View allAll Photos Tagged Existence
40x40inch/102x102cm Acrylic, Emulsion, Spraypaint and Paint Marker on Canvas.
This is a portrait of the missus.
#Ankara is the capital city of #Turkey but it is the city that holds all my memories from childhood to mid to late 20s. Growing up in a capital city like Ankara was always eventful but recent years have been extra ordinary that I am worried for the future of my home country. I was born in Germany and have Persian and Turkish blood in me and lived in Israel and now on #Tasmania #Australia I am proud to call my self #worldcitizen We all are world citizens even if we deny. We all share the same planet and we are the ones trying to divide. My heart aches when I see and hear wars and fights around the world but I have to say when the city of your memories get hit, it feels like your childhood dies with it. In 5 months 2 massive terrorist attacks hit and so many lives got lost! Why because we just can't forget the past and live peacefully together. Only when we understand #love is the #gravity of our core existence then we will #unite and I really do #pray that happens sooner than later. Yesterday's attack was targeting the buses that were carrying soldiers and many civilians also lost their lives. I pray all the innocent lives. I had taken this photo in Ankara at #Ataturk's Mausoleum in 2011 where soldiers of air, ground and seas are respectfully protecting his graveyard. Ataturk once said " Peace at home Peace in the world" ---"The well-being of mankind, it's peace and security, are unattainable unless and until its unity is firmly established" -Baha'u'llah by flameoffirephotography www.instagram.com/p/BB6T2fFntxJ/ in scontent.cdninstagram.com/t51.2885-15/e35/12728555_743233...
The Old Church of Saint George in Paralimni, Republic of Cyprus, holds a significant place in the region's history and serves as a testament to the island's rich cultural heritage. Spanning centuries of existence, the church has witnessed the ebbs and flows of Cypriot society, surviving conflicts and transformations while remaining an emblem of faith and tradition. Here is a concise history of the Old Church of Saint George in 1000 words.
The origins of the Old Church of Saint George date back to the Byzantine period, with the earliest records of its existence tracing to the 14th century. At this time, the region of Paralimni was predominantly inhabited by Greek Cypriots, who constructed the church as a place of worship dedicated to Saint George, the patron saint of warriors.
During the Ottoman era, which lasted from the 16th to the early 20th century, Cyprus came under Turkish rule. Despite the cultural and religious challenges faced by the Greek Orthodox community, the Old Church of Saint George managed to endure. It remained a spiritual haven for the local population, who continued to hold steadfastly to their faith and traditions.
The church underwent several modifications and expansions over the centuries. One notable addition was the construction of a bell tower in the 18th century, giving the church a distinctive architectural feature. The bell tower not only served as a symbol of religious identity but also functioned as a means of communication for the community, announcing important events and marking the passage of time.
In the early 20th century, Cyprus experienced a series of significant socio-political changes. Following the end of the Ottoman Empire, the island came under British administration in 1914. During this period, the Old Church of Saint George continued to play a vital role in the lives of the local population, acting as a spiritual center and a gathering place for the community.
However, the turbulent mid-20th century brought about new challenges. In 1974, a military coup backed by the Greek junta triggered a Turkish invasion of Cyprus, resulting in the division of the island into two separate entities: the internationally recognized Republic of Cyprus in the south and the self-declared Turkish Republic of Northern Cyprus in the north.
Paralimni, situated in the southern part of Cyprus, found itself in a heavily militarized area. The Old Church of Saint George stood near the demarcation line known as the "Green Line," which separated the Greek Cypriot and Turkish Cypriot communities. This proximity to conflict put the church at risk, as the area was often subject to hostilities and tensions between the opposing factions.
Despite the challenges posed by the ongoing division, the Old Church of Saint George managed to survive. Its resilience symbolized the determination and enduring spirit of the Greek Cypriot community in the face of adversity. The church served as a beacon of hope, fostering a sense of unity and preserving cultural heritage during a time of profound political and social upheaval.
In the late 20th century, efforts were made to restore and preserve the Old Church of Saint George. Restoration projects aimed to protect the church's architectural integrity and ensure its historical significance would endure for future generations. These initiatives highlighted the importance of safeguarding cultural heritage as a means of fostering understanding, reconciliation, and appreciation for the island's diverse history.
Today, the Old Church of Saint George stands as a cherished landmark in Paralimni. It serves as a place of worship, a cultural monument, and a reminder of the island's enduring faith and resilient spirit. Visitors can admire the church's Byzantine-inspired architecture, explore its sacred interior adorned with religious icons, and reflect upon the historical events that have shaped Cyprus over the centuries.
