was able to ingratiate himself with Stalin for 'one more chance', and he chose, from two offerings, the assignment of a biopic of Alexander Nevsky, with music composed by Sergei Prokofiev. He was assigned a co-scenarist, Pyotr Pavlenko, to bring in a completed script; professional actors to play the roles including Nikolai Cherkasov in the title role, and an assistant director, Dmitri Vasilyev, to expedite shooting. The result, the historical drama Alexander Nevsky (1938) was critically well-received by both the Soviets and in the West and won him the Order of Lenin and the Stalin Prize. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263). Eisenstein returned to teaching and was assigned to direct Richard Wagner's 'Die Walküre' at the Bolshoi Theatre. With the war approaching Moscow, Eisenstein was one of many filmmakers evacuated to Alma-Ata, where he first considered the idea of making a film about Tsar Ivan IV. Eisenstein corresponded with Prokofiev from Alma-Ata and was joined by him there in 1942. Prokofiev composed the score for Eisenstein's film epic Ivan Grozniy/Ivan the Terrible and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing. Eisenstein's film Ivan Grozniy/Ivan the Terrible, Part I, presenting Ivan IV of Russia as a national hero, won Stalin's approval and a Stalin Prize. The sequel, Ivan Grozniy/Ivan The Terrible, Part II, however, was criticised by various authorities and went unreleased until 1958. All footage from Ivan The Terrible, Part III was confiscated whilst the film was still incomplete, and most of it was destroyed, though several filmed scenes exist. In 1934, in the Soviet Union, Eisenstein married filmmaker and screenwriter Pera Atasheva. There have been debates about Eisenstein's sexuality, with a film covering Eisenstein's homosexuality allegedly running into difficulties in Russia. According to film critic Vitaly Vulf, the 10-years-long Eisenstein-Aleksandrov "friendship is still a subject of speculation and gossips, although there is no evidence they had had a sexual relationship". Eisenstein suffered a heart attack in 1946 and spent much of the following year recovering. He died of a second heart attack in 1948, at the age of 50. His body had lain in state in the Hall of the Cinema Workers before being cremated and his ashes were buried in the Novodevichy Cemetery in Moscow.
Sources: Michael Kaminsky (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
One of the gems of Parco Nazionale delle Cinque Terre - Area Marina Protetta is Manarola.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful. Manarola was celebrated in paintings by Antonio Discovolo (1874-1956)
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Swiss postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56511. Photo: COKS /Collection Cinémathèque Suisse, Lausanne. Nikolay Cherkasov in Ivan Groznyy/Ivan the Terrible (Sergei Eisenstein, 1944).
Sergei Mikhailovich Eisenstein (1898-1948) was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958).
Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, tr. Sergey Mikhaylovich Eizenshteyn) was born in 1898 in Riga, Latvia (then part of the Russian Empire in the Governorate of Livonia). He was the son of the famous architect Mikhail Osipovich Eisenstein. Eisenstein was raised as an Orthodox Christian but became an atheist later in life. As a young man, Eisenstein attended the Institute of Civil Engineering in Petrograd. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In 1920, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and later as a director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own 'The Montage of Attractions, written for art journal LEF. He briefly attended the film school established by Lev Kuleshov and the two were both fascinated with the power of editing to generate meaning and elicit emotion. The 'montage of attractions' is a sequence of pictures whose total emotional effect is greater than the sum of its parts. Eisenstein's and Kuleshov's individual writings and films are the foundations upon which Soviet montage theory was built, but they differed markedly in their understanding of its fundamental principles. Eisenstein's articles and books, particularly 'Film Form' and 'The Film Sense', explain the significance of montage in detail. He later theorised that this style of editing worked in a similar fashion to Marx's dialectic.
In 1923, Sergei Eisenstein made his first film, the short Dnevnik Glumova/Glumov's Diary. It was part of the theatre production 'Enough Stupidity in Every Wise Man' (Na vsyakovo mudretsa dovolno prostoty), an 1868 comedy by Alexander Ostrovsky made for the Proletkult organisation. Glumov's Diary marks Eisenstein's transition from theatre stage director to film director. Eisenstein's next film, Stachka/Strike (1925) was his first full-length feature film. The film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. The film is most famous for a sequence near the end in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered. Bronenosets Potyomkin/Battleship Potemkin (1925) was critically acclaimed worldwide. It presents a dramatised version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers. Mostly owing to this international renown, he was then able to direct Oktyabr': Desyat' dney kotorye potryasli mir/October: Ten Days That Shook the World (1928), as part of a grand tenth-anniversary celebration of the October Revolution of 1917. Then he directed Staroye i novoye/The General Line/Old and New (Sergei Eisenstein, Grigori Aleksandrov, 1929), a celebration of the collectivisation of agriculture. In these films, Eisenstein did not use professional actors. His narratives eschewed individual characters and addressed broad social issues, especially class conflict. He used groups as characters, and the roles were filled with untrained people from the appropriate classes; he avoided casting stars. While critics outside Soviet Russia praised these works, Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded directors such as Vsevolod Pudovkin and Alexander Dovzhenko under fire from the Soviet film community. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphors in his 'intellectual montage' sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how the film could move beyond its nineteenth-century predecessor, the Victorian theatre, to create abstract concepts with concrete images. The attacks of the Soviet film community forced him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to the increasingly specific doctrines of socialist realism.
