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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.
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During their existence, Abbey Coaches were one of the more interesting small operators around Teesside and East Cleveland. It's fair to say that some of their vehicles were a bit rough around the edges, but this was the star of the show. Bristol RESL / ECW GHB146N spent a number of months as the regular vehicle on the weekly/bi-weekly services that linked the villages around Danby with either Whitby, Guisborough or Northallerton, which fitted between a Stokesley School run. It is seen in Guisborough on 05/07/01 and was making a fine sound. It is to my discredit that I flunked an opportunity to catch this fine machine from Great Ayton to Northallerton the one time I had the opportunity, but I can console myself that I have at least managed to catch up with its preserved sister, the sublime GHB148N, in recent times.
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.
- This Too Shall Pass -
Impermanence (one of the essential doctrines or three marks of existence in Buddhism)
Once a king called upon all of his wise people and asked them,
"Is there a mantra or suggestion, an answer which works in every situation, in every circumstance, in every place, and in every time. Something which can help me when none of you is available to advise me. Tell me is there any such mantra?"
All the wise people were puzzled by the king's question. One answer for all questions? Something that works everywhere, in every situation? In every joy, every sorrow, every defeat and every victory? They thought and thought deeply.
After lengthy discussions, an old man suggested something which appealed to all of them. Going to the king the wise people gave him a small note written on paper. But the condition was that king was not to see it out of curiosity. They told him - "Oh wise one - only in extreme danger, when you find yourself alone and there seems to be no way to go, only then should you examine this note." The king placed the small rolled up paper in a compartment in his diamond ring.
After a brief time, their neighbors attacked the kingdom. It was a collective surprise attack of the king's powerful enemies. The king and his loyal army fought bravely but lost the battle. Then the king fled on his horse. His enemies followed him closely. His horse took him deep into the jungle.
Still he could hear many troops of horses following him and their galloping sound was coming closer and closer. Suddenly the king found himself standing at the end of the road - and that road lead no where - it was the end of the line. Underneath there was a rocky valley a thousand feet deep. If he jumped into it, he would be finished… and he could not retreat because it was a single lane. From behind him he heard the sound of his enemy's horses fast approaching. The king felt panicked and trapped. There seemed to be no way of out his present and dire situation.
Then suddenly he saw his diamond ring shining in the sun, and he remembered the message hidden in the ring. He opened the diamond and read the message. The message was very small but very great.
The message was - "This too will pass."
The king read it. And again read it.
Suddenly something struck his mind - "Yes! this too will pass. Only a few days ago, I was enjoying my kingdom. I was the mightiest of all the kings. Yet today, the kingdom and all my pleasures have gone. I am here trying to escape from enemies. Those days of luxuries have gone, this day of danger is here and it too will pass."
A calmness come to his face. He kept standing there. The place where he was standing was full of natural beauty. He had never realized that such a beautiful place was also a part of his kingdom. The revelation of the calming simple message had a great effect on him. He relaxed and forget about those following him. After a few minutes he realized that the noise of the horses and the enemy coming were receding. They had galloped onto some other part of the mountains and were not on that path.
Again time went by, and the king returned to his loyal army. The king was brave -- he reorganized his army and fought again. He defeated the enemy and regained his lost empire. When he returned to his empire after victory, he was received with much fanfare at the gates. The whole capital was rejoicing in the victory. Everyone was in a festive mood. Flowers were thrown on king's path from every house, and on every corner. People were all dancing and singing bursting with happiness.
At that moment the king said to himself, "I am one of the bravest and greatest kings. It is not easy to defeat me with my loyal army and great people." With the reception and celebrations he saw his ego begin to re-emerge.
Suddenly the diamond of his ring flashed in the sunlight and reminded him of the message. He open it and read it again: "This too will pass."
He became silent. His face went through a total change -- from the egoist he moved into an utterly humble state.
If this too is going to pass, it is not yours.
The defeat was not yours, the victory is not yours.
You are just a watcher. Everything passes by.
We are the witness of all this. We are the perceiver. Life comes and goes. Happiness comes and goes. Sorrow comes and goes.
Now as you have read this story, evaluate your own life. This too will pass. Think of the moments of joy and victory in your life. Think of the moments of sorrow and of defeat. Are they permanent? They have all come and then each pass away. Life just passes away. We can't go back, time travels only one way.
There were friends in the past. They all have gone.
There are friends today. They too will go.
There will be new friends tomorrow. They too will go.
There were enemies in the past. They have gone.
There may be an enemy in the present. They too will go.
There will be new enemies tomorrow and... they too will go.
There is nothing permanent in this world. Everything changes except the law of change. Consider this from your own perspective. You have seen all the changes. You have survived all setbacks, all defeats, and all sorrows. All have passed away. If there are problems in the present, they too will pass away. Because nothing remains forever.
Joy and sorrow are the two faces of the same coin. They both will pass away. Who are you in reality? Know your real face. Your face is not your true face. It will change with time.
However, there is something in you, which will not change. It will remain unchanged. What is that unchangeable? It is nothing but your true self.
You are just a witness of change. Experience it, understand it.
This Too Shall Pass - from a note given to me by a friend.
+++ 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!
… (all devotees of St. Agatha, portrait) ….
.… (tutte devote di Sant' Agata, ritratto) ….
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Fear of the unknown, the fear of losing own physical or mental health, or worse, having already lost it, possible problems with work (if a work has it), old age advancing, awareness of the existence of a Higher Being, are just some of the reasons that push people to search for a contact with the Divine, with the supernatural, leading them to plead for help, but this is not enough to completely explain the close link fact of absolute devotion and enormous affection that the people of Catania (province) have towards their young martyr Agatha; an entire city partecipate in these days to ceremony and procession, one can not help but ask this question, what binds in such a profound and peculiar citizens to their Patron Saint Agata? Maybe I was lucky enough to capture photographically what is a partial response: a child at a very early age is brought to the window from her mother while passing the float of St. Agatha, so it's easy to understand... the devotion and attachment to the Martyr starts very young , transmitted by their parents as a treasure to be preserved and grow throughout their lives, which leads you in the days of the feast to a great collective.
This is a short-long report I did this year 2016, in the city of Catania (Sicily) in occasion of the feast of her patron saint Agatha, which took place on the 3, 4 and 5 February (this dates commemorates the martyrdom of the young Saint), and on 17 August too (this date celebrates the return to Catania of her remains, after these had been transferred to Constantinople by the Byzantine general Maniaces as war booty, and there remained for 86 years), when the Sicilian city is dressed up to feast, with a scent of orange blossom and mandarins, and its citizens show that they possess an extraordinary love and bond with the young martyr saint Agatha.
The religious sicilian feast of Saint Agatha is the most important feast of Catania, its inhabitants from five centuries, during the three days of the feast in honor of her "Santuzza" (young Saint), create a unique setting, with celebrations and rituals impressive, which means that this event is regarded as the third religious festival in the world (some say the second ...) after the "Semana Santa" in Seville and the "Corpus Christi" in Cuzco, Peru. Unlike other religious holidays, more sober, to Sant'Agata highlights a vocation exuberant typical of the south Italy, who loves to combine the sacred with the profane.
The cult of the young Santa dates back to the third century, when the teenager Agatha was martyred for refusing the roman proconsul Quintiziano. One year after the death of the young Agatha, on 5 February of the year 252, his virginal veil was carried in procession, and it is said it was able to save Catania from destruction due to a devastating eruption of Mount Etna.
The festivities begin with the procession of Candlemas (this year were in greater number, perhaps 14 instead of the 11 years of the other years); the "Candlemas" are giant Baroque wooden "candlesticks" paintings in gold, each representing an ancient guild (butchers, fishmongers, grocers, greengrocers, etc.), which are brought by eight devotees; the "cannalore" (candlemas) anticipate the arrival of the "float" of Saint Agatha during the procession. Devotees, men and women, wearing a traditional garment similar to a white bag, cinched at the waist by a black rope, gloves and a white handkerchief, and a black velvet cap, and it seems that such clothing evoke nightgown with the qule the Catanese, awakened with a start by the touch of the bells of the Cathedral, welcomed the naval port, in 1126, the relics of the Holy which fell from Constantinople. On float, consisting of a silver chariot sixteenth of thirty tons, which is driven by a double and long line of devotees with the robust and long ropes, takes place the bust of Saint Agatha, completely covered with precious stones and jewels. On February 4, the parade celebrates the so-called "external path" that touches some places of martyrdom in the city of Catania; the next day, the 5 instead the procession along the "aristocrat path", which runs along the main street, Via Etnea, the parlor of Catania. On this day the devotees carry on their shoulders the long candles of varying thickness, there are some not very big, others are fairly heavy, but some skim exceptional weights.