The Old Church of Saint George in Paralimni stands as a testament to the power of faith, resilience, and cultural preservation. As it continues to hold a special place in the hearts of the local community, it serves as a bridge between the past and the present, connecting generations and offering a glimpse into the rich tapestry of Cyprus' history.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Under the Treaty of Trianon (1920), Hungary was forbidden from owning military aircraft. However, a secret air arm was gradually established under the cover of civilian flying clubs. During 1938, as a result of the Bled agreement, the existence of the Royal Hungarian Air Force (Hungarian: Magyar Királyi Honvéd Légierő (MKHL)), was made known. The army's aviation service was reorganized and expanded.
Late 1938 the army aviation was once again reorganized. Admiral Horthy, the head of state, ordered that the army aviation should become an independent service with effect of 01.09.1939. It subsequently participated in clashes with the newly established Slovak Republic and in the border confrontation with the Kingdom of Romania.
In 1940, the decision was made to unite the Air Force, the anti-aircraft forces, and the civilian air defense organizations under one central headquarters. In April 1941, operations were conducted in support of the German invasion of Yugoslavia and, on 27 June 1941, Hungary declared war on the Soviet Union.
On 01.06.1941, the Air Defense Corps was established, and Lieutenant General Béla Rákosi became Commander of Army Aviation. In effect the Air Force had once again become part of the Army. In the summer of 1942, an air brigade was attached to the Luftwaffe's VIII. Fliegerkorps at the Eastern Front.
At that time, most of the Hungarian Air Force's fighter equipment was of German origin, consisting of types like Bf 109 F and G, Fw 190 A/F, Me 210. But some indigenous designs were under development, too, e. g. at the RMI, Repülo Muszaki Intézet, or Aviation Technical Institute. Its aircraft were primarily (but not exclusively) by László Varga, and as a result, RMI designs were often given the Varga name (in some cases, even when he was not the major designer). But the RMI designation was used in parallel, too.
One of the domestic developments was the RMI-11 'Sólyom' (= Falcon) fighter. This single engine aircraft drew heavily upon the Bf 109 design, but featured some changes and improvements like an inward-retracting landing gear or a bubble canopy. It also incorporated elements from the heavy RMI-8 fighter, a push/pull design with twin tail booms, but the RMI-8’s sole prototype was destroyed by Allied air raids before a serious test program could be launched.
In contrast to the complex RMI-8 the RMI-11 was a small and light aircraft, a conventional but clean design, based on simple shapes for easy, modular production. Most of its structure was made from wood, saving sparse metal whenever possible. Empty weight was, for instance, about 200 kg less than a contemporary Bf- 109 G.
The RMI-11 was driven by a liquid-cooled DB 605 inverted V12 engine, rated at 1.475 hp. Thanks to the low weight of the airframe, the machine achieved a high top speed and an exceptional high rate of climb.
Originally designed as a fast and agile interceptor in the early stages of WWII, the RMI was only armed with two 13mm MG 131 with 300 RPG and two 7.92 mm MG 17 in the outer wings. Two underwing hardpoints could carry up to 100 kg each.
The RMI-11 prototype made its maiden flight in late 1943 and after a basic but successful test program immediately ordered into production – in a hurry, though, and beginning March 1944, Allied bomber raids began on Hungary and progressively increased in intensity.
Production of the RMI-11 gained only slowly momentum, due to material shortages, because the RMI-11was primarily of plywood bonded with a special phenolic resin adhesive that was supplied from German sources. Due to Allied bombing raids on the glue’s original production sites the plywood glue had to be replaced by one that was not as strong, and was later found to react chemically, apparently in a corrosive manner, with the wood in RMI-11’s structure. In November 1944, several RMI-11s crashed with wing and tail failures due to plywood delamination. This same problem also critically affected the German Focke Wulf Ta 154 and Heinkel He 162 programs.
Late in 1944 all efforts were redirected towards countering the advancing Red Army. Soon it was clear that the type needed long range cannons with higher caliber in order to encounter heavy Allied bombers, so plans were made to add heavier German armament. This was realized through an extra pair of MG 151/20 20 mm cannons with 150 RPG, which were added in fairings under the wings instead of the original bomb hardpoints (which were hardly ever used in service at all). During the same refit, the rather ineffective MG 17s were deleted, saving weight and leaving more room inside of the wings for the MG 131s’ ammunition supply (now with 400 RPG)
At that time only about 60 production aircraft had been completed and modified, and production was halted due to the severe structural problems. These machines were nevertheless thrown into service, with repairs and upgrades done at the Hungarian airfields – but the glue problem was a constant operational danger.
Still, all these efforts were to no avail: All fighting in Hungary ended on 16 April 1945, and all RMI-11’s were scrapped after hostilities ended.
