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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.
Dunolly.This charming historic town in the Victorian goldfields belt owes it very existence to gold. The first pastoral land was taken up here in 1845 by Archibald McDougall. When gold nuggets were discovered in the forest at nearby Moliagul in 1852 the current land owner at that time created a private town in 1854. McDougall in 1845 had named his property after Dunolly Castle in Scotland so although he had gone by then that was the name given to the new town. It spurted into life two years later when gold finds were made close to the town in 1856. Within a few months Dunolly had 15,000 diggers and inhabitants. Most left in 1858 but some gold mining continued for many years and the town has an air of faded elegance from these wealthy days. In the late 1850s/early 1860s many fine buildings were erected: an Anglican school hall (1857), a Court House (1862), a hospital (1860), the Railway Hotel under another name( 1858), the Bendigo Hotel and Cobb and Co Offices (1857), the Methodist Church (1863), the Town Hall (1862), the Presbyterian Church (1864), etc. The railway from Melbourne and Maryborough reached the town in 1874 on its way to St Arnaud which was when the railway station was built. When the gold finds withered wheat became the main activity and the town had a flour mill erected in 1873 which was replaced by a newer one in 1893. More churches and more hotels and a Cobb and Co Office were built in the 1870s and beyond. Other later heritage buildings in the town include the Catholic Church built in 1871, some fine banks built in the 1870s, the Anglican Church designed by Bendigo architect William Vahland in 1870 and the nearby rectory (1864 also by Vahland), the second Courthouse in polychromatic brick work in 1884(now the Town Hall) and the amazingly large Post Office and clock tower which was erected in 1891. The Wesleyan Methodist Sunday School was built in 1886. The fine two storey mansion called Bellevue was built in 1869 for local shop keeper James Bell. James Bell (1836-1908) was a Scot who emigrated to Victoria in 1857. He started a grocery business in Dunolly in that year. He went on to become the Mayor of Dunolly from 1862 to 1865. He later became a bank director and businessman in Melbourne. He entered the Victorian parliament in 1880 and served as an MP until 1904. He died in Melbourne in 1908.
In 1869 at Moliagul the largest gold nugget in the world for that time was discovered- The Welcome Stranger weighing 2,280 ounces. It was melted down for the gold but a replica is held in the Dunolly town museum. By 1875 the town of Dunolly had slipped back to around 1,500 permanent residents. The Chinese from the gold mining days had also gone by then but some are buried in the town cemetery. In World War Two (1943) a huge tin shed grain storage was built in Dunolly called a stick shed as thousands of gum poles held it together. Another one was built in Murtoa (heritage listed) which still exists but the Dunolly Stick Shed was demolished in 1987. Train services to Dunolly ceased in 1980. Behind the main street you can find an old painted advertisement for Kitchen’s Velvet Soap on a red brick wall. John Kitchen (1835-1925) moved from England to Victoria in 1854 and began a business as a candle maker. He bought up competing firms and established his major business in Melbourne in 1870 making soap and candles. He was thus a chandler as both candles and soap were made from animal fats, mainly sheep, which were produced in boiling down works. By the 1880s he had 300 employees and when the firm of Kitchen and Sons was merged with Lever Bros from England in 1914 the Kitchen factory had 1,000 employees. Kitchens introduced Velvet Soap in 1906 and later Solvol Soap in 1916. Velvet Soap had the tag of “Washes Linen Snow White”. The name Kitchen was dropped from the Levers Company in 1976. Several of Dunolly’s heritage buildings are on the Register of the National Estate. Today it survives on tourism and grain handling for the surrounding farm lands.
Michael Ferner
"For 1948, Culp had the car rebuilt with a new streamlined body, completely changing the appearance of the car for the first time in its existence. Mattson drove the car again, as the blue and white #2 “Culp Offy”, until mid-season when his own car was ready for him to use, with Buster Warke taking over the Culp entry, now in yellow and black. Warke continued to drive the car, as #14 and still yellow and black, in 1949, and perhaps into the 1950 season until a new Hillegass was ready. Culp kept the engine for the new car, and sold the rolling chassis to a man named Carl Meyers in Texas, who ran it for about eight years with an Oldsmobile V8 engine, mainly as #98 in IMCA events it seems, drivers including one Jud Larson."
Two more owners ran the car for two years each, Earl Kuba and Tom van Swearinger (or Vanswearinger), both from Colorado, but the glory days were certainly over for the old warhorse. It was reputedly acquired by racing car builder Don Edmunds (Autoresearch), and put into storage at his California facilities for 17 years (!), before Marlin and Sally Heller of Dover (PA) bought it via Jim Etters in 1980 to start restoration with the help of Buster Warke. Thankfully, the car was only restored to its 1948 specification, i.e. with the streamlined body, as anything else would have to be seen as a recreation, rather than restoration, considering the changes made to the car. However, the new owners chose to paint the car in the yellow and black livery it acquired later that year, not its original blue and white, presumably on the basis of it being more attractive that way. It was displayed at the Eastern Museum of Motor Racing in York Springs (PA), for a time at least, until it was bought by Paul Weisel of Weisel Racing Equipment, Inc. in 2008, who is said to display it in the showroom of the Eastern Auto Racing Historical Society in Orefield (PA).
Addendum: Joe Heisler advises that the car was converted to a cross spring at the front after the fatal Billy Winn accident. He also has info that shows that Hank Rogers and Bill Holland competed in the car during the 1947 season."
From historian Michael Ferner:
"This car was apparently built by Gus Schrader in 1932, and debuted shortly after his one and only Indy 500 start. It had parallel leaf springs at the front, a cross spring with radius rods in the rear, and a Miller 220 four-cylinder engine. It also had a number of very distinctive bodywork features which make it particularly easy to track through the photographic record of the period before WW2. Well, sort of easy anyway!
Schrader ran it initially in AAA events, winning a 20-miler at Bloomsburg (PA) on July 9, and then qualifying second for a 50-miler at Langhorne in August. He didn’t start the feature, however, due to an injury sustained while running the fast heat, and Mauri Rose took over the car, winning the main event in record time. Later that month, Gus joined the IMCA circuit at the Iowa State Fair, and except for a brief return to AAA in late 1933 (winning a 20-miler at Lakewood Speedway in Atlanta) he remained an “outlaw” for the rest of his life.
As an aside, though Schrader’s stature in racing history is perhaps a bit tainted by his running “show biz” events for much of his later career, these and other results in AAA and “open comp” events show that he was a very strong competitor in level playing fields also. It should, however, be remembered that he was pushing almost 40 years by then, and obviously felt that he would not much longer be able to resist the challenge of such formidable (and much younger) opposition such as Bill Cummings, Wilbur Shaw, Bob Carey or Ernie Triplett, for example. In fact, judging by his results in straight competition alone, he can hardly be considered as one of the best US drivers of his time, and it would even be difficult to argue the case for his inclusion in, say, the top ten drivers for any given year! Yet, the IMCA promotional engine was a powerful weapon, and today Gus Schrader is remembered as the racing icon that he was, thanks to the Sloan organisation, showing that he made the right decision in the first place!
Apparently, Gus ran the car as a red #5 “Miller” through 1935, and then as the #5 “Montgomery Ward” in 1936. He was the undefeated IMCA “World’s Dirt Track Auto Race Champion” four years in a row before selling the car at the end of 1936, and continued on for four more titles of the same with the car he built in 1937 at Curly Wetteroth’s shop in California. It has been stated that he won more than a hundred main events with his 1932 car, and that may well be true since the IMCA usually staged between fifty and one hundred events a year, and Schrader had hardly any competition at all in these “shows”, apart from five or six “major events” when the several seperate “circuits” of IMCA promoters met each year. By 1936, however, Schrader’s big rival Emory Collins had a 318 cubic inch Offy, and Gus had to have something beefier to retain his crown.
The man who bought the car was none other than Bob Sall, the 1933 AAA Eastern Circuit Champion, who sought to rejuvenate his career – this was Bob’s first regular ride in a Miller-powered car, and he celebrated the fact by winning no less than eleven races in 1937 alone, finishing second to Frankie Beeder in Eastern Circuit points, and apparently winning the somewhat obscure AAA Southern Circuit Championship for a third time. The car was the #4 “Miller” early in the year, and then later the #4 “Lion Oil”. In 1938, it was the blue #2 “Lion Oil” (sometimes also #12 or #10) and Sall continued winning, until he was injured on July 25 in a Midget race on Long Island. While recuperating, the car was driven by Frankie Bailey, Billy Winn (who crashed fatally with it at Springfield on August 20), Floyd Davis, Jack Moon and, apparently, Tommy Hinnershitz.
