View allAll Photos Tagged Existence
The COVID-19 virus had seriously disrupted our existence these past ten months and most probably for a long, long time to come. Although at present we are trying to reduce its spread by using masks, social distancing and improved general public hygiene, the only way to drastically reduce its spread is by vaccination,.
The first doses of vaccine have been delivered to hospitals here and the immunisation program is due to start tomorrow. Hopefully the vast majority of people will take up this entirely free and voluntary injection. It is the only way to reduce the occurrence of this virus amongst our population.
Here in the U.K., the the incidence of infection is about 1 in 110. My niece, working in pathology at a major hospital in Dallas, Texas, USA, has told us that the incidence of positive tests in her hospital is 1 in 4!
These figures do not need any explanation. They speak for themselves.
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s when White and Polhill established the Mount Arden run at what is now Quorn. But the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. Then in December 1881 the first trains from Peterborough via Hammond arrived in Quorn. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs( from 1929). This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
St.Kevins Bus Service has been in existence since 1927, and has always been an independent operator. The terminus is currently in Dawson Street but next year Luas Cross City works will mean a new terminus at some stage. Van Hool/Daf 03KE3500 is seen awaiting passengers and it now has route number 181 as part of the National Transport Authorities new route numbering system.
I met this boy, age about 10 years, who is travelling with his family in search of job. They move from one place to another almost through out the year, working as daily labourer. Now a days they are working at a place near Gwalior, Madhya Pradesh, India to work in wheat field for as low as Rs 80/day. They do fishing in the near by water holes, which adds minimum protein in their diet. They roast their catch and have with dry CHAPATI (Roti).
*They started their primordial existence as microscopic lifeforms placed on separate parts of the Earth's Oceans by a dying race of ancients with the hopes of reviving a once great species. Over ions of existence the unpredictable conditions of this planet slowly morphed them into strange and unrecognizable versions of themselves."
"Like her sister, was born in water. But unlike her sister she felt cradled by the dark. The depths of the ocean provided solitude. She feared the sun and it's violent rays. Unable to stand even the faint light that peaked through the surface she delved into the darkest depths she could find. A large section of this ocean is an endless expanse of pitch black water or an "abyss" which interconnects with countless maze-like rocky passageways that expand for thousands of miles. This entire area, completely void of sunlight and home to very few lifeforms, provided a shelter for the her. However, while these underwater caverns are mostly void of life, the few that do manage to exist are extremely aggressive and monstrous in appearance. In the abyss she evolved into a silent ambush predator to feed and hide from horrifying creatures that roam the deep dark. Millenniums pass and she can heard the voices of humans in the water. They tell legends of her and call her Sobek. After ions of lonely existence something in the void calls to her and she discovers an ancient life form of unknown origin even older than herself. A sentient orb covered in metallic scales that is able to telepathically communicate with her. The creature reveals ancient cosmic knowledge, telling her she has a sister, and proposes a trade. It will guide her to her brethren and protect her from the sunlight she fears, but only if she allows the scaled orb to bond with her flesh."
Sobek is a OOAK Nnaji in Milk skintone and Busty chest option. Her body blushing is lilac and burned turquoise. Her head is covered in hand sculpted scales to enhance her monstrous looks. Her lips and nails are a palest pearl pink and her fanged teeth share the same steel grey as her alien gharial eyes. Sobek wears a hand stitched haute couture armour with a poseable tail, each sequin sewn to a form sculpture that bristles in the back as gharial scales, adorns the shoulders leaving sensuous naked spots and exaggerates the hips for a feminine silhouette. She wears spiky heels painted to match her skintone.
This is a commission order for a private collector, not for sale.
"Silence is the breath with which serenity speaks.
The sky solemn, find peace in the stillness.
To think, brood over life's worries and woes,
Return with contentment to all that is noble in your existence. "
Wrote this on a beautiful clear night while Bryan and I were driving through the mountains. Sometimes, if I'm lucky, the right words flow.
I used a space image from NASA, ESA and the Hubble Heritage Team (STScI/AURA)-ESA/Hubble Collaboration, to create this image.
The oldest wooden church in North America, apparently. It opened in 1750. A national historic site, this little chapel, built in 1747, is the oldest wooden church still in existence in North America. The first mass was celebrated here by the Jesuits in 1750.
A few days ago, I started on photos taken during the week friends and I spent in Quebec, 12-18 May 2018. Some photos were taken in the small, coastal village of Tadoussac itself, others were taken in the wonderful garden of the home in which we stayed all week, and the rest were taken on several drives we made further along the coast. Unfortunately, so many of my garden bird photos will have to be deleted, as there was no room for me right by the window, so I had to take the shots from further inside the room and that definitely did not work!
The one morning, I made sure that I got to the window first and was able to get some reasonable images : ) For many of them, I used my Panasonic FZ1000, which only has a small zoom, but I like the quality of images taken with it. I had to give up trying to use the faulty Nikon B700 (prism in viewfinder was out of place) - I was just wasting precious time and photo opportunities, and ending up with ruined photos (camera was since returned and money refunded). Though I prefer a more natural setting, I am happy to take fence or feeder shots if they mean I can see the beautiful details of the birds up close.
Link to my album (358 images) about Point Pelee and area, Ontario: www.flickr.com/photos/annkelliott/albums/72157667191771677
At the end of our 4-day stay at Point Pelee, we had to drive all the way back to Toronto, from where we flew to Quebec City airport. From there, we had a four-hour drive to Tadoussac on the coast of the St. Lawrence Seaway. This is such a delightful, small place and in a beautiful setting. One of our friends, Anne B, and her husband have a summer cabin further along the cliff from the few stores and port. She had invited the four of us to go with her from Pelee to spend a week at her beautiful home. What an absolute treat this was! We were able to meet some of her relatives, too, who also have built cabins out there. We were looked after so well, and we were able to see and photograph all sorts of birds and other things.
Several trips were made to see different places along the coast, including the Cap Tourmente National Wildlife Area, where we were able to see endless thousands of Snow Geese, in flight and also up close. Breathtaking!
We also had two boat trips from Tadoussac - one was a whaling trip in a Zodiac, where we saw very, very distant Beluga and Minke Whales. The Belugas looked almost like the white wave crests - but they were Belugas. The other boat trip was to the Brandy Pot Islands, inhabited by thousands of Razorbills and Common Murres, which were new birds for us, and Double-crested Cormorants that were nesting in tree tops. That long boat trip (in a tiny boat named Juno) started off in the rain and dark clouds and it was soooo cold! Thermal underwear, layers of fleece and toque and gloves were needed. This day was arranged through a contact of Anne's and it was so much enjoyed! Of course, we anchored a distance away from the island and sat there and ate our sandwiches and took endless photos - difficult when bobbing up and down on the rough water! It is forbidden to land on the island at nesting time.
Anne B, I can't thank you enough for organizing this holiday for us all and for inviting us to spend a week at your cabin. You worked so hard and it was so much appreciated by each and every one of us. Thank you for doing all the many hours of driving, too! Janet and Anne, thank you so much for compiling the lists of birds seen each day at various locations, and posted to ebird. These entries will be a huge help while I try and sort out where we were and when, and what species we saw. Miss your cookies and muffins, Janet, that you kindly made for us in Tadoussac, to go along with the wonderful meals that Anne planned and made for us : )
The church owes its existence to the castle, built by Henry II. The castle turned Orford from a quiet fishing village into an important royal centre, and the village population swelled. The larger settlement required a church, and the result was St Bartholomew's, built in the late 12th century, between 1165-1173.
The Norman church was a cruciform building with a large central tower over the crossing. Around 1320 the growing community demanded a larger nave, so the central tower and chancel were torn down, the nave enlarged, and a new tower built at the west end of the nave.
In the early 18th century the Norman chancel was walled off from the 14th-century nave and allowed to decay. The remains of the 12th-century chancel walls stand outside the east end of the church, and contain excellent examples of Norman stonework.
Please don't use this image on websites, blogs or other media without my explicit permission.
© rogerperriss@aol.com All rights reserved.
Courtesy: Copyrighted content:ALCHEMY OF THE HEART
Music composition
14:17 - 15:07
Claimant:
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APRA_CS
GEMA_CS
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UMPG Publishing
SACEM This documentary may change your life! Watch till the end!! The sensory inputs from the 5 sense organs-eyes, ears, nose, tongue and skin are received by brain through nervous systems in the form of electromagnetic signals. There is no actual physical transfer or relocation of original light, sound, smell, taste and touch to the brain! Brain receives all sensory inputs of original light, sound, smell, taste and touch as mere electromagnetic signals! So, who is the being that watches the bright, shining and beautiful external world from the dark room inside the brain? Who is the being that hears the external world from the quiet room inside the brain? Who is the being that smells the external world from the odorless room inside the brain? Who is the being that tastes the external world from the ‘tasteless’ room inside the brain? Who is the being that touches the external world from the ‘untouched‘ room inside the brain?
DOES GOD EXIST? Our beloved atheists don’t trust that there is a God. According to them, God is created by human beings. Meanwhile, is there any simple, common-sense proof(s) for the existence of God? Read the article: rationalfaith4meaningfullife.wordpress.com/2016/10/06/doe... This article too can change your life!
Video Courtesy: HARUN YAHYA, website: www.harunyahya.com/
The video related words: Does, Scientific, proof, existence, God, afterlife, life after death, soul, perception, reality, senses, brain, electromagnetic, signals , impulses, nervous, systems, soul, death, resurrection, heaven, hell, atheism, materialism, consciousness, self-awareness, self, spirit, mind, body, hard problem, creator, creation, truth, secret, beyond, matter, feelings, emotions, prejudices, ideas, world view, eternal, illusions, atheists, evidence, real, 100%, logical, rational, philosophical, Islam, Quran, evil, why, purpose, intelligent, design, evolution, Darwin, skepticism, argument, Simple , direct, science, prove, best, explanation, believe, minutes, short, reasons, found, facts, refuted, exists, imaginary, against, refuting, likely, does not, exist, stop believing, debate, less than, amazing, Dawkins, Hitchens, Hawking, refutes, there
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
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
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ಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
The actual Whiskeytown Falls has an interesting history because it's existence was actually unknown for the last forty years. The 43000 acres that are Whiskeytown National Recreation area were private property and the state did a survey of the land prior to purchase and creation of the national park. The group of rangers that did the survey found the waterfall during the exploration and learned the land owner didn't know about it. To keep the price lower, they didn't tell the landowner or anyone about the falls. Eventually all those people that knew about it died and the knowledge of the waterfall died with them. In 2004, it was rediscovered and an official hiking trail was built and the rest is history.
It was originally reported to be a 400 foot waterfall, but they've relaxed that to 220 feet. There are four main tiers, the most of which are in these two shots. During a drier time of the year, I've climbed up these cascades to discover more waterfall above, but it was impossible with the amount of water flowing now. Photographically, this is very challenging because it's so tall, yet the forest is very dense, so you have to shoot it sections. It's really pretty tough to get the scale. Another little factoid, this is yet another waterfall on Crystal Creek which I have shot several times. There are four major waterfalls I've found on this creek. It's definitely one of my favorite creeks to shoot.
Read more at my blog EricLeslie.com
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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Thierry Geoffroy / Colonel
I can not decide which photo I like more, the b&w or the colour version.
I really like the blue hues of the coloured one, but the b&w seems to be more strong and dynamic.