General characteristics
Crew: 1
Length: 8.82 m (28 ft 10 ½ in)
Wingspan: 10.58 m (34 ft 8 in)
Height: 4.10 m (13 ft 5 in)
Wing area: 16.82 m² (181.00 ft²)
Empty weight: 1,964 kg (4,330 lb)
Loaded weight: 2,200 kg (4,840 lb)
Max. take-off weight: 2,395 kg (5,280 lb)
Powerplant:
1× Daimler-Benz DB 605A-1 liquid-cooled inverted V12, 1,475 PS (1,085 kW)
Performance:
Maximum speed: 640 km/h (398 mph) at 6,300 m (20,669 ft)
Cruise speed: 590 km/h (365 mph) at 6.000 m (19.680 ft)
Range: 850 km (528 mi)
Service ceiling: 12.000 m (39.370 ft)
Rate of climb: 17.0 m/s (3.345 ft/min)
Wing loading: 196 kg/m² (40 lb/ft²)
Power/mass: 344 W/kg (0.21 hp/lb)
Armament:
2× 13mm MG 131 (.51 in) machine guns in the wings,400 RPG, plus 2× 20mm MG 151/20 (.51 in) machine cannons, 150 RPG, in external underwing fairings.With the cannons deleted up to 8× 15 kg (33 lb) or 2× 50, 100, or 150 kg (110, 220, or 330 lb) bombs under the wings
The kit and its assembly:
This is a serious kitbash and a totally fictional aircraft - and you are IMHO an expert modeler if you recognize what basically went into it!
This build was inspired when I recently bought an RS Models Nakajima Kikka jet fighter, the double seater kit. As a bonus it comes with two fuselages: effectively, it is the single seater kit with an extra sprue and a different canopy. Looking at the Kikka's profile I found that it HAD to be converted into a piston engine aircraft, with a liquid-cooled engine. Wings and anything else would come from the scrap box, but it should become a sleek fighter aircraft, a late WWII design.
From that, things went straightforward:
● Fuselage from a RS Models Nakajima N9J1 "Kikka", front end cut away
● Wings from an Revell Macchi C.200 Saetta
● Stabilizers from an Art Model MiG I-210 fighter
● Canopy from a late Supermarine Spitfire (Special Hobby, IIRC)
● Nose/engine and radiators from an RS Models Ki-78
● The propeller was scratched from single pieces/blades and the Ki-78 spinner
● The landing gear is a Ki-78/C.200 parts mix.
I settled for the Ki-78's radiator installment on the rear flanks because it is a unique feature and simply does not hamper the sleek side profile. I also thought that this might have been a smart solution for modular production - fuselage and wings could be completed separately.
The Ki-78 engine had to be widened considerably to match the Kikka’s trapezoidal fuselage diameter, putty and major sculpting resulted in a relatively smooth and subtle intersection. As per usual, an axis construction for the propeller was added, too, so that it can spin freely. Mating wings and fuselage necessitated a new cockpit floor (which acts at the same time as landing gear well interior), and a 3mm bridge at the wing roots had to filled – but that was easy.
The cockpit interior was outfitted with spares, the Spitfire canopy needed some small styrene wedges under the windshield to make it fit onto the Kikka fuselage.
Things went rather smoothly until I fixed the wings to the completed fuselage. However I placed them, it looked odd – too far back, and the nose stood out; too far forward, and the tail was too long. Somehow, proportions did not match – only slightly, but it bugged me. So far that I eventually decided to shorten the fuselage – after having completed it, radiators already in place and everything sanded even. I made a vertical cut behind the cockpit and removed ~7mm of length – and suddenly the aircraft looked good! Needed some extra body work, but the aircraft looks much more balanced now.
The underwing fairings for the cannons were late additions, too. I wanted to keep the fuselage clean, with no nose guns, but adding heavier armament turned out to be tricky. The fairing solution was inspired by a real-world Fw 190 Rüstsatz which featured two MG 151/20 apiece. I had appropriate parts from an Academy Fw 190 left over, so I sliced these up and narrowed them for a single cannon each, and this was the right size for the slender aircraft. All gun barrels were created through heated and pulled-out styrene tubes.
Painting and markings:
Deciding what this aircraft was to become was tougher than building it! With its clearly German origin it had to be a WWII Axis type, but I did neither want a German nor a Japanese aircraft, even Italy was ruled out – all too obvious. With Hungary and its RMI designs I eventually found a good potential origin, and this also allowed a rather "colorful" livery. With the Hungarian background this kitbash became the RMI-11.
The paint scheme was inspired by an experimental Hungarian camouflage in Green, Gray and Brown, seen on a Bf 109G. I could not find color indications, but in the end I settled for three RLM tones for the upper sides, RLM 71, 75 and 79, coupled with RLM 76 for the lower sides. All tones are enamels from Modelmaster's Authentic range, panels and leading edges were slightly emphasized with lighter shades. As a small design twist I added a wavy, medium waterline on the fuselage sides.
Interior surfaces were, lacking any reference, kept in RLM 02. In order not to be too fanciful, the spinner became black with a green tip (RLM 62), and the blades were painted with a mix of RLM 70 (Black Green) and Black, for a very dark and dull green tone, Luftwaffe style.