In the autumn of 1928, with October still under fire in many Soviet quarters, Sergei Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse. Officially, the trip was supposed to allow the three to learn about sound film and to present themselves as Soviet artists in-person to the capitalist West. For Eisenstein, however, it was an opportunity to see landscapes and cultures outside the Soviet Union. He spent the next two years touring and lecturing in Berlin, Zürich, London, and Paris. In Switzerland, Eisenstein supervised an educational documentary about abortion, Frauennot – Frauenglück/Women's Misery - Women's Happiness (Eduard Tissé, 1929). In late April 1930, film producer Jesse L. Lasky, on behalf of Paramount Pictures, offered Sergei Eisenstein the opportunity to make a film in the United States. Paramount proposed a film version of Theodore Dreiser's 'An American Tragedy'. Eisenstein completed a script but Paramount disliked it and, Paramount and Eisenstein annulled their contract. Charles Chaplin recommended that Eisenstein would meet with American socialist author Upton Sinclair. Sinclair's works were widely read in the USSR and were admired by Eisenstein. Sinclair secured permission for Eisenstein to travel to Mexico to make a film produced by Sinclair. Whilst in Mexico, he mixed socially with Frida Kahlo and Diego Rivera. However, ¡Que viva México! met many problems and Sinclair shut down production before the film was finished. In 1978, Gregori Aleksandrov released his own version of ¡Que viva México!, which was awarded the Honorable Golden Prize at the 11th Moscow International Film Festival in 1979. Eisenstein's foray into the West made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear. He spent some time in a mental hospital in Kislovodsk in July 1933, ostensibly a result of depression born of his final acceptance that he would never be allowed to edit the Mexican footage. He was subsequently assigned a teaching position at the State Institute of Cinematography where he had taught earlier, and in 1933 and 1934 was in charge of writing the curriculum.
Finally, Sergei Eisenstein was able to ingratiate himself with Stalin for 'one more chance', and he chose, from two offerings, the assignment of a biopic of Alexander Nevsky, with music composed by Sergei Prokofiev. He was assigned a co-scenarist, Pyotr Pavlenko, to bring in a completed script; professional actors to play the roles including Nikolai Cherkasov in the title role, and an assistant director, Dmitri Vasilyev, to expedite shooting. The result, the historical drama Alexander Nevsky (1938) was critically well-received by both the Soviets and in the West and won him the Order of Lenin and the Stalin Prize. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263). Eisenstein returned to teaching and was assigned to direct Richard Wagner's 'Die Walküre' at the Bolshoi Theatre. With the war approaching Moscow, Eisenstein was one of many filmmakers evacuated to Alma-Ata, where he first considered the idea of making a film about Tsar Ivan IV. Eisenstein corresponded with Prokofiev from Alma-Ata and was joined by him there in 1942. Prokofiev composed the score for Eisenstein's film epic Ivan Grozniy/Ivan the Terrible and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing. Eisenstein's film Ivan Grozniy/Ivan the Terrible, Part I, presenting Ivan IV of Russia as a national hero, won Stalin's approval and a Stalin Prize. The sequel, Ivan Grozniy/Ivan The Terrible, Part II, however, was criticised by various authorities and went unreleased until 1958. All footage from Ivan The Terrible, Part III was confiscated whilst the film was still incomplete, and most of it was destroyed, though several filmed scenes exist. In 1934, in the Soviet Union, Eisenstein married filmmaker and screenwriter Pera Atasheva. There have been debates about Eisenstein's sexuality, with a film covering Eisenstein's homosexuality allegedly running into difficulties in Russia. According to film critic Vitaly Vulf, the 10-years-long Eisenstein-Aleksandrov "friendship is still a subject of speculation and gossips, although there is no evidence they had had a sexual relationship". Eisenstein suffered a heart attack in 1946 and spent much of the following year recovering. He died of a second heart attack in 1948, at the age of 50. His body had lain in state in the Hall of the Cinema Workers before being cremated and his ashes were buried in the Novodevichy Cemetery in Moscow.
Sources: Michael Kaminsky (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Eventos recentes no Brasil me lembraram desta foto. Nossos políticos possuem uma aparência apresentável, notável por sua postura fina e boa dialética. No entanto, no interior, são podres e fazem apodrecer. Suas asas e sua sombra negra são as únicas evidências de sua podridão.
É algo que me deixa extremamente triste. Nossa sistema educacional está falido e sucateado, a saúde já está em crise há anos, e agora sofremos um forte golpe na democracia. Vamos torcer, e nos mobilizar, para que ocorra uma mudança realmente digna... Reforma política já!
Recent events in Brazil reminded me of this photo. Our politicians have a presentable appearance, notable for its fine and good dialectical stance. However, on the inside, they are bad and make rot. Its wings and its black shadow are the only evidence of its decay.
It's something that makes me extremely sad. Our educational system is broken and scrapped, health already in crisis for years, and now we've suffered a strong blow to democracy. Let's hope, and mobilize, to occur a truly worthy change ... Political reform now!
Happy Monday Flickr Friends
Thank you for all your visits, comments, awards and invites, I always appreciate them even though I cannot allot enough time to respond to everyone. Just know you are special and I value your Friendship!!
"Friendship is the comfort, the inexpressible comfort,
Of feeling safe with a person,
Neither having to weigh thoughts, nor measure words,
But pouring all right out just as they are
Chaff and grain together
Certain that a faithful friendly hand
Will take and sift them.
Keep what is worth keeping
And with a breath of comfort, blow the rest away."
- George Eliot
.... thank you Maureen
www.photodex.com/sharing/viewalbum
Friendship
From Wikipedia, the free encyclopedia
Friendship is the cooperative and supportive relationship between two or more people.
In this sense, the term connotes a relationship which involves mutual knowledge, esteem,
affection, and respect along with a degree of rendering service to friends in times of need or crisis.
Friends will welcome each other's company and exhibit loyalty towards each other,
often to the point of altruism.
Their tastes will usually be similar and may converge, and they will share enjoyable activities.
They will also engage in mutually helping behavior, such as the exchange of advice and the sharing of hardship.
A friend is someone who may often demonstrate reciprocating and reflective behaviors.
Yet for some, the practical execution of friendship is little more than the trust that someone will not harm them.
Value that is found in friendships is often the result of a friend demonstrating the following on a consistent basis: the tendency to desire what is best for the other sympathy and empathy honesty, perhaps in situations where it may be difficult for others to speak the truth, especially in terms of pointing out the perceived faults of one's counterpart mutual understanding In a comparison of personal relationships, friendship is considered to be closer than association, although there is a range of degrees of intimacy in both friendships and associations.