In 1939, Sall was back behind the wheel of his #5 “Miller”, and the car was also driven by Walt Brown, Len Duncan and Buster Warke before its owner decided to defect to IMCA competition late in the year, managing to finish fourth in points despite a limited schedule. Before returning to the AAA fold in 1940, he appears to have sold the car to Ted Horn, but I haven’t been able to determine whether the car was used at all during that year, as Sall himself drove a number of different cars for other owners, and I cannot find any evidence of Horn running a multi-car team yet. Be that as it may, by 1941 the car was back in circulation, as the maroon #7 “Ted Horn Racing Team” (nicknamed “Old Scurvy”), sporting a transverse front spring with radius rods and probably an Offenhauser engine, and with Sall back in the driving seat!
For the short 1942 season, Dave Randolph drove the #6 “Horn Racing” (though it only said “Old Scurvy” on the car itself!), and after the war the car apparently sat idle in Horn’s shop until it was bought by George “Dutch” Culp in late 1946. It is quite possible that Tommy Mattson and/or Hank Rodgers drove the car for Culp during the latter part of the 1946 season already, however it can only be stated safely that Mattson drove it as a cream and maroon #3 in 1947, finishing a superb second in AAA Eastern points, ahead of Hinnershitz, Hank Rogers, Mark Light, Joie Chitwood, Bill Holland, Walt Brown, Lee Wallard etc. – not bad for a 15-year-old car, with an unheralded driver!
For 1948, Culp had the car rebuilt with a new streamlined body, completely changing the appearance of the car for the first time in its existence. Mattson drove the car again, as the blue and white #2 “Culp Offy”, until mid-season when his own car was ready for him to use, with Buster Warke taking over the Culp entry, now in yellow and black. Warke continued to drive the car, as #14 and still yellow and black, in 1949, and perhaps into the 1950 season until a new Hillegass was ready. Culp kept the engine for the new car, and sold the rolling chassis to a man named Carl Meyers in Texas, who ran it for about eight years with an Oldsmobile V8 engine, mainly as #98 in IMCA events it seems, drivers including one Jud Larson.
Two more owners ran the car for two years each, Earl Kuba and Tom van Swearinger (or Vanswearinger), both from Colorado, but the glory days were certainly over for the old warhorse. It was reputedly acquired by racing car builder Don Edmunds (Autoresearch), and put into storage at his California facilities for 17 years (!), before Marlin and Sally Heller of Dover (PA) bought it via Jim Etters in 1980 to start restoration with the help of Buster Warke. Thankfully, the car was only restored to its 1948 specification, i.e. with the streamlined body, as anything else would have to be seen as a recreation, rather than restoration, considering the changes made to the car. However, the new owners chose to paint the car in the yellow and black livery it acquired later that year, not its original blue and white, presumably on the basis of it being more attractive that way. It was displayed at the Eastern Museum of Motor Racing in York Springs (PA), for a time at least, until it was bought by Paul Weisel of Weisel Racing Equipment, Inc. in 2008, who is said to display it in the showroom of the Eastern Auto Racing Historical Society in Orefield (PA).
Addendum: Joe Heisler advises that the car was converted to a cross spring at the front after the fatal Billy Winn accident. He also has info that shows that Hank Rogers and Bill Holland competed in the car during the 1947 season."
Sakharibazar, Old Dhaka, 2011
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..
”You can come in Talia.”
”You knew I’d be coming?”
”Of course. I figured that after todays events, Bruce would have questioned you as to some of the claims made by his opponent.”
”Is it true?”
”What do you think, my child.”
”I think that you would never hold something like that from me…”
”But…”
”I know better than that. Especially considering you hid my own existence from Nyssa for almost a year.”
”That is because I know Nyssa. Just as I know you.”
”You think I’d consider attempting what Nyssa did back then?”
”It’s possible. Especially given your feelings for Bruce.”
”Do you honestly think I’d kill one of my own to help Bruce?”
”Anything’s possible. We both know how far people can be willing to go if it benefits their own agenda.”
”Is that a yes?”
”It’s what you want it to be Talia.”
”…..Why didn’t you tell me?”
”Because I couldn’t be sure.”
”In what way?”
”The natural talent was there. But not the wisdom on how to use it.”
”So you had him fight Bruce to see if his claims were true.”
”What Bruce lacks in natural talent, he far exceeds with wisdom and strategy. No son of mine would allow someone to outsmart them.”
”So you beheaded him. Didn’t you want to be sure who he was?”
”I know exactly who he was. That was the problem.”
”It’s true. Isn’t it?”
”It would seem so.”
”…..How?….How could you do that? After all you put Nyssa and I through, all because we weren’t male…..how can you just….throw aside what you’ve always wanted!?”
”Because it was when Bruce bested him that I realised the truth. Though he may not be of my blood, Bruce is the son I’ve always been looking for. The way he bested his opponents and made a mockery of the imposter….only an Al-Ghul could accomplish such a feet.”
”So it’s because of Bruce that you’ve robbed me of a sibling!?”
”I haven’t robbed you of anything. I’ve liberated you from a burden.”
”JUST WHAT SORT OF BURDEN IS THAT!?”
”Not having to obey the doctrine.”
”Purge the weak. You’d honestly go ahead with it, even if it was my life? Was Nyssa’s?”
”It’s possible. This world is dying thanks to natural selection failing us. The undeserving are flourishing, and we’re forced to endure their existence.”
”But your own flesh and blood!”
”Should know better than to doubt me.”
”Would you have killed mother had she survived the birth? Or would she have been purged since she clearly wasn't strong enough to survive childbirth.”
”Don’t you dare invoke her.”
”Or what? Will you kill me as well for being weak enough to use her?”
Without saying a word, the Demon swiftly raises his hand and slaps Talia across the face with as much force as he can muster. The slap knocks her to her knees and dazes her for a brief moment.
”Insolent child. You are better than this.”
”I don’t know. If my own brother was weak, maybe I am as well.”
”Don’t you dare speak ill of your mother.”
”Oh I would never speak ill of her. But if my brother and I are both weak, there’s only one thing that connects us.”
”Do not test my patience Talia.”
”Test it? I doubt you even have patience. You’re always so willing to cast your own allies aside at a moments notice, you can’t tell me you have patience.”
”If that were true, Bruce Wayne would have died years ago.”
”You leave him out of this.”
”Why? Had I not chosen to deal with the bastard child myself, the task would have fallen to him. Hell, the only reason he’s still alive is because you begged me to leave him unharmed.”
”I never asked for such a thing.”
”No, you didn’t. But the message could easily be read from your face. Admit it Talia, you’re not upset that I withheld the existence of a possible sibling from you, you’re just worried of what I intend to put him through for his final trials.”
”….That’s....untrue....and irrelevant.”
”Of course it is. I understand your worry my dear. No-one has ever attempted the trials necessary to be named Heir to the Demon before, and for good reason. But if Bruce has demonstrated anything these last few years. It’s that he won’t let anything overcome him. Be it Caine, Kirigi or even myself. He intends to emerge triumphant, and I look forward to seeing him succeed me when the time comes.”
”Father? What's wrong? You’re talking as though that time is sooner than you want it to be.”
”The pit and I have been one in the same for over seven hundred years. I suppose it ws only a matter of time before it couldn’t protect me any longer.”
”Father?”
”Look at my hand Talia. Notice how it shakes uncontrollably.”
”It’s just withdrawal.”
”Perhaps, but after only a couple of days? That's highly unlikely. I've experienced withdrawal from the pit but only after weeks without bathing in it.”
”What does it mean then father?”
”It's losing it’s effect on my body.”
”You mean?”
”Indeed. The pit is slowly losing it’s ability to restore me.”
”Perhaps the problem is with the pit itself. We should attempt to find more lazarus!”
”I already have.”
”I suspect I know the result…..How long do you reckon you’ve got?”
”Given how my body is only just starting to reject the pit, it’s possible that it’ll take years before the pit no longer affects me.”
”Can it be stopped?”
”Possibly. Though I’m not sure I want it to be.”
”You want to die?”
”Want is a strong word. More, I’m willing to accept my fate. But before my time comes, I must ensure my legacy lives on. Ensure the League of Assassins lives on, with you and Bruce at the helm.”