The yellow markings correspond to German Luftwaffe markings of the late WWII era, the yellow 45° “V” under the lower left wing was introduced in the Balkan region in 1944, it was also carried by Luftwaffe aircraft in this conflict theatre.
The flashy decoration on all tail surfaces disappeared at that time on real aircraft (only small Hungarian flags were carried on the tail rudder), but I still incorporated the full national insignia because it's unique and a colorful contrast to the rest of the aircraft.
Most markings belong to a real Hungarian Bf 109G (from a Print Scale aftermarket sheet), I just scratched the national markings on the fuselage and the yellow markings (all cut from stock decal material) and parts of the Hungarian flag insignia on the tail: the tips were painted with red, the white and green bands were cut to measure from a Frecce Tricolori sheet.
A light black ink wash was applied and some dry painting added with gray and black (for soot and exhaust stains), for a lightly weathered effect. As final step, everything was sealed under matt acrylic varnish (Revell).
A quickie, done in just a week, but with a very convincing look. One might recognize Bf 109 F/G, Ki-78 and even He 100 features, but none of these aircraft really matches up with the RMI-11 at second glance, there are too many individual differences. If it gets you wondering – mission accomplished! ;)
Lazarevskoe Cemetery (Russian: Лазаревское кладбище) is a historic cemetery in the centre of Saint Petersburg, and the oldest surviving cemetery in the city.[1] It is part of the Alexander Nevsky Lavra, and is one of four cemeteries in the complex. Since 1932 it has been part of the State Museum of Urban Sculpture , which refers to it as the Necropolis of the XVIII century. It covers 0.7 hectares.
The cemetery came into existence with the establishment of the city of Saint Petersburg by Peter the Great in the early eighteenth century. With the death of Peter's sister, Natalya Alexeyevna, in 1716, Peter instructed that she be buried in the grounds of the Alexander Nevsky Monastery, which was under development at that time. In 1717 Natalya Alexeyevna was interred in the Church of St Lazarus, the first stone building in the monastery complex, and from which the cemetery took its name. The location soon became the burial site for other members of Peter's family and court, and became the most prestigious burial ground in the city, requiring Peter's personal permission to be interred there. The remains of Natalya Alexeyevna and other members of the imperial family were reinterred in the monastery's Annunciation Church soon after their original burial, but the church and cemetery complex remained popular sites for the St Petersburg elites, and many noble families established their family plots here.
By the early nineteenth century the cemetery was becoming full, and new cemeteries were opened in the monastery complex. The last burials in the Lazarevskoe Cemetery took place in the early twentieth century, and the cemetery was closed to new burials in 1919. During the Soviet period, the cemetery became a place of interest for its elaborate funerary monuments and the graves of historically important figures. In 1932 it was declared the "Necropolis of the XVIII century" and became part of the State Museum of Urban Sculpture . Graves deemed less significant were cleared away, while monuments and remains considered more artistically or historically important were moved into the cemetery from churches and burial grounds that were in the process of being demolished. Today the cemetery operates as a museum, displaying the funerary sculpture of a wide range of important artists of the eighteenth and nineteenth centuries.
Burials began in 1717 when Natalya Alexeyevna, the sister of Peter the Great, was interred in the burial vault of the Church of St Lazarus, from which the cemetery took its name. During the early years of its existence it required the Emperor's permission to allow burials in the cemetery, making it the chosen location for the burial plots of St Petersburg's elite. By the end of the eighteenth century burial was extended to the wealthy merchant class, in exchange for the payment of large sums of money. The wealthy and powerful commissioned tombstones and monuments from the most prominent Russian sculptors. The cemetery includes funerary monuments by Ivan Martos, Mikhail Kozlovsky, Vasily Demut-Malinovsky, Andrey Voronikhin, Fedot Shubin, Fyodor Tolstoy and other masters.
By the nineteenth century the cemetery was becoming overcrowded, and the first of the new cemeteries in the Lavra, the Tikhvin Cemetery, was opened in 1823. Burials in the Lazarevskoe Cemetery became less frequent in the nineteenth century, and in the twentieth century occurred in only exceptional cases. One of the last people to be interred was Count Sergei Witte in 1915, and in 1919 the cemetery was closed to new burials.
During the Soviet period the cemetery was closed and placed under state protection, administered by the society "Old Petersburg" (Russian: «Старый Петербург») The People's Commissariat for Education proposed in the early 1920s that the cemetery become a museum displaying the sculpture of funerary monuments, a proposal that the Leningrad city administration, Lensovet agreed to. Work began on studying and recording the details of the memorials, and in 1932 it was declared a museum and part of the State Museum of Urban Sculpture , but remained generally closed to visitors. The head of its administration from 1932 was the historian N. V. Uspensky. A group of Soviet writers visited the cemetery in 1934, and with the support of Maxim Gorky, declared it of great cultural and historical significance.