Friendship and association can be thought of as spanning across the same continuum.
The study of friendship is included in sociology, social psychology, anthropology, philosophy, and zoology. Various theories of friendship have been proposed, among which are social exchange theory, equity theory, relational dialectics, and attachment styles.
American postcard by Max B. Sheffer Card Co., Chicago (M.B.S.C.Co.). Photo: First National. Norma Talmadge as Monyeen in Smilin' Through (Sidney Franklin, 1922).
Norma Talmadge (1894-1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols of the American screen.
Norma Talmadge was the daughter of one of the most famous "mothers of artists" in film history: Peg Talmadge. Norma, her mother, and her sisters Natalie and Constance were abandoned by their alcoholic and jobless father Fred right on Christmas Day. Thus, the three teenagers had to start earning money as vaudeville models and actresses. In 1909, Norma began working in the cinema thanks to her discoverer, Vitagraph editor Breta Breuill. She acted in numerous Vitagraph shorts, a.o. Uncle Tom's Cabin (Stuart Blackton, 1910), Love of Chrysanthemum (Van Dyke Brooke, 1910), and A Tale of Two Cities (William Humphrey, 1911). Helped by Vitagraph leading actor Maurice Costello, her career blossomed. By 1913, she was the major star of Vitagraph Studios and had played in hundreds of shorts there. Her co-actors from the Vitagraph 'stable' were a.o. Maurice Costello, Van Dyke Brooke, Lilian Walker, Hughie Mack, Leo Delaney, and Clara Kimball Young.
In 1915 Norma Talmadge had a breakthrough when acting in Vitagraph's anti-German propaganda-film, the feature The Battlecry for Peace, but mother Talmadge was unsatisfied with Vitagraph and arranged a two-year contract at National Pictures. Yet, when Norma's first film there flopped, and the company went bankrupt, she called on director D.W. Griffith and was able to act in seven features at Triangle. In 1916 she met Joseph Schenck, a wealthy exhibitor who wanted to make films himself. Smitten by her, Schenk proposed marriage and a studio. They founded the Norma Talmadge Film Corporation. In Schenk's New York-based studio, Norma would act in her dramas on the ground floor, while her sister Constance would do comedies on the first floor, and the comic unit with Fatty Arbuckle played on the top floor, while sister Natalie Talmadge worked as a secretary and occasionally had small parts as well. Arbuckle brought along Buster Keaton and Al St. John. When Arbuckle was lent to Paramount to do features, Keaton took over the comic unit and married Natalie.
NormaTalmadge's first film at the studio, Panthea (Allan Dwan, 1917) was a straight hit. Between 1917 and 1921 Norma made four to six films per year, under Schenk's supervision. After her greatest success, the drama Smilin' Through (Sydney Franklin, 1922), Schenk closed the New York studio. The family continued in Hollywood, where Norma's films became bigger and glossier. She worked with top directors, cinematographers, and costume designers and by 1923 she was the best-paid film actress in Hollywood, earning 10.000 a week. In 1924 under Frank Borzage's direction, she did her best film (artistically and at the box office) Secrets. While Schenk became head of United Artists in 1924, Norma was still tied to distributor First National by contract and continued to make films for them in the mid-1920s, including Camille (Fred Niblo 1926). During the filming of Camille, she fell in love with her co-actor Gilbert Roland and asked Schenk for a divorce. He refused but saw they were a winning couple and matched them in several films. After that, she made films with UA, but the first two were flops and marked the end of her silent film career.
Norma Talmadge took voice lessons for a year, and despite expectations, produced a perfectly non-dialectical voice, but her first two sound films simply weren't good films, so she called it a day and left the film world. As she was very rich by now, she could permit herself to do so. Divorced from Schenck in 1934, she married her second husband, George Jessel, who eagerly brought her on his ailing radio shows, but both his shows and the marriage ended in failure. Norma married for the third time in 1946, with Carvel James, and died relatively young, on Christmas Eve 1957, at age 64, because of pneumonia. It is said that we owe to Norma Talmadge the tradition of stamping the handprints of the stars in front of the Grauman's Chinese Theater, when in 1927, accidentally, she left her own when falling on wet cement in the same place.
Sources: Wikipedia (English, Dutch, and Spanish), and IMDb.
And, please check out our blog European Film Star Postcards.
Pessimism claims an impressive following — from Rousseau, Schopenhauer, and Nietzsche, to Freud, Camus, and Foucault. Yet “pessimist” remains a term of abuse — an accusation of a bad attitude — or the diagnosis of an unhappy psychological state. Pessimism is thought of as an exclusively negative stance that inevitably leads to resignation or despair. Even when pessimism looks like utter truth, we are told that it makes the worst of a bad situation. Bad for the individual, worse for the species — who would actually counsel pessimism?
Joshua Foa Dienstag does. In Pessimism, he challenges the received wisdom about pessimism, arguing that there is an unrecognized yet coherent and vibrant pessimistic philosophical tradition. More than that, he argues that pessimistic thought may provide a critically needed alternative to the increasingly untenable progressivist ideas that have dominated thinking about politics throughout the modern period. Laying out powerful grounds for pessimism’s claim that progress is not an enduring feature of human history, Dienstag argues that political theory must begin from this predicament. He persuasively shows that pessimism has been — and can again be — an energizing and even liberating philosophy, an ethic of radical possibility and not just a criticism of faith. The goal — of both the pessimistic spirit and of this fascinating account of pessimism — is not to depress us, but to edify us about our condition and to fortify us for life in a disordered and disenchanted universe.
Awards and Recognition
Winner of the 2006 Award for Best Professional/Scholarly Book in Philosophy, Association of American Publishers.
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Joshua Foa Dienstag’s work focuses on the intersection of politics with time, history, memory and narrative. Professor Dienstag teaches classes on the political theory of the Founders and other topics at the intersection of law, politics and philosophy.
