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40x40inch/102x102cm Acrylic, Emulsion, Spraypaint and Paint Marker on Canvas.
This is a portrait of the missus.
Le premier témoignage écrit de l’existence d’Esch-sur-Sûre se retrouve dans le « Liber aureus Epternacensis ». Dans ce livre de l’abbaye d’Echternach, il est noté qu’un certain Nebelungus a fait don de ses propriétés avec serfs de « Hesc » à ladite abbaye. Cet acte remonte à l’an 3 du règne de Charlemagne, c.-à-d. entre le 9 octobre 773 et le 9 octobre 774.
Le 3 juin 927, un certain Meginaud a acquis, par échange avec l’abbaye de Stavelot, le site d’Esch-sur-Sûre. Il a érigé une tour d’habitation carrée de 8 x 8 mètres et les bâtiments d’exploitation agricole. À la fin du 11e siècle, les frères Henri 1er et Godefroi 1er ont participé à la préparation de la première croisade. De ce fait, ils n’ont pas su réaliser des travaux au château. Les deux derniers seigneurs de la lignée des comtes d’Esch ont considérablement agrandi leur territoire et leur château. En ces temps, la seigneurie d’Esch-sur-Sûre comptait 19 villages et hameaux et s’étendait jusqu’à Diekirch.
Les premières constructions du château ont donc été réalisées pendant la période romane, tandis que son développement a eu lieu à l’époque gothique.
Avec l’apparition de la poudre au 15e siècle, il a fallu adapter les constructions défensives. Ainsi, tout le village fut entouré d’un mur d’enceinte de 450 m de long et de 1,5 m de large avec deux tours défensives. La tour de guet ronde a également été fortifiée.
La décadence du château fort débuta vers le milieu du 16e siècle pour se terminer au 19e siècle. Après la prise de la forteresse de Luxembourg (1685), les troupes de Louis XIV s’employaient à démanteler les places fortes du pays.
À Esch-sur-Sûre, on n’a pas détruit le mur d’enceinte, parce que des maisons y étaient adossées et certaines le sont toujours (à voir en montant la ruelle à gauche de la mairie).
Vers le milieu du 19e siècle, le château passa entre les mains de bourgeois qui y habitaient. Lorsque Victor Hugo visita le bourg au bord de la Sûre en été 1871, le château abritait toujours plusieurs familles. La chapelle du château fut restaurée en 1906.
De nos jours, il ne reste que des ruines consolidées pour témoigner du fier passé de la seigneurie d’Esch-sur-Sûre.
The first written evidence of the existence of Esch-sur-Sûre can be found in the “Liber aureus Epternacensis”. In this book of the Abbey of Echternach, it is noted that a certain Nebelungus donated his properties with serfs of “Hesc” to the said abbey. This act dates back to the year 3 of the reign of Charlemagne, i.e. between October 9, 773 and October 9, 774. On June 3, 927, a certain Meginaud acquired, by exchange with the Abbey of Stavelot, the site of Esch-sur-Sûre. He built a square residential tower of 8 x 8 meters and the farm buildings. At the end of the 11th century, the brothers Henry I and Godfrey I participated in the preparation of the first crusade. As a result, they were unable to carry out work on the castle. The last two lords of the line of the Counts of Esch considerably expanded their territory and their castle. At that time, the lordship of Esch-sur-Sûre included 19 villages and hamlets and extended as far as Diekirch.
The first constructions of the castle were therefore carried out during the Romanesque period, while its development took place in the Gothic period.
With the advent of gunpowder in the 15th century, it was necessary to adapt the defensive constructions. Thus, the entire village was surrounded by a 450 m long and 1.5 m wide perimeter wall with two defensive towers. The round watchtower was also fortified.
The decline of the fortified castle began around the middle of the 16th century and ended in the 19th century. After the capture of the fortress of Luxembourg (1685), Louis XIV's troops set about dismantling the country's strongholds.
In Esch-sur-Sûre, the surrounding wall was not destroyed because houses were built against it and some still are (you can see it by going up the alley to the left of the town hall).
Towards the middle of the 19th century, the castle passed into the hands of bourgeois who lived there. When Victor Hugo visited the town on the banks of the Sûre in the summer of 1871, the castle was still home to several families. The castle chapel was restored in 1906.
Today, only consolidated ruins remain to bear witness to the proud past of the lordship of Esch-sur-Sûre.
It looks so fragile swaying with the breeze,
yet it will attract the bees.
In a day or two, it will wither away,
for another one will take its place.
It is mother nature's way,
that a beauty such as this,
must fade away.
What is the purpose of its existence?
Procreate a new generation,
A new cycle of life!
The world class boanical collections in Waimea Valley owe there existence to Mir. Keith Woolliams, a dedicated botanical horticulturist who was trained at the Royal Botanic Garden at Kew, on the outskirts of London.
Keith led a rich life traveling around the globe studying botanical collections in England, Japan, Papua New Guinea and Bermuda. He brought to Hawaii his expertise and knowledge of uncommon horticultural treasures, and he acquired seeds, plants, and cuttings from remote places and botanical gardens all over the world. In pre-internet days dozens of letters and packages were dispatched and received daily.
His theme of "Conservation Through Cultivation" resulted in a balance of rare and useful native and Polynesian-introduced plants among exotic horticultural specimens.
What was once an ungroomed valley, filled with koa haole and ravaged by feral cattle was transformed into what you see today by Keith and the many dedicated people he inspired. They oversaw the design, landscaping and construction of the pathways, stone walls and stairs that frame the gardens. Keith's high standards for record keeping and signage persist to this day. He left us in 1998 with a library full of his propagation knowledge, cultivation practices and plant lore which survives to ensure that the precious life forms brought to this valley will thrive here long into the future.
Keith was an inspiring advocate for Hawatian plant conservation and he influenced many young people across the state. He connected Waimea with state, federal and international agencies such as the Center for Plant Conservation, the International Union for the Conservation of Nature, and the Botanical Gardens Conservation International - partnerships that Waimea Valley continues to uphold today.
Keith was instrumental in bringing in critically endangered plants from Japan's Ogasawara Islands, hibiscus relatives from all over the world, and with international colleagues he tried to assemble wild-source collections of every species of Erythrina in the world. In the periodical, "Notes from Waimea Arboretum and Botanical Garden" published twice a year until 1992 he stated "Waimea is a labeled and documented collection of plants for educational and scientific purposes, a living gene pool for future generations".
It is with great honor and gratitude that we remember Mr. Keith Woolliams and his dedication to Waimea Valley.
The Old Church of Saint George in Paralimni, Republic of Cyprus, holds a significant place in the region's history and serves as a testament to the island's rich cultural heritage. Spanning centuries of existence, the church has witnessed the ebbs and flows of Cypriot society, surviving conflicts and transformations while remaining an emblem of faith and tradition. Here is a concise history of the Old Church of Saint George in 1000 words.
The origins of the Old Church of Saint George date back to the Byzantine period, with the earliest records of its existence tracing to the 14th century. At this time, the region of Paralimni was predominantly inhabited by Greek Cypriots, who constructed the church as a place of worship dedicated to Saint George, the patron saint of warriors.
During the Ottoman era, which lasted from the 16th to the early 20th century, Cyprus came under Turkish rule. Despite the cultural and religious challenges faced by the Greek Orthodox community, the Old Church of Saint George managed to endure. It remained a spiritual haven for the local population, who continued to hold steadfastly to their faith and traditions.
The church underwent several modifications and expansions over the centuries. One notable addition was the construction of a bell tower in the 18th century, giving the church a distinctive architectural feature. The bell tower not only served as a symbol of religious identity but also functioned as a means of communication for the community, announcing important events and marking the passage of time.
In the early 20th century, Cyprus experienced a series of significant socio-political changes. Following the end of the Ottoman Empire, the island came under British administration in 1914. During this period, the Old Church of Saint George continued to play a vital role in the lives of the local population, acting as a spiritual center and a gathering place for the community.
However, the turbulent mid-20th century brought about new challenges. In 1974, a military coup backed by the Greek junta triggered a Turkish invasion of Cyprus, resulting in the division of the island into two separate entities: the internationally recognized Republic of Cyprus in the south and the self-declared Turkish Republic of Northern Cyprus in the north.
Paralimni, situated in the southern part of Cyprus, found itself in a heavily militarized area. The Old Church of Saint George stood near the demarcation line known as the "Green Line," which separated the Greek Cypriot and Turkish Cypriot communities. This proximity to conflict put the church at risk, as the area was often subject to hostilities and tensions between the opposing factions.
Despite the challenges posed by the ongoing division, the Old Church of Saint George managed to survive. Its resilience symbolized the determination and enduring spirit of the Greek Cypriot community in the face of adversity. The church served as a beacon of hope, fostering a sense of unity and preserving cultural heritage during a time of profound political and social upheaval.
In the late 20th century, efforts were made to restore and preserve the Old Church of Saint George. Restoration projects aimed to protect the church's architectural integrity and ensure its historical significance would endure for future generations. These initiatives highlighted the importance of safeguarding cultural heritage as a means of fostering understanding, reconciliation, and appreciation for the island's diverse history.
Today, the Old Church of Saint George stands as a cherished landmark in Paralimni. It serves as a place of worship, a cultural monument, and a reminder of the island's enduring faith and resilient spirit. Visitors can admire the church's Byzantine-inspired architecture, explore its sacred interior adorned with religious icons, and reflect upon the historical events that have shaped Cyprus over the centuries.
The Old Church of Saint George in Paralimni stands as a testament to the power of faith, resilience, and cultural preservation. As it continues to hold a special place in the hearts of the local community, it serves as a bridge between the past and the present, connecting generations and offering a glimpse into the rich tapestry of Cyprus' history.
What is normal? - in a world where time travel, wormholes, and the existence of parallel timelines are no longer news - and AI version 214 helps in every way - the world looks completely normal - as shown in these pictures
According to Finnish mythology, the world was sung into existence.
The most salient feature of existence is the unthinkable odds against it. For every way that there is of being here, there are an infinity of ways of not being here. Statistics declare us ridiculous. Thermodynamics prohibits us. Life, by any reasonable measure, is impossible. RICHARD POWERS (1957-)
Bristol LH / ECW SPK 116M of London Country is seen here parked up on the side forecourt at St Albans Garage on 22nd Septemer 1974 having run in off a Service 313 journey from Enfield. SPK 116M later operated at Amersham before withdrawal in August 1980. It subsequently led a nomadic existence, operating for numerous operators across the country before being scrapped by Truronian of Truro in the late 1990's.
Scanned from an acquired print.
Ce passage tout en verre qui traverse la place du Marché-Saint-Honoré porte son nom depuis le 6 septembre 2002 et fait référence à l'ancienne existence sur le site du couvent des Jacobins.
history.bnpparibas/document/marche-saint-honore-building-...
Ricardo Bofill’s glass temple
"In the early 1990s, the local authorities decided to renovate the square and commissioned the Catalan architect Ricardo Bofill to lead the project. Banque Paribas took advantage of the renovations to get involved in the plans with a view to rationalising its premises, which were at the time scattered around the neighbourhood of the rue d’Antin. In February 1997, 700 Bank staff moved into the new building. This glass temple, which reflects the houses around the square, comprises two symmetrical wings, one on either side of a central street – the Passage des Jacobins. The building thus pays tribute to the great tradition of Paris’s covered streets, symbolising the ways of the past but firmly focused on the future."
One for the Vain Inc Gallery: Unfortunately not very visible but in my one hand I am holding a globe with the country I lam living in now, The Netherlands and in the other one a globe of the country I came from, Poland. Mixing cultures I guess=]
My sweet guy DLB made this snap while we were visiting space park so I thought I will merge it into this pic=]
model: me
sim: Space Park
theme: Your gift---->My gift is the best of 2 rl worlds
After all those photos of the same castle a short description from the web:
The date of the castle's construction is unclear; its existence is first implied in 1269, by way of mention of its owner Meinhard von Schneberg.The castle itself is first mentioned in 1461, as the manor of Sneberk; at the time it was a possession of the Patriarchate of Aquileia, with the Schnebergs as their ministeriales. The family fractured the estate through multiple heirs; by the late 14th century the castle had several co-owners. In 1393, a quarter-share of it and several neighboring farms was purchased by Wiiliam II von Lamberg, a relative of the Schnebergs; his descendants increased their share through the 15th century until they owned the entire estate, giving the castle its more-or-less current renaissance appearance as well.
By marriages, the castle passed to the Scheyer family, followed by the Prancks and, in the first third of the 17th century, the barons Rambschissl, who sold it to the Imperial governor of Carniola, prince Eggenberg. Along with Snežnik, the prince bought the lordship of Lož, moving its administrative center from the uncomfortable, hilltop Lož Castle to the more amiable and better-accessible manor at Snežnik. In 1669, Janez Žiga Eggenberg sold the Loš-Snežnik lordship to prince Janez Vajkard Auersperg, the count of Gottschee (Kočevje).
in 1707 the estate was taken over by count Jurij Gotfrid Lichtenberg, who in 1718 permanently joined the Lož and Snežnik lordships. The house of Lichtenberg held the estate for 140 years, a period marked by the centralist policies of the Habsburg monarchy, in particular the constant diminution of the rights of the nobility. By the early 19th century, the Lichtenberg had been forced deep into hock; a court-ordered appraial occurred in 1816. In 1832 the faily was forced to accept a lottery loan; the main prize was the entire Snežnik estate, or 250,000 florins. The lucky winner - a Hungarian blacksmith - took the cash, while the Lichtenbergs went on to sell the estate in 1847 to a Viennese couple named Karis, who went bankrupt shortly thereafter. The estate was purchased at auction in 1853 for 800,000 florins by the German prince Oton Viktor Schoenburg-Waldenburg.
Prince Jurij, the third son of Oton Viktor, inherited the castle in 1859 and heavily remodeled it for use as a summer home and hunting lodge. In addition to adding a story, two turrets, a terrace, and elevating the defensive walls, he also richly furnished the interior and established a surrounding English park.
Wishing to preserve the estate for his heirs, the prince established a fideicommiss about the property. Stocking the woods with deer and the ponds with trout, he ordered several paths built through the forest, he also hired experts to maintain the surrounding wilderness, and was the patron of the first Slovene forestry school, opened in the castle in 1869 but closed in 1875 due to germanophone political pressure. The princes' construction of a steam sawmill began the industrial development of the Lož Valley.
In 1902 prince Jurij was succeeded by his firstborn, Herman, a diplomat. After World War I the estate was divided between Italy and the Kingdom of SHS by the Treaty of Rapallo. Prince Herman died in 1943 at the family castle of Hermsdorf by Dresden. During WWII the castle caretaker faithfully guarded the estate, repelling looters; as a consequence, the interior furnishing of the Schoenburgs survive intact. In 1945, the castle and estate were nationalized, and became a hunting lodge reserved for high state functionaries. In 1983, the castle was opened to the public as a museum.
Loch Ness is the alleged home of the Loch Ness Monster (also known as "Nessie"), a cryptid, reputedly a large unknown animal. It is similar to other supposed lake monsters in Scotland and elsewhere, though its description varies from one account to the next. Popular interest and belief in the animal's existence has varied since it was first brought to the world's attention in 1933
Avez-vous quelque chose
Contre la misère?
Contre la misère
On a des cache-misère
Contre la misère
On a de la poudre aux yeux
Et puis encore
Un peu de ciel bleu
Jacques Dutronc
www.dailymotion.com/video/x290uu_madame-l-existence_creation
The Tuol Sleng Genocide Museum is a museum chronicling the Cambodian genocide. Located in Phnom Penh, the site is a former secondary school which was used as Security Prison 21 (S-21; Khmer: មន្ទីរស-២១) by the Khmer Rouge regime from 1975 until its fall in 1979. From 1976 to 1979, an estimated 20,000 people were imprisoned at Tuol Sleng and it was one of between 150 and 196 torture and execution centers established by the Khmer Rouge. On 26 July 2010, the Extraordinary Chambers in the Courts of Cambodia convicted the prison's chief, Kang Kek Iew, for crimes against humanity and grave breaches of the 1949 Geneva Conventions. He died on 2 September 2020 while serving a life sentence.
To accommodate the victims of purges that were important enough for the attention of the Khmer Rouge, a new detention center was planned in the building that was formerly known as Tuol Svay Prey High School, named after a royal ancestor of King Norodom Sihanouk, the five buildings of the complex were converted in March or April 1976 into a prison and an interrogation center. Before, other buildings in town were used already as prison S-21. The Khmer Rouge renamed the complex "Security Prison 21" (S-21) and construction began to adapt the prison for the inmates: the buildings were enclosed in electrified barbed wire, the classrooms converted into tiny prison and torture chambers, and all windows were covered with iron bars and barbed wire to prevent escapes and suicides.
From 1976 to 1979, an estimated 20,000 people were imprisoned at Tuol Sleng (the real number is unknown). At any one time, the prison held between 1,000 and 1,500 prisoners. They were repeatedly tortured and coerced into naming family members and close associates, who were in turn arrested, tortured and killed. In the early months of S-21's existence, most of the victims were from the previous Lon Nol regime and included soldiers, government officials, as well as academics, doctors, teachers, students, factory workers, monks, engineers, etc. Later, the party leadership's paranoia turned on its own ranks and purges throughout the country saw thousands of party activists and their families brought to Tuol Sleng and murdered. Those arrested included some of the highest ranking politicians such as Khoy Thoun, Vorn Vet and Hu Nim. Although the official reason for their arrest was "espionage", these men may have been viewed by Khmer Rouge leader Pol Pot as potential leaders of a coup against him. Prisoners' families were sometimes brought en masse to be interrogated and later executed at the Choeung Ek extermination center.
In 1979, the prison was uncovered by the invading Vietnamese army. At some point between 1979 and 1980 the prison was reopened by the government of the People's Republic of Kampuchea as a historical museum memorializing the actions of the Khmer Rouge regime.
Upon arrival at the prison, prisoners were photographed and required to give detailed autobiographies, beginning with their childhood and ending with their arrest. After that, they were forced to strip to their underwear, and their possessions were confiscated. The prisoners were then taken to their cells. Those taken to the smaller cells were shackled to the walls or the concrete floor. Those who were held in the large mass cells were collectively shackled to long pieces of iron bar. The shackles were fixed to alternating bars; the prisoners slept with their heads in opposite directions. They slept on the floor without mats, mosquito nets, or blankets. They were forbidden to talk to each other.
The day began in the prison at 4:30 a.m. when prisoners were ordered to strip for inspection. The guards checked to see if the shackles were loose or if the prisoners had hidden objects they could use to commit suicide. Over the years, several prisoners managed to kill themselves, so the guards were very careful in checking the shackles and cells. The prisoners received four small spoonfuls of rice porridge and a watery soup of leaves twice a day. Drinking water without asking the guards for permission resulted in serious beatings. The inmates were hosed down every four days.
The prison had very strict regulations, and severe beatings were inflicted upon any prisoner who disobeyed. Almost every action had to be approved by one of the prison's guards. The prisoners were sometimes forced to eat human feces and drink human urine. The unhygienic living conditions in the prison caused skin diseases, lice, rashes, ringworm and other ailments. The prison's medical staff were untrained and offered treatment only to sustain prisoners' lives after they had been injured during interrogation. When prisoners were taken from one place to another for interrogation, they were blindfolded. Guards and prisoners were not allowed to converse. Moreover, within the prison, people who were in different groups were not allowed to have contact with one another.[5]
Most prisoners at S-21 were held there for two to three months. However, several high-ranking Khmer Rouge cadres were held longer. Within two or three days after they were brought to S-21, all prisoners were taken for interrogation. The torture system at Tuol Sleng was designed to make prisoners confess to whatever crimes they were charged with by their captors. Prisoners were routinely beaten and tortured with electric shocks, searing hot metal instruments and hanging, as well as through the use of various other devices. Some prisoners were cut with knives or suffocated with plastic bags. Other methods for generating confessions included pulling out fingernails while pouring alcohol on the wounds, holding prisoners' heads under water, and the use of the waterboarding technique. Women were sometimes raped by the interrogators, even though sexual abuse was against Democratic Kampuchea (DK) policy. The perpetrators who were found out were executed. Although many prisoners died from this kind of abuse, killing them outright was discouraged, since the Khmer Rouge needed their confessions. The "Medical Unit" at Tuol Sleng, however, did kill at least 100 prisoners by bleeding them to death. It is proven that medical experiments were performed on certain prisoners. There is clear evidence that patients in Cambodia were sliced open and had organs removed with no anesthetic. The camp's director, Kang Kek Iew, has acknowledged that "live prisoners were used for surgical study and training. Draining blood was also done."
In their confessions, the prisoners were asked to describe their personal background. If they were party members, they had to say when they joined the revolution and describe their work assignments in DK. Then the prisoners would relate their supposed treasonous activities in chronological order. The third section of the confession text described prisoners' thwarted conspiracies and supposed treasonous conversations. At the end, the confessions would list a string of traitors who were the prisoners' friends, colleagues, or acquaintances. Some lists contained over a hundred names. People whose names were in the confession list were often called in for interrogation.
Typical confessions ran into thousands of words in which the prisoner would interweave true events in their lives with imaginary accounts of their espionage activities for the CIA, the KGB, or Vietnam. Physical torture was combined with sleep deprivation and deliberate neglect of the prisoners. The torture implements are on display in the museum. It is believed that the vast majority of prisoners were innocent of the charges against them and that the torture produced false confessions.
For the first year of S-21's existence, corpses were buried near the prison. However, by the end of 1976, cadres ran out of burial spaces, the prisoner and family members were taken to the Boeung Choeung Ek ("Crow's Feet Pond") extermination centre, fifteen kilometers from Phnom Penh. There, they were killed by a group of teenagers led by a Comrade Teng, being battered to death with iron bars, pickaxes, machetes and many other makeshift weapons owing to the scarcity and cost of ammunition. After the prisoners were executed, the soldiers who had accompanied them from S-21 buried them in graves that held as few as 6 and as many as 100 bodies.
Almost all non-Cambodians had left the country by early May 1975, following an overland evacuation of the French Embassy in trucks. The few who remained were seen as a security risk. Though most of the foreign victims were either Vietnamese or Thai, a number of Western prisoners, many picked up at sea by Khmer Rouge patrol boats, also passed through S-21 between April 1976 and December 1978. No foreign prisoners survived captivity in S-21.
Even though the vast majority of the victims were Cambodian, some were foreigners, including 488 Vietnamese, 31 Thai, four French, two Americans, two Australians, one Laotian, one Arab, one Briton, one Canadian, one New Zealander, and one Indonesian. Khmers of Indian and Pakistani descent were also victims.
Two Franco-Vietnamese brothers named Rovin and Harad Bernard were detained in April 1976 after they were transferred from Siem Reap, where they had worked tending cattle. Another Frenchman named Andre Gaston Courtigne, a 30-year-old clerk and typist at the French embassy, was arrested the same month along with his Khmer wife in Siem Reap.
It is possible that a handful of French nationals who went missing after the 1975 evacuation of Phnom Penh also passed through S-21. Two Americans were captured under similar circumstances. James Clark and Lance McNamara in April 1978 were sailing when their boat drifted off course and sailed into Cambodian waters. They were arrested by Khmer patrol boats, taken ashore, where they were blindfolded, placed on trucks, and taken to the then-deserted Phnom Penh.
Twenty-six-year-old John D. Dewhirst, a British tourist, was one of the youngest foreigners to die in the prison. He was sailing with his New Zealand companion, Kerry Hamill, and their Canadian friend Stuart Glass when their boat drifted into Cambodian territory and was intercepted by Khmer patrol boats on August 13, 1978. Glass was killed during the arrest, while Dewhirst and Hamill were captured, blindfolded, and taken to shore. Both were executed after having been tortured for several months at Tuol Sleng. Witnesses reported that a foreigner was burned alive; initially, it was suggested that this might have been John Dewhirst, but a survivor would later identify Kerry Hamill as the victim of this particular act of brutality. Robert Hamill, his brother and a champion Atlantic rower, would years later make a documentary, Brother Number One, about his brother's incarceration.
One of the last foreign prisoners to die was twenty-nine-year-old American Michael S. Deeds, who was captured with his friend Christopher E. DeLance on November 24, 1978, while sailing from Singapore to Hawaii. His confession was signed a week before the Vietnamese army invaded Cambodia and ousted the Khmer Rouge. In 1989, Deeds' brother, Karl Deeds, traveled to Cambodia in attempts to find his brother's remains, but was unsuccessful. On September 3, 2012, DeLance's photograph was identified among the caches of inmate portraits.
As of 1999, there were a total of 79 foreign victims on record, but former Tuol Sleng Khmer Rouge photographer Nim Im claims that the records are not complete. On top of that, there is also an eyewitness account of a Filipino, a Cuban and a Swiss who passed through the prison, though no official records of either are shown.
Out of an estimated 20,000 people imprisoned at Tuol Sleng, there were only twelve known survivors: seven adults and five children. One child died shortly after the liberation.[5] As of mid-September 2011, only three of the adults and four children are thought to still be alive: Chum Mey, Bou Meng, and Chim Meth. All three said they were kept alive because they had skills their captors judged to be useful. Bou Meng, whose wife was killed in the prison, is an artist. Chum Mey was kept alive because of his skills in repairing machinery. Chim Meth was held in S-21 for 2 weeks and transferred to the nearby Prey Sar prison. She may have been spared because she was from Stoeung district in Kampong Thom where Comrade Duch was born. She intentionally distinguished herself by emphasising her provincial accent during her interrogations. Vann Nath, who was spared because of his ability to paint, died on September 5, 2011. Norng Chan Phal, one of the surviving children, published his story in 2018.
The Documentation Center of Cambodia has recently estimated that, in fact, at least 179 prisoners were freed from S-21 between 1975 and 1979 and approximately 23 prisoners (including 5 children, two of them siblings Norng Chanphal and Norng Chanly) survived when the prison was liberated in January 1979. One child died shortly thereafter. Of the 179 prisoners who were released, most disappeared and only a few are known to have survived after 1979. It was found that at least 60 persons (out of the DC Cam list) who are listed as having survived were first released but later rearrested and executed.
The prison had a staff of 1,720 people throughout the whole period. Of those, approximately 300 were office staff, internal workforce and interrogators. The other 1,400 were general workers, including people who grew food for the prison. Several of these workers were children taken from the prisoner families. The chief of the prison was Khang Khek Ieu (also known as Comrade Duch), a former mathematics teacher who worked closely with Khmer Rouge leader Pol Pot. Other leading figures of S-21 were Kim Vat aka Ho (deputy chief of S-21), Peng (chief of guards), Mam Nai aka Chan (chief of the Interrogation Unit), and Tang Sin Hean aka Pon (interrogator). Pon was the person who interrogated important people such as Keo Meas, Nay Sarann, Ho Nim, Tiv Ol, and Phok Chhay.
The documentation unit was responsible for transcribing tape recorded confessions, typing the handwritten notes from prisoners' confessions, preparing summaries of confessions, and maintaining files. In the photography sub-unit, workers took mug shots of prisoners when they arrived, pictures of prisoners who had died while in detention, and pictures of important prisoners after they were executed. Thousands of photographs have survived, but thousands are still missing.
The defense unit was the largest unit in S-21. The guards in this unit were mostly teenagers. Many guards found the unit's strict rules hard to obey. Guards were not allowed to talk to prisoners, to learn their names, or to beat them. They were also forbidden to observe or eavesdrop on interrogations, and they were expected to obey 30 regulations, which barred them from such things as taking naps, sitting down or leaning against a wall while on duty. They had to walk, guard, and examine everything carefully. Guards who made serious mistakes were arrested, interrogated, jailed and put to death. Most of the people employed at S-21 were terrified of making mistakes and feared being tortured and killed.
The interrogation unit was split into three separate groups: Krom Noyobai or the political unit, Krom Kdao or the hot unit and Krom Angkiem, or the chewing unit. The hot unit (sometimes called the cruel unit) was allowed to use torture. In contrast, the cold unit (sometimes called the gentle unit) was prohibited from using torture to obtain confessions. If they could not make prisoners confess, they would transfer them to the hot unit. The chewing unit dealt with tough and important cases. Those who worked as interrogators were literate and usually in their 20s.
Some of the staff who worked in Tuol Sleng also ended up as prisoners. They confessed to being lazy in preparing documents, to having damaged machines and various equipment, and to having beaten prisoners to death without permission when assisting with interrogations.
When prisoners were first brought to Tuol Sleng, they were made aware of ten rules that they were to follow during their incarceration. What follows is what is posted today at the Tuol Sleng Museum; the imperfect grammar is a result of faulty translation from the original Khmer:
You must answer accordingly to my question. Don't turn them away.
Don't try to hide the facts by making pretexts this and that, you are strictly prohibited to contest me.
Don't be a fool for you are a chap who dare to thwart the revolution.
You must immediately answer my questions without wasting time to reflect.
Don't tell me either about your immoralities or the essence of the revolution.
While getting lashes or electrification you must not cry at all.
Do nothing, sit still and wait for my orders. If there is no order, keep quiet. When I ask you to do something, you must do it right away without protesting.
Don't make pretext about Kampuchea Krom in order to hide your secret or traitor.
If you don't follow all the above rules, you shall get many lashes of electric wire.
If you disobey any point of my regulations you shall get either ten lashes or five shocks of electric discharge.
During testimony at the Khmer Rouge Tribunal on April 27, 2009, Duch claimed the 10 security regulations were a fabrication of the Vietnamese officials that first set up the Tuol Sleng Genocide Museum.
In 1979, Hồ Văn Tây, a Vietnamese combat photographer, was the first journalist to document Tuol Sleng to the world. Hồ and his colleagues followed the stench of rotting corpses to the gates of Tuol Sleng. The photos of Hồ documenting what he saw when he entered the site are exhibited in Tuol Sleng today.
The Khmer Rouge required that the prison staff make a detailed dossier for each prisoner. Included in the documentation was a photograph. Since the original negatives and photographs were separated from the dossiers in the 1979–1980 period, most of the photographs remain anonymous to this day.
The buildings at Tuol Sleng are preserved, with some rooms still appearing just as they were when the Khmer Rouge were driven out in 1979. The regime kept extensive records, including thousands of photographs. Several rooms of the museum are now lined, floor to ceiling, with black and white photographs of some of the estimated 20,000 prisoners who passed through the prison.
The site has four main buildings, known as Building A, B, C, and D. Building A holds the large cells in which the bodies of the last victims were discovered. Building B holds galleries of photographs. Building C holds the rooms subdivided into small cells for prisoners. Building D holds other memorabilia including instruments of torture.
Other rooms contain only a rusting iron bedframe, beneath a black and white photograph showing the room as it was found by the Vietnamese. In each photograph, the mutilated body of a prisoner is chained to the bed, killed by his fleeing captors only hours before the prison was captured. Other rooms preserve leg-irons and instruments of torture. They are accompanied by paintings by former inmate Vann Nath showing people being tortured, which were added by the post-Khmer Rouge regime installed by the Vietnamese in 1979.
The museum is open to the public from 8:00 a.m. to 5:00 p.m. On weekdays, visitors have the opportunity of viewing a 'survivor testimony' from 2:30 p.m. to 3:00 p.m. Along with the Choeung Ek Memorial (the Killing Fields), the Tuol Sleng Genocide Museum is included as a point of interest for those visiting Cambodia. Tuol Sleng also remains an important educational site as well as memorial for Cambodians. Since 2010, the ECCC brings Cambodians on a 'study tour' consisting of the Tuol Sleng, followed by the Choeung Ek, and finishing at the ECCC complex. The tour drew approximately 27,000 visitors in 2010.
S-21: The Khmer Rouge Killing Machine is a 2003 film by Rithy Panh, a Cambodian-born, French-trained filmmaker who lost his family when he was 11. The film features two Tuol Sleng survivors, Vann Nath and Chum Mey, confronting their former Khmer Rouge captors, including guards, interrogators, a doctor and a photographer. The focus of the film is the difference between the feelings of the survivors, who want to understand what happened at Tuol Sleng to warn future generations, and the former jailers, who cannot escape the horror of the genocide they helped create.
A number of images from Tuol Sleng are featured in the 1992 Ron Fricke film Baraka.
The Killing Fields are a number of sites in Cambodia where collectively more than 1,000,000 people were killed and buried by the Communist Party of Kampuchea during Khmer Rouge rule of the country from 1975 to 1979, immediately after the end of the Cambodian Civil War (1970–1975). The mass killings were part of the broad, state-sponsored Cambodian genocide.
Analysis of 20,000 mass grave sites by the DC-Cam Mapping Program and Yale University indicates at least 1,386,734 victims of execution. Estimates of the total deaths resulting from Khmer Rouge policies, including death from disease and starvation, range from 1.7 to 2.5 million out of a 1975 population of roughly 8 million. In 1979, Vietnam invaded Democratic Kampuchea and toppled the Khmer Rouge regime, ending the genocide.
The Cambodian journalist Dith Pran coined the term "killing fields" after his escape from the regime.
The Khmer Rouge regime arrested and eventually executed almost everyone suspected of connections with the former government or with foreign governments, as well as professionals and intellectuals. Ethnic Vietnamese, ethnic Thai, ethnic Chinese, ethnic Cham, Cambodian Christians, and Buddhist monks were the demographic targets of persecution. As a result, Pol Pot has been described as "a genocidal tyrant". Martin Shaw described the Cambodian genocide as "the purest genocide of the Cold War era".
Ben Kiernan estimates that about 1.7 million people were killed. Researcher Craig Etcheson of the Documentation Center of Cambodia suggests that the death toll was between 2 and 2.5 million, with a "most likely" figure of 2.2 million. After five years of researching some 20,000 grave sites, he concludes that "these mass graves contain the remains of 1,386,734 victims of execution". A United Nations investigation reported 2–3 million dead, while UNICEF estimated 3 million had been killed. Demographic analysis by Patrick Heuveline suggests that between 1.17 and 3.42 million Cambodians were killed, while Marek Sliwinski suggests that 1.8 million is a conservative figure. Even the Khmer Rouge acknowledged that 2 million had been killed—though they attributed those deaths to a subsequent Vietnamese invasion. By late 1979, UN and Red Cross officials were warning that another 2.25 million Cambodians faced death by starvation due to "the near destruction of Cambodian society under the regime of ousted Prime Minister Pol Pot", who were saved by international aid after the Vietnamese invasion.
Process
The judicial process of the Khmer Rouge regime, for minor or political crimes, began with a warning from the Angkar, the government of Cambodia under the regime. People receiving more than two warnings were sent for "re-education," which meant near-certain death. People were often encouraged to confess to Angkar their "pre-revolutionary lifestyles and crimes" (which usually included some kind of free-market activity; having had contact with a foreign source, such as a U.S. missionary, international relief or government agency; or contact with any foreigner or with the outside world at all), being told that Angkar would forgive them and "wipe the slate clean." They were then taken away to a place such as Tuol Sleng or Choeung Ek for torture and/or execution.[citation needed]
The executed were buried in mass graves. In order to save ammunition, the executions were often carried out using poison or improvised weapons such as sharpened bamboo sticks, hammers, machetes and axes. Inside the Buddhist Memorial Stupa at Choeung Ek, there is evidence of bayonets, knives, wooden clubs, hoes for farming and curved scythes being used to kill victims, with images of skulls, damaged by these implements, as evidence. In some cases the children and infants of adult victims were killed by having their heads bashed against the trunks of Chankiri trees, and then were thrown into the pits alongside their parents. The rationale was "to stop them growing up and taking revenge for their parents' deaths."[citation needed]
Prosecution for crimes against humanity
In 1997 the Cambodian government asked for the UN's assistance in setting up a genocide tribunal. It took nine years to agree to the shape and structure of the court—a hybrid of Cambodian and international laws—before the judges were sworn in, in 2006. The investigating judges were presented with the names of five possible suspects by the prosecution on 18 July 2007. On 19 September 2007 Nuon Chea, second in command of the Khmer Rouge and its most senior surviving member, was charged with war crimes and crimes against humanity. He faced Cambodian and foreign judges at the special genocide tribunal and was convicted on 7 August 2014 and received a life sentence. On 26 July 2010 Kang Kek Iew (aka Comrade Duch), director of the S-21 prison camp, was convicted of crimes against humanity and sentenced to 35 years' imprisonment. His sentence was reduced to 19 years, as he had already spent 11 years in prison. On 2 February 2012, his sentence was extended to life imprisonment by the Extraordinary Chambers in the Courts of Cambodia. He died on 2 September 2020.
Legacy
The best known monument of the Killing Fields is at the village of Choeung Ek. Today, it is the site of a Buddhist memorial to the victims, and Tuol Sleng has a museum commemorating the genocide. The memorial park at Choeung Ek has been built around the mass graves of many thousands of victims, most of whom were executed after interrogation at the S-21 Prison in Phnom Penh. The majority of those buried at Choeung Ek were Khmer Rouge killed during the purges within the regime. Many dozens of mass graves are visible above ground, many which have not been excavated yet. Commonly, bones and clothing surface after heavy rainfalls due to the large number of bodies still buried in shallow mass graves. It is not uncommon to run across the bones or teeth of the victims scattered on the surface as one tours the memorial park. If these are found, visitors are asked to notify a memorial park officer or guide.
A survivor of the genocide, Dara Duong, founded The Killing Fields Museum in Seattle, US.
The Khmer Rouge is the name that was popularly given to members of the Communist Party of Kampuchea (CPK) and by extension to the regime through which the CPK ruled Cambodia between 1975 and 1979. The name was coined in the 1960s by then Chief of State Norodom Sihanouk to describe his country's heterogeneous, communist-led dissidents, with whom he allied after his 1970 overthrow.
The Khmer Rouge army was slowly built up in the jungles of eastern Cambodia during the late 1960s, supported by the North Vietnamese army, the Viet Cong, the Pathet Lao, and the Chinese Communist Party (CCP). Although it originally fought against Sihanouk, the Khmer Rouge changed its position and supported Sihanouk following the CCP's advice after he was overthrown in a 1970 coup by Lon Nol who established the pro-American Khmer Republic. Despite a massive American bombing campaign (Operation Freedom Deal) against them, the Khmer Rouge won the Cambodian Civil War when they captured the Cambodian capital and overthrew the Khmer Republic in 1975. Following their victory, the Khmer Rouge, who were led by Pol Pot, Nuon Chea, Ieng Sary, Son Sen, and Khieu Samphan, immediately set about forcibly evacuating the country's major cities. In 1976, they renamed the country Democratic Kampuchea.
The Khmer Rouge regime was highly autocratic, totalitarian, and repressive. Many deaths resulted from the regime's social engineering policies and the "Moha Lout Plaoh", an imitation of China's Great Leap Forward which had caused the Great Chinese Famine. The Khmer Rouge's attempts at agricultural reform through collectivization similarly led to widespread famine, while its insistence on absolute self-sufficiency, including the supply of medicine, led to the death of many thousands from treatable diseases such as malaria.
The Khmer Rouge regime murdered hundreds of thousands of their perceived political opponents, and its racist emphasis on national purity resulted in the genocide of Cambodian minorities. Summary executions and torture were carried out by its cadres against perceived subversive elements, or during genocidal purges of its own ranks between 1975 and 1978. Ultimately, the Cambodian genocide which took place under the Khmer Rouge regime led to the deaths of 1.5 to 2 million people, around 25% of Cambodia's population.
In the 1970s, the Khmer Rouge were largely supported and funded by the Chinese Communist Party, receiving approval from Mao Zedong; it is estimated that at least 90% of the foreign aid which was provided to the Khmer Rouge came from China. The regime was removed from power in 1979 when Vietnam invaded Cambodia and quickly destroyed most of its forces. The Khmer Rouge then fled to Thailand, whose government saw them as a buffer force against the Communist Vietnamese. The Khmer Rouge continued to fight against the Vietnamese and the government of the new People's Republic of Kampuchea until the end of the war in 1989. The Cambodian governments-in-exile (including the Khmer Rouge) held onto Cambodia's United Nations seat (with considerable international support) until 1993, when the monarchy was restored and the name of the Cambodian state was changed to the Kingdom of Cambodia. A year later, thousands of Khmer Rouge guerrillas surrendered themselves in a government amnesty.
In 1996, a new political party called the Democratic National Union Movement was formed by Ieng Sary, who was granted amnesty for his role as the deputy leader of the Khmer Rouge. The organisation was largely dissolved by the mid-1990s and finally surrendered completely in 1999. In 2014, two Khmer Rouge leaders, Nuon Chea and Khieu Samphan, were jailed for life by a United Nations-backed court which found them guilty of crimes against humanity for their roles in the Khmer Rouge's genocidal campaign.
The Cambodian genocide was the systematic persecution and killing of Cambodian citizens by the Khmer Rouge under the leadership of Communist Party of Kampuchea general secretary Pol Pot. It resulted in the deaths of 1.5 to 2 million people from 1975 to 1979, nearly a quarter of Cambodia's population in 1975 (c. 7.8 million).
Pol Pot and the Khmer Rouge had long been supported by the Chinese Communist Party (CCP) and its chairman, Mao Zedong; it is estimated that at least 90% of the foreign aid which the Khmer Rouge received came from China, including at least US$1 billion in interest-free economic and military aid in 1975 alone. After it seized power in April 1975, the Khmer Rouge wanted to turn the country into an agrarian socialist republic, founded on the policies of ultra-Maoism and influenced by the Cultural Revolution. Pol Pot and other Khmer Rouge officials met with Mao in Beijing in June 1975, receiving approval and advice, while high-ranking CCP officials such as Politburo Standing Committee member Zhang Chunqiao later visited Cambodia to offer help. To fulfill its goals, the Khmer Rouge emptied the cities and forced Cambodians to relocate to labor camps in the countryside, where mass executions, forced labor, physical abuse, malnutrition, and disease were rampant. In 1976, the Khmer Rouge renamed the country Democratic Kampuchea.
The massacres ended when the Vietnamese military invaded in 1978 and toppled the Khmer Rouge regime. By January 1979, 1.5 to 2 million people had died due to the Khmer Rouge's policies, including 200,000–300,000 Chinese Cambodians, 90,000–500,000 Cambodian Cham (who are mostly Muslim), and 20,000 Vietnamese Cambodians. 20,000 people passed through the Security Prison 21, one of the 196 prisons the Khmer Rouge operated, and only seven adults survived. The prisoners were taken to the Killing Fields, where they were executed (often with pickaxes, to save bullets) and buried in mass graves. Abduction and indoctrination of children was widespread, and many were persuaded or forced to commit atrocities. As of 2009, the Documentation Center of Cambodia has mapped 23,745 mass graves containing approximately 1.3 million suspected victims of execution. Direct execution is believed to account for up to 60% of the genocide's death toll, with other victims succumbing to starvation, exhaustion, or disease.
The genocide triggered a second outflow of refugees, many of whom escaped to neighboring Thailand and, to a lesser extent, Vietnam. In 2003, by agreement between the Cambodian government and the United Nations, the Extraordinary Chambers in the Court of Cambodia (Khmer Rouge Tribunal) were established to try the members of the Khmer Rouge leadership responsible for the Cambodian genocide. Trials began in 2009. On 26 July 2010, the Trial Chamber convicted Kaing Guek Eav (alias Duch) for crimes against humanity and grave breaches of the 1949 Geneva Conventions. The Supreme Court Chamber increased his sentence to life imprisonment. Nuon Chea and Khieu Samphan were tried and convicted in 2014 of crimes against humanity and grave breaches of the Geneva Conventions. On 28 March 2019, the Trial Chamber found Nuon Chea and Khieu Samphan guilty of crimes against humanity, grave breaches of the Geneva Conventions, and genocide of the Vietnamese ethnic, national and racial group. The Chamber additionally convicted Nuon Chea of genocide of the Cham ethnic and religious group under the doctrine of superior responsibility. Both Nuon Chea and Khieu Samphan were sentenced to terms of life imprisonment.
Dhaka, Bangladesh, 2011
Both angels and demons exists alongside in a human.
Lets sacrifice the demons on the occasion of Eid-Ul-Azha.
Eid Mubarak to all of my flickr friends.
Hot Dog Party
In Hot Dog Party, an image of rapid apocalypse is represented by a bacchanalia, an ultimate celebration of body and soul, when its participants seem to think that they are going to die the day after tomorrow.
As we come to the close of this tumultuous century it is clearer than ever that the human kind is in peril.
Our old values seem shaky and inadequate.
We try to catch the last chance of a total and final festival, as there is going to be no tomorrow.
So, today should be the fiesta. And every day is like the last day.
May be that is why every third American is overweight?
Jaisini's portrayal of the last bacchanalia is glorious and monumental, as a praise to the human flesh that is so eager to satisfy itself, as long as it exists.