From 1935 Lensovet proposed that the Museum of Urban Sculpture collect the most significant pieces of memorial sculpture into the cemetery. During the 1930s the Soviet authorities "sought to establish a formal pantheon of dead Russian cultural heroes modelled after the national pantheon in Paris." The Lazarevskoe and Tikhvin Cemeteries, as well as the Volkovo Cemetery, were designated as the sites for development. Those memorials thought to have low historical or artistic interest were cleared away, while those considered to have higher historical or artistic interest were brought from other cemeteries across the city, quite often without the remains that they commemorated. One such example is Agustín de Betancourt, originally interred in the Smolensky Lutheran Cemetery with a columnar monument designed by Auguste de Montferrand. Betancourt's remains and monument were transferred to the Lazarevskoe Cemetery in 1979, where the monument has undergone restoration. The remains and funerary monuments of architect Jean-François Thomas de Thomon and mathematician Leonhard Euler had been transferred from the Smolensky Lutheran Cemetery in 1940 and 1956 respectively. During the Second World War the museum carried out inspections of the city's monuments and carried out some repair and restoration work. Large scale restoration work was carried out after the ending of the Siege of Leningrad, with the museum opening to the public in 1952.
Many of the early burials were those of the associates of Peter the Great. These included military figures such as Field Marshal Boris Sheremetev and General Adam Veyde, and the Court Physician Robert Erskine. The cemetery's exclusivity made it a desirable burial site, and many of the leading figures and families of St Petersburg acquired plots. Among them were the academics Mikhail Lomonosov and Stepan Krasheninnikov; playwrights Denis Fonvizin and Yakov Knyazhnin; architects Ivan Starov, and Andrey Voronikhin; statesmen and politicians Alexander Stroganov, Nikolay Mordvinov, Mikhail Muravyov-Vilensky and Sergei Witte; and military officers such as Vasily Chichagov. The family vaults of the Beloselsky-Belozersky, Trubetskoy, Volkonsky and Naryshkin ancient noble houses were located here, as were those of some of the prominent merchant dynasties such as the Demidovs and Yakovlevs. Art historian Nikolai Vrangel wrote "It was as if all those who had once formed a close circle of court society gathered here after death. A whole epoch, a whole world of obsolete ideas, almost all the court society of Elizabeth, Catherine and Paul were buried in the small space of the Lazarevskoe cemetery".
The remains and monuments of Jean-François Thomas de Thomon, mathematician Leonhard Euler and engineer Agustín de Betancourt, all originally interred in the Smolensky Lutheran Cemetery, were transferred to the Lazarevskoe Cemetery in 1940, 1956 and 1979 respectively.
en.wikipedia.org/wiki/Lazarevskoe_Cemetery
en.wikipedia.org/wiki/List_of_burials_at_Lazarevskoe_Ceme...
amorbidfascination.blogspot.com/2010/03/lazarev-cemetery-...
www.monument-tracker.com/en/guide/6505-cemeteries-tikhvin...
www.monument-tracker.com/es/guia/6505-cementerios-tikhvin...
What is normal? - in a world where time travel, wormholes, and the existence of parallel timelines are no longer news - and AI version 214 helps in every way - the world looks completely normal - as shown in these pictures
There are ‘shanty buildings’ of mainly corrugated iron like this all over old Bangkok.
They offer peace and stability! And they can add another room or tw as they have the cash to do so.
OK, they may leak a bit but this settled peaceful existence is valuable.....until the City decides to pull them down!
One for the Vain Inc Gallery: Unfortunately not very visible but in my one hand I am holding a globe with the country I lam living in now, The Netherlands and in the other one a globe of the country I came from, Poland. Mixing cultures I guess=]
My sweet guy DLB made this snap while we were visiting space park so I thought I will merge it into this pic=]
model: me
sim: Space Park
theme: Your gift---->My gift is the best of 2 rl worlds
After all those photos of the same castle a short description from the web:
The date of the castle's construction is unclear; its existence is first implied in 1269, by way of mention of its owner Meinhard von Schneberg.The castle itself is first mentioned in 1461, as the manor of Sneberk; at the time it was a possession of the Patriarchate of Aquileia, with the Schnebergs as their ministeriales. The family fractured the estate through multiple heirs; by the late 14th century the castle had several co-owners. In 1393, a quarter-share of it and several neighboring farms was purchased by Wiiliam II von Lamberg, a relative of the Schnebergs; his descendants increased their share through the 15th century until they owned the entire estate, giving the castle its more-or-less current renaissance appearance as well.