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La paura dell’ignoto, il timore di perdere la salute fisica o psichica, o peggio, averla già persa, possibili problemi col lavoro (per chi un lavora l’ha) o peggio non averlo dovendo così “inventarsi” la giornata, la vecchiaia che avanza, la consapevolezza dell’esistenza di un Essere Superiore, sono solo alcuni dei motivi che spingono gli uomini a cercare un contatto col Divino, col Sovrannaturale, portandoli ad invocare il Suo aiuto, ma tutto ciò non basta assolutamente a spiegare lo stretto legame fatto di assoluta devozione ed enorme attaccamento che gli abitanti di Catania (e provincia) hanno nei confronti della loro “Santuzza” la giovanissima martire Agata; nel vedere partecipare quella che sembra essere una città intera a questi giorni di rito e processione, non ci si può non porre questa domanda, cosa lega in maniera così profonda e peculiare i cittadini Catanesi alla loro Santa Patrona Agata? Forse ho avuto la fortuna di cogliere fotograficamente quella che è una risposta parziale e certamente non unica alla domanda: un bimbo in tenerissima età viene portato alla finestra dalla sua mamma mentre passa la vara di S.Agata, ecco… la devozione e l’attaccamento alla giovanissima Martire inizia da piccolissimi, trasmessa dai propri genitori (e non solo…) come un tesoro da custodire e coltivare per tutta la vita, che porta che nei giorni della festa ad un fantastico rito collettivo al quale nessun Catanese sembra non possa o non voglia rinunciare.
Questa è un breve e lungo report, da me realizzato nel febbraio di quest’anno 2016, nella città di Catania (Sicilia) in occasione della festa della sua giovane santa patrona Agata, che ha avuto luogo come ogni anno il 3, il 4 ed il 5 di febbraio (questa data commemora il martirio della Santa giovinetta), festa che viene ripetuta anche il 17 agosto (questa data rievoca il ritorno a Catania delle sue spoglie, dopo che queste erano state trasferite a Costantinopoli da parte del generale bizantino Maniace come bottino di guerra, spoglie che ivi rimasero per 86 anni); per questa occasione la città siciliana è vestita a festa con profumi di fiori d'arancio e mandarini, coi suoi cittadini che mostrano di possedere uno straordinario amore e legame con la giovane martire Agata.
Gli abitanti di Catania, oramai da cinque secoli, nei tre giorni della festa in onore della "Santuzza", danno vita ad una scenografia unica, con celebrazioni e riti imponenti, che fanno si che questo evento sia considerato come la terza festa religiosa al mondo (qualcuno dice la seconda ...) dopo la "Semana Santa" di Siviglia ed il "Corpus Domini" a Cuzco, in Perù. A differenza di altre feste religiose, più sobrie, quella di Sant'Agata mette in luce una vocazione esuberante tipica del meridione, che ama unire il sacro col profano.
Il culto della giovane Santa risale al terzo secolo, quando l'adolescente Agata fu martirizzata per aver rifiutato il proconsole romano Quintiziano. Un anno dopo la morte della giovane Agata, avvenuta il 5 febbraio dell'anno 252, il suo velo virginale venne portato in processione, e si narra esso riuscì a salvare Catania dalla sua distruzione a causa di una devastante eruzione del vulcano Etna.
I festeggiamenti iniziano con il corteo delle "candelore", queste sono dei giganteschi e pesanti "candelabri" in legno, in stile barocco, dipinti in oro, ognuna rappresentante una antica corporazione (macellai, pescivendoli, pizzicagnoli, fruttivendoli, ecc.), che vengono portati da otto devoti, le quali "cannalore" durante la processione anticipano l'arrivo della "vara" di Sant'Agata. I devoti, sia donne che uomini, indossano un tipico indumento simile ad un sacco bianco, stretto in vita da una cordicella nera, guanti ed un fazzoletto bianchi, ed infine una papalina di velluto nero, sembra che tale abbigliamento rievochi la camicia da notte con la quale i Catanesi, svegliatisi di soprassalto dal tocco improvviso delle campane del Duomo, accolsero al porto navale, nel 1126, le reliquie della Santa che rientravano da Costantinopoli. Sulla vara, costituita da un carro argentato cinquecentesco di trenta quintali, trainata da una doppia e lunghissima fila di devoti tramite delle robuste e lunghe funi, prende posto il busto di Sant'Agata, completamente ricoperto di pietre preziose e gioielli. Il 4 febbraio, il corteo compie il cosiddetto "giro esterno" che tocca alcuni luoghi del martirio nella città catanese; il giorno dopo, il 5, il corteo percorre il "giro aristocratico", che percorre la strada principale, la via Etnea, salotto buono di Catania. In questo giorno i devoti portano in spalla dei lunghi ceri di vario spessore, ce ne sono alcuni non molto grossi, altri sono discretamente pesanti, ma alcuni sfiorano pesi eccezionali.
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.
The fact that we realize our existence means we recognize an entity, which we think is the same "I", that spans the existence from the past, at present, and to the future. This separation alone assumes that you can put "point" along the "line of time".
But we can never experience a "moment". What we can think of and experience is an interval, a duration. If the duration is short enough, we will call it a "moment". If the photo showing a trace of someone passing, we tend to distinguish this from the case where we can see the face and outline of a person clearly, that is, the case we "freeze" it.
But fundamentally, they are no different in the nature as duration. Duration itself is the object, represented as spatial extension in a photo. This is just one form of expression. There can be other form, at least within photography, to represent duration. But identifying the object can be useful for us to see the world around us.
Anthroposophy, a philosophy founded by Rudolf Steiner, postulates the existence of an objective, intellectually comprehensible spiritual world accessible to direct experience through inner development. More specifically, it aims to develop faculties of perceptive imagination, inspiration and intuition through cultivating a form of thinking independent of sensory experience, and to present the results thus derived in a manner subject to rational verification. In its investigations of the spiritual world, anthroposophy aims to attain the precision and clarity attained by the natural sciences in their investigations of the physical world.
Anthroposophical ideas have been applied practically in many areas including Steiner/Waldorf education, special education (most prominently through the Camphill Movement), agriculture, medicine, ethical banking, organizational development, and the arts.
Architecture
The First Goetheanum, designed by Steiner in 1920, Dornach, Switzerland.
Steiner himself designed around thirteen buildings, many of them significant works in a unique, organic—expressionist architectural style. Foremost among these are his designs for the two Goetheanum buildings in Dornach, Switzerland. Thousands of further buildings have been built by later generations of anthroposophic architects.
Architects who have been strongly influenced by the anthroposophic style include Imre Makovecz in Hungary, Hans Scharoun and Joachim Eble in Germany, Erik Asmussen in Sweden, Kenji Imai in Japan, Thomas Rau, Anton Alberts and Max van Huut in Holland, Christopher Day and Camphill Architects in the UK, Thompson and Rose in America, Denis Bowman in Canada, and Walter Burley Griffin and Gregory Burgess in Australia.
One of the most famous contemporary buildings by an anthroposophical architect is ING House, an ING Bank building in Amsterdam, which has received several awards for its ecological design and approach to a self-sustaining ecology as an autonomous building and example of sustainable architecture. Designed by Ton Alberts, as remarked by Akbar ! :-)
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Bell XP-68A owed its existence to the manufacturer’s rather disappointing outcome of its first jet fighter design, the XP-59A Airacomet. The Airacomet was a twin jet-engined fighter aircraft, designed and built during World War II after Major General Henry H. "Hap" Arnold became aware of the United Kingdom's jet program when he attended a demonstration of the Gloster E.28/39 in April 1941. He requested, and was given, the plans for the aircraft's powerplant, the Power Jets W.1, which he took back to the U.S. He also arranged for an example of the engine, the Whittle W.1X turbojet, to be flown to the U.S., along with drawings for the more powerful W.2B/23 engine and a small team of Power Jets engineers. On 4 September 1941, he offered the U.S. company General Electric a contract to produce an American version of the engine, which subsequently became the General Electric I-A. On the following day, he approached Lawrence Dale Bell, head of Bell Aircraft Corporation, to build a fighter to utilize it. As a disinformation tactic, the USAAF gave the project the designation "P-59A", to suggest it was a development of the unrelated, canceled Bell XP-59 fighter project. The P-59A was the first design fighter to have its turbojet engine and air inlet nacelles integrated within the main fuselage. The jet aircraft’s design was finalized on 9 January 1942 and the first prototype flew in October of the same year.
The following 13 service test YP-59As had a more powerful engine than their predecessor, the General Electric J31, but the improvement in performance was negligible, with top speed increased by only 5 mph and a slight reduction in the time they could be used before an overhaul was needed. One of these aircraft, the third YP-59A, was supplied to the Royal Air Force, in exchange for the first production Gloster Meteor I for evaluation and flight-offs with domestic alternatives.