Originally from New York City, he received his doctorate from Princeton University and taught at the University of Virginia for 13 years before moving to UCLA. His research focuses largely on European political theory between the 17th and 19th centuries but he has also written about the American Founding, film and Wittgenstein. His articles have appeared in American Political Science Review, Polity, Political Theory, Journal of Politics, History & Memory and New Literary History among other places. He has held fellowships from the American Council of Learned Societies and the Center for Advanced Study in the Behavioral Sciences at Stanford University. His second book Pessimism: Philosophy, Ethic, Spirit (Princeton U.P., 2006) won the Award for Excellence in Philosophy from the American Association of Publishers. His most recent book Cinema Pessimism: A Political Theory of Representation and Reciprocity (Oxford U.P.) appears in the fall of 2019.
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An appropriate book to read in this 'pessimistic' and confused times. It gives hope to overcome the passage of time.
'All the tragedies which we can imagine return in the end to the one and only tragedy: the passage of time. (Simone Weil)'
'The burdens of temporality' (p. 132)
'The palliative effect of illusion' (p. 234).
'Optimism makes us perpetual enemies of those future moments that do not meet our expectations, which means all future moments'. (...) ' Expectations are an endless deferral of freedom.' (p. 247)
'All that is necessary is an illusion to carry us through seventy or so years of life' (p. 252).
I particularly like the part of the 'first thought' and the value of thinking (p. 260/262).
Perhaps the first thought was that 'things could be otherwise'. An evolutionary journey along animal 'suffering' to a state of 'a brute desire to be anywhere but at that one particular place where it is at that moment' leads (on animal level), in Dienstag's view, to a death-wish. 'The discovery (or the creation) of time is thus linked to the wish to depart from existence, from life'. (...) And so we say that humanity only began to live when it wanted to die'.
Unfortunately 'a pessimist believes that time is linear' (p. 264). Maybe that is the reason that pessimistic thoughts - just like optimistic thoughts - are bound to reach short of their goal: their frame of mind is simply too simple. 'Time' in a dialectic (two-fold, oppositional) setting is for losers, but 'time' in a cyclic (four-fold, quadralectic) setting is for winners - although this statement bites, like the ouroboros - in its own tail, like it is bound to do. Hmmm (MK).
Definitely best viewed large | original | My top 100
I read a lot of ancient Greek philosophy at a different stage in my life. The earliest recorded writers - Thales, Anaximander, Anaximenes - they all hung out in Miletus (then Greek but now in Modern Turkey), which was the commercial sister city of Dydima, the religious and mystical haven of priests, worshippers, debauchery and the arts. Miletus was a port, though now lies many kilometers inland (global warming will return it to the oceanside).
The two cities were connected perhaps in the first century CE by a sacred 12 mile road. Dydima was the site of the unfinished but magnificent Apollo Temple.
Early philosophers in these times were the first Westerners to put to words the concept of dialectic or interaction between opposing forces. Asians had done it several thousand years before.
In Nietzsche's famous work The Birth of Tragedy from the Spirit of Music he depicts Hellenistic culture of this time grappling with the competing forces of destruction and construction.
In a famous bit of writing I was unable to source as if this moment, one of these early philosophers refers to the beach in this way, and I paraphrase:
"We see the ocean and the rock and sense their agreement"
Have a great Thursday everyone.
städtisches museum abteiberg, mönchengladbach, 1982, architect: hans hollein;
skulpturengarten
„In the historic center—of the city of Mönchengladbach, adjacent to the cathedral and a baroque abbey—a museum of contemporary art was built into the face of a prominent hillside. Areas for a permanent collection, for temporary exhibitions and for didactic uses had to be provided. Contextual integration into the neighborhood and topography were prime concerns. The complex is a “walk–on”–building, its surface is for public use (and for open air sculptures). Outside a complex architectural ensemble, it is inside a succession of a variety of white, neutral, yet characteristic spaces in different configurations and light situations. Rather than following a forced linear arrangement it is a 3-dimensional matrix, making a walk through the museum a dialectic and spatial experience. Landscaping was an integral part of the design.
The museum was awarded with the Reynolds Memorial Award, USA, 1984.”
Tiger and Turtle nimmt über die in ihm angelegte Dialektik von Geschwindigkeit und Stillstand Bezug auf die Umbruchsituation in der Region und deren Wandel durch Rückbau und Umstrukturierung. Indem die Skulptur die dem Bild der Achterbahn anhaftenden Erwartungen ad absurdum führt, reflektiert sie ihre eigene Rolle als potentielles überregionales Wahrzeichen, welches zwangsläufig als Bild vereinnahmt wird. Sie stellt der Logik des ewigen Wachstums eine absurd‐widersprüchliche Struktur entgegen, die sich einer eindeutigen Interpretation widersetzt.“
– Heike Mutter und Ulrich Genth: PM der Künstler vom 19. November 2011 auf phaenomedia.org
Tiger and Turtle, through the dialectic of speed and stillness, is referring to the upheaval situation in the region and its change through dismantling and restructuring. By sculpturing the absurdity of the image of the roller coaster, the sculpture reflects its own role as a potential supraregional landmark, which is inevitably taken as an image. It counteracts the logic of eternal growth with an absurdly contradictory structure that opposes a clear interpretation. "
- Heike Mutter and Ulrich Genth: PM of the artists of 19 November 2011 on phaenomedia.org
Teatro Comunale.
Dominata dalla cromia azzurra è la grande volta dove entro elaborate cornici esagonali sono raffigurate le figure simboliche delle sette arti liberali: Grammatica, Dialettica, Retorica, Aritmetica, Geometria, Astronomia e Musica.
Nei pennacchi delle finte vele si aprono dei tondi nei quali sono i busti a monocromo di grandi personaggi votati alle arti maggiori.
Al di là della cornice, che delimita lunette e tondi, il Venanzi è ricorso ad un alleggerimento cromatico attraverso un fondo digradante dall'azzurro al violaceo che raggiunge l'apice attorno al rosone ligneo traforato che, aprendosi in due parti, permette alla lumiera dorata di salire fin sopra la volta.