Website | Twitter | Facebook Page Thank you for all the support! :)
Thanks to _Mmmk, TURBOW, rainwaltz and •fragile✥existence• for the tag!
It took me awhile to make a collage because I do not have photoshop or any form of photo editting program T_T I took really long to find a suitable collage maker, LOL!
Sorry about the default picture for Shizu/Odette! She is away at the face-up artist now and I do not have a proper photo of her. Actually, Seven and Shuuji both have new face-ups but they are not at home so no new photo :-P
I only did it for the SDs XD (Lazy owner here)
Out of all my dolls, above, which one would you adopt and why?
Would you keep their current character/style?
Rules:
• Make a mosaic or take a pic of all your dolls together
• Ask: which one of my dolls would you adopt and why?
• Tag away!
Eventually, all things merge into one, and a river runs through it.
The river was cut by the world's great flood and runs over rocks on the basement of time. On some of the rocks are timeless raindrops, under the rocks are the words, and some of the words are theirs.
I am haunted by waters.
”You can come in Talia.”
”You knew I’d be coming?”
”Of course. I figured that after todays events, Bruce would have questioned you as to some of the claims made by his opponent.”
”Is it true?”
”What do you think, my child.”
”I think that you would never hold something like that from me…”
”But…”
”I know better than that. Especially considering you hid my own existence from Nyssa for almost a year.”
”That is because I know Nyssa. Just as I know you.”
”You think I’d consider attempting what Nyssa did back then?”
”It’s possible. Especially given your feelings for Bruce.”
”Do you honestly think I’d kill one of my own to help Bruce?”
”Anything’s possible. We both know how far people can be willing to go if it benefits their own agenda.”
”Is that a yes?”
”It’s what you want it to be Talia.”
”…..Why didn’t you tell me?”
”Because I couldn’t be sure.”
”In what way?”
”The natural talent was there. But not the wisdom on how to use it.”
”So you had him fight Bruce to see if his claims were true.”
”What Bruce lacks in natural talent, he far exceeds with wisdom and strategy. No son of mine would allow someone to outsmart them.”
”So you beheaded him. Didn’t you want to be sure who he was?”
”I know exactly who he was. That was the problem.”
”It’s true. Isn’t it?”
”It would seem so.”
”…..How?….How could you do that? After all you put Nyssa and I through, all because we weren’t male…..how can you just….throw aside what you’ve always wanted!?”
”Because it was when Bruce bested him that I realised the truth. Though he may not be of my blood, Bruce is the son I’ve always been looking for. The way he bested his opponents and made a mockery of the imposter….only an Al-Ghul could accomplish such a feet.”
”So it’s because of Bruce that you’ve robbed me of a sibling!?”
”I haven’t robbed you of anything. I’ve liberated you from a burden.”
”JUST WHAT SORT OF BURDEN IS THAT!?”
”Not having to obey the doctrine.”
”Purge the weak. You’d honestly go ahead with it, even if it was my life? Was Nyssa’s?”
”It’s possible. This world is dying thanks to natural selection failing us. The undeserving are flourishing, and we’re forced to endure their existence.”
”But your own flesh and blood!”
”Should know better than to doubt me.”
”Would you have killed mother had she survived the birth? Or would she have been purged since she clearly wasn't strong enough to survive childbirth.”
”Don’t you dare invoke her.”
”Or what? Will you kill me as well for being weak enough to use her?”
Without saying a word, the Demon swiftly raises his hand and slaps Talia across the face with as much force as he can muster. The slap knocks her to her knees and dazes her for a brief moment.
”Insolent child. You are better than this.”
”I don’t know. If my own brother was weak, maybe I am as well.”
”Don’t you dare speak ill of your mother.”
”Oh I would never speak ill of her. But if my brother and I are both weak, there’s only one thing that connects us.”
”Do not test my patience Talia.”
”Test it? I doubt you even have patience. You’re always so willing to cast your own allies aside at a moments notice, you can’t tell me you have patience.”
”If that were true, Bruce Wayne would have died years ago.”
”You leave him out of this.”
”Why? Had I not chosen to deal with the bastard child myself, the task would have fallen to him. Hell, the only reason he’s still alive is because you begged me to leave him unharmed.”
”I never asked for such a thing.”
”No, you didn’t. But the message could easily be read from your face. Admit it Talia, you’re not upset that I withheld the existence of a possible sibling from you, you’re just worried of what I intend to put him through for his final trials.”
”….That’s....untrue....and irrelevant.”
”Of course it is. I understand your worry my dear. No-one has ever attempted the trials necessary to be named Heir to the Demon before, and for good reason. But if Bruce has demonstrated anything these last few years. It’s that he won’t let anything overcome him. Be it Caine, Kirigi or even myself. He intends to emerge triumphant, and I look forward to seeing him succeed me when the time comes.”
”Father? What's wrong? You’re talking as though that time is sooner than you want it to be.”
”The pit and I have been one in the same for over seven hundred years. I suppose it ws only a matter of time before it couldn’t protect me any longer.”
”Father?”
”Look at my hand Talia. Notice how it shakes uncontrollably.”
”It’s just withdrawal.”
”Perhaps, but after only a couple of days? That's highly unlikely. I've experienced withdrawal from the pit but only after weeks without bathing in it.”
”What does it mean then father?”
”It's losing it’s effect on my body.”
”You mean?”
”Indeed. The pit is slowly losing it’s ability to restore me.”
”Perhaps the problem is with the pit itself. We should attempt to find more lazarus!”
”I already have.”
”I suspect I know the result…..How long do you reckon you’ve got?”
”Given how my body is only just starting to reject the pit, it’s possible that it’ll take years before the pit no longer affects me.”
”Can it be stopped?”
”Possibly. Though I’m not sure I want it to be.”
”You want to die?”
”Want is a strong word. More, I’m willing to accept my fate. But before my time comes, I must ensure my legacy lives on. Ensure the League of Assassins lives on, with you and Bruce at the helm.”
In a moment of solidarity, Talia walks up to her father and hugs him. Public displays of affection were prohibited in front of the League. But here, hidden from view, Ra’s accepts his daughter’s hug.
”Bruce has changed you.”
”And I’ve changed him. Hopefully we’ve both been changed for the better.”
”That remains to be seen.”
Forecasting ferociousness,
Finding forgiveness.
Dreaming dreams,
Delicate decadence.
Losing license,
to take my time,
Righteous reasoning,
in justification of mine;
existence.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on authentic facts. BEWARE!
Some background:
The РТАК-30 attack vintoplan (also known as vintokryl) owed its existence to the Mil Mi-30 plane/helicopter project that originated in 1972. The Mil Mi-30 was conceived as a transport aircraft that could hold up to 19 passengers or two tons of cargo, and its purpose was to replace the Mi-8 and Mi-17 Helicopters in both civil and military roles. With vertical takeoff through a pair of tiltrotor engine pods on the wing tips (similar in layout to the later V-22 Osprey) and the ability to fly like a normal plane, the Mil Mi-30 had a clear advantage over the older models.
Since the vintoplan concept was a completely new field of research and engineering, a dedicated design bureau was installed in the mid-Seventies at the Rostov-na-Donu helicopter factory, where most helicopters from the Mil design bureau were produced, under the title Ростов Тилт Ротор Авиационная Компания (Rostov Tilt Rotor Aircraft Company), or РТАК (RTRA), for short.
The vintoplan project lingered for some time, with basic research being conducted concerning aerodynamics, rotor design and flight control systems. Many findings later found their way into conventional planes and helicopters. At the beginning of the 1980s, the project had progressed far enough that the vintoplan received official backing so that РТАК scientists and Mil helicopter engineers assembled and tested several layouts and components for this complicated aircraft type.
At that time the Mil Mi-30 vintoplan was expected to use a single TV3-117 Turbo Shaft Engine with a four-bladed propeller rotors on each of its two pairs of stub wings of almost equal span. The engine was still installed in the fuselage and the proprotors driven by long shafts.
However, while being a very clean design, this original layout revealed several problems concerning aeroelasticity, dynamics of construction, characteristics for the converter apparatuses, aerodynamics and flight dynamics. In the course of further development stages and attempts to rectify the technical issues, the vintoplan layout went through several revisions. The layout shifted consequently from having 4 smaller engines in rotating pods on two pairs of stub wings through three engines with rotating nacelles on the front wings and a fixed, horizontal rotor over the tail and finally back to only 2 engines (much like the initial concept), but this time mounted in rotating nacelles on the wing tips and a canard stabilizer layout.
In August 1981 the Commission of the Presidium of the USSR Council of Ministers on weapons eventually issued a decree on the development of a flyworthy Mil Mi-30 vintoplan prototype. Shortly afterwards the military approved of the vintoplan, too, but desired bigger, more powerful engines in order to improve performance and weight capacity. In the course of the ensuing project refinement, the weight capacity was raised to 3-5 tons and the passenger limit to 32. In parallel, the modified type was also foreseen for civil operations as a short range feederliner, potentially replacing Yak-40 and An-24 airliners in Aeroflot service.
In 1982, РТАК took the interest from the military and proposed a dedicated attack vintoplan, based on former research and existing components of the original transport variant. This project was accepted by MAP and received the separate designation РТАК-30. However, despite having some close technical relations to the Mi-30 transport (primarily the engine nacelles, their rotation mechanism and the flight control systems), the РТАК-30 was a completely different aircraft. The timing was good, though, and the proposal was met with much interest, since the innovative vintoplan concept was to compete against traditional helicopters: the design work on the dedicated Mi-28 and Ka-50 attack helicopters had just started at that time, too, so that РТАК received green lights for the construction of five prototypes: four flyworthy machines plus one more for static ground tests.
The РТАК-30 was based on one of the early Mi-30 layouts and it combined two pairs of mid-set wings with different wing spans with a tall tail fin that ensured directional stability. Each wing carried a rotating engine nacelle with a so-called proprotor on its tip, each with three high aspect ratio blades. The proprotors were handed (i.e. revolved in opposite directions) in order to minimize torque effects and improve handling, esp. in the hover. The front and back pair of engines were cross-linked among each other on a common driveshaft, eliminating engine-out asymmetric thrust problems during V/STOL operations. In the event of the failure of one engine, it would automatically disconnect through torque spring clutches and both propellers on a pair of wings would be driven by the remaining engine.
Four engines were chosen because, despite the weight and complexity penalty, this extra power was expected to be required in order to achieve a performance that was markedly superior to a conventional helicopter like the Mi-24, the primary Soviet attack helicopter of that era the РТАК-30 was supposed to replace. It was also expected that the rotating nacelles could also be used to improve agility in level flight through a mild form of vectored thrust.
The РТАК-30’s streamlined fuselage provided ample space for avionics, fuel, a fully retractable tricycle landing gear and a two man crew in an armored side-by-side cockpit with ejection seats. The windshield was able to withstand 12.7–14.5 mm caliber bullets, the titanium cockpit tub could take hits from 20 mm cannon. An autonomous power unit (APU) was housed in the fuselage, too, making operations of the aircraft independent from ground support.
While the РТАК-30 was not intended for use as a transport, the fuselage was spacious enough to have a small compartment between the front wings spars, capable of carrying up to three people. The purpose of this was the rescue of downed helicopter crews, as a cargo hold esp. for transfer flights and as additional space for future mission equipment or extra fuel.