By marriages, the castle passed to the Scheyer family, followed by the Prancks and, in the first third of the 17th century, the barons Rambschissl, who sold it to the Imperial governor of Carniola, prince Eggenberg. Along with Snežnik, the prince bought the lordship of Lož, moving its administrative center from the uncomfortable, hilltop Lož Castle to the more amiable and better-accessible manor at Snežnik. In 1669, Janez Žiga Eggenberg sold the Loš-Snežnik lordship to prince Janez Vajkard Auersperg, the count of Gottschee (Kočevje).
in 1707 the estate was taken over by count Jurij Gotfrid Lichtenberg, who in 1718 permanently joined the Lož and Snežnik lordships. The house of Lichtenberg held the estate for 140 years, a period marked by the centralist policies of the Habsburg monarchy, in particular the constant diminution of the rights of the nobility. By the early 19th century, the Lichtenberg had been forced deep into hock; a court-ordered appraial occurred in 1816. In 1832 the faily was forced to accept a lottery loan; the main prize was the entire Snežnik estate, or 250,000 florins. The lucky winner - a Hungarian blacksmith - took the cash, while the Lichtenbergs went on to sell the estate in 1847 to a Viennese couple named Karis, who went bankrupt shortly thereafter. The estate was purchased at auction in 1853 for 800,000 florins by the German prince Oton Viktor Schoenburg-Waldenburg.
Prince Jurij, the third son of Oton Viktor, inherited the castle in 1859 and heavily remodeled it for use as a summer home and hunting lodge. In addition to adding a story, two turrets, a terrace, and elevating the defensive walls, he also richly furnished the interior and established a surrounding English park.
Wishing to preserve the estate for his heirs, the prince established a fideicommiss about the property. Stocking the woods with deer and the ponds with trout, he ordered several paths built through the forest, he also hired experts to maintain the surrounding wilderness, and was the patron of the first Slovene forestry school, opened in the castle in 1869 but closed in 1875 due to germanophone political pressure. The princes' construction of a steam sawmill began the industrial development of the Lož Valley.
In 1902 prince Jurij was succeeded by his firstborn, Herman, a diplomat. After World War I the estate was divided between Italy and the Kingdom of SHS by the Treaty of Rapallo. Prince Herman died in 1943 at the family castle of Hermsdorf by Dresden. During WWII the castle caretaker faithfully guarded the estate, repelling looters; as a consequence, the interior furnishing of the Schoenburgs survive intact. In 1945, the castle and estate were nationalized, and became a hunting lodge reserved for high state functionaries. In 1983, the castle was opened to the public as a museum.
Jharkot monastery, Lower Mustang, Nepal.
The monastery at Jharkot is a large Shakya-Pa sect monastery. It is situated close to the ruins of the forts in Jharkot. The Tibetan name of the monastery is Ngorp. It is believed that this monastery was founded during regime of King Chopse. Four monks regularly stay there and perform various ceremonies during different times of year.
Avez-vous quelque chose
Contre la misère?
Contre la misère
On a des cache-misère
Contre la misère
On a de la poudre aux yeux
Et puis encore
Un peu de ciel bleu
Jacques Dutronc
www.dailymotion.com/video/x290uu_madame-l-existence_creation
Hot Dog Party
In Hot Dog Party, an image of rapid apocalypse is represented by a bacchanalia, an ultimate celebration of body and soul, when its participants seem to think that they are going to die the day after tomorrow.
As we come to the close of this tumultuous century it is clearer than ever that the human kind is in peril.
Our old values seem shaky and inadequate.
We try to catch the last chance of a total and final festival, as there is going to be no tomorrow.
So, today should be the fiesta. And every day is like the last day.
May be that is why every third American is overweight?
Jaisini's portrayal of the last bacchanalia is glorious and monumental, as a praise to the human flesh that is so eager to satisfy itself, as long as it exists.
The overtone of apocalypse is given by a presence of an idol and a devil, as the silent witnesses of all orgies at all times.
And, no matter for how long the Darvian evolution will go on, the human body is all the same, with its insatiable hunger, its uncertainty in the future.
Perhaps we need to seek the answers from those like Jaisini, who had retreated into a private recess of fantasy and imagination, to approach a more vivid reality.
A line connects all the picture's elements into a unity without central powers.
All the images are autonomous and equal.
The energy is everywhere, but there behind the canvas, exists the hidden central power of the artist, creator.
The work illustrates our human attachment to bodily pleasures, and the fear of physical termination. The fiesta is a way to catch a peak of eternity.
This phenomenon became an attitude of the everyday life, when each of us striving to stop the time and to gratify the body by any means, at any price.
The quest for eternal enjoyment in the outside, physical world brings the emptiness in the inside world, and therefore the man's quest is never completed. It is a closed circle.
The only reality is the individual existence of the self. Jaisini uses the motif of fiesta to portray the all human problem of temptations, pleasures and miseries of the sense world. Meanwhile, the voice of inner soul, or God, is the artist's power that is unseen.
The driving force of our existence is this warring of the high and law that invariably goes on inside us.
Each participant of the "Hot Dog Party" is absorbed in his own realm of pleasure. The orgy is at a stage of lost control. Even Beelzebub wants to drink more and his eye is popping out for more wine and anticipation moistens his jaws. Down under a man puts an earthworm in his mouth.
A bare thigh of a woman in the black stockings is almost of the same color as the tablecloth that covers the rest of her body. Three emptied bottles stay on the table's edge. A yellow back light creates a serene, separate segment of a still life. The two turndown bottles may symbolize "vanitas" as does an overturn cup in the Holland still life. One of those bottles is pointed towards the inside of spread legs which belong to another young woman who lies on the table and bends sensually.
Next, the figure is of a ballerina extending her leg all the way to the turndown bottles. Her underwear shows the red marks.
A female figure at the left lower side is painted in an intense color of gold, yellow ochre. She widely spreads her legs and examines herself.
Next is a strange flaming creature that lies on a burning charcoal being deadly drunk and unconscious. A couple of cowboys sing while eating and drinking, as in a moment of their personal glory. Above them there is a red fat body of a person whose sex is defined by a sausage on a plate, covered by his heavy stomach. He is ready to swallow a
second sausage that he observes passionately. In turn an old goddess watches him. In this part of the painting the color contrast is rendered by an image of ghostly, pale man who looks avariciously at a young woman who sits on the table's edge and drinks wine directly from a bottle.
Her body is in purple color with red reflects. The light on her face and the highlights on her hair waves are yellow the shadow is deep.
"Hot Dog Party" is painted in a challenging color range. It demonstrates the artist's great mastery and command over color.
The red dominates the painting. It is refined and elaborated with a variety of correlating colors. The color formula of the work is fabulously laconic, but rich. Some amount of yellow light is spread around.
The white tablecloth bears pinkish casts and hints of surrounding color.
Just enough of some blue and green to ignite the painting with a gemlike color game.
After a few years existence, West Midlands PTE decided it would take over the Midland Red services in the county and acquired some depots and many vehicles. One such is this Midland Red S23-type bus built by BMMO (Midland Red) and bodies panelled and fitted out by Plaxton. The PTE used the Midland Red fleet number. Having been painted in the WMPTE livery of the time, this bus is seen in Dudley in February 1978.
I found this tree on a wet wall. N i'm thinking how can it grow on a rock wall. Its all about our out of eyes.
Location: Barisal, Bangladesh.
© Saiyan, [saaiyan@ovi.com]
# Advance thx for checking my photography.
# No graphics n animation plz.
my entry for threadless loves death challenge!
score '5' & comment here: www.threadless.com/submission/395503/Existence_amp_Death
thanks for the support.
SPEAK YOUR DREAMS INTO EXISTENCE / WEALTHY MINDS Murals by Shawn Perkins in collaboration with Billionaire P.A at Union Market District along 5th Street between Florida Avenue and Morse Street, NE, Washington DC on Monday afternoon, 31 January 2022 by Elvert Barnes Photography
SHAWN PERKINS website at www.sptheplug.com/
Elvert Barnes GRAFFITI Writings On The Wall 2022 at elvertxbarnes.com/graffiti
Elvert Barnes Public Art 2022 at elvertxbarnes.com/publicart
Trip to / from Union Market District, NE, and Columbia Heights, NW, Washington DC
Elvert Barnes January 2022 at elvertxbarnes.com/2022
Published at 51st.news/ask-a-d-c-native-im-new-here-how-can-i-make-fri...
If you don't know what your passion is, realize that one reason for your existence on earth is to find out. (Oprah Winfrey)
Each and every one of us has a purpose in life and once we realize such, life becomes clarified and simplified. We have a unique purpose for living and we have been given unique talents and abilities to accomplish that purpose.
Ideas rule the world; therefore the owner of ideas is the ruler of the world. Why are we here on earth? We are here to unfold the divine purpose of the universe and in view of that we can only accomplish that through two means.
1. to decide to be successful
2. To decide to be unsuccessful
Success speaks louder than words; it commands greater attention than the greatest oration any man can make. It is self inviting and attractive. Those who decide to be unsuccessful in life don't have any stress; they do not need to struggle to secure an unsuccessful future, however for those who decide to be successful lies two things, the idea(s) and reality.
Success has a compelling force around it, drawing everyone to itself, whether consciously or unconsciously. Many want to be successful, just as many have amazing principles but few work to apply those principles. Those who wait for the right thing to happen might wait for a long time If not eternity. It's like waiting for all the traffic lights to turn green before starting a 20 miles journey.
Nothing really works without someone at work, everything that work is made to work by workers.
In the world of success, information is the greatest asset for every outstanding transformation; resounding success is traceable to discovered secrets. Certain information is handed down to men and when it is properly traded with it brings out the desired end. When you dig into successful secrets you become more informed, thereby becoming better than your contemporaries.
In the school of success, fact is one of the principle pillars. It takes facts to be fat. Every great thinker is a high flyer. You can't just start selling apples without having the relevant facts about where, how and when to get apples.
If you will plan your work, the world will mind you. If you will strategize your approach, your result will be outstanding. Telling yourself "it will be done" without sitting down to do your own part of the reasoning and planning may leave the job undone forever. Every hard work is provoked by you and nothing works like hard work.