British pilots found that the YP-59A compared very unfavorably with the jets that they were already flying. The United States Army Air Forces were not impressed by its performance either and cancelled the contract when fewer than half of the originally ordered aircraft had been produced. No P-59s entered combat, but the type paved the way for the next design generation of U.S. turbojet-powered aircraft and helped to develop appropriate maintenance structures and procedures.
In the meantime, a new, more powerful jet engine had been developed in Great Britain, the Halford H-1, which became later better known as the De Havilland Goblin. It was another centrifugal compressor design, but it produced almost twice as much thrust as the XP-59A’s J31 engines. Impressed by the British Gloster Meteor during the USAAF tests at Muroc Dry Lake - performance-wise as well as by the aircraft’s simplicity and ruggedness - Bell reacted promptly and proposed an alternative fighter with wing-mounted engine nacelles, since the XP-59A’s layout had proven to be aerodynamically sub-optimal and unsuited for the installation of H-1 engines. In order to save development time and because the aircraft was rather regarded as a proof-of-concept demonstrator instead of a true fighter prototype, the new aircraft was structurally based on Bell’s current piston-engine P-63 “Kingcobra”. The proposal was accepted and, in order to maintain secrecy, the new jet aircraft inherited once more a designation of a recently cancelled project, this time from the Vultee XP-68 “Tornado” fighter. Similar to the Airacomet two years before, just a simple “A” suffix was added.
Bell’s development contract covered only three XP-68A aircraft. The H-1 units were directly imported from Great Britain in secrecy, suspended in the bomb bays of B-24 Liberator bombers. A pair of these engines was mounted in mid-wing nacelles, very similar to the Gloster Meteor’s arrangement. The tailplane was given a 5° dihedral to move it out of the engine exhaust. In order to bear the new engines and their power, the wing main spars were strengthened and the main landing gear wells were moved towards the aircraft’s centerline, effectively narrowing track width. The landing gear wells now occupied the space of the former radiator ducts for the P-63’s omitted Allison V-1710 liquid-cooled V12 engine. Its former compartment behind the cockpit was used for a new fuel tank and test equipment. Having lost the propeller and its long drive shaft, the nose section was also redesigned: the front fuselage became deeper and the additional space there was used for another fuel tank in front of the cockpit and a bigger weapon bay. Different armament arrangements were envisioned, one of each was to be tested on the three prototypes: one machine would be armed with six 0.5” machine guns, another with four 20mm Hispano M2 cannon, and the third with two 37mm M10 cannon and two 0.5” machine guns. Provisions for a ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb were made, but this was never fitted on any of the prototypes. Additional hardpoints under the outer wings for smaller bombs or unguided missiles followed the same fate.
The three XP-68As were built at Bell’s Atlanta plant in the course of early 1944 and semi-officially christened “Airagator”. After their clandestine transfer to Muroc Dry Lake for flight tests and evaluations, the machines were quickly nicknamed “Barrelcobra” by the test staff – not only because of the characteristic shape of the engine nacelles, but also due to the sheer weight of the machines and their resulting sluggish handling on the ground and in the air. “Cadillac” was another nickname, due to the very soft acceleration through the new jet engines and the lack of vibrations that were typical for piston-engine- and propeller-driven aircraft.
Due to the structural reinforcements and modifications, the XP-68A had become a heavy aircraft with an empty weight of 4 tons and a MTOW of almost 8 tons – the same as the big P-47 Thunderbolt piston fighter, while the P-63 had an MTOW of only 10,700 lb (4,900 kg). The result was, among other flaws, a very long take-off distance, especially in the hot desert climate of the Mojave Desert (which precluded any external ordnance) and an inherent unwillingness to change direction, its turning radius was immense. More than once the brakes overheated during landing, so that extra water cooling for the main landing gear was retrofitted.
Once in the air, the aircraft proved to be quite fast – as long as it was flying in a straight line, though. Only the roll characteristics were acceptable, but flying the XP-68A remained hazardous, esp. after the loss of one of the H-1s engines: This resulted in heavily asymmetrical propulsion, making the XP-68A hard to control at all and prone to spin in level flight.
After trials and direct comparison, the XP-68A turned out not to be as fast and, even worse, much less agile than the Meteor Mk III (the RAF’s then current, operational fighter version), which even had weaker Derwent engines. The operational range was insufficient, too, esp. in regard of the planned Pacific theatre of operations, and the high overall weight precluded any considerable external load like drop tanks.
However, compared with the XP-59A, the XP-68A was a considerable step forward, but it had become quickly clear that the XP-68A and its outfit-a-propeller-design-with jet-engines approach did not bear the potential for any service fighter development: it was already outdated when the prototypes were starting their test program. No further XP-68A was ordered or built, and the three prototypes fulfilled their test and evaluation program until May 1945. During these tests, the first prototype was lost on the ground due to an engine fire. After the program’s completion, the two remaining machines were handed over to the US Navy and used for research at the NATC Patuxent River Test Centre, where they were operated until 1949 and finally scrapped.
General characteristics.
Crew: 1
Length: 33 ft 9 in (10.36 m)
Wingspan: 38 ft 4 in (11.7 m)
Height: 13 ft (3.96 m)
Wing area: 248 sq ft (23 m²)
Empty weight: 8,799 lb (3,995 kg)
Loaded weight: 15,138 lb (6,873 kg)
Max. take-off weight: 17,246 lb (7,830 kg)
Powerplant:
2× Halford H-1 (De Havilland Goblin) turbojets, rated at 3,500 lbf (15.6 kN) each
Performance:
Maximum speed: 559 mph (900 km/h)
Range: 500 mi (444 nmi, 805 km)
Service ceiling: 37,565 ft (11,450 m)
Rate of climb: 3.930 ft/min (20 m/s)
Wing loading: 44.9 lb/ft² (218.97 kg/m²)
Thrust/weight: 0.45
Time to altitude: 5.0 min to 30,000 ft (9,145 m)
Armament:
4× Hispano M2 20 mm cannon with 150 rounds
One ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb
6× 60 lb (30 kg) rockets or 2× 500 lb (227 kg) bombs under the outer wings
The kit and its assembly:
This whiffy Kingcobra conversion was spawned by a post by fellow user nighthunter in January 2019 at whatifmodelers.com about a potential jet-powered variant. In found the idea charming, since the XP-59 had turned out to be a dud and the Gloster Meteor had been tested by the USAAF. Why not combine both into a fictional, late WWII Bell prototype?
The basic idea was simple: take a P-63 and add a Meteor’s engine nacelles, while keeping the Kingcobra’s original proportions. This sounds pretty easy but was more challenging than the first look at the outcome might suggest.
The donor kits are a vintage Airfix 1:72 Gloster Meteor Mk.III, since it has the proper, small nacelles, and an Eastern Express P-63 Kingcobra. The latter looked promising, since this kit comes with very good surface and cockpit details (even with a clear dashboard) as well as parts for several P-63 variants, including the A, C and even the exotic “pinball” manned target version. However, anything comes at a price, and the kit’s low price point is compensated by soft plastic (which turned out to be hard to sand), some flash and mediocre fit of any of the major components like fuselage halves, the wings or the clear parts. It feels a lot like a typical short-run kit. Nevertheless, I feel inclined to build another one in a more conventional fashion some day.
Work started with the H-1 nacelles, which had to be cut out from the Meteor wings. Since they come OOB only with a well-visible vertical plate and a main wing spar dummy in the air intake, I added some fine mesh to the plate – normally, you can see directly onto the engine behind the wing spar. Another issue was the fact that the Meteor’s wings are much thicker and deeper than the P-63s, so that lots of PSR work was necessary.
Simply cutting the P-63 OOB wings up and inserting the Meteor nacelles was also not possible: the P-63 has a very wide main landing gear, due to the ventral radiators and oil coolers, which were originally buried in the wing roots and under the piston engine. The only solution: move the complete landing gear (including the wells) inward, so that the nacelles could be placed as close as possible to the fuselage in a mid-span position. Furthermore, the - now useless - radiator openings had to disappear, resulting in a major redesign of the wing root sections. All of this became a major surgery task, followed by similarly messy work on the outer wings during the integration of the Meteor nacelles. LOTS of PSR, even though the outcome looks surprisingly plausible and balanced.
Work on the fuselage started in parallel. It was built mainly OOB, using the optional ventral fin for a P-63C. The exhaust stubs as well as the dorsal carburetor intake had to disappear (the latter made easy thanks to suitable optional parts for the manned target version). Since the P-63 had a conventional low stabilizer arrangement (unlike the Meteor with its cruciform tail), I gave them a slight dihedral to move them out of the engine efflux, a trick Sukhoi engineers did on the Su-11 prototype with afterburner engines in 1947, too.