In a moment of solidarity, Talia walks up to her father and hugs him. Public displays of affection were prohibited in front of the League. But here, hidden from view, Ra’s accepts his daughter’s hug.
”Bruce has changed you.”
”And I’ve changed him. Hopefully we’ve both been changed for the better.”
”That remains to be seen.”
Zaterdag 6 november 2021 finissage van de Carte Blanche expositie Matching Existence met werk van Kristin Dimitrova en Patrick Jonkman.
B93 Kunst & Ateliers, Hoge Bothofstraat 166, 7511 ZE Enschede.
Sakharibazar, Old Dhaka, 2011
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..
Having the distinction of being the only open top example in existence, preserved Tayside Regional Council Alexander AV bodied Volvo Ailsa B55 300 (WTS272T) is seen here on display at the Dundee Museum of Transport as part of the 2024 Dundee Bus Festival.
This desert holly that I found in Death Valley must be extremely old given how slowly they grow and how woody this plant is. Most of it seems to be dead, but you can see that the upper right portion still seems to have some life.
Frankfurt Museumsplatz is the heart of the new Museum Quarter
Pedestrians can cross the square day and night, allowing them to be in the middle of the museum without having to pay admission. From here, visitors have impressive views of the Haus Wertheim in the west – the only timbered house still in existence in the Frankfurt Old Town – and the Staufer building in the east, the city’s oldest upright standing monument, dating back to the 12th century. Even the archaeological finds near the Staufer building can be easily seen from here. A sculpture gallery with pieces from houses and gardens in the Frankfurt Old Town and New Town (17th-18th century) are already a good introduction to the theme of the museum. The new central entrance of the museum can be reached from the forecourt through two large doors. The striking diamond facade of the entrance building catches the attention of passers-by – even from afar. The five old buildings of the Saalhof can be reached from here at ground level. And underneath the forecourt lies the connection to the large, new exhibition house: The second, lower foyer of the museum. The cloakroom, museum café and toilets are situated here and the Snow Globe – one of the museums's highlights – is located in the middle. Visitors can already start getting curious by watching the Snow Globe through the large periscope made from brass in the center of the forecourt.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1qslers
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Existence // Edit for #pixiteweekly by @pixitesource _ OP #digital_cities_ffa by the amazing @jamesmgrote, stock #alienskyapp @alienskyapp & #pixlr @pixlr _
by @praketh.in on Instagram.
When World War I began, Germany invaded neutral Belgium and Luxembourg as part of the Schlieffen Plan, in an attempt to capture Paris quickly by catching the French off guard through an invasion via neutral countries.
Manneken Pis ( Dutch for 'Little Pissing Man') is a landmark bronze fountain sculpture in central Brussels, Belgium. Though its existence is attested as early as the mid-15th century, Manneken Pis was redesigned by the Brabantine sculptor Jérôme Duquesnoy the Elder and put in place in 1619. Its stone niche in rocaille style dates from 1770. The statue has been repeatedly stolen or damaged throughout its history. Since 1965, a replica has been displayed, with the original stored in the Brussels City Museum.
Manneken Pis is one of the best-known symbols of Brussels and Belgium, inspiring several legends, as well as numerous imitations and similar statues both nationally and abroad. The figure is regularly dressed up and its wardrobe consists of around one thousand different costumes. Since 2017, they have been exhibited in a dedicated museum called GardeRobe MannekenPis. Owing to its self-derisive nature, Manneken Pis is also an example of belgitude (French; lit. 'Belgianness'), as well as of folk humour (zwanze) popular in Brussels.
Notice the The GIBRALTAR Cuff-Title being worn by the soldier on the left. The story of the Gibraltar cuff title can be traced back to 1775 when the King of England, George III, Duke of Hannover was in need of fresh troops to allow British troops to serve in the colonies during the American Revolution. Five Battalions of troops from his native Hannover were recruited to replace British troops in the Mediterranean. Three of the Battalions, Von Beden, de la Motte, and von Hardeberg were sent on 16 October 1775 to Gibraltar for service. Life in the garrison on Gibraltar was uneventful until June 1776 when Spain declared war on England and immediately blockaded the island. Starvation, scurvy, and death by Spanish Artillery were commonplace on Gibraltar until the Treaty of Versailles lifted the siege on 15 August 1783. The British garrison and their three Hanoverian Battalions had lasted over three years and seven months. To honor the survivors of the siege, the three Battalions were authorized to wear a blue cloth cuff-title embroidered GIBRALTAR on the lower right sleeve of their Waffenrock.
"Existence is a series of footnotes to a vast, obscure, unfinished masterpiece."
Vladimir Nabokov
["The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness."
Vladimir Nabokov]
Apparently, I am undressing myself in my bathroom. I am changing out of my pajamas at 6 o'clock in the morning. I used window and florescence lighting.
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Nick Cave Brings His Breathtakingly Beautiful Exhibition to Carriageworks
From the moment you enter the space you're immersed in 16,000 gently twirling hypnotic metallic mobiles.
Nick Cave, Until, Carriageworks, 2018
This is the Chicago-based artist’s most ambitious visual-arts project to date and its title, Until, is a play on the phrase “innocent until proven guilty”. But here it’s presented as “guilty until proven innocent”.
Presented by Carriageworks in collaboration with the Massachusetts Museum of Contemporary Art and the Crystal Bridges Museum of American Art, Until responds to the spate of race-related violence that resulted in the deaths of Brown, Eric Garner and Trayvon Martin, confronting issues of racism and gun violence in America, and the broader effect on communities globally.
“Until is about the urgency I feel as an artist, as an African American, as a citizen of the United States of America, and as a resident of Chicago. All too often we are faced with a history that keeps repeating, one in which gun violence pervades in our streets in the hands of both civilians and law enforcement,” says Cave.
The works are surprisingly beautiful, breathtaking even, and provocative.
From the moment you enter the space you are immersed in 16,000 gently twirling hypnotic metallic mobiles that catch the light and cast off rainbow hues and shadows. The piece Kinetic Spinner Forest, which appears from a distance to be playful objects, in fact contains shapes of handguns, bullets and tears.
“There’s so much going on around us we think it’s removed from our existence but in reality it’s in our backyard. That’s how I came to the spinner [piece], the sorts of decorative objects that are placed in our gardens … but as you get closer you realise they’re handguns, they’re bullets, they’re teardrops, so that shifts the whole way you see them. Yet there’s still optimism and beauty and belief and hope,” Cave tells Broadsheet.
The exhibition centrepiece is Crystal Cloudscape, a 12-metre-long, six-metre-wide hanging sculpture weighing 5.4 tonnes and made from 24,000 crystals, beads and chandeliers. Above that is a mind-boggling collection of found objects, from birds to candelabras, gold-gilded pigs, a life-sized crocodile, huge dandelion flowers and 17 cast-iron “Jocko”-style lawn jockeys (their cringingly racist roots date back to the Jim Crow era of legislated segregation). Four ladders take you to platforms that allow you to view the installation from above.
“Until was built around the extremes of brutality that’s been happening in the US. I felt we needed spaces to be heard, venues to come to, to collectively try to bring an understanding of all this violence. I think I’m a messenger first and artist second ... So yes, Until is a work of art but it also knows how to set itself back for call and response. That’s something I’ve always done, it’s my outreach.”
Source:Broadsheet
*They started their primordial existence as microscopic lifeforms placed on separate parts of the Earth's Oceans by a dying race of ancients with the hopes of reviving a once great species. Over ions of existence the unpredictable conditions of this planet slowly morphed them into strange and unrecognizable versions of themselves."
"Like her sister, was born in water. But unlike her sister she felt cradled by the dark. The depths of the ocean provided solitude. She feared the sun and it's violent rays. Unable to stand even the faint light that peaked through the surface she delved into the darkest depths she could find. A large section of this ocean is an endless expanse of pitch black water or an "abyss" which interconnects with countless maze-like rocky passageways that expand for thousands of miles. This entire area, completely void of sunlight and home to very few lifeforms, provided a shelter for the her. However, while these underwater caverns are mostly void of life, the few that do manage to exist are extremely aggressive and monstrous in appearance. In the abyss she evolved into a silent ambush predator to feed and hide from horrifying creatures that roam the deep dark. Millenniums pass and she can heard the voices of humans in the water. They tell legends of her and call her Sobek. After ions of lonely existence something in the void calls to her and she discovers an ancient life form of unknown origin even older than herself. A sentient orb covered in metallic scales that is able to telepathically communicate with her. The creature reveals ancient cosmic knowledge, telling her she has a sister, and proposes a trade. It will guide her to her brethren and protect her from the sunlight she fears, but only if she allows the scaled orb to bond with her flesh."
Sobek is a OOAK Nnaji in Milk skintone and Busty chest option. Her body blushing is lilac and burned turquoise. Her head is covered in hand sculpted scales to enhance her monstrous looks. Her lips and nails are a palest pearl pink and her fanged teeth share the same steel grey as her alien gharial eyes. Sobek wears a hand stitched haute couture armour with a poseable tail, each sequin sewn to a form sculpture that bristles in the back as gharial scales, adorns the shoulders leaving sensuous naked spots and exaggerates the hips for a feminine silhouette. She wears spiky heels painted to match her skintone.
This is a commission order for a private collector, not for sale.
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
EXIF Details: Camera:: Canon EOS 600D || Lens:: Canon EF-S 18-55mm f/3.5-5.6 IS II || Shutter Speed:: 1/30 || Aperture:: f 8 || ISO:: 200 || Focal Length:: 49mm
*They started their primordial existence as microscopic lifeforms placed on separate parts of the Earth's Oceans by a dying race of ancients with the hopes of reviving a once great species. Over ions of existence the unpredictable conditions of this planet slowly morphed them into strange and unrecognizable versions of themselves."
MAKARA
"She grew to embrace the warmth of the sun, despite it's harsh conditions and unforgiving intensity. Through the millennia, her skin flooded with rich dark melanin and she eventually abandoned the ocean as her home. However, life on land has it's own dangers with many predators of all sizes. With that, her hunting techniques became much more aggressive and her food sources more abundant. Through the years, many forms of life on Earth came and gone. Eventually, the rise of bipedal creatures emerged with and strange concepts such as "societies" and "governments" and "currency" arose. Humans have, for one reason or another, evolved to to look and behave strikingly similar to her and she hides among them, despite the fact that she is not human at all. One of these cultures called her Makara and she took the name as her own. In the current age she does not hunt or fight for food or survival. Humans have built mega metropolis' which provide a luxury of easy living, away from the constant hunting and fear of outside predators. Makara has all but forgotten her ancient aquatic past, as she has evolved to live on land among humans and speak their many languages. She thrives within the crowded streets filled with light even in the dark of night. One night, she mind stirs with strange telepathic messages in an ancient tongue..."
Makara is a OOAK Nnaji in Coffee skintone and Busty chest option. Her body blushing is aubergine and deep green, and her body covered in gruesome scars. Her lips and nails are a deep burgundy and her alien gharial eyes vivid shades of green.
SOBEK
"Like her sister, was born in water. But unlike her sister she felt cradled by the dark. The depths of the ocean provided solitude. She feared the sun and it's violent rays. Unable to stand even the faint light that peaked through the surface she delved into the darkest depths she could find. A large section of this ocean is an endless expanse of pitch black water or an "abyss" which interconnects with countless maze-like rocky passageways that expand for thousands of miles. This entire area, completely void of sunlight and home to very few lifeforms, provided a shelter for the her. However, while these underwater caverns are mostly void of life, the few that do manage to exist are extremely aggressive and monstrous in appearance. In the abyss she evolved into a silent ambush predator to feed and hide from horrifying creatures that roam the deep dark. Millenniums pass and she can heard the voices of humans in the water. They tell legends of her and call her Sobek. After ions of lonely existence something in the void calls to her and she discovers an ancient life form of unknown origin even older than herself. A sentient orb covered in metallic scales that is able to telepathically communicate with her. The creature reveals ancient cosmic knowledge, telling her she has a sister, and proposes a trade. It will guide her to her brethren and protect her from the sunlight she fears, but only if she allows the scaled orb to bond with her flesh."
Sobek is a OOAK Nnaji in Milk skintone and Busty chest option. Her body blushing is lilac and burned turquoise. Her head is covered in hand sculpted scales to enhance her monstrous looks. Her lips and nails are a palest pearl pink and her fanged teeth share the same steel grey as her alien gharial eyes.
Author's Note: The contents of this chapter include very sensitive subject matter and may be triggering to some individuals. Scenes of abuse of various forms are represented as not only for storytelling, but to raise awareness of what this behavior looks like. Abusive behavior in this story includes, but is not limited to: physical abuse, mental abuse, verbal abuse, gaslighting, manipulation, intentional triggering of another's PTSD, and trauma. In no way are these scenes intended to purposely trigger or harm anyone.
~~~
The following morning after Aiden's moonlit flight with Vincent, he'd woken up late just as Vincent was emerging from his quarters. His captain was already fully dressed and ready to run errands. As Vincent explained it to the yawning Aiden, now that he was going to the masquerade, there was much to be done! A short while later, Vincent departed in a determined but cheerful mood to get everything set in motion. And when he returned that evening he had an official invitation to the ball for Aiden in hand! He sat Aiden down and explained in greater detail what preparations would need to be done. While Vincent had informed him that there would be fittings, dancing and etiquette lessons, and even promenades for social practice, the days following were unexpectedly much busier for Aiden than he'd anticipated.
The first order of business was a visit to the tailor! The shop they went to belonged to a highly skilled older man who knew Vincent by sight and greeted the captain enthusiastically. As it turned out, this was where Vincent and the other men in his family frequented as regular customers! After Aiden's nervous last attempt to get himself to visit a shop like this, he was grateful to have Vincent there to guide him through the process. As soon as Vincent explained that they were here for a suit for Aiden for the upcoming ball, the tailor got straight to work! Vincent helped Aiden sort through different fabrics and finally settle on a nice dark teal and gold lining which, as Vincent put it, brought out the color in his eyes. The comment had made Aiden blush slightly; something Vincent noticed which made him feel a little pleased with himself.
When the topic of how much everything was going to cost came up, Aiden felt panic rearing up inside him. He knew it would be expensive but to actually spend the money? Aside from the tiny piece of Fulgora's Eye that he'd gotten for Pete, this was the most expensive purchase he'd ever made for himself! However, with a few quiet, carefully chosen words of reassurance from Vincent, Aiden remembered that he was, in fact, wealthy. He could afford this suit hundreds of times over and then some! With Vincent's encouragement, Aiden went ahead and made the down payment purchase for his suit! Once measurements had been taken some time later and they were free to go, they went next door to the cordwainer. There Aiden got measured again; this time for boots to go specifically for his ballroom attire! This time, Aiden didn't hesitate to pay for his boots which Vincent felt proud of him for.
The lessons Vincent promised began just two days later. While Vincent didn't really care much for all the niceties and politeness of upper class society, he was still a part of it and therefore educated thus. During these lessons, Aiden began to learn the basics of gentlemanly ballroom etiquette. He'd be learning how to dance very soon but first Aiden would need to learn how to properly walk, stand, and even how to talk. While Vincent stressed the importance of these lessons, most of the time the two men were just laughing and enjoying each other's company. Vincent was having such a grand time with his friend that he was often smiling and full of spirit. Vincent suggested Aiden put to practice what he'd learned while they were out and about. Aiden remembered that this was just a part of the facade; the mask that must be put on for society. So, that's what he did. Following Vincent's example, he began to learn. He would gladly play the part. Aiden knew deep down that Vincent liked Aiden just as he was now... but a big part of him wanted to fit into Vincent's world more. He wanted to show Vincent that he was capable of being a part of ALL aspects of his life; not just on the ship.
When it came time for Aiden to learn to dance, Vincent knew that Charlotte would be the most logical choice to be Aiden's dance partner. When the young lady learned to dance a few years ago, it had been Vincent, himself, who was her dance partner as she learned the art. He knew she was a lovely dancer for her age; a talented one, at that. She'd also proven herself to be a patient teacher. Besides all that, Aiden and she got along well and clearly there was chemistry between them. Vincent knew that this would be a perfect opportunity for the two of them to get to know each other and spend time together. There was every reason for him to allow them to practice together! Yet, Vincent knew without a doubt that Charlotte would be all over Aiden...which was why when Aiden arrived for his first day of dance lessons it was not Charlotte there to greet him alongside Vincent....it was Abigail!
Abigail was happy to join Vincent in teaching Aiden how to dance! Of course, she knew the real reason he was asking her even if he didn't want to admit it, and the alternative would have been Bernadette. While Bernie excelled in many other things, Abigail knew just how skilled her sister was on the dance floor....and something told her Aiden would prefer to keep his toes intact.
And so, practice began! Aiden discovered that he liked dancing and the chemistry between the three of them was very pleasant and enjoyable. Abigail was fond of Aiden already and the more she learned and saw of him, the more she found him a pleasure to be around. He was a fun student who made the task of teaching him an enjoyable experience. When the cousins demonstrated to Aiden the various popular dances that he'd see at the ball, the young man was in awe. They appeared to move flawlessly to the music coming out of the phonograph. As it turned out, Abigail had a small passion for dance, and Vincent, while he didn't like to show off, was quite skilled as well. Despite the intricate dances he was shown, Aiden was told he'd be learning the easiest of the dances first: the waltz.
The days passed and things were starting to come together quickly! Aiden's confidence with the waltz was starting to build. Soon, he was guiding Abigail with less mistakes and even felt brave enough to add in a small flourish in his step! Not only was his dancing skills improving, his suit for the masquerade was coming along nicely.
On the topic of his suit one afternoon, Vincent pointed out that dancing in full formal attire was different than practicing in comfortable clothes. It would be heavier and warmer than what they were doing now. He mused that Aiden should be more dressed up while practicing to get used to it; much the way Vincent dressed when out as a member of high society. It got Aiden thinking that maybe it was time he finally got something a little nicer to wear after all.
Normally, these things took time to make so when Aiden went back to the tailor's the next day, he was not expecting to be able to walk out with a brand new outfit in hand. The tailor happened to have a complete set on display that he sold to Aiden at a discounted price. Apparently, it had been made for another customer some time ago who had changed their mind at the very last minute. Amazingly, the entire ensemble fit Aiden like a glove! There were only a couple quick adjustments needed for the pants but that was it!
Finally Aiden stepped up to the mirror. He almost didn't recognize himself! The young man staring back at him looked older and more mature. There was a growing confidence which showed in how he stood tall and smiled with approval.
The next time Aiden was due to meet Abigail and Vincent marked two weeks until the masquerade! While it also meant Damien was officially back in town as well, Aiden had other things on his mind. This was the day he would be arriving dressed like a gentleman; not some commoner who worked aboard a ship.
Aiden was feeling nervous! His hands kept fidgeting and tugging at his fitted blue waistcoat as he stepped off the lift. Just ahead of him was the open door that invitingly led into Vincent's office. What would Vincent think? Would he approve of him? Aiden peeked into the room and took a cursory glance around to see who was all here. His eyes appreciatively settled on the slender yet curvy shape standing by one of the bookshelves beside the tea station.
It was Vincent, of course! He hadn't realized he had company yet. He was standing in front of a small mirror up on one of the bookshelves and was actually humming softly to himself. Intent upon his task, he deftly pinned the last strands of hair into his updo. It was a more effeminate style than Aiden had ever seen on him. It wasn't just his hair but also the way he was dressed that gave him such an androgynous appearance. He was a little more dressed up and the way his corset and trousers flattered and hugged his figure? There was just something different about him today. Whatever it was, Aiden found it attractive.
Just as Vincent finished with his hair and gave a satisfied smile at his appearance there was a soft knock at the door. Ah, that had to be Aiden. He was right on time! As he turned to greet Aiden, he saw Aiden's smile which bemused him. And while he'd never admit it aloud, it made him feel shy. His mind tried to reason why Aiden would be smiling at him as if...as if he were the loveliest creature in the world.
No, his mind reasoned, that couldn't be right! And as if to prove him right, Aiden suddenly began to grin. That's right...he must be amused by his appearance! However, he was completely unaware that, in truth, Aiden was actually grinning at the sight of Vincent's deepening blush that had blossomed across his cheeks at the sight of his friend staring at him...
But now, Vincent was feeling awkward and second-guessing his decision to dress up. He nibbled his lower lip and glanced off to the side. As he reached up with one hand and toyed with his bangs, he said just loud enough for Aiden to hear, "I know, I know. I look silly."
"What? No, you don't!" Aiden chuckled as he stepped into the room. "I think the whole look is very flattering on you."
"You really think so? It's not too much?"
"I really think so. You look great!"
Vincent saw that sweet, reassuring smile and suddenly he felt much better as he found himself suddenly smiling as well. Once upon a time, he would have not believed it so quickly, if at all. But Aiden had a way about him that made him feel safe to be himself. And it seemed that was turning into confidence that was taking hold more firmly in Vincent's life. And though Vincent didn't realize it, he was finally starting to come into himself and blossom; something those closest to him 'had' started to notice.
As it turned out, Abigail had come down with a small cold and wouldn't be joining them today...but Vincent didn't want to cancel Aiden's lesson. After all, Vincent knew how to be led in a dance just as well as he could lead! So, when he offered himself as Aiden's dance partner, he was pleased with Aiden's enthusiastic response.
Once Vincent turned the phonograph on, he turned to face his friend and saw Aiden offering out his hand towards him with a grin. It was much like he'd done the night he'd asked Vincent to join him on their moonlit flight. Vincent grinned back and placed his hand in Aiden's before allowing himself to be guided to the middle of the room.
Aiden slid his hand around Vincent's waist and stepped close, his gaze shifting down to gaze into Vincent's as Vincent's hand came to sit upon his upper arm and gently took his hand. Then after what felt like several quiet, wonderful minutes of suspended time (but was really only a couple of breaths), Aiden began to lead on the next beat of melody that was playing for them.
Aiden had proven by now that he had a pretty good handle on the waltz. So after a couple of dances together, Vincent decided how to show him the first steps of another type of dance he'd demonstrated the first day: the quadrille!
A couple of hours had passed and Aiden was finally ready to give leading a real try! So after a quick break, the men got back to it! It was about halfway through the first dance when Aiden first accidentally treaded on Vincent's toes and bumped into him. At first, Aiden was apologetic, but Vincent laughed it off.
And as they continued to dance, he told Aiden about a few collisions on the dance floor that he'd witnessed. Vincent was no longer keeping an eye on Aiden's dance moves because he was too preoccupied talking and laughing all while still dancing! As natural as can be, Aiden still led Vincent around the small space while listening and tossing in his own laughter and commentary. They were no longer dancing the quadrille, exactly, but instead just dancing for fun while they interacted. In fact, they were so engrossed with each other, their dance, and the music that they were unaware that they were no longer alone.
As seconds turned to nearly a minute, Damien's composure was starting to crack. So this was why Vincent couldn't spend time with him earlier today! Of course, it was because of fucking Aiden! What the bloody Hell was going on? Finally deciding to just get their attention before he completely lost himself, Damien forced another smile upon his face and knocked loudly on the door.
"Damien! Is it three o'clock already?!" Vincent exclaimed before quickly glancing towards the clock. With a small chuckle he added, "Oh, you're early!" He gently detached himself from Aiden's embrace so he could go turn off the music. And as he moved, he glanced out the window and was made aware that it was suddenly getting dark outside as if it were going to pour any moment. And indeed, there was the gentle sound of thunder in the distance.
"Well, you said to just come in when I got here so here I am!"
"I meant at three, but it's fine. It looks like it's going to rain anyways."
It wasn't fine, Vincent felt, but he moved onto the next topic as he joined Aiden and Damien in the center of the room. Vincent realized how nicely Damien was dressed and he complimented him, "Well, don't you look extra sharp today? What's the occasion?"
Damien beamed as Vincent praised his outfit. He'd dressed up just for him for this very reason! He'd even let his hair grow out which he thought gave him a more roguish appearance. He felt handsome and confident; especially now that he knew Vincent approved (just as he already knew he would)!
"Well, thank you! I think I appear rather dashing."
Vincent gave a nod of approval then smiled and gestured over at Aiden. "Aiden's gotten a new outfit, too. Well, two. He's been practicing his dancing for the ball! Didn't you see? He's doing great! He's only just started learning a couple of weeks ago!"
At Vincent's proud grin and praise, Aiden felt himself blush deeply and smile bashfully. He glanced towards Vincent who stood beside him and nudged Aiden's arm with a chuckle. But across the way, Damien wasn't as pleased.
"Wait, wait, wait. The ball?" Damien wondered aloud condescendingly. "Since when is Aiden coming to the ball?"
"Since I invited him!" Vincent retorted more defensively than he'd intended. Damien blinked in surprise and even Aiden felt a little surprised...though also a bit pleased. Mysteriously, a shade of red appeared on Vincent's cheeks as he cleared his throat. He'd invited Aiden there so that he'd not dread the event so much. And...and he wanted him there. Aiden always made things better when he was there!
Unaware that he was still blushing, he quickly glanced up at Aiden then looked back at Damien before explaining a little timidly, "I just thought it would be fun, you know? I wanted to have my best friends with me." And suddenly there was a weight on Vincent's shoulders as Aiden daringly slid his arm over them and leaned towards him with a handsome smile.
"And it's going to be absolutely fantastic. I'm looking forward to it. And...thanks again for teaching me how to dance. These past couple weeks have been...wonderful. You're wonderful."
"Well, gosh! I've been enjoying your company, too. Practice is just a good excuse to see you! It...it HAS been wonderful."
And as Vincent and Aiden teased the boundaries of flirting, the realization of how good they looked side by side was more obvious than ever! Damien suddenly realized that they were even dressed to match in similar colors! It made them look even more like a couple! And with how had Vincent turned to look up at Aiden and seemed to lean into his touch? It took everything in Damien not to punch Aiden in his cocky, smiling face!
'...These past couple of weeks...' Aiden had said. What else had happened during this past month while he was gone?! Maybe he should have come home sooner, after all.
"So, tell us about your trip!" Vincent exclaimed as he was suddenly approaching Damien and tugged him further into the room towards the armchairs. "Would you like some tea? I was just thinking about making some! Aiden?" With both his friends acknowledging his offer, Vincent left Damien to sit and started up the kettle. Meanwhile, Aiden went to lean against the desk as he watched and listened silently.
Damien took his seat and groaned softly as he settled in. His eyes remained focused on Vincent (ignoring Aiden's existence as much as possible) and responded enthusiastically, "It was a lot of fun! I saw lots of family and some old friends..."
Damien began to elaborate on his visit, to which Aiden found a bit dull. However, Vincent seemed to know who Damien was talking about and was much more invested in this conversation. Even as Vincent finished serving their teas, Damien was still talking. It was as Damien's tea finally cooled enough for him to drink some that Aiden finally had a chance to speak.
"After this cup, I think I am going to let you two finish catching up and head out, myself," Aiden informed them. "When you decide when you want to take Leon's Claw up in the air, let me know."
"Mm, that's right. You and I need to decide on that!" Damien replied with a pleased grin to which Vincent smiled and nodded before sipping contently at his tea. Good, Damien thought to himself. Aiden was leaving! As soon as Aiden was gone, he'd get to the bottom of all this.
Aiden finished his tea fairly quickly, and it didn't take long before he reluctantly bid Vincent and Damien farewell. He'd be seeing Vincent the day after tomorrow for sure but that already felt like too far away. And there was something in the way Vincent hesitantly gave Aiden an umbrella to borrow and how he looked at him with a touch of longing that convinced Aiden that Vincent may, in fact, be feeling the exact same way.
Damien watched silently from where he leaned against the desk, arms rising and folding across his chest as the door finally closed behind Aiden. He watched as Vincent turned to face him with a smile. However, Vincent's smile immediately faded as he caught sight of Damien's slight frown and how his brows creased with irritation.
"What's-?" Vincent started but was cut off by Damien's abrupt, "What the fuck is going on?" Vincent drew in a deep breath and defensively responded, "What are you talking about exactly?"
"You know what I mean, Vincent!"
Vincent's lips parted but no words came out. He was flabbergasted! Where was all this coming from?! He really had no idea what Damien was so upset over so quickly! Yet as seconds passed and Vincent couldn't come up with an answer, Damien finally huffed and took a step away and ran his fingers through his hair frustratedly. Though a moment later he took a deep breath and glanced over his shoulders. He let out another sigh and asked Vincent, "I'm your best friend right?"
"Of course you are!"
"You know you can tell me anything."
"I know that."
"So, then what has he done to you?"
"What are you talking about?!"
"Aiden!" Damien placed his hands on Vincent's shoulders and squeezed tightly. Vincent winced and felt a headache take immediate siege as Aiden was being blamed yet again. "Come on, Vincent! This isn't you! I told you: you look silly when you dress like this. What's with the hair?"
Vincent felt his confidence start to sink as he glanced off to the side towards his mirror. Earlier, he'd felt pride in his appearance. He found he liked dressing more androgynously sometimes for personal reasons. Secretly, honestly... Vincent liked pretty things and had always wanted to dress more like this. It wasn't that he wanted to do it all the time but just on those rare occasions...but thanks to Damien, he was starting to question himself again and already wanted to unpin his hair. But then he remembered how Aiden had told him that it was flattering on him and that he looked great!
Remembering that, Vincent shifted his gaze up to look at Damien and placed his hands atop of his and pulled them off before stating a little sharply, "I'm trying something new. It's MY decision, Damien. No one makes that for me. No. One."
Drawing his hands back as if struck, Damien's brow furrowed as if hurt as Vincent walked past him with a sigh. Vincent placed his hands on his prized orrery and stared down at the planets as they rotated around. It was a moment later when Damien's voice appeared right behind him in his ear in a way that sent uncomfortable shivers down his spine.
"You're not the same anymore," Damien murmured. "It's like you're becoming a different person. I just miss my best friend. Is that such a bad thing?"
"No. It's-"
Vincent had turned around and found himself practically sandwiched between the orrery and Damien who was standing very, very close. Vincent wet his lips nervously and glanced off to the side uncomfortably.
"It's not a bad thing. I get it," Vincent relented as he maneuvered away towards his desk. Now feeling much less confident about himself, Vincent folded his arms over his abdomen and hunched slightly. This whole conversation had knocked the wind out of his sails.
Sensing Vincent's drop in mood, Damien reached out to touch his shoulder and explained, "It's just...not you. That's all. But I suppose I can get used to it. I just like good old Vincent, you know? I like how things used to be when it's just us...like now! It's okay, though. So..." And with that, Damien walked past Vincent towards the chair and went to plop down and folded his arms across his chest as he demanded, "...so, what's been going on with you this past month? What brought you to giving 'dancing' lessons?"
Vincent took a deep breath and then let it out and forced a smile on his face. He may as well try to keep the mood light. However, he decided to tread a little more carefully as he shrugged and went to the mirror across the way. He began to unpin the pins in his hair as he explained, "It's not just me. Abby's been helping as his dance partner but she's got a cold so I just stepped in for today."
"Oh! Well why didn't you say SHE was his dance partner?"
And though Vincent's back was turned and he couldn't see it, he could hear and feel Damien's demeanor easing down and becoming less tense. Thank God! He replied, "Because I didn't think it mattered? Anyway, I invited him to come to the ball because I thought it would be fun to have him there. Besides, there will be people he knows and it's a good opportunity. Plus, I was bored! You took TWO extra weeks to come back!"
"Yeah, but it was worth it. At least I had fun! I'm back now. That's what matters and things can go back to as they should be! Tell you what, why don't I come help out with Aiden's lessons? It would be fun! It would be easier to practice with another couple and you and I can dance together! How's that sound? We can practice for the ball!"
Vincent unwound his hair and let it fall across his shoulders; his hair falling forward across his brow and he stared at himself unhappily. And as he did, Damien suddenly appeared behind him, blocking his light and placing his hands around Vincent's upper arms. Vincent glanced off to the side though he felt Damien looming over him and pressing right up against his back and making him shrink and feel very small. Damien's eyes pierced the side of his head and his fingers dug in just the tiniest bit into his arms as he asked, "Don't you think that's a grand idea?"
"I do!" Vincent quickly lied as he plastered a smile on his face and glanced up at him up over his shoulder. Though, honestly, he wanted to crawl and hide for a while. While Damien was right that Aiden could practice better with another couple present for the quadrille, he didn't want to put them together right now. It seemed 4 weeks apart hadn't helped matters at all. "But he's already gotten so good that he won't need much more practice, I think. But if we do, I'll definitely be letting you know first."
Quickly, Vincent turned in place and pushed his long hair over his shoulder, "I'm tired of all this ball talk! Let's decide when we want to go flying!" He hoped Damien would allow himself to be distracted with plans and leave the rest of it alone. He just wanted to enjoy the rest of the day. And thankfully it seemed he was in luck!
Damien grinned and went to take his seat again all while going on a tangent about how eager he was for that. For now, it was best to let Damien enjoy that while he, Vincent, came down from whatever the fuck that argument had been about.
Vincent still wasn't sure what the core of Damien's actual problem was. It always felt like he was running in circles and never directly clarifying what upset him so much. Sometimes, Vincent wondered if even Damien knew. But it was as they parted ways much later in the evening, hours after the whole incident had even happened...that Damien finally started to hint what was really wrong.
"Tell me that you're not going to fall for Aiden."
"That's preposterous! Ha! What in the Hell has you thinking I'm going to fall for Aiden?!"
Vincent actually laughed at the idea! He shook his head as he leaned against the door jamb and folded his arms over his chest. And, if Damien was being honest with himself, Vincent sure did look surprised by this idea. Damien was standing before him in the hallway, peering back at Vincent with slightly narrowed eyes. He didn't want to go until he got that promise.
"Just....promise me you won't!"
"Pfft. Now you're just being ridiculous! Aiden? And 'me?' We're just friends! And crewmates...like you and me. Nothing's going to change, okay? Besides, I am absolutely sure Aiden doesn't see me as anything like that. Don't be a worry wart! You'll see! As soon as this damned masquerade is over with and we're back in the air, everything will be back to normal as it should be."
Vincent smirked and pushed on Damien's shoulder to nudge him to go home. The sooner Damien was gone, the sooner he could lock up and depart, himself. Thankfully, they were heading in opposite directions so he could finally get some peace and quiet.
It took a long moment, but Damien finally gave a satisfied nod and chuckle before responding, "I'm not a worry wart! Just call me a concerned best friend. I care about you. You know that."
"I do know. Be off with you! Get some rest! I'll see you in two days. Five o'clock at Leon's Claw. I'll make sure to get everything arranged ahead of time."
"See you then!"
And as soon as Damien's back was turned, Vincent ducked back into his office and slumped back against the door. Why the Hell was Damien so worried? Sure, Damien was never a person who enjoyed change but who ever truly did? Usually, the two worked very well together and got on well enough. They just needed to work through these few rough patches!
And besides, he was certain that whatever had Damien paranoid would soon pass because sooner or later he'd see that there was only friendship between Aiden and Vincent. It was absurd to think otherwise!
Absolutely...absurd.
---
NEXT PART:
www.flickr.com/photos/153660805@N05/53826223464/in/datepo...
To select another chapter (or even start from the beginning), here's the album link:
www.flickr.com/photos/153660805@N05/albums/72157717075565127
***Please note this is a BOY LOVE (LGBTQ+) series. It is a slow burn and is rated YOUNG ADULT!***
Special thank you to my husband Vin (Be My Mannequin? Pose Store) for collaborating with me on this series and co-starring as The Captain!
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Mangrove area in Sumbawa, West Nusa Tenggara. The existence of mangrove ecosystem increasingly considered important by Indonesian government. Together with Peat, both ecosystem claimed as ecosytem that can adsorb carbon emission more than another tropical forest area. From the data in 2019, the total of mangrove cover area in Indonesia 3,56 million hectares, consist of 2,37 million hectares in well condition and 1,19 million hectares in a damaged condition.
Mangrove di wilyah Sumbawa, Nusa Tenggara Barat. Keberadaan ekosistem mangrove semakin dianggap penting bagi Pemerintah Indonesia. Bersama dengan ekosistem gambut, keduanya diklaim sebagai ekosistem yang mampu menyerap emisi karbon terbesar dibandingkan dengan hutan tropis lainnya. Dari data 2019, luas tutupan mangrove Indonesia 3,56 juta hektar, yang terdiri dari 2,37 juta hektar dalam kondisi baik dan 1,19 juta hektar yang rusak.
Photo by Donny Iqbal/CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
The 2018 London Design Biennale at Somerset House was on the theme 'Emotional States'. The Saudi Arabia entry was called 'Being and Existence'. Lulwah Al Homoud used lights and mirrors to create kaleidoscopic geometric patterns based on the Arabic alphabet.
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...
(further information and pictures you can get by clicking on the link at the end of page!)
Mariahilferstraße
Mariahilferstraße, 6th, 7th, 14th and 15th, since 1897 (in the 6th and 7th district originally Kremser Sraße, then Bavarian highway, Laimgrubner main road, Mariahilfer main street, Fünfhauserstraße, Schönbrunnerstraße and Penzinger Poststraße, then Schönbrunner Straße), in memory of the old suburb name; Mariahilf was an independent municipality from 1660 to 1850, since then with Gumpendorf, Magdalenengrund, Windmühle and Laimgrube 6th District.
From
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Mariahilferstraße, 1908 - Wien Museum
Mariahilferstraße, 1908
Picture taken from "August Stauda - A documentarian of old Vienna"
published by Christian Brandstätter - to Book Description
History
Pottery and wine
The first ones who demonstrably populated the area of today's Mariahilferstraße (after the mammoth) were the Illyrians. They took advantage of the rich clay deposits for making simple vessels. The Celts planted on the sunny hills the first grape vines and understood the wine-making process very well. When the Romans occupied at the beginning of our Era Vienna for several centuries, they left behind many traces. The wine culture of the Celts they refined. On the hill of today's Mariahilferstraße run a Roman ridge trail, whose origins lay in the camp of Vindobona. After the rule of the Romans, the migration of peoples temporarily led many cultures here until after the expulsion of the Avars Bavarian colonists came from the West.
The peasant Middle Ages - From the vineyard to the village
Thanks to the loamy soil formed the winery, which has been pushed back only until the development of the suburbs, until the mid-17th Century the livelihood of the rural population. "Im Schöff" but also "Schöpf - scoop" and "Schiff - ship" (from "draw of") the area at the time was called. The erroneous use of a ship in the seal of the district is reminiscent of the old name, which was then replaced by the picture of grace "Mariahilf". The Weinberg (vineyard) law imposed at that time that the ground rent in the form of mash on the spot had to be paid. This was referred to as a "draw".
1495 the Mariahilfer wine was added to the wine disciplinary regulations for Herrenweine (racy, hearty, fruity, pithy wine with pleasant acidity) because of its special quality and achieved high prices.
1529 The first Turkish siege
Mariahilferstraße, already than an important route to the West, was repeatedly the scene of historical encounters. When the Turks besieged Vienna for the first time, was at the lower end of today Mariahilferstrasse, just outside the city walls of Vienna, a small settlement of houses and cottages, gardens and fields. Even the St. Theobald Monastery was there. This so-called "gap" was burned at the approach of the Turks, for them not to offer hiding places at the siege. Despite a prohibition, the area was rebuilt after departure of the Turks.
1558, a provision was adopted so that the glacis, a broad, unobstructed strip between the city wall and the outer settlements, should be left free. The Glacis existed until the demolition of the city walls in 1858. Here the ring road was later built.
1663 The new Post Road
With the new purpose of the Mariahilferstrasse as post road the first three roadside inn houses were built. At the same time the travel increased, since the carriages were finally more comfortable and the roads safer. Two well-known expressions date from this period. The "tip" and "kickbacks". In the old travel handbooks of that time we encounter them as guards beside the route, the travel and baggage tariff. The tip should the driver at the rest stop pay for the drink, while the bribe was calculated in proportion to the axle grease. Who was in a hurry, just paid a higher lubricant (Schmiergeld) or tip to motivate the coachman.
1683 The second Turkish siege
The second Turkish siege brought Mariahilferstraße the same fate. Meanwhile, a considerable settlement was formed, a real suburb, which, however, still had a lot of fields and brick pits. Again, the suburb along the Mariahilferstraße was razed to the ground, the population sought refuge behind the walls or in the Vienna Woods. The reconstruction progressed slowly since there was a lack of funds and manpower. Only at the beginning of the 18th Century took place a targeted reconstruction.
1686 Palais Esterhazy
On several "Brandstetten", by the second Turkish siege destroyed houses, the Hungarian aristocratic family Esterhazy had built herself a simple palace, which also had a passage on the Mariahilferstrasse. 1764 bought the innkeeper Paul Winkelmayr from Spittelberg the building, demolished it and built two new buildings that have been named in accordance with the Esterhazy "to the Hungarian crown."
17th Century to 19th Century. Fom the village to suburb
With the development of the settlements on the Mariahilferstraße from village to suburbs, changed not only the appearance but also the population. More and more agricultural land fell victim to the development, craftsmen and tradesmen settled there. There was an incredible variety of professions and trades, most of which were organized into guilds or crafts. Those cared for vocational training, quality and price of the goods, and in cases of unemployment, sickness and death.
The farms were replaced by churches and palaces, houses and shops. Mariahilf changed into a major industrial district, Mariahilferstrasse was an important trading center. Countless street traders sold the goods, which they carried either with them, or put in a street stall on display. The dealers made themselves noticeable by a significant Kaufruf (purchase call). So there was the ink man who went about with his bottles, the Wasserbauer (hydraulic engineering) who sold Danube water on his horse-drawn vehicle as industrial water, or the lavender woman. This lovely Viennese figures disappeared with the emergence of fixed premises and the improvement of urban transport.
Private carriages, horse-drawn carriages and buggies populated the streets, who used this route also for trips. At Mariahilferplatz Linientor (gate) was the main stand of the cheapest and most popular means of transport, the Zeiselwagen, which the Wiener used for their excursions into nature, which gradually became fashionable. In the 19th Century then yet arrived the Stellwagen (carriage) and bus traffic which had to accomplish the connection between Vienna and the suburbs. As a Viennese joke has it, suggests the Stellwagen that it has been so called because it did not come from the spot.
1719 - 1723 Royal and Imperial Court Stables
Emperor Charles VI. gave the order for the construction of the stables to Johann Bernhard Fischer von Erlach. 1772 the building was extended by two houses on the Mariahilferstrasse. The size of the stables still shows, as it serves as the Museum Quarter - its former importance. The Mariahilferstraße since the building of Schönbrunn Palace by the Imperial court very strongly was frequented. Today in the historic buildings the Museum Quarter is housed.
The church and monastery of Maria Hülff
Coloured engraving by J. Ziegler, 1783
1730 Mariahilferkirche
1711 began the renovation works at the Mariahilferkirche, giving the church building today's appearance and importance as a baroque monument. The plans stem from Franziskus Jänkl, the foreman of Lukas von Hildebrandt. Originally stood on the site of the Mariahilferkirche in the medieval vineyard "In Schoeff" a cemetery with wooden chapel built by the Barnabites. Already in those days, the miraculous image Mariahilf was located therein. During the Ottoman siege the chapel was destroyed, the miraculous image could be saved behind the protective walls. After the provisional reconstruction the miraculous image in a triumphal procession was returned, accompanied by 30,000 Viennese.
1790 - 1836 Ferdinand Raimund
Although in the district Mariahilf many artists and historical figures of Vienna lived , it is noticeable that as a residence they rather shunned the Mariahilferstraße, because as early as in the 18th Century there was a very lively and loud bustle on the street. The most famous person who was born on the Mariahilferstrasse is the folk actor and dramatist Ferdinand Raimund. He came in the house No. 45, "To the Golden deer (Zum Goldenen Hirschen)", which still exists today, as son of a turner into the world. As confectioners apprentice, he also had to visit the theaters, where he was a so-called "Numero", who sold his wares to the visitors. This encounter with the theater was fateful. He took flight from his training masters and joined a traveling troupe as an actor. After his return to Vienna, he soon became the most popular comedian. In his plays all those figures appeared then bustling the streets of Vienna. His most famous role was that of the "ash man" in "Farmer as Millionaire", a genuine Viennese guy who brings the wood ash in Butte from the houses, and from the proceeds leading a modest existence.
1805 - 1809 French occupation
The two-time occupation of Vienna by the French hit the suburbs hard. But the buildings were not destroyed fortunately.
19th century Industrialization
Here, where a higher concentration of artisans had developed as in other districts, you could feel the competition of the factories particularly hard. A craftsman after another became factory worker, women and child labor was part of the day-to-day business. With the sharp rise of the population grew apartment misery and flourished bed lodgers and roomers business.
1826
The Mariahilferstraße is paved up to the present belt (Gürtel).
1848 years of the revolution
The Mariahilferstraße this year was in turmoil. At the outbreak of the revolution, the hatred of the people was directed against the Verzehrungssteuerämter (some kind of tax authority) at the lines that have been blamed for the rise of food prices, and against the machines in the factories that had made the small craftsmen out of work or dependent workers. In October, students, workers and citizens tore up paving stones and barricaded themselves in the Mariahilfer Linientor (the so-called Linienwall was the tax frontier) in the area of today's belt.
1858 The Ring Road
The city walls fell and on the glacis arose the ring-road, the now 6th District more closely linking to the city center.
1862 Official naming
The Mariahilferstraße received its to the present day valid name, after it previously was bearing the following unofficial names: "Bavarian country road", "Mariahilfer Grund Straße", "Penzinger Street", "Laimgrube main street" and "Schönbrunner Linienstraße".
The turn of the century: development to commercial street
After the revolution of 1848, the industry displaced the dominant small business rapidly. At the same time the Mariahilferstraße developed into the first major shopping street of Vienna. The rising supply had to be passed on to the customer, and so more and more new shops sprang up. Around the turn of the century broke out a real building boom. The low suburban houses with Baroque and Biedermeier facade gave way to multi-storey houses with flashy and ostentatious facades in that historic style mixture, which was so characteristic of the late Ringstrasse period. From the former historic buildings almost nothing remained. The business portals were bigger and more pompous, the first department stores in the modern style were Gerngross and Herzmansky. Especially the clothing industry took root here.
1863 Herzmansky opened
On 3 March opened August Herzmansky a small general store in the Church Lane (Kirchengasse) 4. 1897 the great establishment in the pin alley (Stiftgasse) was opened, the largest textile company of the monarchy. August Herzmansky died a year before the opening, two nephews take over the business. In 1928, Mariahilferstraße 28 is additionally acquired. 1938, the then owner Max Delfiner had to flee, the company Rhonberg and Hämmerle took over the house. The building in Mariahilferstrasse 30 additionally was purchased. In the last days of the war in 1945 it fell victim to the flames, however. 1948, the company was returned to Max Delfiner, whose son sold in 1957 to the German Hertie group, a new building in Mariahilferstrasse 26 - 30 constructing. Other ownership changes followed.
1869 The Pferdetramway
The Pferdetramway made it first trip through the Mariahilferstraße to Neubaugasse.
Opened in 1879 Gerngroß
Mariahilferstraße about 1905
Alfred Gerngross, a merchant from Bavaria and co-worker August
Herzmanskys, founded on Mariahilferstrasse 48/corner Church alley (Kirchengasse) an own fabric store. He became the fiercest competitor of his former boss.
1901 The k.k. Imperial Furniture Collection
The k.k. Hofmobilien and material depot is established in Mariahilferstrasse 88. The collection quickly grew because each new ruler got new furniture. Today, it serves as a museum. Among other things, there is the office of Emperor Franz Joseph, the equipment of Emperor Maximilian of Mexico from Miramare Castle, the splendid table of Charles VI. and the furniture from the Oriental Cabinet of Crown Prince Rudolf.
1911 The House Stafa
On 18 August 1911, on the birthday of Emperor Franz Joseph, corner Mariahilferstraße/imperial road (Kaiserstraße) the "central palace" was opened. The construction by its architecture created a sensation. Nine large double figure-relief panels of Anton Hanak decorated it. In this building the "1st Vienna Commercial sample collective department store (Warenmuster-Kollektivkaufhaus)", a eight-storey circular building was located, which was to serve primarily the craft. The greatest adversity in the construction were underground springs. Two dug wells had to be built to pump out the water. 970 liters per minute, however, must be pumped out until today.
1945 bombing of Vienna
On 21 February 1945 bombs fell on the Mariahilferstrasse, many buildings were badly damaged. On 10th April Wiener looted the store Herzmansky. Ella Fasser, the owner of the café "Goethe" in Mariahilferstrasse, preserved the Monastery barracks (Stiftskaserne) from destruction, with the help other resistance fighters cutting the fire-conducting cords that had laid the retreating German troops. Meanwhile, she invited the officers to the cafe, and befuddled them with plenty of alcohol.
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
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Thierry Geoffroy / Colonel
esthetics - (art) the branch of philosophy dealing with beauty and taste (emphasizing the evaluative criteria that are applied to art); "traditional aesthetics assumed the existence of universal and timeless criteria of artistic value"
Why can't we co-exist with animals on this planet? Tigers are on the brink of extinction. There are only between 5,000 and 7,400 tigers left in the wild and the number keeps shrinking. Of the 8 species of tigers, only 5 are still in existence today. Once they are gone, they will be gone forever. What would life be like if we couldn't show our children and our grandchildren the beauty of these animals? It would be a great tragedy.
I am a sucker for animals. This little tiger lives in Sydney Zoo and he was soooo beautiful, i couldn't not take pictures. It didn't quite turn out how i intended but i might i kind of like it anyway.