Il lampadario, disegnato a scheletro, è stato intagliato nella bottega di Francesco Pucci da uno dei suoi migliori allievi: Rinaldo Paioncini.
Teatro Comunale.
Dominated by the blue color is the large vault where the symbolic figures of the seven liberal arts are depicted within elaborate hexagonal frames: Grammar, Dialectics, Rhetoric, Arithmetic, Geometry, Astronomy and Music.
In the spandrels of the false sails there are roundels containing monochrome busts of great figures devoted to the major arts.
Beyond the frame, which delimits lunettes and roundels, Venanzi resorted to a chromatic lightening through a background sloping from blue to purple that reaches the apex around the perforated wooden rosette that, opening in two parts, allows the golden chandelier to rise up to the vault.
The chandelier, designed as a skeleton, was carved in Francesco Pucci's workshop by one of his best students: Rinaldo Paioncini.
IMG20241229170548m
Capturing the golden reflections of the setting sun off the Royal Bank Plaza on these neighbouring buildings provided a moment of pure magic. WIth strictly linear shapings in predominant right angles in the buildings both sending and receiving the reflected light, there are still variables in the materials of glass and stone that warp and alter the light-shapes that are thrown and bounced back. No matter how high or massively we build, nature's fractaliziation holds sway, creating a magical dialectic in spite of ourselves.
French postcard by Editions Sid, no. 8040. Photo: G.L. Manuel, Paris
Norma Talmadge (1894-1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols on the American screen.
Norma Talmadge was the daughter of one of the most famous "mothers of artists" in film history: Peg Talmadge. Norma, her mother, and her sisters Natalie and Constance were abandoned by their alcoholic and jobless father Fred right on Christmas Day. Thus, the three teenagers had to start earning money as vaudeville models and actresses. In 1909, Norma began working in the cinema thanks to her discoverer, Vitagraph editor Breta Breuill. She acted in numerous Vitagraph shorts, a.o. Uncle Tom's Cabin (Stuart Blackton, 1910), Love of Chrysanthemum (Van Dyke Brooke, 1910), and A Tale of Two Cities (William Humphrey, 1911). Helped by Vitagraph leading actor Maurice Costello, her career blossomed. By 1913, she was the major star of Vitagraph Studios and had played in hundreds of shorts there. Her co-actors from the Vitagraph 'stable' were a.o. Maurice Costello, Van Dyke Brooke, Lilian Walker, Hughie Mack, Leo Delaney, and Clara Kimball Young.
In 1915 Norma Talmadge had a breakthrough when acting in Vitagraph's anti-German propaganda film, the feature The Battlecry for Peace, but mother Talmadge was unsatisfied with Vitagraph and arranged a two-year contract at National Pictures. Yet, when Norma's first film there flopped, and the company went bankrupt, she called on director D.W. Griffith and was able to act in seven features at Triangle. In 1916 she met Joseph Schenck, a wealthy exhibitor who wanted to make films himself. Smitten by her, Schenk proposed marriage and a studio. They founded the Norma Talmadge Film Corporation. In Schenk's New York-based studio, Norma would act in her dramas on the ground floor, while her sister Constance would do comedies on the first floor, and the comic unit with Fatty Arbuckle played on the top floor, while sister Natalie Talmadge worked as a secretary and occasionally had small parts as well. Arbuckle brought along Buster Keaton and Al St. John. When Arbuckle was lent to Paramount to do features, Keaton took over the comic unit and married Natalie.
NormaTalmadge's first film at the studio, Panthea (Allan Dwan, 1917) was a straight hit. Between 1917 and 1921 Norma made four to six films per year, under Schenk's supervision. After her greatest success, the drama Smilin' Through (Sydney Franklin, 1922), Schenk closed the New York studio. The family continued in Hollywood, where Norma's films became bigger and glossier. She worked with top directors, cinematographers, and costume designers and by 1923 she was the best-paid film actress in Hollywood, earning 10.000 a week. In 1924 under Frank Borzage's direction, she did her best film (artistically and at the box office) Secrets. While Schenk became head of United Artists in 1924, Norma was still tied to distributor First National by contract and continued to make films for them in the mid-1920s, including Camille (Fred Niblo 1926). During the filming of Camille, she fell in love with her co-actor Gilbert Roland and asked Schenk for a divorce. He refused but saw they were a winning couple and matched them in several films. After that, she made films with UA, but the first two were flops and marked the end of her silent film career.
Norma Talmadge took voice lessons for a year, and despite expectations, produced a perfectly non-dialectical voice, but her first two sound films simply weren't good films, so she called it a day and left the film world. As she was very rich by now, she could permit herself to do so. Divorced from Schenck in 1934, she married her second husband, George Jessel, who eagerly brought her on his ailing radio shows, but both his shows and the marriage ended in failure. Norma married for the third time in 1946, with Carvel James, and died relatively young, on Christmas Eve 1957, at age 64, because of pneumonia. It is said that we owe to Norma Talmadge the tradition of stamping the handprints of the stars in front of the Grauman's Chinese Theater, when in 1927, accidentally, she left her own when falling on wet cement in the same place.
Sources: Wikipedia (English, Dutch, and Spanish), and IMDb.
And, please check out our blog European Film Star Postcards.
Rovingian Council - Sacred Painted Pebbles - The Selection Of Azils Pebbles by Daniel Arrhakis (2026)
Rovingian Council – Painted Sacred Stones: The Selection of Azils Pebbles
Spirituality, ritual, and ethics in the choice of pebbles
Spiritual Meaning of Sacred Stones
For Rovingian mystics, these stones symbolize transformation, inner journey, memory, connection, perseverance, harmony, and protection.
More than simple ornaments, they function as sigils, displaying painted sacred geometry. They become receptacles of ancestral souls, memories, and tributes, acting as protective talismans and points of connection between the bearer and the natural rhythms of the earth, water, and the spiritual world. They simultaneously represent memory, the path, and connection.
Ritualistic Processes of Sacred Pebbles
These pebbles undergo various ritualistic processes, from selection to painting and consecration. Each step is essential to ensure that the stone becomes a true link between the material and spiritual worlds.