Every star carries a scar of sacrifice. You don't have to steal to become a star, just identify with the fundamental principles of life and you are there. Like I've earlier on mentioned, many have amazing principles but few work to apply such principles.
Life and history has witnessed the strong roll call of men and women who have assumed success as their trademark. Benjamin Franklin, Mary Kay, Abraham Lincoln, Samuel Adedoyin (Doyin Group Nigeria) Aliko Dangote, (Dangote groups Nigeria) Arthur McGuiness (Guinness plc) e.t.c.
In between these people lies less than 15 years of formal education, however within the constraint of their desires, they became renowned voices adding an excellence touch to every aspect of human endeavor they mingled with.
Franklin had only about three years of formal education, however he taught himself single handedly till he became a lawyer as well as a remarkable inventor. He is also regarded as one of the founding fathers of the present USA with an unparallel contribution to the drafting of the American constitution.
Adedoyin of Doyin Groups is an entrepreneur with holdings in more than 20 viable sectors, his educational career ended before he was 15 however he stands as one of Nigeria's foremost industrialists and employer of labor today.
These aforementioned people were at inception equal to everybody around them as at then. However, continuous self-improvement and development has produced men and women of deep know how about most issues.
There is a need to dig deep to find answers to issues affecting us so as to stay a step ahead of our challenges.
Success is not a gift, it is an attainment. It is not willed on people, it is earned. Every holder of success earned it by his/herself. A man's mind is where his lifting is.
Because you decide to be successful you should be ready to face challenges. Between ideas and realities of a successful individual lies a shadow and you have to pursue the shadow to get to the reality aspect. It is often said "challenges make champions" it does not really matter the number of times you keep trying or keep making mistakes. We learn by making mistakes, just as we learn to walk by falling down. If you never fall down, you would never walk, which is the same as attaining a successful living.
You must be loaded and prepare to move into the challenges of the world. If I may quote Theodore Roosevelt he said "far and away the best prize that life offers is the chance to work hard at work doing. Only experts excel and expertise is a product of training and personal development.
The battle of man in the world is that shadow, if you live your life to chance, you don't have a chance. The one you work is the one will work for you. How then can we battle the shadow?
1. Through divine help: understanding does not just drop on people. It comes through a conscious process of meditation, which is staying mentally focused on an issue, until the nitty-gritty of it is unfolded to you.
2. You secure a vision: that is having a mental picture of where you are going to, that way when you get there you knows. It one thing get a vision and another thing to get there. You don't sleep with vision you run with vision.
3. You take pride in command that is running with a passion, refusing to be discouraged and being sure and in control of all situations.
4. You have to be creative: The race of life answers to creative runners. However if you cannot be creative add something to what was created but remember the owner of ideas is the ruler of the world.
5. You have to obey the loyalty rule: this ultimately implies you have to be loyal to yourself, disloyalty to yourself is more than a murder and off course to be loyal, you must...
* o Love what you are doing.
* o Have the courage to do whatever you are embarking on e.t.c
6. Have the correct perception: that is the ability to see tomorrow and to take action now that will not make your tomorrows challenges hit at you, remember it is what you make happen that happens for you.
If success were to be a product of intelligence then the world would have been a paradise today. As far as your life situation is concerned, there may be things to be attained or acquired. Nothing real can be threaten when this is your state of being how can you not succeed.
There is no one who celebrates being a beggar. Don't eat your tomorrow today, settle down and be a good planner, plan for progress, it doesn't just drop on people. You can't watch success slip you by, go and find out what it takes to succeed. It's a new dawn.
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
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Collett used the finest traditions of the Swindon policy of interchangeable boilers, frames etc. to create the 'Dukedog' class in 1936, by marrying 'Duke' boilers to 'Bulldog' frames. One of the last in existence, 9018 basks in the sun for what was to be its final summer, finally succumbing to withdrawal in June 1960.
The Norman Hirst Collection. Copyright ©2017 by Keith Lewcock. Not to be used or reproduced without my prior permission.
In another existence, just outside our own, is the forgotten city of Dingir. Its streamlined Art Deco architecture was once filled with bright colors and rich materials, meant to reflect the beginning of a new age of consciousness. Now muted and neglected, it lies somewhere between our dreams and reality.
Dingir served as a crossroads between the human-bound Dreamers and the entities that would become humans. These creatures were known as “Those Who See and Observe”.
They entered Dreamers’ subconscious and helped guide them along on their path. However, there were some Dreamers that became too strong and aware, which gave them the ability to reach through the barrier between worlds, causing chaos and irreparable damage to Dingir, and places like it.
Sponsored by What’s Lost Spirits
Region by Stabitha (What88 Zond)
A shopping Region
Location: Jaleshwaritola,
Bogra, Bangladesh.
Date: 21 August, 2011
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