Furthermore, the whole nose ahead of the cockpit was heavily re-designed, because I wanted the “new” aircraft to lose its propeller heritage and the P-63’s round and rather pointed nose. Somewhat inspired by the P-59 and the P-80, I omitted the propeller parts altogether and re-sculpted the nose with 2C putty, creating a deeper shape with a tall, oval diameter, so that the lower fuselage line was horizontally extended forward. In a profile view the aircraft now looks much more massive and P-80esque. The front landing gear was retained, just its side walls were extended downwards with the help of 0.5mm styrene sheet material, so that the original stance could be kept. Lots of lead in the nose ensured that the model would properly stand on its three wheels.
Once the rhinoplasty was done I drilled four holes into the nose and used hollow steel needles as gun barrels, with a look reminiscent of the Douglas A-20G.
Adding the (perfectly) clear parts of the canopy as a final assembly step also turned out to be a major fight against the elements.
Painting and markings:
With an USAAF WWII prototype in mind, there were only two options: either an NMF machine, or a camouflage in Olive Drab and Neutral Grey. I went for the latter and used Tamiya XF-62 for the upper surfaces and Humbrol 156 (Dark Camouflage Grey) underneath. The kit received a light black ink wash and some post shading in order to emphasize panels. A little dry-brushing with silver around the leading edges and the cockpit was done, too.
The cockpit interior became chromate green (I used Humbrol 150, Forest Green) while the landing gear wells were painted with zinc chromate yellow (Humbrol 81). The landing gear itself was painted in aluminum (Humbrol 56).
Markings/decals became minimal, puzzled together from various sources – only some “Stars and Bars” insignia and the serial number.
Somehow this conversion ended up looking a lot like the contemporary Soviet Sukhoi Su-9 and -11 (Samolyet K and LK) jet fighter prototype – unintentionally, though. But I am happy with the outcome – the P-63 ancestry is there, and the Meteor engines are recognizable, too. But everything blends into each other well, the whole affair looks very balanced and believable. This is IMHO furthermore emphasized by the simple paint scheme. A jet-powered Kingcobra? Why not…?
THE ENFIELD INSTITUTE
The ceremony of laying the foundation stone of the Enfield Institute was performed on the afternoon of Saturday, Mar 17. The Association has been in existence for some two years, and a few gentlemen have recently taken the matter in hand heartily, so that the necessary subscriptions have been received to enable a handsome building to be erected. Mr J Ragless very generously presented an allotment of ground 200 x 80 feet, Mr Magarey MP, gave a donation of £50, and other gentlemen subscribed amounts varying from £10 to £1.
Four or five feet of the walls are already up, the works having been for some weeks in progress, and it is estimated that three months will see the building completed. The structure will cost about £1,000, the contract price, less the supply of materials, being £545. Many of the articles required for building purposes have, however, been generously supplied gratis by residents in the vicinity. It is intended to hold one or two entertainments in the building as soon as it is finished, by the proceeds of which the Committee hope to wipe out the whole of the debt.
Mr Cumming is the architect who designed the building, and the contractors are Messrs McNicol & Angwin. The structure will be of the Italian style of architecture, with a front entrance opening upon a hall 20 feet in height and 40 [sic] x 30 feet. At the further end there is to be an arch over a platform, extending eight feet beyond the hall, with doors at the back leading to two small dressing rooms in the rear. A wing on each side at the back of the building will be used respectively for a reading room and library. There rooms will possess entrances from the outside as well as doors opening into the large hall. The walls of the building are being constructed of Teatree Gully freestone, with cement and stucco dressings. The front is to be surmounted by a cornice and enriched parapet, consisting a centre panel, on which the name of the institution will be inscribed.
Mr Ragless, President of the Committee, stated that he had written to the members for the district and to some of the Ministry, but he was sorry to see that they had been unable to attend.
Mr Williams, in presenting Miss C Ragless with a silver trowel, said— Miss Ragless : Will you permit me, on behalf of the Enfield Institute, to present you with [a] trowel: and while doing so, we do not wish to be thought that it is in any way equivalent to the zeal you have shown towards the worthy object that you have laboured for. But accept it as a small token of our regard for you and your respected parents … on behalf of the committee, to thank you for the very noble way you have worked for the above object.
The trowel was of silver, with an elegantly carved ivory handle, and was made at the establishment of Mr Wendt.
Cheers were given for Mr and Mrs Ragless and Miss Ragless.
Mr Ragless called for contributions towards the building. In response … £12 15s was collected.
Three cheers were given for Mr Bundey, who had furnished the stone, and that gentleman briefly returned thanks, saying that the building would be an ornament to the township.
Mr Ragless then invited the members of Committee and other gentlemen who had taken part in the proceedings to dinner at his residence. [Ref: South Australian Register 19-5-1879]
OPENING
The new Institute building at Enfield was opened on Monday, November 3, by the Hon T King. At 5 o'clock pm the keys of the building were handed to him by the Architect (Mr Cumming), and he then declared the building formally opened. The following is a description of the building:—The plan of the building takes the form of the letter T, the front portion or stem of the T containing a hall 45 x 30 feet and 20 feet high. At the back is a platform projected 8 feet beyond the main building, and behind this are two small dressing rooms. The wing on either side of the back portion contains respectively a reading-room and a library 15 x 12 feet and 12 feet high.
The walls are of freestone with cement rusticated quoins. The front has a bold cornice surmounted by a balustrade and an ornamental centre panel with the name of the Institute. The ventilation is provided for by the windows, Simpson's wall ventilators, and Gray's ventilators in the roof. The hall is without any cornice, but the ceiling is relieved by three ventilating ornamental ceiling flowers, and the arch over the platform is enriched. The work has been carried out by Mr Richard Angwin, under the supervision of the architect, Mr James Cumming, of Currie Street, Adelaide.
After the hall had been thrown open to the public a tea was held, at which about 130 persons sat down. In the evening an entertainment was held in the hall, at which there was a large attendance.
Prior to the overture Mr J F Easom, the Secretary, read his progress report as follows:—"On May 15, 1877, a few neighbours met together to consider the advisability of forming a library. At a subsequent meeting held on May 22 the rules of the South Australian Institute were adopted: and Mr John Williams elected President. The first circulation of books took place on July 17, 1877, there being then thirty volumes in the library, mostly presented by the South Australian Institute. We then endeavoured to enlarge our library by trying to secure the books formerly belonging to the Gepps Gross Institute, which we found, had been transferred to the Munno Para West Institute, and that institution not being properly affiliated they were lost to the public.
On June 13,1878, the first annual meeting was held, Mr John Ragless being elected President and Mr John Williams Vice-President. We then sought for land on which to erect a building, and offered £60 for half an acre, but the offer was not accepted. We then tendered £100 for about five-eights of an acre, but could not secure that. Mr Ragless then said he would give the piece of ground on which the building stands, and this offer was gladly accepted. [Ref: Adelaide Observer 8-11-1879]
The committee of the Enfield Institute met for the first time at their new room on Wednesday evening, December 3. It was resolved to open the reading room and library every Wednesday evening for the use of the members and on Saturday evenings free to the public.
The hall is well seated, and will hold between 300 and 400 people. It is hoped that now the institute is fairly started the residents will support the committee in making it a success. [Ref: Express & Telegraph 5-12-1879]
Enfield Institute – An entertainment will be given in this Institute this evening by the Black Diamond Minstrels. [Ref: Evening Journal 1-3-1880]
A concert was given in the Enfield Institute on Tuesday evening in aid of the local Glee Club. There was a large audience, and the programme was carried out successfully under the direction of Mr E P Gratton, organist of Chalmers Church. [Ref: South Australian Register 12-8-1897]
Institute used for skating
It was decided to open the rink on Monday evenings each week for beginners, in addition to Wednesday and Saturday, and to make a small charge to spectators who are non members. [Ref: Register 6-8-1904]
The annual meeting of subscribers was held on Wednesday evening. There was a good attendance, and the President (Mr R W Ragless) occupied the chair. The annual report stated that, while there had been a slight decrease of income, the expenditure had considerably increased. The institute building was, however, in a much better condition than formerly, although much remained to be done in that connection, and the trustees intended to continue the work as funding permitted. The membership showed a decrease of three, no doubt owing to the opening of an institute in the adjoining district of Prospect.
The library contained 772 volumes. The circulation for the year was 1,717 against 1,582 in the previous year, an increase of 135. In the latter half of the year the committee had authorized expenditure to provide gymnasium equipment for the use of the younger members. This departure had not been an unqualified success. The financial statement showed a credit balance of £12. [Ref: Register 26-7-1906]
A successful fancy dress frolic for women only was held at the Enfield Institute by the Enfield Red Cross Circle, and the proceeds (about £5) will assist the candidature of Miss Enfield (Miss A Gray) in the queen competition.
To help the same candidate, a Paddy's market will be held in the Enfield Council's depot on the afternoon of March 29. There will be pony rides, a tulip garden, stalls and many other features. [Ref: News 24-3-1941]
Enfield Institute needs Help
The annual general meeting of subscribers held on February 17 was poorly attended. This shows a most deplorable lack of public interest in a most important public amenity. The committee strongly disagrees with this attitude.
Officers elected: President, Mr C Murphy, vice-presidents, Messrs Singleton, N Amundsen; public relations officer, Mr N Amundsen, secretary, Mrs H Sillitoe.
The main item discussed was how to attract more subscribers. The committee was most concerned at the lack of public interest taken in Institute affairs, the library in particular, and decided to seek the assistance of "Northern Weekly" to help create more public interest in the library.
Out of a population of some 80,000 people there are only 150 subscribers. There are about 7,000 books of fiction and general science in the library with an additional 1,000 in the children's section, also some 40 or 50 different magazines from which to choose. This the committee thinks is a really good library, of which they justly feel proud and which warrants much more support from the community.
The subscription rates of 7/- a quarter or 25/- a year and 2/- a quarter for children is most reasonable. Old books are continually being withdrawn and new ones added as the finances permit.
The committee comprises public-spirited citizens looking after the affairs of the Institute for the benefit of the community without even fee or reward—and without even thanks or recognition.
They look after the maintenance of the Institute, two library rooms and their furnishings, also the public conveniences, and buy new books without any outside financial help.
Their sole income is derived from hall hire and library subscriptions. From this income interest and repayment of debt on the hall must be made. The gross total revenue received is small and totally inadequate for immediate needs without thinking of improvements and additions, which are badly needed.
The committee not only look after the Institute's affairs but act as voluntary librarians and handy men. Most of them take their turn as librarians, and spend quite a lot of their time doing work that they cannot afford to pay tradesmen to do.
Whilst most councils and corporations throughout the State give financial aid either by a lump sum or yearly grant (or both) to institute committees, Enfield Council has not contributed a penny either for the building or the maintenance of the Enfield Institute and library room.
Last September the committee applied for a grant from the council for seating accommodation for the Institute, but it was refused. This showed a complete lack of sympathy by the council to a most essential public amenity. Meanwhile the seats are falling apart quicker than they can be patched up. Through the years the various committees have had to struggle along seriously handicapped through lack of finance.
The present committee think that this state of affairs should end. They need the help of the Enfield Council and public in general. Should this help not come it will be only a matter of time before repairs to the Institute and furnishings will be beyond the committee's finances. They now appeal through the "Northern Weekly" to the council and public for their help.
For intending new subscribers' information, the library is open from 3 pm to 4 pm Tuesdays and Fridays, and from 7.30 pm to 9 pm Tuesdays, Wednesdays and Thursdays. [Ref: Northern Suburbs Weekly 6-3-1958]
ENFIELD INSTITUTE LIBRARY TO OPEN SATURDAYS
Through the generous offer of Mr Goodman to act as librarian Enfield, the library is now open from 10.30 am till noon each Saturday.
This extra service to the public is in keeping with the committee's policy for progress.
The library will now be open every day of the week except Sunday. The hours are Monday & Friday, 3 pm to 4.30 pm, Tuesday, Wednesday and Thursday, 7.30 pm to 9 pm, Saturday, 10.30 am to 12 Noon.
As subscriptions increase these hours will be extended.
The committee's aim is to make Enfield Library second only to Adelaide library. With the full support and cooperation of the public this can be achieved.
The committee also has the welfare of the young people of the district at heart. Each year they give two reading scholarships to each school in the district.
The hall is let at a nominal rental to youth clubs. Each Monday night a girls’ gymnasium class is held; Tuesday, youth baseball classes: Wednesday, youth club: Thursday, young people's badminton: and on alternate Fridays, the Boy Scouts meet.
One or two afternoons a week the CWA use the hall, at a low fee.
In addition, public conveniences are provided and maintained by the Institute Committee.
This is certainly a community committee looking after the community's affairs and well deserving of the support and sympathy not only of all members of the public but councillors of the district as well. [Ref: Northern Suburbs Weekly 17-4-1958]
From 1899 the institute was used as a council chamber. In January 1905 an agreement was made between the Council and the Institute Committee for the Council to purchase the Institute for £25. Council was required to spend £90 on improvements to the building and land within six months, and to grant the trustees of the institute perpetual lease at peppercorn rental, of the library rooms and free use of the main hall and other room on Wednesday and other times not required by Council.
On 2 March the negotiations ceased. And Council was offered sole use of the north side room for an office and the main hall for Council purposes for £7.10.0 per annum.
In December 1926 the annual rent was raised to £26 and councillors decided to seek their own premises.
Following the departure of Council, the institute continued as a library, the main hall being used for dancing, wedding receptions etc. In 1981 the land and building was sold to private enterprise by the Institute Association for about £75,000, and it was demolished in 1982.
Following demolition, the owner made available a small building to enable the library to continue. [Ref: Enfield and The Northern Villages by H John Lewis.]
Valerian I, 253 – 260
Aureus, Samosata after 255, AV 3.75 g. IMP C P LIC VALERIANVS AVG Laureate, draped and cuirassed bust r. Rev. VICTORIAE Victory in galloping biga r.; in exergue, AVGG. C 239 var. (without drapery and cuirass). RIC 276. Calicó 3449 (this reverse die).
Very rare, in exceptional condition for the issue and one of the finest
aurei of Valerian in existence. Virtually as struck and almost Fdc
Provenance
Sold by Leu Numismatik, auction 91, Zurich, 10-11 May 2004, lot 642.
Sold by Numismatica Genevensis S.A., Alain Baron expert, auction IV, Geneva, 11-12 December 2006, lot 228.
Publius Licinius Valerianus was born around 190 AD into a wealthy senatorial family. He showed considerable talent as a politician and served as consul during the reign of Severus Alexander. During the years 238-250 AD, he held a series of important civilian and military posts as the Roman Empire plunged into an era of civil war, invasion, pestilence, and economic collapse. In AD 253, he was commander of the Rhine garrison when he and his army were summoned to Rome by the embattled emperor Trebonianus Gallus to defend his regime against the usurper Aemilian. While Valerian was en route, Gallus was murdered by his own troops and Aemilian seized the throne. In a pattern typical of the age, Valerian’s troops proclaimed him emperor and he, in turn, marched against Aemilian, who suffered the same fate as Gallus. Valerian’s elevation was quickly approved by the Senate. He appointed his son Gallienus as co-ruler and sent him to defend the crumbling Rhine frontier while Valerian focused on a deepening crisis in the east. The Goths had commandeered some Roman ships and were plundering Asia Minor at will while, at the same time, Shapur I, king of resurgent Sasanian Persia, had crossed the eastern frontier and sacked Antioch. After taking stern measures against those he considered subversives, including Christians (against whom he mounted a major persecution), Valerian mustered a large legionary force and marched east in AD 255. After forcing the Goths to retreat, he spent the next four years campaigning in the Syrian desert in a fruitless effort to force Shapur into a decisive battle. In 260 AD, with his army weakened by pestilence and exhaustion, Valerian agreed to a peace parlay with Shapur. But on his approach, he and his bodyguards were seized and taken prisoner by Shapur. This was an unprecedented calamity and marked the Empire's darkest hour. Gallienus was unwilling or unable to come to his rescue, and Valerian remained in ignominious captivity for many years, where he endured such humiliations as being forced to serve as Shapur's footstool. After his death, Valerian’s skin was flayed and stuffed, the effigy being presented to later Roman envoys as an object lesson.
NAC91, 46
www.magd.ox.ac.uk/discover-magdalen/
To celebrate its 550th anniversary Magdalen College, Oxford has commissioned the Turner Prize-winning artist Mark Wallinger to create his first-ever dedicated permanent artwork.
Two years in development, the sculpture Y was unveiled on St Mary Magdalen Day 2008. William Waynflete, Bishop of Winchester founded Magdalen College in 1458. It is one of the best-known colleges in the University of Oxford and is known internationally for its high academic standing.
The College has many fine buildings. The Cloisters, Chapel, Founder’s Tower and Hall were built in the Gothic style in the later part of the 15th century. The Great Tower, a pictorial symbol of Oxford, is famous for the May Day event when the College choir sings an ancient hymn at dawn. The Georgian New Buildings, which blend into the College Gardens and grounds, were completed in 1733. The buildings sit amid a hundred acres of lawns, woodlands and riverside walks, which are publicly accessible, and there is a deer herd that has been in existence for over 300 years.
Addison’s Walk, named after the great essayist of the 18th century and father of English journalism, is about a mile in length and goes by the River Cherwell around a great water meadow. Beyond the end of Addison’s Walk is a tranquil field known as Bat Willow Meadow, which is where the new commission is sited. Maps of the grounds of Magdalen College are available from the Porters’ Lodge or they can be downloaded from the Magdalen website.
Over the past twenty years Mark Wallinger has established an international reputation with major solo exhibitions in London, Birmingham, Liverpool, Val-de-Marne, Frankfurt, Aarau, Basel, Milan, New York and Chicago.