The Selection of Azils Pebbles
The selection of pebbles is a process that requires knowledge and time, until the monks develop the ability to assess the energetic potential of each stone. The selection involves analysis of physical characteristics, rock composition, energetic potentials, and connection with the monk.
Morphological and Lithological Selection
Morphological selection favors pebbles with a flattened discoid, ellipsoid, or circular shape, light color, resistant lithology, and a smooth polished texture, facilitating painting.
The ideal size is smaller than the palm of the hand, without fractures, cavities, or concretions, and that does not oxidize easily. This process is manual, using a thick brush for cleaning, never abrasives, because, according to an animistic view, all things in nature possess agency and stones are considered living entities.
Qualitative and Spiritual Selection
This selection is complex, based on the dialectic of connection between the monk and each pebble. It is a personal and unique choice, varying from person to person. Some pebbles don't convey any sensation, while others awaken an energetic connection. The rounded shape, a result of years of erosion by water, symbolizes harmony, eternity, and resilience.
Conservation and Environmental Responsibility
Pebbles should only be chosen from locations where water is present, such as beaches, lagoons, lakes, or free rivers. The hardness of the stone reflects its resistance and balance in the face of the world's changes.
Collection should be selective and careful, respecting local abundance and without causing significant impact. Unselected stones are returned to their original bed, allowing them to continue their course. After collection, a ritualistic expression of gratitude is performed.
Fundamental Elements of Qualitative and Spiritual Selection
1. Silent Listening (Energetic Potential)
Selection transcends the visual aspect, becoming vibrational. Monks practice "listening with their hands": the temperature and weight of the pebble reveal its readiness. If it feels more "heavy" or "cold" than usual, it may still be undergoing energetic maturation and should not be harvested.
2. Receiving Geometry
The flattened discoid and ellipsoid shape facilitates the inscription of sigils. In the Rovingian tradition, these shapes represent horizontal (physical world) and vertical (spiritual world) expansion. The absence of fractures ensures that the receptacle for the ancestral soul does not leak energy.
3. Animistic Ethics in Harvesting
The use of coarse brushes instead of abrasives is essential. For the Rovingian Council, mechanically polishing the stone would be like "silencing its voice." The texture should result from millennia of erosion, symbolizing perseverance and harmony with the elements.
4. The Personal Bond
The process culminates in mutual recognition: the pebble chooses the monk as much as the monk chooses the pebble. This connection transforms the stone into an anchoring point between the bearer and the spiritual world.
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Conselho Rovingiano – Pedras Sagradas Pintadas: A Seleção dos Seixos Azils
A espiritualidade, o ritual e a ética na escolha dos seixos
Significado Espiritual das Pedras Sagradas
Para os místicos rovingianos, estas pedras simbolizam transformação, viagem interior, memória, ligação, perseverança, harmonia e proteção.
Mais do que simples ornamentos, funcionam como sigilos, exibindo geometrias sagradas pintadas. Tornam-se recetáculos de almas ancestrais, memórias e homenagens, atuando como talismãs de proteção e pontos de ligação entre o portador e os ritmos naturais da terra, da água e do mundo espiritual. Representam simultaneamente a memória, o caminho e a ligação.
Processos Ritualísticos dos Seixos Sagrados
Estes seixos passam por diversos processos ritualísticos, desde a seleção à pintura e sacralização. Cada etapa é essencial para garantir que a pedra se torne um verdadeiro elo entre o mundo material e o espiritual.
A Seleção dos Seixos Azils
A escolha dos seixos é um processo que exige conhecimento e tempo, até que os monges desenvolvam a capacidade de avaliar as potencialidades energéticas de cada pedra. A seleção envolve a análise de características físicas, composição rochosa, potenciais energéticos e a ligação com o monge.
Seleção Morfológica e Litológica
A seleção morfológica privilegia seixos com formato achatado discoide, elipsoide ou circular, de cor clara, litologia resistente e textura polida suave, facilitando a pintura.
O tamanho ideal é inferior à palma da mão, sem fraturas, cavidades ou concreções, e que não oxide facilmente. Este processo é manual, recorrendo-se a pincel grosso para limpeza, nunca abrasivos, pois, segundo uma visão animista, todas as coisas na natureza possuem agência e as pedras são consideradas entidades vivas.
Seleção Qualitativa e Espiritual
Esta seleção é complexa, baseada na dialética de ligação entre o monge e cada seixo. É uma escolha pessoal e única, variando de pessoa para pessoa. Alguns seixos não transmitem sensação, enquanto outros despertam uma conexão energética. O formato arredondado, resultado de anos de erosão pela água, simboliza harmonia, eternidade e resistência.
Conservação e Responsabilidade Ambiental
Os seixos devem ser escolhidos apenas em locais onde haja ação da água, como praias, lagoas, lagos ou rios livres. A dureza da pedra reflete a resistência e equilíbrio perante as mudanças do mundo.
A recolha deve ser seletiva e cuidadosa, respeitando a abundância local e sem causar impacto significativo. As pedras não selecionadas são devolvidas ao leito original, permitindo que continuem o seu percurso. Após a recolha, realiza-se um agradecimento ritualístico.
Elementos Fundamentais da Seleção Qualitativa e Espiritual
1. A Escuta Silenciosa (Potencialidade Energética)
A seleção transcende o aspecto visual, tornando-se vibracional. Os monges praticam a "escuta das mãos": a temperatura e o peso do seixo revelam a sua prontidão. Se parecer "pesado" ou "frio" além do habitual, pode estar ainda em maturação energética e não deve ser recolhido.
2. Geometria de Receção
O formato achatado discoide e elipsoide facilita a inscrição de sigilos. Na tradição rovingiana, estas formas representam a expansão horizontal (mundo físico) e vertical (mundo espiritual). A ausência de fraturas garante que o receptáculo para a alma ancestral não tenha fugas de energia.