The overtone of apocalypse is given by a presence of an idol and a devil, as the silent witnesses of all orgies at all times.
And, no matter for how long the Darvian evolution will go on, the human body is all the same, with its insatiable hunger, its uncertainty in the future.
Perhaps we need to seek the answers from those like Jaisini, who had retreated into a private recess of fantasy and imagination, to approach a more vivid reality.
A line connects all the picture's elements into a unity without central powers.
All the images are autonomous and equal.
The energy is everywhere, but there behind the canvas, exists the hidden central power of the artist, creator.
The work illustrates our human attachment to bodily pleasures, and the fear of physical termination. The fiesta is a way to catch a peak of eternity.
This phenomenon became an attitude of the everyday life, when each of us striving to stop the time and to gratify the body by any means, at any price.
The quest for eternal enjoyment in the outside, physical world brings the emptiness in the inside world, and therefore the man's quest is never completed. It is a closed circle.
The only reality is the individual existence of the self. Jaisini uses the motif of fiesta to portray the all human problem of temptations, pleasures and miseries of the sense world. Meanwhile, the voice of inner soul, or God, is the artist's power that is unseen.
The driving force of our existence is this warring of the high and law that invariably goes on inside us.
Each participant of the "Hot Dog Party" is absorbed in his own realm of pleasure. The orgy is at a stage of lost control. Even Beelzebub wants to drink more and his eye is popping out for more wine and anticipation moistens his jaws. Down under a man puts an earthworm in his mouth.
A bare thigh of a woman in the black stockings is almost of the same color as the tablecloth that covers the rest of her body. Three emptied bottles stay on the table's edge. A yellow back light creates a serene, separate segment of a still life. The two turndown bottles may symbolize "vanitas" as does an overturn cup in the Holland still life. One of those bottles is pointed towards the inside of spread legs which belong to another young woman who lies on the table and bends sensually.
Next, the figure is of a ballerina extending her leg all the way to the turndown bottles. Her underwear shows the red marks.
A female figure at the left lower side is painted in an intense color of gold, yellow ochre. She widely spreads her legs and examines herself.
Next is a strange flaming creature that lies on a burning charcoal being deadly drunk and unconscious. A couple of cowboys sing while eating and drinking, as in a moment of their personal glory. Above them there is a red fat body of a person whose sex is defined by a sausage on a plate, covered by his heavy stomach. He is ready to swallow a
second sausage that he observes passionately. In turn an old goddess watches him. In this part of the painting the color contrast is rendered by an image of ghostly, pale man who looks avariciously at a young woman who sits on the table's edge and drinks wine directly from a bottle.
Her body is in purple color with red reflects. The light on her face and the highlights on her hair waves are yellow the shadow is deep.
"Hot Dog Party" is painted in a challenging color range. It demonstrates the artist's great mastery and command over color.
The red dominates the painting. It is refined and elaborated with a variety of correlating colors. The color formula of the work is fabulously laconic, but rich. Some amount of yellow light is spread around.
The white tablecloth bears pinkish casts and hints of surrounding color.
Just enough of some blue and green to ignite the painting with a gemlike color game.
After a few years existence, West Midlands PTE decided it would take over the Midland Red services in the county and acquired some depots and many vehicles. One such is this Midland Red S23-type bus built by BMMO (Midland Red) and bodies panelled and fitted out by Plaxton. The PTE used the Midland Red fleet number. Having been painted in the WMPTE livery of the time, this bus is seen in Dudley in February 1978.
In those stillest of hours when we sense the ineffable, we become aware of a deep schism in our existence. This schism will seem insuperable to us so long as the insight that our blood is the creative force in our life has not yet become a living, integral part of us.
-On Judaism
Martin Buber
EXPLORED Highest Rank #326
View On Black LARGE to see better
Alright, I'll be the first to admit that this could be a more sharp shot, but there's just something that I just love about it.
This was shot in Katmai NP & Preserve, off the shore of Katmai, just inland from the Cook Inlet in the tidal waters.
Maybe it's because of the wild nature of the place shot in this magnificent setting. Maybe it's because of the undisturbed activity of the wildlife there. It was afterall a gorgeous place and wonderful day.
We went for the bears, but this year, we were also treated to birds - not just the usual seagulls, but others, including obviously bald eagles. Being so focused on the bears, it was only on second glimpse that you would spot the eagles, usually by their white heads contrasting against the mountains, shoreline, or waters. That's probably why I tend to keep looking at this shot.
Here are just 2 of the sub-adult coastal brown bears wading in the waters, while 2 mature bald eagles sat nearby hunting for their own food. The eagle to the left on this shot has a juvenile bald eagle sitting to the right of it, just as an added bonus for us.
Usually, we see the bears and the scavenger seagulls, but this year in addition to the eagles, we also saw harbor seals participating alongside the bears in the frantic salmon feeding frenzy. What a special treat!
When I look at this shot, I see one thing overwhelmingly and that is harmony and peaceful co-existence. I wonder why it's often so easy for animals to co-exist with each other, but people often have such difficulty doing so. Perhaps this is yet another lesson that humans can learn from animals.
Thanks for your views and comments! Have a great day!
Muenster, the cultural centre of Westphalia, is a city with a population of more than 250.000 of which nearly 50.000 are students at the University of Muenster. This surely helped Muenster to gain the status of the "bicycle capital of Germany".
The "Westphalian State Museum of Art and Cultural History" dates back to the 19th century and owes its existence largely to the contributions of local art associations. The Westphalian Art Association, founded in 1831, played a crucial role in collecting and preserving regional art. The museum has undergone several renovations, including the construction of a new building, which opened in September 2014. The museum displays artworks from the early Middle Ages to the present day. Its collection comprises more than 300,000 exhibits.
Meister des Fröndenberger Marienaltares ( active 1400/40 )
The museum has an incredible collection of medieval Madonna figures.
越後妻有 大地の芸術祭の里（十日町市・津南町） / Village (Tokamachi-shi, Tsunan-machi) of the art festival of the Echigo wife existence earth
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
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In another existence, just outside our own, is the forgotten city of Dingir. Its streamlined Art Deco architecture was once filled with bright colors and rich materials, meant to reflect the beginning of a new age of consciousness. Now muted and neglected, it lies somewhere between our dreams and reality.
Dingir served as a crossroads between the human-bound Dreamers and the entities that would become humans. These creatures were known as “Those Who See and Observe”.
They entered Dreamers’ subconscious and helped guide them along on their path. However, there were some Dreamers that became too strong and aware, which gave them the ability to reach through the barrier between worlds, causing chaos and irreparable damage to Dingir, and places like it.
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