His work encompasses a wide range of media, including painting, photography, sculpture, video and installation, and it takes art history, mythology, religion, politics, national identity and popular culture as its subject matter. Wallinger studied at Chelsea School of Art in 2001, and in Goldsmiths' College. He exhibited in Young British Artists II at the Saatchi Collection in 1993 and at the Royal Academy of Art's Sensation exhibition in 1997.
His Time and relative dimensions in space derived from a residency and was shown at Oxford University Museum of Natural History in 2001 and in the same year he represented Britain in the 49th Venice Biennale. The artist is best known for Ecce Homo, a life-size sculpture of Jesus Christ which inaugurated the Fourth Plinth in Trafalgar Square in 1999, and State Britain, his 2007 re-creation at Tate Britain of Brian Haw's protest display outside parliament. He was a Turner Prize nominee in 1995 and won the award in 2007, and he is one of five internationally acclaimed artists who have been commissioned to produce proposals for the Ebbsfleet Landmark Project, which will be one of the biggest artworks in the United Kingdom.
It can happen!
The calving season was about over [when this beach is closed to humans], and all kinds of people were walking up to the seals, who were either mildly curious or flat-out indifferent. Folks were respectful to the seals; we all knew we were having a special kind of experience.
I didn't know any of these people, and I hope they don't spot themselves in my photos!
All Rights reserved by Kazi Sudipto .
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surprised to see this lady on the street in such an affluent town, sat by a bank ATM.... maybe hoping for some charity.....
Boulogne, France
Astral projection (or astral travel), is a term used in esotericism to describe an intentional out-of-body experience (OBE) that assumes the existence of a subtle body called an "astral body" through which consciousness can function separately from the physical body and travel throughout the astral plane. The idea of astral travel is ancient and occurs in multiple cultures. The modern terminology of "astral projection" was coined and promoted by 19th-century Theosophists. It is sometimes reported in association with dreams and forms of meditation.Some individuals have reported perceptions similar to descriptions of astral projection that were induced through various hallucinogenic and hypnotic means (including self-hypnosis). There is no scientific evidence that there is a consciousness whose embodied functions are separate from normal neural activity or that one can consciously leave the body and make observations of the physical universe, and astral projection has been characterized as a pseudoscience.
According to the classical, medieval, renaissance Hermeticism, Neoplatonism, and later Theosophist and Rosicrucian thought, the astral body is an intermediate body of light linking the rational soul to the physical body while the astral plane is an intermediate world of light between Heaven and Earth, composed of the spheres of the planets and stars. These astral spheres were held to be populated by angels, demons, and spirits. The subtle bodies, and their associated planes of existence, form an essential part of the esoteric systems that deal with astral phenomena. In the neo-platonism of Plotinus, for example, the individual is a microcosm ("small world") of the universe (the macrocosm or "great world"). "The rational soul...is akin to the great Soul of the World" while "the material universe, like the body, is made as a faded image of the Intelligible". Each succeeding plane of manifestation is causal to the next, a world-view known as emanationism; "from the One proceeds Intellect, from Intellect Soul, and from Soul - in its lower phase, or that of Nature - the material universe". Often these bodies and their planes of existence are depicted as a series of concentric circles or nested spheres, with a separate body traversing each realm. The idea of the astral figured prominently in the work of the nineteenth-century French occultist Eliphas Levi, whence it was adopted and developed further by Theosophy, and used afterwards by other esoteric movements.
Biblical/Mythical
Carrington, Muldoon, Peterson, and Williams claim that the subtle body is attached to the physical body by means of a psychic silver cord. The final chapter of the Book of Ecclesiastes is often cited in this respect: "Before the silver cord be loosed, or the golden bowl be broken, or the pitcher be shattered at the fountain, or the wheel be broken at the cistern." Scherman, however, contends that the context points to this being merely a metaphor, comparing the body to a machine, with the silver cord referring to the spine. Paul's Second Epistle to the Corinthians is more generally agreed to refer to the astral planes: "I know a man in Christ who fourteen years ago was caught up to the third heaven. Whether it was in the body or out of the body I do not know—God knows." This statement gave rise to the Visio Pauli, a tract that offers a vision of heaven and hell, a forerunner of visions attributed to Adomnan and Tnugdalus as well as of Dante's Divine Comedy.
Ancient Egypt
The ba hovering above the body. This image is based on an original found in The Book of the Dead.
Similar concepts of soul travel appear in various other religious traditions. For example, ancient Egyptian teachings present the soul (ba) as having the ability to hover outside the physical body via the ka, or subtle body.
Taoist
Taoist alchemical practice involves creation of an energy body by breathing meditations, drawing energy into a 'pearl' that is then "circulated". "Xiangzi ... with a drum as his pillow fell fast asleep, snoring and motionless. His primordial spirit, however, went straight into the banquet room and said, "My lords, here I am again." When Tuizhi walked with the officials to take a look, there really was a Taoist sleeping on the ground and snoring like thunder. Yet inside, in the side room, there was another Taoist beating a fisher drum and singing Taoist songs. The officials all said, "Although there are two different people, their faces and clothes are exactly alike. Clearly he is a divine immortal who can divide his body and appear in several places at once. ..." At that moment, the Taoist in the side room came walking out, and the Taoist sleeping on the ground woke up. The two merged into one."
Hinduism
Similar ideas such as the Liṅga Śarīra are found in ancient Hindu scriptures such as, the YogaVashishta-Maharamayana of Valmiki. Modern Indians who have vouched for astral projection include Paramahansa Yogananda who witnessed Swami Pranabananda doing a miracle through a possible astral projection. The Indian spiritual teacher Meher Baba described one's use of astral projection: In the advancing stages leading to the beginning of the path, the aspirant becomes spiritually prepared for being entrusted with free use of the forces of the inner world of the astral bodies. He may then undertake astral journeys in his astral body, leaving the physical body in sleep or wakefulness. The astral journeys that are taken unconsciously are much less important than those undertaken with full consciousness and as a result of deliberate volition. This implies conscious use of the astral body. Conscious separation of the astral body from the outer vehicle of the gross body has its own value in making the soul feel its distinction from the gross body and in arriving at fuller control of the gross body. One can, at will, put on and take off the external gross body as if it were a cloak, and use the astral body for experiencing the inner world of the astral and for undertaking journeys through it, if and when necessary....The ability to undertake astral journeys therefore involves considerable expansion of one's scope for experience. It brings opportunities for promoting one's own spiritual advancement, which begins with the involution of consciousness. Astral projection is one of the Siddhis considered achievable by yoga practitioners through self-disciplined practice. In the epic The Mahabharata, Drona leaves his physical body to see if his son is alive.
Japan
The ikiryō as illustrated by Toriyama Sekien.
In Japanese mythology, an ikiryō (生霊, also read as shōryō, seirei, or ikisudama) is a manifestation of the soul of a living person separately from their body.[30] Traditionally, if someone holds a sufficient grudge against another person, it is believed that a part or the whole of their soul can temporarily leave their body and appear before the target of their hate in order to curse or otherwise harm them, similar to an evil eye. Souls are also believed to leave a living body when the body is extremely sick or comatose; such ikiryō are not malevolent.
Inuit
In some Inuit groups, people with special capabilities, known as angakkuq, are said to travel to (mythological) remote places, and report their experiences and things important to their fellows or the entire community; how to stop bad luck in hunting, cure a sick person etc. things unavailable to people with normal capabilities.
Amazon
The yaskomo of the Waiwai is believed to be able to perform a "soul flight" that can serve several functions such as healing, flying to the sky to consult cosmological beings (the moon or the brother of the moon) to get a name for a new-born baby, flying to the cave of peccaries' mountains to ask the father of peccaries for abundance of game or flying deep down in a river to get the help of other beings.
"Astral" and "etheric"
The expression "astral projection" came to be used in two different ways. For the Golden Dawn and some Theosophists it retained the classical and medieval philosophers' meaning of journeying to other worlds, heavens, hells, the astrological spheres and other imaginal landscapes, but outside these circles the term was increasingly applied to non-physical travel around the physical world. Though this usage continues to be widespread, the term, "etheric travel", used by some later Theosophists, offers a useful distinction. Some experients say they visit different times and/or places: "etheric", then, is used to represent the sense of being "out of the body" in the physical world, whereas "astral" may connote some alteration in time-perception. Robert Monroe describes the former type of projection as "Locale I" or the "Here-Now", involving people and places that actually exist: Robert Bruce calls it the "Real Time Zone" (RTZ) and describes it as the non-physical dimension-level closest to the physical. This etheric body is usually, though not always, invisible but is often perceived by the experient as connected to the physical body during separation by a "silver cord". Some link "falling" dreams with projection. According to Max Heindel, the etheric "double" serves as a medium between the astral and physical realms. In his system the ether, also called prana, is the "vital force" that empowers the physical forms to change. From his descriptions it can be inferred that, to him, when one views the physical during an out-of-body experience, one is not technically "in" the astral realm at all. Other experiments may describe a domain that has no parallel to any known physical setting. Environments may be populated or unpopulated, artificial, natural or abstract, and the experience may be beatific, horrific or neutral. A common Theosophical belief is that one may access a compendium of mystical knowledge called the Akashic records. In many accounts the experiencer correlates the astral world with the world of dreams. Some even report seeing other dreamers enacting dream scenarios unaware of their wider environment. The astral environment may also be divided into levels or sub-planes by theorists, but there are many different views in various traditions concerning the overall structure of the astral planes: they may include heavens and hells and other after-death spheres, transcendent environments, or other less-easily characterized states.
Notable practitioners
Astral projection according to Carrington and Muldoon, 1929
Emanuel Swedenborg was one of the first practitioners to write extensively about the out-of-body experience, in his Spiritual Diary (1747–65). French philosopher and novelist Honoré de Balzac's fictional work "Louis Lambert" suggests he may have had some astral or out-of-body experiences. There are many twentieth-century publications on astral projection, although only a few authors remain widely cited. These include Robert Monroe, Oliver Fox, Sylvan Muldoon, and Hereward Carrington, and Yram.
Robert Monroe's accounts of journeys to other realms (1971–1994) popularized the term "OBE" and were translated into a large number of languages. Though his books themselves only placed secondary importance on descriptions of method, Monroe also founded an institute dedicated to research, exploration and non-profit dissemination of auditory technology for assisting others in achieving projection and related altered states of consciousness.
Robert Bruce, William Buhlman, Marilynn Hughes, and Albert Taylor have discussed their theories and findings on the syndicated show Coast to Coast AM several times. Michael Crichton gives lengthy and detailed explanations and experience of astral projection in his non-fiction book Travels.
In her book, My Religion, Helen Keller tells of her beliefs in Swedenborgianism and how she once "traveled" to Athens:
"I have been far away all this time, and I haven't left the room...It was clear to me that it was because I was a spirit that I had so vividly 'seen' and felt a place a thousand miles away. Space was nothing to spirit!"
The soul's ability to leave the body at will or while sleeping and visit the various planes of heaven is also known as "soul travel". The practice is taught in Surat Shabd Yoga, where the experience is achieved mostly by meditation techniques and mantra repetition. All Sant Mat Gurus widely spoke about this kind of out of body experience, such as Kirpal Singh.
Eckankar describes Soul Travel broadly as movement of the true, spiritual self (Soul) closer to the heart of God. While the contemplative may perceive the experience as travel, Soul itself is said not to move but to "come into an agreement with fixed states and conditions that already exist in some world of time and space". American Harold Klemp, the current Spiritual Leader of Eckankar practices and teaches Soul Travel, as did his predecessors, through contemplative techniques known as the Spiritual Exercises of ECK (Divine Spirit). Edgar Cayce from the US, was popularly known as the “Sleeping Prophet”. He had been practicing astral travel at Washington DC for many years.
In occult traditions, practices range from inducing trance states to the mental construction of a second body, called the Body of Light in Aleister Crowley's writings, through visualization and controlled breathing, followed by the transfer of consciousness to the secondary body by a mental act of will.
Scientific reception
There is no known scientific evidence that astral projection as an objective phenomenon exists.
There are cases of patients having experiences suggestive of astral projection from brain stimulation treatments and hallucinogenic drugs, such as ketamine, phencyclidine, and DMT.
Robert Todd Carroll writes that the main evidence to support claims of astral travel is anecdotal and comes "in the form of testimonials of those who claim to have experienced being out of their bodies when they may have been out of their minds." Subjects in parapsychological experiments have attempted to project their astral bodies to distant rooms and see what was happening. However, such experiments haven't produced clear results.
According to Bob Bruce of the Queensland Skeptics Association, astral projection is "just imagining", or "a dream state". Bruce writes that the existence of an astral plane is contrary to the limits of science. "We know how many possibilities there are for dimensions and we know what the dimensions do. None of it correlates with things like astral projection." Bruce attributes astral experiences such as "meetings" alleged by practitioners to confirmation bias and coincidences.
Psychologist Donovan Rawcliffe has written that astral projection can be explained by delusion, hallucination and vivid dreams. Arthur W. Wiggins, writing in Quantum Leaps in the Wrong Direction: Where Real Science Ends...and Pseudoscience Begins, said that purported evidence of the ability to astral travel great distances and give descriptions of places visited is predominantly anecdotal. In 1978, Ingo Swann provided a test of his alleged ability to astral travel to Jupiter and observe details of the planet. Actual findings and information were later compared to Swann's claimed observations; according to an evaluation by James Randi, Swann's accuracy was "unconvincing and unimpressive" with an overall score of 37 percent. Wiggins considers astral travel an illusion, and looks to neuroanatomy, human belief, imagination and prior knowledge to provide prosaic explanations for those claiming to experience it.
en.wikipedia.org/wiki/Astral_projection
An out-of-body experience (OBE or sometimes OOBE) is a phenomenon in which a person perceives the world from a location outside their physical body. An OBE is a form of autoscopy (literally "seeing self"), although this term is more commonly used to refer to the pathological condition of seeing a second self, or doppelgänger. The term out-of-body experience was introduced in 1943 by G. N. M. Tyrrell in his book Apparitions,[1] and was adopted by researchers such as Celia Green, and Robert Monroe, as an alternative to belief-centric labels such as "astral projection" or "spirit walking". OBEs can be induced by traumatic brain injuries, sensory deprivation, near-death experiences, dissociative and psychedelic drugs, dehydration, sleep disorders, dreaming, and electrical stimulation of the brain, among other causes. It can also be deliberately induced by some.One in ten people has an OBE once, or more commonly, several times in their life. Psychologists and neuroscientists regard OBEs as dissociative experiences occurring along different psychological and neurological factors.Those experiencing OBEs sometimes report (among other types of immediate and spontaneous experience) a preceding and initiating lucid-dream state. In many cases, people who claim to have had an OBE report being on the verge of sleep, or being already asleep shortly before the experience. A large percentage of these cases refer to situations where the sleep was not particularly deep (due to illness, noises in other rooms, emotional stress, exhaustion from overworking, frequent re-awakening, etc.). In most of these cases subjects perceive themselves as being awake; about half of them note a feeling of sleep paralysis. Another form of spontaneous OBE is the near-death experience (NDE). Some subjects report having had an OBE at times of severe physical trauma such as near-drownings or major surgery. Near-death experiences may include subjective impressions of being outside the physical body, sometimes visions of deceased relatives and religious figures, and transcendence of ego and spatiotemporal boundaries. Typically the experience includes such factors as: a sense of being dead; a feeling of peace and painlessness; hearing of various non-physical sounds, an out-of-body experience; a tunnel experience (the sense of moving up or through a narrow passageway); encountering "beings of light" and a God-like figure or similar entities; being given a "life review", and a reluctance to return to life. Writers in the fields of parapsychology and occultism have written that OBEs are not psychological, and that a soul, spirit or subtle body can detach itself out of the body and visit distant locations. Out-of-the-body experiences were known during the Victorian period in spiritualist literature as "travelling clairvoyance". In old Indian scriptures, such a state of consciousness is also referred to as Turiya, which can be achieved by deep yogic and meditative activities, during which a yogi may be liberated from the duality of mind and body, allowing them to intentionally leave the body and then return to it. The body carrying out this journey is called "Vigyan dehi" ("Scientific body"). The psychical researcher Frederic Myers referred to the OBE as a "psychical excursion". An early study that described alleged cases of OBE was the two-volume Phantasms of the Living, published in 1886 by the psychical researchers Edmund Gurney, Myers, and Frank Podmore. The book was largely criticized by the scientific community because the anecdotal reports in almost every case lacked evidential substantiation.
A 19th-century illustration of Robert Blair's poem The Grave, depicting the soul leaving the body
The theosophist Arthur Powell (1927) was an early author to advocate the subtle body theory of OBEs. Sylvan Muldoon (1936) embraced the concept of an etheric body to explain the OBE experience. The psychical researcher Ernesto Bozzano (1938) had also supported a similar view describing the phenomena of the OBE experience in terms of bilocation in which an "etheric body" can release itself from the physical body in rare circumstances. The subtle body theory was also supported by occult writers such as Ralph Shirley (1938), Benjamin Walker (1977), and Douglas Baker (1979). James Baker (1954) wrote that a mental body enters an "intercosmic region" during the OBE.Robert Crookall supported the subtle body theory of OBEs in several publications. The paranormal interpretation of OBEs has not been supported by all researchers within the study of parapsychology. Gardner Murphy (1961) wrote that OBEs are "not very far from the known terrain of general psychology, which we are beginning to understand more and more without recourse to the paranormal". In the 1970s, Karlis Osis conducted many OBE experiments with the psychic Alex Tanous. In one series of these experiments, he was asked whilst in an OBE state whether he could identify coloured targets that were placed in remote locations. Osis reported that there were 114 hits in 197 trials. However, the controls for the experiments have been criticized and, according to Susan Blackmore, the final result was not particularly significant since 108 hits would have been expected by chance alone. Blackmore noted that the results provide "no evidence for accurate perception in the OBE". In April 1977, a patient from Harborview Medical Center known as Maria claimed to have experienced an out-of-body experience. During her OBE she claimed to have floated outside her body and outside the hospital. Maria later told her social worker Kimberly Clark that during the OBE she had observed a tennis shoe on the third floor window ledge to the north side of the building. Clark then went to the north wing of the building and by looking out of the window could see a tennis shoe on one of the ledges. Clark published the account in 1984. The story has since been used in many paranormal books as evidence that a spirit can leave the body. In 1996, Hayden Ebbern, Sean Mulligan and Barry Beyerstein visited the Medical Center to investigate Clark's story. They placed a tennis shoe on the same ledge and found that it was visible from within the building and could easily have been observed by a patient lying in bed. They also discovered that the tennis shoe was easy to observe from outside the building and suggested that Maria may have overheard a comment about it during her three days in the hospital and then incorporated it into her OBE. They concluded "Maria's story merely reveals the naiveté and the power of wishful thinking" from OBE researchers seeking a paranormal explanation. Clark did not publish the description of the case until seven years after it happened, casting doubt on the story. Richard Wiseman has said that although the story is not evidence for anything paranormal it has been "endlessly repeated by writers who either couldn't be bothered to check the facts, or were unwilling to present their readers with the more skeptical side of the story." Clark responded to the accusations made in a separate paper. In 1999, at the 1st International Forum of Consciousness Research in Barcelona, research-practitioners Wagner Alegretti and Nanci Trivellato presented preliminary findings of an online survey on the out-of-body experience answered by internet users interested in the subject; therefore, not a sample representative of the general population.
1,007 (85%) of the first 1,185 respondents reported having had an OBE. 37% claimed to have had between two and ten OBEs. 5.5% claimed more than 100 such experiences. 45% of those who reported an OBE said they successfully induced at least one OBE by using a specific technique. 62% of participants claiming to have had an OBE also reported having enjoyed nonphysical flight; 40% reported experiencing the phenomenon of self-bilocation (i.e. seeing one's own physical body whilst outside the body); and 38% claimed having experienced self-permeability (passing through physical objects such as walls). The most commonly reported sensations experienced in connection with the OBE were falling, floating, repercussions e.g. myoclonia (the jerking of limbs, jerking awake), sinking, torpidity (numbness), intracranial sounds, tingling, clairvoyance, oscillation and serenity.
Another reported common sensation related to OBE was temporary or projective catalepsy, a more common feature of sleep paralysis. The sleep paralysis and OBE correlation was later corroborated by the Out-of-Body Experience and Arousal study published in Neurology by Kevin Nelson and his colleagues from the University of Kentucky in 2007.[98] The study discovered that people who have out-of-body experiences are more likely to suffer from sleep paralysis.
Also noteworthy, is the Waterloo Unusual Sleep Experiences Questionnaire that further illustrates the correlation.
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The Bell AH-1 Cobra (also called HueyCobra) owes its existence to the Vietnam War. While the proof of the air cavalry concept was being proven every day, the US Army was also losing huge amounts of helicopters to ground fire. Equipping the troop-carrying “slicks” with door guns helped, and arming the UH-1 Iroquois/Huey with weapons was another interim solution. Clearly, however, the solution lay with a dedicated attack helicopter that could defend the troop carriers.
Bell, the manufacturer of the UH-1, had been also experimenting with a concept of a heavily armed, turreted, and thin fuselage helicopter. The US Army awarded a proof-of-concept contract to Bell, which replied in a heavily modified Model 47 called the Sioux Scout. It failed to win any orders, but Bell kept at it even as the Army pursued the far more complicated and expensive AH-56 Cheyenne. This resulted in the Model 209, based on components of the UH-1 and the original conceptual design.
With the Vietnam War intensifying and the Cheyenne going nowhere, the Army issued a requirement for an interim solution, which the Model 209—built and tested in only eight months—won easily. The Army ordered 110 AH-1Gs in April 1966 and the type was in action in Vietnam a year later. It was highly successful there, and successive marks of the Cobra would continue to fight in America’s wars since—Grenada and both Gulf Wars. US Army Cobras were upgraded continually in the 1980s, resulting in a dizzying number of variants: the AH-1S (with upgraded engine), AH-1P (with flat glass windscreen), AH-1Q (with TOW missile system), AH-1E (with 20mm gatling cannon in nose turret), and AH-1F (with laser rangefinder and countermeasures). In 1988, the Army finally gave up and redesignated the whole lot as AH-1S.
US Army Cobras were finally retired in 2001, but USMC Cobras remain in service, with the fleet being converted to AH-1Z Kingcobras. Israel, Iran, and Pakistan likewise have used and continue to use their Cobra fleet, and it is generally considered to be the most successful and prototypical attack helicopter.
This is 78-23066, built as an AH-1E until it was redesignated as an AH-1S. It may have spent most or all of its active duty career with the 101st Airborne Division. It suffered a major nonfatal crash in 1988 and had to be rebuilt, but served in Operation Desert Storm in 1991, during which it was named "Awesome Eddie." It was likely passed on to National Guard service soon after, though with which units is unknown. It was retired sometime in the early 21st Century; initially, 78-23066 was acquried by a paintball range in Marana, Arizona, but was then donated to VFW Post 5990 in Avra Valley, just west of Marana.
78-23066 isn't in the best of shape: its olive drab camouflage has faded to the point that it's desert tan--along with the nonstandard sharkmouth, this makes it resemble an Israeli AH-1 rather than a US Army one!
www.emergencyrooms.org/biennalist.html
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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
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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 #
Photographed by: azem
I’m molded.I’ve become.I am.I’ve been.I’ve hoped and longed to have been.I’ve been.I’ve forgotten and been forgotten.I’ve remained.For long. And ever.Become a memory.A mystery.A sign.Figure.Desire.Desired.Engraved into abstraction.Been Discovered.Again and again.A dependant disease.An aspiration.Refrained and endured.Deep within. Inside out.Craving with and without boundaries.No limits.Yearning.Fear and worship.Boundless need.Eagerness to be.Longing for having been.Assured. Secured. Helpless.Unable to surrender.Screaming out.Fear of the usual. Of being lost into nothingness.Loosing it.Curiosity of the unknown.The hunger for desire and journey into the indefinite.Laughing out loud.Reaching the outer layer.Pleasure.Harmony.The uncommon.Being. Being. Being.Waking. Dancing. Moving.Holding. Feeling. Floating. Remaining.Bliss.Ceasing. Shutting off. Letting go.Slowly.Completely. On and on.
Pythagoras promoted the idea of a rational universe where number was the foundation for all existence
Yayoi Kusama: Infinity Mirrors / Hirshhorn Museum
“The slow collapse of the social contract is the backdrop for a modern mania for clean eating, healthy living, personal productivity, and ‘radical self-love’—the insistence that, in spite of all evidence to the contrary, we can achieve a meaningful existence by maintaining a positive outlook, following our bliss, and doing a few hamstring stretches as the planet burns.” ―Laurie Penny
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
happiness is like this bubble..you can't hold it ,just can enjoy unless it totally disappears, you want it to stay, but you know, it won't...
Critical Run @ Venice Biennale / art format Run and Debate about EMERGENCIES
Critical Run is an Art Format created by Thierry Geoffroy /Colonel
debate while running . Debate and Run together, Now , before it is too late.
The Art Format Critical Run has been activated in 40 differents countries with 112 different burning debates
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam. ZKM Karlsruhe, Liverpool Biennale ; Sprengel Museum etc..or have just happened on the spot because a debate was necessary here and now.
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
artist Thierry Geoffroy creates art formats
aim to develop awareness muscle
during Venice Biennale 2019
The Exhibition will develop from the Central Pavilion (Giardini) to the Arsenale, and will include 79 artists from all over the world.
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
Critical Run @ Venice Biennale / art format Run and Debate about EMERGENCIES
Critical Run is an Art Format created by Thierry Geoffroy /Colonel
debate while running . Debate and Run together, Now , before it is too late.
The Art Format Critical Run has been activated in 40 differents countries with 112 different burning debates
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam. ZKM Karlsruhe, Liverpool Biennale ; Sprengel Museum etc..or have just happened on the spot because a debate was necessary here and now.
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
artist Thierry Geoffroy creates art formats
aim to develop awareness muscle
during Venice Biennale 2019
The Exhibition will develop from the Central Pavilion (Giardini) to the Arsenale, and will include 79 artists from all over the world.
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
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