3. Ética Animista na Colheita
O uso de pincéis grossos em vez de abrasivos é essencial. Para o Conselho Rovingiano, polir mecanicamente a pedra seria como "silenciar a sua voz". A textura deve resultar de milénios de erosão, simbolizando perseverança e harmonia com os elementos.
4. O Vínculo Pessoal
O processo culmina no reconhecimento mútuo: o seixo escolhe o monge tanto quanto o monge escolhe o seixo. Esta ligação transforma a pedra num ponto de ancoragem entre o portador e o mundo espiritual.
British postcard in the Picturegoer Series, London, no. 198.
Norma Talmadge (1894-1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols of the American screen.
Norma Talmadge was the daughter of one of the most famous "mothers of artists" in film history: Peg Talmadge. Norma, her mother, and her sisters Natalie and Constance were abandoned by their alcoholic and jobless father Fred right on Christmas Day. Thus, the three teenagers had to start earning money as vaudeville models and actresses. In 1909, Norma began working in the cinema thanks to her discoverer, Vitagraph editor Breta Breuill. She acted in numerous Vitagraph shorts, a.o. Uncle Tom's Cabin (Stuart Blackton, 1910), Love of Chrysanthemum (Van Dyke Brooke, 1910), and A Tale of Two Cities (William Humphrey, 1911). Helped by Vitagraph leading actor Maurice Costello, her career blossomed. By 1913, she was the major star of Vitagraph Studios and had played in hundreds of shorts there. Her co-actors from the Vitagraph 'stable' were a.o. Maurice Costello, Van Dyke Brooke, Lilian Walker, Hughie Mack, Leo Delaney, and Clara Kimball Young.
In 1915 Norma Talmadge had a breakthrough when acting in Vitagraph's anti-German propaganda-film, the feature The Battlecry for Peace, but mother Talmadge was unsatisfied with Vitagraph and arranged a two-year contract at National Pictures. Yet, when Norma's first film there flopped, and the company went bankrupt, she called on director D.W. Griffith and was able to act in seven features at Triangle. In 1916 she met Joseph Schenck, a wealthy exhibitor who wanted to make films himself. Smitten by her, Schenk proposed marriage and a studio. They founded the Norma Talmadge Film Corporation. In Schenk's New York-based studio, Norma would act in her dramas on the ground floor, while her sister Constance would do comedies on the first floor, and the comic unit with Fatty Arbuckle played on the top floor, while sister Natalie Talmadge worked as a secretary and occasionally had small parts as well. Arbuckle brought along Buster Keaton and Al St. John. When Arbuckle was lent to Paramount to do features, Keaton took over the comic unit and married Natalie.
NormaTalmadge's first film at the studio, Panthea (Allan Dwan, 1917) was a straight hit. Between 1917 and 1921 Norma made four to six films per year, under Schenk's supervision. After her greatest success, the drama Smilin' Through (Sydney Franklin, 1922), Schenk closed the New York studio. The family continued in Hollywood, where Norma's films became bigger and glossier. She worked with top directors, cinematographers, and costume designers and by 1923 she was the best-paid film actress in Hollywood, earning 10.000 a week. In 1924 under Frank Borzage's direction, she did her best film (artistically and at the box office) Secrets. While Schenk became head of United Artists in 1924, Norma was still tied to distributor First National by contract and continued to make films for them in the mid-1920s, including Camille (Fred Niblo, 1926). During the filming of Camille, she fell in love with her co-actor Gilbert Roland and asked Schenk for a divorce. He refused but saw they were a winning couple and matched them in several films. After that, she made films with UA, but the first two were flops and marked the end of her silent film career.
Norma Talmadge took voice lessons for a year, and despite expectations, produced a perfectly non-dialectical voice, but her first two sound films simply weren't good films, so she called it a day and left the film world. As she was very rich by now, she could permit herself to do so. Divorced from Schenck in 1934, she married her second husband, George Jessel, who eagerly brought her on his ailing radio shows, but both his shows and the marriage ended in failure. Norma married for the third time in 1946, with Carvel James, and died relatively young, on Christmas Eve 1957, at age 64, because of pneumonia. It is said that we owe to Norma Talmadge the tradition of stamping the handprints of the stars in front of the Grauman's Chinese Theater, when in 1927, accidentally, she left her own when falling on wet cement in the same place.
Sources: Wikipedia (English, Dutch, and Spanish), and IMDb.
And, please check out our blog European Film Star Postcards.
Sculpture by Igor Mitoraj, Museum Beelden aan Zee, Harteveltstraat 1, 2586 EL Den Haag. The Netherlands.
The exhibition 'Façade' gives an overview of the sculptures of Igor Mitoraj (1944-2014), with an emphasis on his monumental sculptures and the diversity of his work. Themes such as the mask, the human body, veiling, classical antiquity, incision, fragments, bondage and winged figures form the core of Mitoraj's work. He uses these to address larger dialectical issues such as freedom and incarceration, eternal beauty and the fleeting fashion of the Pomo, the melancholy of history in contrast to the relevance of the contemporary artist.
French postcard by Keystone / L''Illustration Photo: Dmitri Debabov.
Sergei Mikhailovich Eisenstein (1898-1948) was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958).
Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, tr. Sergey Mikhaylovich Eizenshteyn) was born in 1898 in Riga, Latvia (then part of the Russian Empire in the Governorate of Livonia). He was the son of the famous architect Mikhail Osipovich Eisenstein. Eisenstein was raised as an Orthodox Christian but became an atheist later in life. As a young man, Eisenstein attended the Institute of Civil Engineering in Petrograd. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In 1920, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and later as a director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own 'The Montage of Attractions, written for art journal LEF. He briefly attended the film school established by Lev Kuleshov and the two were both fascinated with the power of editing to generate meaning and elicit emotion. The 'montage of attractions' is a sequence of pictures whose total emotional effect is greater than the sum of its parts. Eisenstein's and Kuleshov's individual writings and films are the foundations upon which Soviet montage theory was built, but they differed markedly in their understanding of its fundamental principles. Eisenstein's articles and books, particularly 'Film Form' and 'The Film Sense', explain the significance of montage in detail. He later theorised that this style of editing worked in a similar fashion to Marx's dialectic.