In vertical flight, the РТАК-30’s tiltrotor system used controls very similar to a twin or tandem-rotor helicopter. Yaw was controlled by tilting its rotors in opposite directions. Roll was provided through differential power or thrust, supported by ailerons on the rear wings. Pitch was provided through rotor cyclic or nacelle tilt and further aerodynamic surfaces on both pairs of wings. Vertical motion was controlled with conventional rotor blade pitch and a control similar to a fixed-wing engine control called a thrust control lever (TCL). The rotor heads had elastomeric bearings and the proprotor blades were made from composite materials, which could sustain 30 mm shells.
The РТАК-30 featured a helmet-mounted display for the pilot, a very modern development at its time. The pilot designated targets for the navigator/weapons officer, who proceeded to fire the weapons required to fulfill that particular task. The integrated surveillance and fire control system had two optical channels providing wide and narrow fields of view, a narrow-field-of-view optical television channel, and a laser rangefinder. The system could move within 110 degrees in azimuth and from +13 to −40 degrees in elevation and was placed in a spherical dome on top of the fuselage, just behind the cockpit.
The aircraft carried one automatic 2A42 30 mm internal gun, mounted semi-rigidly fixed near the center of the fuselage, movable only slightly in elevation and azimuth. The arrangement was also regarded as being more practical than a classic free-turning turret mount for the aircraft’s considerably higher flight speed than a normal helicopter. As a side effect, the semi-rigid mounting improved the cannon's accuracy, giving the 30 mm a longer practical range and better hit ratio at medium ranges. Ammunition supply was 460 rounds, with separate compartments for high-fragmentation, explosive incendiary, or armor-piercing rounds. The type of ammunition could be selected by the pilot during flight.
The gunner can select one of two rates of full automatic fire, low at 200 to 300 rds/min and high at 550 to 800 rds/min. The effective range when engaging ground targets such as light armored vehicles is 1,500 m, while soft-skinned targets can be engaged out to 4,000 m. Air targets can be engaged flying at low altitudes of up to 2,000 m and up to a slant range of 2,500 m.
A substantial range of weapons could be carried on four hardpoints under the front wings, plus three more under the fuselage, for a total ordnance of up to 2,500 kg (with reduced internal fuel). The РТАК-30‘s main armament comprised up to 24 laser-guided Vikhr missiles with a maximum range of some 8 km. These tube-launched missiles could be used against ground and aerial targets. A search and tracking radar was housed in a thimble radome on the РТАК-30’s nose and their laser guidance system (mounted in a separate turret under the radome) was reported to be virtually jam-proof. The system furthermore featured automatic guidance to the target, enabling evasive action immediately after missile launch. Alternatively, the system was also compatible with Ataka laser-guided anti-tank missiles.
Other weapon options included laser- or TV-guided Kh-25 missiles as well as iron bombs and napalm tanks of up to 500 kg (1.100 lb) caliber and several rocket pods, including the S-13 and S-8 rockets. The "dumb" rocket pods could be upgraded to laser guidance with the proposed Ugroza system. Against helicopters and aircraft the РТАК-30 could carry up to four R-60 and/or R-73 IR-guided AAMs. Drop tanks and gun pods could be carried, too.
When the РТАК-30's proprotors were perpendicular to the motion in the high-speed portions of the flight regime, the aircraft demonstrated a relatively high maximum speed: over 300 knots/560 km/h top speed were achieved during state acceptance trials in 1987, as well as sustained cruise speeds of 250 knots/460 km/h, which was almost twice as fast as a conventional helicopter. Furthermore, the РТАК-30’s tiltrotors and stub wings provided the aircraft with a substantially greater cruise altitude capability than conventional helicopters: during the prototypes’ tests the machines easily reached 6,000 m / 20,000 ft or more, whereas helicopters typically do not exceed 3,000 m / 10,000 ft altitude.
Flight tests in general and flight control system refinement in specific lasted until late 1988, and while the vintoplan concept proved to be sound, the technical and practical problems persisted. The aircraft was complex and heavy, and pilots found the machine to be hazardous to land, due to its low ground clearance. Due to structural limits the machine could also never be brought to its expected agility limits
During that time the Soviet Union’s internal tensions rose and more and more hampered the РТАК-30’s development. During this time, two of the prototypes were lost (the 1st and 4th machine) in accidents, and in 1989 only two machines were left in flightworthy condition (the 5th airframe had been set aside for structural ground tests). Nevertheless, the РТАК-30 made its public debut at the Paris Air Show in June 1989 (the 3rd prototype, coded “33 Yellow”), together with the Mi-28A, but was only shown in static display and did not take part in any flight show. After that, the aircraft received the NATO ASCC code "Hemlock" and caused serious concern in Western military headquarters, since the РТАК-30 had the potential to dominate the European battlefield.
And this was just about to happen: Despite the РТАК-30’s development problems, the innovative attack vintoplan was included in the Soviet Union’s 5-year plan for 1989-1995, and the vehicle was eventually expected to enter service in 1996. However, due to the collapse of the Soviet Union and the dwindling economics, neither the РТАК-30 nor its civil Mil Mi-30 sister did soar out in the new age of technology. In 1990 the whole program was stopped and both surviving РТАК-30 prototypes were mothballed – one (the 3rd prototype) was disassembled and its components brought to the Rostov-na-Donu Mil plant, while the other, prototype No. 1, is rumored to be stored at the Central Russian Air Force Museum in Monino, to be restored to a public exhibition piece some day.
General characteristics:
Crew: Two (pilot, copilot/WSO) plus space for up to three passengers or cargo
Length: 45 ft 7 1/2 in (13,93 m)
Rotor diameter: 20 ft 9 in (6,33 m)
Wingspan incl. engine nacelles: 42 ft 8 1/4 in (13,03 m)
Total width with rotors: 58 ft 8 1/2 in (17,93 m)
Height: 17 ft (5,18 m) at top of tailfin
Disc area: 4x 297 ft² (27,65 m²)
Wing area: 342.2 ft² (36,72 m²)
Empty weight: 8,500 kg (18,740 lb)
Max. takeoff weight: 12,000 kg (26,500 lb)
Powerplant:
4× Klimov VK-2500PS-03 turboshaft turbines, 2,400 hp (1.765 kW) each
Performance:
Maximum speed: 275 knots (509 km/h, 316 mph) at sea level
305 kn (565 km/h; 351 mph) at 15,000 ft (4,600 m)
Cruise speed: 241 kn (277 mph, 446 km/h) at sea level
Stall speed: 110 kn (126 mph, 204 km/h) in airplane mode
Range: 879 nmi (1,011 mi, 1,627 km)
Combat radius: 390 nmi (426 mi, 722 km)
Ferry range: 1,940 nmi (2,230 mi, 3,590 km) with auxiliary external fuel tanks
Service ceiling: 25,000 ft (7,620 m)
Rate of climb: 2,320–4,000 ft/min (11.8 m/s)
Glide ratio: 4.5:1
Disc loading: 20.9 lb/ft² at 47,500 lb GW (102.23 kg/m²)
Power/mass: 0.259 hp/lb (427 W/kg)
Armament:
1× 30 mm (1.18 in) 2A42 multi-purpose autocannon with 450 rounds
7 external hardpoints for a maximum ordnance of 2.500 kg (5.500 lb)
The kit and its assembly:
This exotic, fictional aircraft-thing is a contribution to the “The Flying Machines of Unconventional Means” Group Build at whatifmodelers.com in early 2019. While the propulsion system itself is not that unconventional, I deemed the quadrocopter concept (which had already been on my agenda for a while) to be suitable for a worthy submission.
The Mil Mi-30 tiltrotor aircraft, mentioned in the background above, was a real project – but my alternative combat vintoplan design is purely speculative.
I had already stashed away some donor parts, primarily two sets of tiltrotor backpacks for 1:144 Gundam mecha from Bandai, which had been released recently. While these looked a little toy-like, these parts had the charm of coming with handed propellers and stub wings that would allow the engine nacelles to swivel.
The search for a suitable fuselage turned out to be a more complex safari than expected. My initial choice was the spoofy Italeri Mi-28 kit (I initially wanted a staggered tandem cockpit), but it turned out to be much too big for what I wanted to achieve. Then I tested a “real” Mi-28 (Dragon) and a Ka-50 (Italeri), but both failed for different reasons – the Mi-28 was too slender, while the Ka-50 had the right size – but converting it for my build would have been VERY complicated, because the engine nacelles would have to go and the fuselage shape between the cockpit and the fuselage section around the original engines and stub wings would be hard to adapt. I eventually bought an Italeri Ka-52 two-seater as fuselage donor.
In order to mount the four engines to the fuselage I’d need two pairs of wings of appropriate span – and I found a pair of 1:100 A-10 wings as well as the wings from an 1:72 PZL Iskra (not perfect, but the most suitable donor parts I could find in the junkyard). On the tips of these wings, the swiveling joints for the engine nacelles from the Bandai set were glued. While mounting the rear wings was not too difficult (just the Ka-52’s OOB stabilizers had to go), the front pair of wings was more complex. The reason: the Ka-52’s engines had to go and their attachment points, which are actually shallow recesses on the kit, had to be faired over first. Instead of filling everything with putty I decided to cover the areas with 0.5mm styrene sheet first, and then do cosmetic PSR work. This worked quite well and also included a cover for the Ka-52’s original rotor mast mount. Onto these new flanks the pair of front wings was attached, in a mid position – a conceptual mistake…
The cockpit was taken OOB and the aircraft’s nose received an additional thimble radome, reminiscent of the Mi-28’s arrangement. The radome itself was created from a German 500 kg WWII bomb.
At this stage, the mid-wing mistake reared its ugly head – it had two painful consequences which I had not fully thought through. Problem #1: the engine nacelles turned out to be too long. When rotated into a vertical position, they’d potentially hit the ground! Furthermore, the ground clearance was very low – and I decided to skip the Ka-52’s OOB landing gear in favor of a heavier and esp. longer alternative, a full landing gear set from an Italeri MiG-37 “Ferret E” stealth fighter, which itself resembles a MiG-23/27 landing gear. Due to the expected higher speeds of the vintoplan I gave the landing gear full covers (partly scratched, plus some donor parts from an Academy MiG-27). It took some trials to get the new landing gear into the right position and a suitable stance – but it worked. With this benchmark I was also able to modify the engine nacelles, shortening their rear ends. They were still very (too!) close to the ground, but at least the model would not sit on them!
However, the more complete the model became, the more design flaws turned up. Another mistake is that the front and rear rotors slightly overlap when in vertical position – something that would be unthinkable in real life…
With all major components in place, however, detail work could proceed. This included the completion of the cockpit and the sensor turrets, the Ka-52 cannon and finally the ordnance. Due to the large rotors, any armament had to be concentrated around the fuselage, outside of the propeller discs. For this reason (and in order to prevent the rear engines to ingest exhaust gases from the front engines in level flight), I gave the front wings a slightly larger span, so that four underwing pylons could be fitted, plus a pair of underfuselage hardpoints.
The ordnance was puzzled together from the Italeri Ka-52 and from an ESCI Ka-34 (the fake Ka-50) kit.
Painting and markings:
With such an exotic aircraft, I rather wanted a conservative livery and opted for a typical Soviet tactical four-tone scheme from the Eighties – the idea was to build a prototype aircraft from the state acceptance trials period, not a flashy demonstrator. The scheme and the (guesstimated) colors were transferred from a Soviet air force MiG-21bis of that era, and it consists of a reddish light brown (Humbrol 119, Light Earth), a light, yellowish green (Humbrol 159, Khaki Drab), a bluish dark green (Humbrol 195, Dark Satin Green, a.k.a. RAL 6020 Chromdioxidgrün) and a dark brown (Humbrol 170, Brown Bess). For the undersides’ typical bluish grey I chose Humbrol 145 (FS 35237, Gray Blue), which is slightly lighter and less greenish than the typical Soviet tones. A light black ink wash was applied and some light post-shading was done in order to create panels that are structurally not there, augmented by some pencil lines.
The cockpit became light blue (Humbrol 89), with medium gray dashboard and consoles. The ejection seats received bright yellow seatbelts and bright blue pads – a detail seen on a Mi-28 cockpit picture.
Some dielectric fairings like the fin tip were painted in bright medium green (Humbrol 101), while some other antenna fairings were painted in pale yellow (Humbrol 71).
The landing gear struts and the interior of the wells became Aluminum Metalic (Humbrol 56), the wheels dark green discs (Humbrol 30).
The decals were puzzled together from various sources, including some Begemot sheets. Most of the stencils came from the Ka-52 OOB sheet, and generic decal sheet material was used to mark the walkways or the rotor tips and leading edges.
Only some light weathering was done to the leading edges of the wings, and then the kit was sealed with matt acrylic varnish.
A complex kitbashing project, and it revealed some pitfalls in the course of making. However, the result looks menacing and still convincing, esp. in flight – even though the picture editing, with four artificially rotating proprotors, was probably more tedious than building the model itself!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Although an air wing for the fledgling Khmer Royal Army (ARK) was first planned in 1952, it wasn't until April 22, 1954, however that the Royal Khmer Aviation (French: Aviation Royale Khmère; AVRK) was officially commissioned by Royal decree. Commanded by Prince Norodom Sihanouk's personal physician, Colonel Dr. Ngo Hou and known sarcastically as the "Royal Flying Club", the AVRK initially operated a small fleet of four Morane-Saulnier MS 500 Criquet liaison aircraft, two Cessna 180 Skywagon light utility aircraft, one Cessna 170 light personal aircraft, and one Douglas DC-3 modified for VIP transport. At this stage, the AVRK was not yet an independent service; since its earlier personnel cadre was drawn from the Engineer Corps, the Ministry of Defense placed the AVRK under the administrative control of the Army Engineer's Inspector-General Department.
During the first years of its existence, the AVRK received assistance from France – which under the terms of the November 1953 treaty of independence had the right to keep a military mission in Cambodia –, the United States, Japan, Israel, and West Germany, who provided training programs, technical aid, and additional aircraft. Japan delivered three Fletcher FD-25 Defender single-seater ground-attack aircraft and three Fletcher FD-25B two-seat trainers, whilst deliveries by the United States Military Assistance Advisory Group (US MAAG) aid program – established since June 1955 at Phnom Penh – of fourteen North American T-6G Texan trainers, eight Cessna L-19A Bird Dog observation aircraft, three de Havilland Canada DHC L-20 Beaver liaison aircraft, seven Douglas C-47 Skytrain transports (soon joined by with two additional C-47 transports bought from Israel) and six Curtiss C-46F Commando transports. The French delivered in 1954-55 fifteen Morane-Saulnier MS 733 Alcyon three-seat basic trainers and twenty former Armée de l’Air F8F Bearcat that had been taking part in the French Indochina War.
The Grumman F8F (G-58, Grumman Aircraft's design designation) Bearcat was a U.S. Navy/Marine Corps single-engine, fighter aircraft. It was introduced late in World War II as a carrier-based fighter. In replacing the obsolescent F4F Wildcat and F6F Hellcat, climb rate was an important design factor for the F8F, which was faster and lighter than the F6F carrier-based fighter. In late 1943, Grumman began development of the F8F Bearcat and deliveries from Grumman began on 21 May 1945.
In 1946, the F8F set a climb record of 6,383 fpm and held this record until it was broken by a jet fighter in 1956. Early F8Fs first flew in August 1944, followed by production aircraft starting in February 1945, the war ended before the F8F saw combat.
The F8F was Grumman’s last piston engine fighter Production ended in 1949, after Grumman had produced 1,265 F8F Bearcats in total. Directly after the war, the F8F was a key fighter for the U.S. Navy/Marine Corps. Since it was one of the best-handling piston fighters ever, its performance made it the top selection in 1946 for the U.S. Navy’s elite Blue Angels demonstration squadron. When the F8F became obsolete (The last ones in U.S. service were retired in 1952), it was replaced with jet fighter aircraft, the F9F Panther and the F2H Banshee.
From 1946 to 1954, the F8F saw it first combat during the French Indochina War, being used by French forces. Surviving Bearcats from that war were given to the Republic of Vietnam Air Force and to Cambodia. The Royal Thai Air Force also flew a number of Bearcats that were purchased from the U.S. Navy.
These deliveries allowed the AVRK to acquire a limited light strike capability, as well as improving its own reconnaissance and transportation capabilities. A small Helicopter force also began to take shape, with the delivery in 1958-59 of three Sikorsky H-34 Choctaws by the US MAAG, followed in 1960 of two Sud Aviation SA 313B Alouette II by the French and of two Sikorsky H-19 Chickasaws by the Americans in 1963.
Although Cambodia was theoretically forbidden of having fighter jets under the terms of the July 1955 Geneva Accords, the AVRK did receive its first jet trainers in September 1961 from France, in the form of four Potez CM.170R Fouga Magisters modified locally in 1962 to accept a pair of AN/M2 7,62mm aircraft guns and under-wing rocket rails. By the end of the year, the AVRK aligned 83 airframes of American, Canadian and French origin, though mostly were World War II-vintage obsolescent types well past their prime – US MAAG advisors often described the AVRK at the time as an "aerial museum" – and training accidents were far from uncommon.
The baptism of fire of the AVRK came the following year when its F8F Bearcats, FD-25 Defenders and T-6G Texan armed trainers supported Khmer Royal Army troops in Takéo Province fighting a cross-border incursion by Vietnamese militiamen from the Hòa Hảo militant sect fleeing persecution from the neighboring Republic of Vietnam. The obsolete Texans and Defenders were eventually replaced in August that year by sixteen North American T-28D Trojan trainers converted to the fighter-bomber role. Also under the US MAAG program, the AVRK received in March 1963 four Cessna T-37B Tweet jet trainers; however, unlike the Fougas provided earlier by the French, these airframes had no provision for weapon systems, since the Americans resisted Cambodian requests to arm them.
In response to the coup against President Ngô Đình Diệm in South Vietnam, Prince Sihanouk cancelled on November 20, 1963 all American aid, and on January 15, 1964 the US MAAG program was suspended when Cambodia adopted a neutrality policy, so the AVRK continued to rely on French military assistance but at the same time turned to Australia, Yugoslavia, the Soviet Union and China for aircraft and training. In November 1963 the Soviets delivered an initial batch of three MiG-17F fighter jets, one MiG-15UTI jet trainer and one Yakovlev Yak-18 Max light trainer. France continued to deliver aircraft to Cambodia in 1964-65, supplying sixteen night-attack Douglas AD-4N Skyraiders and six Dassault MD 315R Flamant light transports, soon followed by more Alouette II and Sud Aviation SA-316B Alouette III light helicopters and ten Gardan GY-80 Horizon light trainers, which replaced the obsolete MS 733 Alcyons. The Yugoslavians provided at the time four UTVA-60AT1 utility transports, whilst the USSR delivered one Ilyushin Il-14 and eight Antonov An-2 Colt transports, and China sent one Chinese-built FT-5 jet trainer, ten Shenyang J-5 fighter jets, and three Nanchang BT-6/PT-6 light trainers. Not to be outdone, the Soviets delivered in April 1967 a second batch of five MiG-17F jets and two Mil Mi-4 Hound light helicopters.
Like the other branches of the then FARK, the Royal Cambodian Aviation's own military capabilities by the late 1960s remained unimpressive, being barely able to accomplish its primary mission which was to defend the national airspace. Due to its low strength and limited flying assets, the AVRK was relegated to a combat support role by providing transportation services to ARK infantry units and occasional low-level close air support (CAS) to ground operations. Apart from two modern tarmacked airstrips located respectively at Pochentong and at a Chinese-built civilian airport in Siem Reap, the other available airfields in the country at the time consisted of rudimentary unpaved runways that lacked permanent rear-echelon support facilities, which were only used temporarily as emergency landing strips but never as secondary airbases.
Consequently, and in accordance with Cambodia's neutralist foreign policy, few combat missions were flown. AVRK activities were restricted to air patrols in order to protect Cambodia's airspace from the numerous incursions made by US Air Force (USAF), Republic of Vietnam Air Force (RVNAF) and Royal Thai Air Force (RTAF) aircraft.
It was not until the late 1960s however, that the AVRK received its first sustained combat experience. In early 1968, its T-28D Trojans, F8F Bearcats, AD-4N Skyraiders and some MiG-17F jets were again sent to Takéo Province, dropping bombs on pre-planned targets in support of Royal Army troops conducting a counter-insurgency sweep against armed elements of the Vietnamese Cao Đài militant sect that had entered the province from neighboring South Vietnam; AVRK combat elements were also deployed in the Samlot district of Battambang Province, where they bombed Khmer Rouge insurgent strongholds. In November 1969, the AVRK supported the Khmer Royal Army in a restrained sweeping operation targeting People's Army of Vietnam (PAVN) and Vietcong (VC) sanctuaries at Labang Siek in Ratanakiri Province. Some T-28D and F8F fighter-bombers, L-19A reconnaissance aircraft and Alouette helicopters provided air cover to the ground operation, whilst a few combat sorties were staged by the MiG-17F jets and AD-4N Skyraiders from Pochentong.
In the wake of the March 1970 coup, the Royal Cambodian Aviation was re-designated Khmer National Aviation (French: Aviation Nationale Khmère; AVNK), though it remained under Army command. After securing material support from the United States, South Vietnam, and Thailand, the new Khmer National Aviation immediately commenced combat operations, and embarked on an ambitious re-organization and expansion program. Shortly after the coup, however, the French military mission suspended all the cooperation with the Cambodian armed forces, thus depriving the AVNK of vital training and technical assistance. China and the Soviet Union also severed their military assistance programs, which resulted in serious maintenance problems for its Shenyang and MiG fighter jets.
With the increase in activity at Pochentong airbase, the AVNK Air Academy (French: École de l'Air; formerly, the Royal Flying School) was moved in August 1970 to quieter and less congested facilities at Battambang airfield. The RVNAF flew numerous combat missions inside Cambodia since March in support of joint FANK/Army of the Republic of Vietnam (ARVN) ground operations, and to better coordinate its own missions they established at Pochentong a liaison office, the Direct Air Support Centre (DASC) Zulu. In addition, South Vietnamese O-1D Bird Dog Forward air controllers began regularly staging reconnaissance flights from Pochentong to guide RVNAF airstrikes and artillery fire.
An initial expansion of the AVNK inventory in September 1970 under American auspices was accomplished with the delivery of six UH-1 Iroquois helicopter gunships with temporary South Vietnamese crews. To ease maintenance, it was decided upon American suggestion to build the AVNK's strike component around the T-28D Trojan, since both its pilots and ground technicians were already well-acquainted with this aircraft type, and the Americans had plenty of surplus airframes and spare parts available. As a result, the rate of T-28D sorties increased, with 2,016 sorties being recorded between March and October 1970, in contrast to the 360 sorties of the MiG-17F and Shenyang fighter jets, and the 108 strikes of the Fouga Magister jets registered during that same period.
On the night of 21–22 January 1971, a hundred or so-strong People’s Army of Vietnam "Sapper" Commando force (Vietnamese: Đặc Công, equivalent of "spec op" in English) managed to pass undetected through the defensive perimeter of the Special Military Region (Région Militaire Speciale – RMS) set by the Cambodian Army around Phnom Penh and carried out a spectacular raid on Pochentong airbase. Broken into six smaller detachments armed mostly with AK-47 assault rifles and RPG-7 anti-tank rocket launchers, the PAVN raiders succeeded in scaling the barbed-wire fence and quickly overwhelmed the poorly armed airmen of the Security Battalion on duty that night. Once inside the facility, the raiders unleashed a furious barrage of small-arms fire and rocket-propelled grenades against any aircraft they found on the parking area adjacent to the runway and nearby buildings; one of the commando teams even scaled the adjoining commercial terminal of the civilian airport and after taking position at the international restaurant located on the roof, they fired a rocket into the napalm supply depot near the RVNAF apron.
When the smoke cleared the next morning, the Khmer National Aviation had been virtually annihilated. A total of 69 aircraft stationed at Pochentong at the time were either completely destroyed or severely damaged on the ground, including many T-28D Trojans, virtually all remaining eight F8Fs, nearly all the Shenyang, MiG, T-37B and Fouga Magister jets, all the L-19A Bird Dogs and An-2 transports, the UH-1 helicopter gunships, three VNAF O-1 Bird Dogs and even a VIP transport recently presented to President Lon Nol by the South Vietnamese government. Apart from the aircraft losses, 39 AVNK officers and enlisted men had lost their lives and another 170 were injured. The only airframes that escaped destruction were six T-28D Trojans temporarily deployed to Battambang, ten GY-80 Horizon light trainers (also stationed at Battambang), eight Alouette II and Alouette III helicopters, two Sikorsky H-34 helicopters, one T-37B jet trainer, and a single Fouga Magister jet that had been grounded for repairs. Pochentong airbase was closed for almost a week while the damage was assessed, wreckage removed, the runway repaired, and the stocks of fuel and ammunitions replenished.
After this severe blow, The Cambodian Air Force was reborn on June 8, 1971, when it was made a separated command from the Army and thus became the third independent branch of the FANK. This new status was later confirmed on December 15, when the AVNK officially changed its name to Khmer Air Force (French: Armée de l'air Khmère; AAK), or KAF. New airbases were laid down near the provincial capitals of Battambang, Kampong Cham and Kampong Chhnang. However, in 1975, the Cambodian Army was defeated by advancing Khmer Rouge forces. On April 16 KAF T-28D Trojans flew their last combat sortie by bombing the Air Force Control Centre and hangars at Pochentong upon its capture by insurgent units. After virtually expending their entire ordnance reserves, 97 aircraft escaped from Pochentong, Battambang, Kampong Cham, Kampong Thom, Kampong Chhnang and Ream airbases and auxiliary airfields flown by their respective crews (with a small number of civilian dependents on board) to safe haven in neighboring Thailand, and the AVNK ceased to exist.
General characteristics:
Crew: 1
Length: 28 ft 3 in (8.61 m)
Wingspan: 35 ft 10 in (10.92 m)
Height: 13 ft 10 in (4.22 m)
Wing area: 244 sq ft (22.7 m²)
Aspect ratio: 5.02
Airfoil: root: NACA 23018; tip: NACA 23009
Empty weight: 7,650 lb (3,470 kg)
Max takeoff weight: 13,460 lb (6,105 kg)
Powerplant:
1× Pratt & Whitney Pratt & Whitney R-2800-34W Double Wasp 18-cylinder air-cooled radial piston
engine with 2,100 hp (1,600 kW), driving a 4-bladed constant-speed propeller
Performance:
Maximum speed: 455 mph (732 km/h, 395 kn)
Range: 1,105 mi (1,778 km, 960 nmi)
Service ceiling: 40,800 ft (12,400 m)
Rate of climb: 4,465 ft/min (22.68 m/s)
Wing loading: 42 lb/sq ft (210 kg/m²)
Power/mass: 0.22 hp/lb (0.36 kW/kg)
Armament:
4× 20 mm (.79 in) AN/M3 cannon in the outer wings
2,000 lb (907 kg) of ordnance on three hardpoints (incl. bombs, rocket pods, napalm tanks
or drop tanks), plus underwing hardpoints for up to four 5” (127 mm) HVAR unguided rockets
The kit and its assembly:
This was a submission for the “One Week” Group Build at whatifmodellers.com, and both kit and livery were chosen with a focus on quick/safe realization. The idea had been lingering for some time, though. I originally had the plan to build a real-world AVNK AD-4N some day, after I had found a profile and b/w pictures of these aircraft as well as a set of suitable roundels (see below). However, when I recently dug through The Stash™ I came across a Monogram F8F (in a more recent Revell re-boxing, though) and wondered about a different livery for this small fighter – and the AVNK idea popped up again, also because the outlines of Bearcat and Skyraider are quite similar.
The Monogram F8F was basically built OOB, just with some cosmetic changes. Inside, I added a dashboard – the kit comes with one, but it is molded into the fuselage halves with an ugly seam. For the beauty pics I also prepared a more modern pilot figure with a “bone dome” instead of the WWII USN pilot.
A styrene tube was added behind the engine block to take the propeller’s new metal axis. Some antennae were added to the rear fuselage, as an addition to the vintage wire antennae. A small pitot was added under the left wing, made from wire.
The underwing pylons received scratched shackles, because I replaced the OOB vintage 500 lb bombs with box fins with napalm canisters, simulating BLU-1 shapes with shortened/modified drop tanks. HVARs and the ventral drop tank come from the kit, I just added some struts to the tank.
The Monogram F8F in 1:72 holds only small surprises. It's a typical vintage Monogram kit (IIRC, the molds are from 1976) with raised (yet fine) details and vague fit - even though nothing fatal. PSR was basically necessary at any seam, esp. the unique wing/fuselage solutions calls for some filling. The cockpit interior is bare, but, except for the (quite nice) seat and the dashboard, nothing can be seen later. The clear parts (two pieces) are very clear but came with lots of flash; the windscreen's attachment point to the sprue (at the front's base) created some wacky gaps on the kit – with more time and effort, this could certainly have become better. The landing gear is simple but O.K., very robust, but the wells are totally bare, and the oil cooler intakes are just holes - I filled them with bits of foamed styrene. There are certainly better F8F kits (e. g. the Art Model kit with resin parts, including a finely detailed landing gear wells interior), but for a "budget build" or a conversion this one is a good starting point.
Painting and markings:
I used the AVNK’s AD4Ns as benchmark, which carried a livery similar to the French Skyraiders: overall painted in silver with some colorful trim, just the roundels and tactical markings were different. Being former French aircraft, the AVNK F8Fs might have retained the original all-dark blue paint scheme, but I rather expected them to carry a uniform livery.
With this benchmark the scheme was quickly applied, using Humbrol 56 (aluminum dope) enamel paint as a rather greyish basis. As an extra I added a dark olive drab (Humbrol 108) anti-glare panel to the area in front of the windscreen, and I added black anti-soot and probably anti-glare fields for night operations to the fuselage flanks, inspired by the AVNK AD-4Ns. The only colorful markings are small red fin, tailplane and wing tips as well as a matching fuselage band (created with Humbrol 19). The red fuselage bands were created with 5 mm wide generic red decal stripes (TL-Modellbau) which match the enamel paint’s tone well.
As a weathering measure I painted the starboard aileron and elevator as well as a gun cover on the portside wing in Dark Sea Blue (FS 35042), representing replacement parts that were hastily cannibalized from another ex-French F8F that still carried its original livery. Some patches for small firearms bullet holes on the wings and fuselage were created with pieces of grey decal sheet. – all measures to break up the otherwise rather simple and dull livery.
The model received some good weathering through a black ink washing and generous post-panel shading with acrylic Revell 99 (a matt but bright aluminum tone) and later some graphite, which emphasizes the kit’s many raised surfaces details. In order to make the livery not look too much like an NMF finish the kit was later sealed with matt acrylic varnish.
The cockpit interior became chromate green with a light grey dashboard while the landing gear retained its colors from the former French all-blue livery, with chromate green wells and inner cover surfaces but dark sea blue struts and wheel hubs.
The Cambodian roundels came from a limited edition Cutting Edge 1:72 decal set for various MiG-15bis’, the tactical codes on cowling and fin belong to an USAF F-100 (PrintScale sheet).
Well, the result is not perfect, but for a project realized from box to beauty pics including an extensive background story in just a single week I am fine with it. I'll admit that the livery is very simple, but there's also some attractiveness to it. And in this rather unusual silver-grey scheme the F8F reminds a lot of the bigger Skyraider!
Calais (/ˈkæleɪ/ cal-ay, traditionally /ˈkælɨs/; French pronunciation: [kaˈlɛ]; Picard: Calés; Dutch: Kales) is a town and major ferry port in northern France in the department of Pas-de-Calais, of which it is a sub-prefecture. Although Calais is by far the largest city in Pas-de-Calais, the department's prefecture is its third-largest city of Arras. The population of the metropolitan area at the 2010 census was 126,395. Calais overlooks the Strait of Dover, the narrowest point in the English Channel, which is only 34 km (21 mi) wide here, and is the closest French town to England. The White Cliffs of Dover can easily be seen on a clear day from Calais. Calais is a major port for ferries between France and England, and since 1994, the Channel Tunnel has linked nearby Coquelles to Folkestone by rail.
Due to its position, Calais since the Middle Ages has been a major port and a very important centre for transport and trading with England. It was annexed by Edward III of England in 1347 and grew into a thriving centre for wool production. Calais was a territorial possession of England until its capture by France in 1558. The town came to be called the "brightest jewel in the English crown" owing to its great importance as the gateway for the tin, lead, lace and wool trades (or "staples"). In 1805 it was a staging area for Napoleon's troops for several months during his planned invasion of the United Kingdom. The town was virtually razed to the ground during World War II, when in May 1940, it was a strategic bombing target of the invading German forces who took the town during the Siege of Calais. During World War II, the Germans built massive bunkers along the coast in preparation for launching missiles on England.
The old part of the town, Calais proper (known as Calais-Nord), is situated on an artificial island surrounded by canals and harbours. The modern part of the town, St-Pierre, lies to the south and south-east. In the centre of the old town is the Place d'Armes, in which stands the Tour du Guet, or watch-tower, a structure built in the 13th century, which was used as a lighthouse until 1848 when a new lighthouse was built by the port. South east of the Place is the church of Notre-Dame, built during the English occupancy of Calais. It is arguably the only church built in the English perpendicular style in all of France. In this church former French President Charles de Gaulle married his wife Yvonne Vendroux. South of the Place and opposite the Parc St Pierre is the Hôtel-de-ville (the town hall), and the belfry from the 16th and early 17th centuries. Today, Calais is visited by more than 10 million annually. Aside from being a key transport hub, Calais is also a notable fishing port and a centre for fish marketing, and some 3,000 people are still employed in the lace industry for which the town is also famed.
History
Early history
Although the early history of habitation in the area is limited, the Romans called the settlement Caletum. Julius Caesar mustered 800 to 1,000 sailing boats, five legions and some 2,000 horses at Calais due to its strategic position to attack Britannia.[1] At some time prior to the 10th century, it would have been a fishing village on a sandy beach backed by pebbles and a creek,[2] with a natural harbour[3] located at the western edge of the early medieval estuary of the River Aa. As the pebble and sand ridge extended eastward from Calais, the haven behind it developed into fen, as the estuary progressively filled with silt and peat. Subsequently, canals were cut between Saint-Omer, the trading centre formerly at the head of the estuary, and three places to the west, centre and east on the newly formed coast: respectively Calais, Gravelines and Dunkirk.[4] Calais was improved by the Count of Flanders in 997 and fortified by the Count of Boulogne in 1224.[1][3]
The first document mentioning the existence of this community is the town charter granted by Mathieu d'Alsace in 1181 to Gerard de Guelders, Count of Boulogne; Calais thus became part of the county of Boulogne.[1][5] In 1189, Richard the Lionheart is documented to have landed at Calais on his journey to the Third Crusade.[1] In medieval times, the settlement was inhabited by people who spoke Dutch, and who called it Kales.[citation needed] It is mentioned in Welsh documents as Caled, in Irish documents as Calad and in Breton documents as Kaled.
English wool trade interests and King Edward III's claims to be heir to the Kingdom of France led to the Battle of Crécy between England and France in 1346,[6] followed by Edward's siege and capture of Calais in 1347.[7] Angered, the English king demanded reprisals against the town's citizens for holding out for so long and ordered that the town's population be killed en masse. He agreed, however, to spare them, on condition that six of the principal citizens would come to him, bareheaded and barefooted and with ropes around their necks, and give themselves up to death.[8] On their arrival he ordered their execution, but pardoned them when his queen, Philippa of Hainault, begged him to spare their lives.[9][10] This event is commemorated in The Burghers of Calais (Les Bourgeois de Calais), one of the most famous sculptures by Auguste Rodin, erected in the city in 1895.[11] Though sparing the lives of the delegation members, King Edward drove out most of the French inhabitants, and settled the town with English. The municipal charter of Calais, previously granted by the Countess of Artois, was reconfirmed by Edward that year (1347).[12]
In 1360 the Treaty of Brétigny assigned Guînes, Marck and Calais—collectively the "Pale of Calais"—to English rule in perpetuity, but this assignment was informally and only partially implemented.[13] On 9 February 1363 the town was made a staple port.[14] It had by 1372 become a parliamentary borough sending burgesses to the House of Commons of the Parliament of England.[15] It remained part of the Diocese of Thérouanne from 1379, keeping an ecclesiastical tie with France.[16]
The town came to be called the "brightest jewel in the English crown" owing to its great importance as the gateway for the tin, lead, cloth and wool trades (or "staples").[17] Its customs revenues amounted at times to a third of the English government's revenue, with wool being the most important element by far. Of its population of about 12,000 people, as many as 5,400 were recorded as having been connected with the wool trade. The governorship or Captaincy of Calais was a lucrative and highly prized public office; the famous Dick Whittington was simultaneously Lord Mayor of the City of London and Mayor of the Staple in 1407.[18]
Calais was regarded for many years as being an integral part of the Kingdom of England, with its representatives sitting in the English Parliament. The continued English hold on Calais however depended on expensively maintained fortifications, as the town lacked any natural defences. Maintaining Calais was a costly business that was frequently tested by the forces of France and the Duchy of Burgundy, with the Franco-Burgundian border running nearby.[19] The British historian Geoffrey Elton once remarked "Calais—expensive and useless—was better lost than kept".[20] The duration of the English hold over Calais was, to a large extent, the result of the feud between Burgundy and France, under which both sides coveted the town, but preferred to see it in the hands of the English rather than their domestic rivals. The stalemate was broken by the victory of the French crown over Burgundy following Joan of Arc's final battle in the Siege of Compiègne in 1430, and the later incorporation of the duchy into France.[21]
16th century
In 1532, English king Henry VIII visited Calais and his men calculated that the town had about 2400 beds and stabling to keep some 2000 horses.[22] In September 1552, the English adventurer Thomas Stukley, who had been for some time in the French service, betrayed to the authorities in London some French plans for the capture of Calais, to be followed by a descent upon England.[23] Stukley himself might have been the author of these plans.
On 7 January 1558, king Henry II of France sent forces led by Francis, Duke of Guise, who laid siege to Calais.[24] When the French attacked, they were able to surprise the English at the critical strongpoint of Fort Nieulay and the sluice gates, which could have flooded the attackers, remained unopened.[25] The loss was regarded by Queen Mary I of England as a dreadful misfortune. When she heard the news, she reportedly said, "When I am dead and opened, you shall find 'Philip' [her husband] and 'Calais' lying in my heart."[26] The region around Calais, then-known as the Calaisis, was renamed the Pays Reconquis ("Reconquered Country") in commemoration of its recovery by the French.[27] Use of the term is reminiscent of the Spanish Reconquista, with which the French were certainly familiar—and, since it occurred in the context of a war with Spain (Philip II of Spain was at the time Queen Mary's consort), might have been intended as a deliberate snub.[28] After that time the Dutch-speaking population was forced to speak French.
The town was captured by the Spanish on 24 April 1596 in an invasion mounted from the nearby Spanish Netherlands by Archduke Albert of Austria, but it was returned to France under the Treaty of Vervins in May 1598.[29][30]
17th century to World War I
Calais remained an important maritime city and smuggling center throughout the 17th century. However, during the next century the port of Calais began to stagnate gradually, as the nearby ports of Boulogne and Dunkirk began to rise and compete.
The French revolution at the end of the 18th century did not disturb Calais and no executions took place.[31]
World War II bunkers at Calais
In 1805, Calais hosted part of Napoleon's army and invasion fleet for several months before his aborted invasion of Britain.[32] From October to December 1818, the British army used Calais as their departing port to return home after occupying post-Waterloo France. General Murray appointed Sir Manley Power to oversee the evacuation of British troops from France. Cordial relations had been restored by that time and on 3 December the mayor of Calais wrote a letter to Power to express thanks for his "considerate treatment of the French and of the town of Calais during the embarkation."[33]
Debris from the Siege of Calais
The British Expeditionary Force or BEF arrived in Calais on its way to the nearby frontline cutting through Nord-Pas-de-Calais and Flanders. Calais was a key port for the supply of arms and reinforcements to the Western Front.[34] In the 1930s, the town was known for being a politically socialist stronghold.[35]
World War II
Calais was virtually razed to the ground during World War II.[36] In May 1940, it was a key objective of the invading German forces and became the scene of a last-ditch defence—the Siege of Calais—which diverted a sizable amount of German forces for several days immediately prior to the Battle of Dunkirk. 3,000 British and 800 French troops, assisted by Royal Navy warships, held out from 22 to 27 May 1940 against the 10th Panzer Division. The town was flattened by artillery and precision dive bombing and only 30 of the 3800-strong defending force were evacuated before the town fell. This may have helped Operation Dynamo, the evacuation of Allied forces at Dunkirk, as 10th Panzer would have been involved on the Dunkirk perimeter had it not been busy at Calais.[37] Between 26 May and 4 June 1940, some 330,000 Allied troops escaped from the Germans at Dunkirk.[38]
During the ensuing German occupation, it became the command post for German forces in the Pas-de-Calais/Flanders region and was very heavily fortified, as it was generally believed by the Germans that the Allies would invade at that point.[39] It was also used as a launch site for V1 flying bombs and for much of the war, the Germans used the region as the site for railway guns used to bombard the south-eastern corner of England. In 1943 they built massive bunkers along the coast in preparation for launching missiles on the southeast of England.[40] Despite heavy preparations for defence against an amphibious assault, the Allied invasion took place well to the west in Normandy on D-Day. Calais was very heavily bombed and shelled in a successful effort to disrupt German communications and persuade them that the Allies would target the Pas-de-Calais for invasion (rather than Normandy). The town, by then largely in ruins, was liberated by General Daniel Spry's 3rd Canadian Infantry Division between 25 September and 1 October 1944.[41] On 27 February 1945 Calais suffered a last bombing raid—this time by British bombers who mistook the town for Dunkirk, which was at that time still occupied by German forces.[42] After the war there was little rebuilding of the historic city and most buildings were modern ones.
21st century - migration issues
Since 1999 or earlier, an increasingly large number of migrants and refugees have started to arrive in the vicinity of Calais, where they remain living in the Calais jungle, the nickname given to a series of makeshift camps. The people live there while they attempt to enter the United Kingdom by stowing away on lorries, ferries, cars, or trains travelling through the Port of Calais or the Eurotunnel Calais Terminal.[43] The people are a mix of refugees, asylum seekers and economic migrants from Darfur, Afghanistan, Syria, Iraq, Eritrea and other troubled areas of the world.
The Calais migrant crisis[44] led to escalating tension between the UK and France in the summer of 2015.[45] The UK blamed France for not doing enough to stop migrants from entering the tunnel or making attempts to scale fences built along the border. The British Prime Minister David Cameron released a statement saying that illegal immigrants would be removed from the UK even if they reach the island.[46] To discourage migrants and refugees from jumping on train shuttles at Calais, the UK government supplied fencing to be installed in the Eurotunnel where the vehicles are loaded on to train shuttles in Calais.
Geography and climate
Calais is located on the Pas de Calais, which marks the boundary between the English Channel and North Sea and located at the opposite end of the Channel Tunnel, 34 kilometres (21 miles) from Dover. On a clear day the White cliffs of Dover can be viewed across the channel.[47] Aside from being an important port and boarding point between France and England, it is at the nucleus of many major railway and highway networks and connected by road to Arras, Lens, Béthune and St. Omer. Dunkirk is located about 47 km (29 mi) by road to the east.[48] Calais is located 288 km (179 mi) north by road from the French capital of Paris, roughly a 3-hour 15 minute journey.[48] The commune of Calais is bordered by the English channel to the north, Sangatte and Coquelles to the west, Coulogne to the south and Marck to the east. The core area of the city is divided into the Old Town area within the old city walls, and the younger suburbs of St. Pierre, which are connected by a boulevard.
Calais is part of the Côte d'Opale (Opal Coast), a cliff-lined section of northern French coast that parallels the white cliffs on the British coast and is part of the same geological formation. It is known for its scenic cliffs such as Cape Blanc Nez and Cape Gris Nez and for its wide area of dunes. Many artists have been inspired by its landscapes, among them the composer Henri Dutilleux, the writers Victor Hugo and Charles Dickens, and the painters J. M. W. Turner, Carolus-Duran, Maurice Boitel and Eugène Boudin. It was the painter Édouard Lévêque who coined the name for this area in 1911 to describe the distinctive quality of its light.[49]
The climate is temperate oceanic in Calais. Temperature ranges are moderate and the winters are mild with unstable weather. It rains on average about 700 to 800 mm (28 to 31 in) per year.
Economy
Town centre
The city's proximity to England has made it a major port for centuries. It is the principal ferry crossing point between England and France, with the vast majority of Channel crossings being made between Dover and Calais. Companies operating from Calais include SeaFrance (currently in liquidation[57]), DFDS Seaways,[58] and P&O Ferries.[59] The French end of the Channel Tunnel is situated in the vicinity of Calais, in Coquelles some 4 miles (6.4 km) to the west of the town. Calais possesses direct rail links to Paris, 148 miles (238 km) to the south. More than 10 million people visit Calais annually.[32]
From medieval times, English companies thrived in Calais. Calais was a particularly important centre in the production and trade of wool and cloth, which outweighed the costs of maintaining the town as part of England. In 1830 some 113 manufacturers were based in Calais and the St Pierre suburbs, the majority of which were English.[60] There are still two major lace factories in Calais with around 700 looms and 3000 employees.[60] The town exports in the early 20th century were lace, chemicals, paper, wines, especially champagne, spirits, hay, straw, wool, potatoes, woven goods, fruit, glass-ware, lace and metal-ware.[61] Principal imports in the early 20th century included cotton and silk goods, coal, iron and steel, petroleum, timber, raw wool, cotton yarn and cork.[61] During the five years 1901–1905 the average annual value of exports was £8,388,000 (£6,363,000 in the years 1896–1900), of imports £4,145,000 (£3,759,000 in 1896–1900).[61]
As a fishing port, Calais has several notable fishing markets including Les Délices de la Mer and Huîtrière Calaisenne on the Boulevard La Fayette, the latter of which is noted for its oysters, lobster and crabs from Brittany. The Emile Fournier et Fils market on the Rue Mouron sells mainly smoked fish including salmon, trout, herring and halibut.[62]
Notable landmarks
Place d'Armes
Place d'Armes is one of the largest squares in the city of Calais, adjoins the watchtower, and during medieval times was once the heart of the city. During the English occupation (1347–1558), it became known as Market Square (place du Marché). Only at the end of English occupation did it take the name of Place d'Armes. After the reconquest of Calais in 1558 by Francis, Duke of Guise, Francis II gave Calais the right to hold a fair twice a year on the square, which still exists today, as well as a bustling Wednesday and Saturday market.[63]
Hôtel de Ville
The town centre, which has seen significant regeneration over the past decade, is dominated by its distinctive town hall (Hôtel de Ville) at Place du Soldat Inconnu. It was built in the Flemish Renaissance style between 1911 and 1925 to commemorate the unification of the cities of Calais and Saint Pierre in 1885.[64] A previous town hall had been erected in 1818.[65] One of the most elegant landmarks in the city, its ornate 74 metre (246 ft) high clock tower and belfry can be seen from out to sea and chimes throughout the day and has been protected by UNESCO since 2005 as part of a series of belfries across the region.[66] The building parts have also been listed as a series of historic monuments by government decree of 26 June 2003, including its roofs and belfry, main hall, glass roof, the staircase, corridor serving the first floor, the rooms on the first floor (including decoration): the wedding room, the VIP lounge, the lounge of the council and the cabinet room. The hall has stained glass windows and numerous paintings and exquisite decor.[64] It houses police offices.[35]
Église Notre-Dame
Église Notre-Dame is a cathedral which was originally built in the late 13th century and its tower was added in the late 14th or early 15th century. Like the town hall it is one of the city's most prominent landmarks. It was arguably the only church in the English perpendicular style in France.[67] Much of the current 1400 capacity church dates to 1631–1635.[67] It contains elements of Flemish, Gothic, Anglo-Norman and Tudor architecture. In 1691, an 1800 cubic metre cistern was added to the church under orders by Vauban.[68] The church is dedicated to the Virgin, and built in the form of a cross, consisting of a nave and four aisles—[69] The old grand altar dated to 1628 and was built from Carrara marble wrecked on the coast, during its transit from Genoa to Antwerp. It contained eighteen figures, the two standing on either side of the altar-piece—representing St. Louis and Charlemagne.[69] The organ—of a deep and mellow tone, and highly ornamented by figures in relief—was built at Canterbury sometime around 1700. The pulpit and reading-desk, richly sculptured in oak, is another well-executed piece of ecclesiastical workmanship from St. Omers. The altar-piece, the Assumption, was often attributed to Anthony van Dyck, though in reality it is by Van Sulden; whilst the painting over the side altar, believed to be by Peter Paul Rubens.[69] A high and strongly built wall, partaking more of the fortress than a cathedral in its aspect, flanks the building, and protects it from the street where formerly ran the old river, in its course through Calais to the sea.[69]
The square, massive Norman tower has three-arched belfry windows on each face, surmounted by corner turrets, and a conically-shaped tower of octagonal proportions, topped again by a short steeple. The tower was a main viewing point for the Anglo-French Survey (1784–1790) which linked the Paris Observatory with the Royal Greenwich Observatory using trigonometry. Cross-channel sightings were made of signal lights at Dover Castle and Fairlight, East Sussex.
The church was assigned as a historic monument by decree of 10 September 1913, only to have its stained glass smashed during a Zeppelin bombardment on 15 January 1915, falling through the roof.[70][71] General de Gaulle married Yvonne Vendroux on 6 April 1921 at the cathedral.[68] The building experienced extensive damage during World War II, and was partially rebuilt, although much of the old altar and furnishings were not replaced.
Towers
Tour de Guet
The Tour du Guet (Watch Tower), situated in Calais Nord on the Places d'Armes, is one of the few surviving pre-war buildings. Dating from 1229, when Philip I, Count of Boulogne, built the fortifications of Calais, it is one of the oldest monuments of Calais, although the oldest remaining traces date to 1302.[72] It has a height of 35–39 metres (sources differ). An earthquake in 1580 split the tower in two, and at one time it threatened to collapse completely.[73] The tower was repaired in 1606, and then had the purpose of serving as a hall to accommodate the merchants of Calais.[73] It was damaged in 1658 when a young stable boy set fire to it, while it was temporarily being used as royal stables during a visit of King Louis XIV.[74] It was not repaired for some 30 years. In 1770,[39] a bell identical to the original bell of 1348 was cast. Due to its height, from the late 17th century it became an important watchout post for the city for centuries until 1905;[72] the last keeper of the tower was forced to leave in 1926. Abraham Chappe, (a brother of Ignace Chappe) installed a telegraph office in the tower in 1816 and operated for 32 years.[65] It was this office which announced the death of Napoleon I to the French public in 1821. It also had the dual function as lighthouse with a rotating beacon fuelled by oil from 1818.[72] The lantern was finally replaced by a new lighthouse on 15 October 1848. During the First World War, it served as a military observation post and narrowly missed destruction during World War II.[73] This tower has been classified as a historic monument since 6 November 1931.[73]
The Calais Lighthouse (Le phare de Calais) was built in 1848, replacing the old watch tower as the lighthouse of the port. The 55 metre high tower was electrified in 1883 and automated in 1992. The staircase has 271 steps leading up to the lantern. By day it is easily distinguishable from other coastal lighthouses by its white color and black lantern. The lighthouse was classified as a historical monument on 22 November 2010.
Forts
The Citadel of Calais
The Citadel, located on the Avenue Roger Salengro, was built between 1560 and 1571 on the site of a former medieval castle which was built in 1229 by Philippe de Hureprel.[29] Its purpose of its construction was to fend off would-be invaders, but it wasn't long until the city was successfully invaded by Archduke Albert of Austria on 24 April 1596. Both Louis XIII and Cardinal Richelieu at one time considered expanding the citadel and Calais into a great walled city for military harbour purposes but the proposals came to nothing.[29]
Fort Risban
Fort Risban, located on the coast on the Avenue Raymond Poincaré at the port entrance, was besieged by the English in November 1346 and was used by them until 1558 when Calais was restored to France. In 1596, the fort was captured by the Spanish Netherlands until May 1598 when it was returned to the French following the Treaty of Vervins. It was rebuilt in 1640.[75] Vauban, who visited the fort some time in the 1680s, described it as "a home for owls, and place to hold the Sabbath" rather than a fortification.[76] During World War II it served as an air raid shelter. It contains the Lancaster Tower, a name often given to the fort itself.[73]
Fort Nieulay, located along the Avenue Pierre Coubertin originally dated to the 12th or 13th century. During the English invasion in 1346, sluices gates were added as water defences and a fort was built up around it in 1525 on the principle that the people of the fort could defend the town by flooding it.[77] In April and May 1677, Louis XIV and Vauban visited Calais and ordered a complete rebuilding of Fort Nieulay. It was completed in 1679, with the purpose to protect the bridge of Nieulay crossing the Hames River.[78] By 1815 the fort had fallen into a ruined state and it wasn't until 1903 that it was sold and improved by its farmer tenants.[77] The fort was briefly the site of a low-key scuffle with Germans in May 1940.
Museums, theatres and cultural centres
Calais Theatre
Calais contains several museums. These include the Musée des Beaux-Arts et de la Dentelle de Calais, Cité internationale de la Dentelle et de la Mode de Calais and the Musée de la Seconde Guerre Mondiale (World War II museum). Cité internationale de la Dentelle et de la Mode de Calais is a lace and fashion museum located in an old Boulart factory on the canalside and contains workshops, a library and a restaurant and regularly puts on fashion shows.[60] The World War II museum is located at Parc St Pierre opposite the town hall and south of the train station. The building is a former Nazi bunker and wartime military headquarters, built in 1941 by the Todt Organisation. The 194-metre-long structure contains twenty rooms with relics and photographs related to World War II, and one room dedicated to World War I.[60][79]
Theatres and cultural centres include Le théâtre municipal, Le Centre Culturel Gérard Philipe, Le Conservatoire à rayonnement départemental (CRD), L'auditorium Didier Lockwood, L'École d'Art de Calais, Le Channel, Le Cinéma Alhambra and La Médiathèque municipale. Le théâtre municipal or Calais Theatre is located on the Boulevard Lafayette and was built in 1903 on a plot of land which was used as a cemetery between 1811 and 1871.[80] The theatre opened in 1905. On the first floor of the façade are statues which represent the performing arts subjects of Poetry, Comedy, Dance and Music.[80]
Monuments and memorials
The Burghers of Calais
Louis XVIII column
Directly in front of the town hall is a bronze cast of Les Bourgeois de Calais ("The Burghers of Calais"), a sculpture by Auguste Rodin to commemorate six men who were to have been executed by Edward III in 1347. The cast was erected in 1895, funded by a public grant of 10,000 francs.[11] Rodin (who based his design on a fourteenth-century account by Jean Froissart) intended to evoke the viewer's sympathy by emphasizing the pained expressions of the faces of the six men about to be executed.[11]
Monument Le Pluviôse
The Monument des Sauveteurs ("Rescuers' Monument") was installed in 1899 on Boulevard des Alliés, and transferred to the Quartier of Courgain in 1960. It is a bronze sculpture, attributed to Edward Lormier.
The Monument Le Pluviôse is a 620 kg (1,367 lb) bronze monument built in 1912 by Émile Oscar Guillaume on the centre of the roundabout near the beach of Calais, commemorating the accidental sinking of the submarine Pluviôse in May 1910, off the beach by the steamer Pas de Calais.[81] Armand Fallières, president of the Republic, and his government came to Calais for a state funeral for its 27 victims. One of these victims, Delpierre Auguste, (1889–1910), drowned at age 21 before the beach at Calais; a dock in the city is named for him. The monument was dedicated on June 22, 1913.
Monument "Jacquard" was erected on the square in 1910, opposite the entrance to the Calais theatre. It commemorates Joseph Marie Jacquard, popular in Calais because of his contribution to the development of lace through his invention of the Jacquard loom.[82]
A tall column in the Courgain area of the city commemorates a visit by Louis XVIII.
Parc Richelieu, a garden behind the war memorial, was built in 1862 on the old city ramparts and redesigned in 1956.[83] It contains a statue designed by Yves de Coëtlogon in 1962, remembering both world wars with an allegorical figure, representing Peace, which clutches an olive branch to her breast.[84]
Hotels and nightclubs
Hôtel Meurice de Calais is a hotel, established in 1771 as Le Chariot Royal by the French postmaster, Charles-Augustin Meurice, who would later establish the five-star Hôtel Meurice, one of Paris' most famous luxury hotels. It was one of the earliest hotels on the continent of Europe to specifically cater for the British elite.[85] The hotel was rebuilt in 1954–55.[86] It has 41 en-suite rooms.
The main centre of night activity in Calais is at the Casino Le Touquet’s on the Rue Royale and at the 555 Club. Every month, Casino Le Touquet hosts a dinner and dance cabaret. The casino features slot machines, blackjack, roulette, and poker facilities.[87]
Education
There are several schools in Calais. These include Groupe Scolaire Coubertin, Eglise Saint-Pierre, Universite du Littoral, Centre Universitaire,[48] Lycée HQE Léonard de Vinci on Rue du Pasteur Martin Luther-King, École d'Art de Calais on Rue des Soupirants, and the Centre Scolaire Saint-Pierre on Rue du Four à Chaux which provides education in the primary grades, high school, and vocational school.[88] There are at least seven colleges in the city, such as Collège Martin Luther King on Rue Martin Luther King, Collège Nationalisé Lucien Vadez on Avenue Yervant Toumaniantz, Collège Les Dentelliers on Rue Gaillard, College Jean Mace on Rue Maréchaux, Collège République on Place République, Collège Vauban on Rue Orléansville, and Collège Privé Mixte Jeanne d'Arc on Rue Champailler.
Sport
Calais is represented in association football by the Calais RUFC, who compete in the Championnat National. The club was founded 1902 as Racing Club de Calais and in 1974 was renamed as Calais Racing Union Football Club.[89] Calais RUFC have a good reputation in French cup competitions and went as far as the final in the 1999/2000 season, losing out finally to Nantes. Since 2008 they have played at the Stade de l'Épopée, a stadium which holds about 12,000 spectators. The rugby club in Calais is Amicale Rugby Calaisien. Basketball is popular in Calais with the teams Calais Basket (male) and COB Calais (female) as is volleyball with the Lis Calais (male) and Stella Calais (female) teams. There is also the SOC club which caters in a range of sports including athletics, handball and football and Yacht Club de Calais, a yachting club. Calais also has Les Seagulls, an American football team.
Transport
Sea
The Port of Calais was the first cable ship port in Europe and is the fourth largest port in France and the largest for passenger traffic.[97] The port accounts for more than a third of economic activity of the town of Calais. Cargo traffic has tripled over the past two decades. In 2007 more than 41.5 million tonnes of traffic passed through Calais with some 11.52 million passengers, 1.4 million trucks and trailers, 2.249 million cars and 4,700 crossings a year. On average, ships sail from the port every 30 minutes. A new 400 million euro project is underway at the port to create a breakwater protecting a pool of 700 meters long, thus allowing virtually all types of ships to stop at Calais.
Rail
As well as the large port, the town is served by three railway stations: Gare de Calais-Fréthun, Gare de Calais-Ville, and Gare des Fontinettes, the former being the first stop on mainland Europe of the Eurostar line. Gare de Calais-Ville is the nearest station to the port with trains to Gare de Boulogne-Ville and either Gare de Lille Flandres or Gare de Lille Europe.
Road
Local bus services are provided by STCE. Free car parking facilities are available in front of the Calais ferry terminal and the maximum stay is three days. Calais is served by an airport and an airfield. Calais–Dunkerque Airport is located at Marck, 7 kilometres (4.3 mi) east north east of Calais. Saint-Inglevert Airfield is located at Saint-Inglevert, 13 kilometres (8.1 mi) south west of Calais.
This wonderfully rare sports racing open two-seater Aston Martin is one of just eight remaining examples built by the iconic British sports car manufacturer, Aston Martin. The first of just five privateer DB3s built, DB3/6 entered existence at the very height of sports car racing in the last century. 1952 saw the first and only sports car Monaco Grand Prix to be run and 1953 heralded the launch of the inaugural FIA Sports Car World Championship. These DB3s were the first true ‘space-frame’ sports racers to be born out of this British icon and, as such, paved the way to sporting success for the Aston Martin marque.
Writing about the DB3 in his track test article in Motorsport magazine July 2011, renowned motoring journalist Andrew Frankel wrote, ‘…you cannot really argue its importance. Not only was it the first Aston to be built from the ground up as a pure racing car, it set off a chain reaction that would lead directly and without interval to Aston Martin winning not only Le Mans, but the world sports car championship eight years later.’
Enthused by racing successes with its modified road cars at the dawn of the decade, Aston Martin’s owner, David Brown, commissioned Robert Eberan von Eberhorst (who had worked with Professor Porsche on the design of the staggeringly successful D-type Auto Unions), to create an all-new purpose-built racer for the 1951 edition of the Le Mans race. The DB3, in structure, has a number of similarities to the Auto Union, with two longitudinal tubular chassis members, trailing arm suspension and a de Dion rear. Despite best efforts, the DB3 was not ready for the La Sarthe race in June, making its racing debut a year later than planned in 1952. Success was varied in this inaugural year, but seeds of brilliance were visible, demonstrated by DB3/5’s win at the Goodwood Nine Hour race in the hugely capable hands of a young Peter Collins and team mate Pat Griffith, and the achievement of second place overall at Sebring in that same year. Whilst the DB3 was undoubtedly heavier and under-powered in comparison to its direct rival, the Jaguar C Type, it was built for strength - a characteristic vital for success in endurance racing - and has been hailed time and time again for its outstanding handling abilities.
Originally fitted with 2.5 litre engines and then later with 3 litre straight six, twin-cam engines, these cars were heralded in period as being very nimble and exciting to drive. DB3/6, along with the final four examples built, were all fitted with the 3 litre engine from new, which in 1953 was also used in the new DB3S. Another variation from the earlier cars in this small later batch was the bodywork, which had more rounded sides and no ‘ridge’ in the body-side or air intake on the bonnet.
DB3/6 was ordered and sold new to Robert ‘Bob’ Dickson of Carlisle. Bob was a keen and competent privateer and as such was supported by the Aston Martin works, joined on occasion by works drivers, such as Desmond Titterington. In the extensive history file that accompanies the DB3, there is some lovely written correspondence from Titterington about DB3/6, which makes for interesting reading.
In synopsis, DB3/6 had a very busy time on track in 1953, finishing 8th in the Ulster Trophy Formula Libre race at Dundrod Circuit in May, 12th in the British Empire Trophy race at Douglas Circuit on the Isle of Man, and competing in the British Grand Prix Sports Car race at Silverstone in July. Highlights for the year must include the Tourist Trophy World Sports Car Championship race on the Isle of Man in September, where Dickson and Titterington placed 5th overall against some stiff competition. Dickson also collected the silverware for first in class at both Bo’ness and Rest and be Thankful Hill Climbs in Scotland, also setting new records at both venues. It is important to note that DB3/6 is listed in the official entry list for the 24 Heures du Mans as a reserve, with a Mr. Edgar B Wadsworth as the entrant, and with Wadsworth and Dickson listed as the drivers.
In 1954 the DB3 was sold to Robert H Dennis of Surrey and during his tenure, DB3/6 underwent some major engine and body changes, alongside its continued privateer career on track. Some years later, in 1988, the car was offered at auction by Coys of Kensington, minus engine and body, and was duly purchased by the Rex Collection of Stockholm. At this point, the DB3 was effectively mothballed. In 1992, Albert Sollevi of Lindingo, Sweden, purchased DB3/6. He commissioned noted marque expert, Jaye Engineering in the UK to rebuild the DB3 to its original specification where it was reunited with its original engine.
The bodywork was returned to its correct 1952 specification, completed by UK specialists, ‘Bodylines’. Following this rebuild in 1995, the Aston returned to the race track, regularly competing in Aston Martin Owners’ Club (AMOC) events.
After one further change of ownership in the UK, DB3/6 was sold in 2000 to Kyoto Takemoto of Tokyo Japan. Between 2001 and 2005, the Aston competed in all editions of the Lafesta Mille Miglia in Japan and had the honour of being driven by Sir Stirling and Lady Moss in the 2005 event. In 2006 DB3/6 travelled to the US, to join the stable of John Sinders of Houston, who was Chairman of Aston Martin North America at that time. In John’s ownership, the DB3 won first in class at Amelia Island, third in class at the Pebble Beach Concours and competed in the prestigious Mille Miglia.
The current owner purchased DB3/6 in November 2007 and, in his hands, the Aston has been campaigned extensively, being a regular competitive entry at many of the most prestigious events, including Le Mans Classic, Goodwood Revival and the Monaco Historique.
Meticulously maintained since by marque specialists, Rex Woodgate, this Mille Miglia eligible sports racing car is offered complete with both HTP papers and a FIVA Identity Card, providing a front-running entry at all of the prestigious historic motoring events.
Salon Rétromobile 2017
Paris Expo - Porte de Versailles
Paris - France
February 2017
When World War I began, Germany invaded neutral Belgium and Luxembourg as part of the Schlieffen Plan, in an attempt to capture Paris quickly by catching the French off guard through an invasion via neutral countries.
Manneken Pis ( Dutch for 'Little Pissing Man') is a landmark bronze fountain sculpture in central Brussels, Belgium. Though its existence is attested as early as the mid-15th century, Manneken Pis was redesigned by the Brabantine sculptor Jérôme Duquesnoy the Elder and put in place in 1619. Its stone niche in rocaille style dates from 1770. The statue has been repeatedly stolen or damaged throughout its history. Since 1965, a replica has been displayed, with the original stored in the Brussels City Museum.
Manneken Pis is one of the best-known symbols of Brussels and Belgium, inspiring several legends, as well as numerous imitations and similar statues both nationally and abroad. The figure is regularly dressed up and its wardrobe consists of around one thousand different costumes. Since 2017, they have been exhibited in a dedicated museum called GardeRobe MannekenPis. Owing to its self-derisive nature, Manneken Pis is also an example of belgitude (French; lit. 'Belgianness'), as well as of folk humour (zwanze) popular in Brussels.
Notice the The GIBRALTAR Cuff-Title being worn by the soldier on the left. The story of the Gibraltar cuff title can be traced back to 1775 when the King of England, George III, Duke of Hannover was in need of fresh troops to allow British troops to serve in the colonies during the American Revolution. Five Battalions of troops from his native Hannover were recruited to replace British troops in the Mediterranean. Three of the Battalions, Von Beden, de la Motte, and von Hardeberg were sent on 16 October 1775 to Gibraltar for service. Life in the garrison on Gibraltar was uneventful until June 1776 when Spain declared war on England and immediately blockaded the island. Starvation, scurvy, and death by Spanish Artillery were commonplace on Gibraltar until the Treaty of Versailles lifted the siege on 15 August 1783. The British garrison and their three Hanoverian Battalions had lasted over three years and seven months. To honor the survivors of the siege, the three Battalions were authorized to wear a blue cloth cuff-title embroidered GIBRALTAR on the lower right sleeve of their Waffenrock.
Sakharibazar, Old Dhaka, 2011
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..