In 1923, Sergei Eisenstein made his first film, the short Dnevnik Glumova/Glumov's Diary. It was part of the theatre production 'Enough Stupidity in Every Wise Man' (Na vsyakovo mudretsa dovolno prostoty), an 1868 comedy by Alexander Ostrovsky made for the Proletkult organisation. Glumov's Diary marks Eisenstein's transition from theatre stage director to film director. Eisenstein's next film, Stachka/Strike (1925) was his first full-length feature film. The film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. The film is most famous for a sequence near the end in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered. Bronenosets Potyomkin/Battleship Potemkin (1925) was critically acclaimed worldwide. It presents a dramatised version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers. Mostly owing to this international renown, he was then able to direct Oktyabr': Desyat' dney kotorye potryasli mir/October: Ten Days That Shook the World (1928), as part of a grand tenth-anniversary celebration of the October Revolution of 1917. Then he directed Staroye i novoye/The General Line/Old and New (Sergei Eisenstein, Grigori Aleksandrov, 1929), a celebration of the collectivisation of agriculture. In these films, Eisenstein did not use professional actors. His narratives eschewed individual characters and addressed broad social issues, especially class conflict. He used groups as characters, and the roles were filled with untrained people from the appropriate classes; he avoided casting stars. While critics outside Soviet Russia praised these works, Eisenstein's focus in the films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded directors such as Vsevolod Pudovkin and Alexander Dovzhenko under fire from the Soviet film community. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphors in his 'intellectual montage' sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how the film could move beyond its nineteenth-century predecessor, the Victorian theatre, to create abstract concepts with concrete images. The attacks of the Soviet film community forced him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to the increasingly specific doctrines of socialist realism.
In the autumn of 1928, with October still under fire in many Soviet quarters, Sergei Eisenstein left the Soviet Union for a tour of Europe, accompanied by his perennial film collaborator Grigori Aleksandrov and cinematographer Eduard Tisse. Officially, the trip was supposed to allow the three to learn about sound film and to present themselves as Soviet artists in-person to the capitalist West. For Eisenstein, however, it was an opportunity to see landscapes and cultures outside the Soviet Union. He spent the next two years touring and lecturing in Berlin, Zürich, London, and Paris. In Switzerland, Eisenstein supervised an educational documentary about abortion, Frauennot – Frauenglück/Women's Misery - Women's Happiness (Eduard Tissé, 1929). In late April 1930, film producer Jesse L. Lasky, on behalf of Paramount Pictures, offered Sergei Eisenstein the opportunity to make a film in the United States. Paramount proposed a film version of Theodore Dreiser's 'An American Tragedy'. Eisenstein completed a script but Paramount disliked it and, Paramount and Eisenstein annulled their contract. Charles Chaplin recommended that Eisenstein would meet with American socialist author Upton Sinclair. Sinclair's works were widely read in the USSR and were admired by Eisenstein. Sinclair secured permission for Eisenstein to travel to Mexico to make a film produced by Sinclair. Whilst in Mexico, he mixed socially with Frida Kahlo and Diego Rivera. However, ¡Que viva México! met many problems and Sinclair shut down production before the film was finished. In 1978, Gregori Aleksandrov released his own version of ¡Que viva México!, which was awarded the Honorable Golden Prize at the 11th Moscow International Film Festival in 1979. Eisenstein's foray into the West made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear. He spent some time in a mental hospital in Kislovodsk in July 1933, ostensibly a result of depression born of his final acceptance that he would never be allowed to edit the Mexican footage. He was subsequently assigned a teaching position at the State Institute of Cinematography where he had taught earlier, and in 1933 and 1934 was in charge of writing the curriculum.
Finally, Sergei Eisenstein was able to ingratiate himself with Stalin for 'one more chance', and he chose, from two offerings, the assignment of a biopic of Alexander Nevsky, with music composed by Sergei Prokofiev. He was assigned a co-scenarist, Pyotr Pavlenko, to bring in a completed script; professional actors to play the roles including Nikolai Cherkasov in the title role, and an assistant director, Dmitri Vasilyev, to expedite shooting. The result, the historical drama Alexander Nevsky (1938) was critically well-received by both the Soviets and in the West and won him the Order of Lenin and the Stalin Prize. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263). Eisenstein returned to teaching and was assigned to direct Richard Wagner's 'Die Walküre' at the Bolshoi Theatre. With the war approaching Moscow, Eisenstein was one of many filmmakers evacuated to Alma-Ata, where he first considered the idea of making a film about Tsar Ivan IV. Eisenstein corresponded with Prokofiev from Alma-Ata and was joined by him there in 1942. Prokofiev composed the score for Eisenstein's film epic Ivan Grozniy/Ivan the Terrible and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing. Eisenstein's film Ivan Grozniy/Ivan the Terrible, Part I, presenting Ivan IV of Russia as a national hero, won Stalin's approval and a Stalin Prize. The sequel, Ivan Grozniy/Ivan The Terrible, Part II, however, was criticised by various authorities and went unreleased until 1958. All footage from Ivan The Terrible, Part III was confiscated whilst the film was still incomplete, and most of it was destroyed, though several filmed scenes exist. In 1934, in the Soviet Union, Eisenstein married filmmaker and screenwriter Pera Atasheva. There have been debates about Eisenstein's sexuality, with a film covering Eisenstein's homosexuality allegedly running into difficulties in Russia. According to film critic Vitaly Vulf, the 10-years-long Eisenstein-Aleksandrov "friendship is still a subject of speculation and gossips, although there is no evidence they had had a sexual relationship". Eisenstein suffered a heart attack in 1946 and spent much of the following year recovering. He died of a second heart attack in 1948, at the age of 50. His body had lain in state in the Hall of the Cinema Workers before being cremated and his ashes were buried in the Novodevichy Cemetery in Moscow.
Sources: Michael Kaminsky (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark