A little girl trying to balance on rope in order to maintain her existence

What is the cover photo?

 

The cover photo is from my special passport for visiting Mecca only, issued when I was fourteen years old. My somber visage reflects the ordeals of my youth when I never expected any future beyond my bleak existence.

 

Why did you choose that font?

 

The font chosen for chapter headings is called Mason. Many have asked why I chose a Christian looking font for a Muslim book. Few people are aware of the historical relationship between the two religions. The architecture of medieval 7th and 8th century European cathedrals, particularly the arches and latticework, was inspired by Islamic mosques. This font symbolizes the common ground of cultures and suggests to the reader that the story of the book is deeper than just my life. It goes deep down to a culture that has turned into a medieval cult.

 

What is the significance of the Yellow, Dark Gray and Red website color?

 

The color palette of the site was purposely chosen. Yellow is the color of hate and sickness in Persian culture. To convey their anger or hate toward someone, people give that individual yellow roses or flowers. Since it is impolite to refuse a gift, it is a message to the recipient to change his or her manner.

 

Also, there is a fire ceremony that, despite being banned by the Iranian government, Persians hold dear and still perform privately every year on the Persian New Year, the last Wednesday of winter. Bushes are set on fire and people jump on them, chanting, "My yellowness to you; your redness to me.

 

"In this ceremony, red represents health and yellow represents sickness. In Persian culture, red is the color of war, bloodshed and Hell.

 

Gray is the color of inmate's clothing in Iran's prisons. It is also the mandatory color of the long raincoat uniform that schoolgirls must wear. Black is the color of the chadors and headscarves the Iranian government forces women to wear in public. Also, it is the color of mourning in Islam and it is scripted for mourning in religious books.

 

What is the symbol used on the cover page and throughout the web site?

 

Currently, the Iranian flag carries the shield-like logo displayed on the cover page of Living in Hell book and through out the book and the site. It is a stylistic Arabic word that the government of Iran translates as God or Allah.

What are the myths behind Iran's flag colors? When did the first flag of Iran appear as a national symbol?

 

The current flag has had the same color palette of Green, White and Red since the 18th century. These have been the official colors for the Qajar, Pahlavi and current regime, each of which added its' logo to the flag. For Pahlavi, the logo was a lion (symbol of courage) holding a sword, standing before a setting sun as if he is crowned with a golden light. Currently, the same flag carries the shield-like logo displayed on the first page of my book, Living in Hell. It is a stylistic Arabic word that the government of Iran translates as God or Allah.

 

The Green, White and Yellow are mythical colors; Green for prosperity, White for peace and Red for war and courage. All together, it means, 'We stand united, in prosperity, peace and war as one nation.'

 

The word Persia, however, was deleted from Iranian culture not by the current regime but by the Pahlavi dynasty.

 

Cyrus the Great used the first Persian flag in 559 B.C. It featured a Golden Eagle, the symbol of the Persian Empire. A very famous flag from the Sassanid dynasty belonged to a national hero named Darafsh Kaviani, a simple metal worker who became a Persian hero fighting the evil 'Ahreeman' and a king who did not hesitate to kill indiscriminately to save his own life and kingdom. His flag is the loosely translate for the word 'Derafsh' The flag, of woven fabric, was predominately black on which was superimposed a Yellow, Purple, Red and White banner on a standard. It became the symbol of courage and was used from 224 A.D., to 651 A.D. by countless Persian kings and emperors, particularly in the battle against the Arab invasion of Persia.

 

Is it Persia or Iran?

 

Persia was the name present day Iran carried for over 2600 years. Iran is the name given to Persia by Reza Shah in 1935 as one of his moves to bring Persia into the twentieth century. He took many positive steps toward the future of Iran. He wanted education for the people, especially women.

 

That year he opened the first public schools and modern European-style universities. Education became mandatory for every individual and every child had to go to school. Previously, only those studying to become a cleric learned to read and write. He stressed equality for women and in 1936 ordered women to remove their veils and promised that they could walk the streets in European dress under his protection and without fear. He kept his promise.

 

Shaking hands is a Persian Greeting...

 

From the stone walls of the ruined city of Persepolis by Alexander the Great, it appears that Persians were the first nation to shake hands. Other societies at the time would hug, kiss or grasp each other's forearm.

 

Shaking hands became the signature and word of Persian gentlemen for centuries in business and other affairs. Today, however, shaking handshake business deals are few and far between.

 

When is Persian New Year and what are its' roots?

 

The Persian New Year, called 'Norooz', is based on the solar system. Hakim Omar-e Khayyam, the renowned fifth century poet and mathematician, measured the exact rotation of earth around the sun and calculated the time when Earth enters a new year.

 

However, the origins of Norooz started even earlier in the time of Jamshid, a famous emperor of ancient Persia. Legend has it that he built a glass carriage and was lifted by demons.

 

Another legend has it that he rode away on a large bed covered with Persian rugs and carried by eagles, above which he held meat to keep them flying. He flew from Damavand to Babylon. When he returned to the ground, he called the day 'Norooz', a New Day, and it has been so called ever since.

 

Stories of Persian poetry tell us that Jamshid was a good king until his one day flying excursion. He taught his people to weave and to mine, created a strong army and divided people to four classes. After his lift off from earth, he seemed different and later paid with his life. After returning to the earth, he called himself not a king or an emperor but a God. He died shortly thereafter by a mosquito entering his nasal passages. It is scripted in Islamic books that he would have not been killed had he not placed himself in God's position.

 

To prepare for Norooz, people often start spring-cleaning about a month before the New Year. On the last Wednesday of the year, in an ancient ceremony passed down from Jamshid, we all jump on the burning bush fire, chanting "My yellowness to you and your redness to me." Meaning, I give you my sickness and difficulty and receive your vivacious red, healthy color.

 

Variations of this ritual are also practiced among other tribes. Some jump on the fire, some use the smoke for religious proposes and some even walk on it to cleanse their body and soul.

 

Persians were originally Zoroastrians before converting to Islam. Zoroaster was a prophet sent by God. For them, fire was the symbol of God All Mighty, who, in Persian, is called 'Ahoramazda.'

 

Norooz starts by planting greenery and flowers everywhere. A powdery of 'Sabzeh', or green grains, such as beans or flower seeds is displayed in almost every Persian household.

 

For the New Year, everyone goes to the hairdresser, freshens up and, preferably, dons new clothing, if they have it. If not, clean clothing is a must.

 

There would be a table decorated with seven edible ingredients that starts with 'S'. In Persian literature, it is called Haft Seen (or Seven S's.) Prayers, greetings and good wishes are chanted around the table at the moment of New Year.

 

The symbolic dishes consist of:

'Sabzeh' is (greenery) or sprouts, usually wheat or lentil, representing rebirth.

'Samanu' is a dish in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.

'Seeb' are apples and represent health and beauty.

'Senjed' the sweet, dry fruit of the Lotus tree, represents love. It has been said that when a lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.

'Seer', or garlic in Persian, represents medicine.

'Serkeh', or vinegar, represents age and patience

'Somaq' sumac berries represent the color of sunrise; with the appearance of the sun, Good conquers Evil.

'Sonbol' the hyacinth flower with its strong fragrance heralding the coming of spring.

 

Other elements presented are 'Sekkeh', or coins (gold, silver, or regular coins), representing prosperity and wealth.

 

Other elements and symbols are also on the table.

 

A basket of painted eggs represents fertility. (This is much too similar to Easter bunny eggs.)

 

A Seville orange floating in a bowl of water represents the earth floating in space.

 

A goldfish in a bowl represents life and the end of astral year-picas.

 

A mirror, which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.

 

On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.

 

Most Persian families have fish and rice as the New Year's dinner. Fish was one of the first foods on the Jesus' table. It is a symbol of Prosperity for the year.

 

The number seven has been sacred in Iran since ancient times. The seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.

 

It is customary for the family to gather around the Haft Seen spread a few hours before the New Year and recite verses from the Holy Koran and poems from Hafez famous poetry book.

 

At the exact moment of the New Year, the oldest person in the family continues the traditions by hugging and wishing each member well and offering sweets, pastries, and coins. Of course, that varies from family to family and people of different religions.

 

After the New Year minute, everyone in the family hugs and kisses each other. Many make friends with people who didn't call them friend in the past year. Starting a New Year with a New Behavior is highly encouraged in Persian culture. During the 12 days of New Year holiday, elders spend time with the younger generations.

 

The gift basket depends on the wealth of the family. Money is often given as a gift for kids. For the adults, Persian Sweets, fruit or flowers are among the common gifts exchanged. Some give gold coin jewelry and Persian carpets for the newly married couples. Parents give their children money or what they have wanted all year long. New Year is for children; adults don't exchange gifts as often.

 

The Norooz celebration lasts 12 days. It starts the minute earth finishes a turn around the Sun, which happens to be around March 21 of each year, with the exception of leap year. On the 13th day, Persians go on a picnic to take the ghosts of the past year outside their homes and leave them there. They take their greenery pods along to leave it where they had their picnic. It is all a continuation of a highly regarded, mystical, cultural ceremony inherited from the Jamshid and highly cherished in the hearts of millions of Persians.

 

After the 13th day, everything goes back to normal till the early following February

   

The 'Woking Homes' Railwaymens' charity has been in existence for over 100 years. On 21st May 1988 a charity day trip to Weymouth Quay was organised, using 73134 and 33112 either end of a 4-REP + 4-TC formation. I suspect this to have been the only visit of a REP to Weymouth Quay.

Flightless birds lead a mostly happy existence, except for Red, who just can't get past the daily annoyances of life. His temperament leads him to anger management class, where he meets fellow misfits Chuck and Bomb. Red becomes even more agitated when his feathered brethren welcome green pigs to their island paradise. As the swine begin to get under his skin, Red joins forces with Chuck and Bomb to investigate the real reason behind their mysterious arrival. (the movie)

 

youtu.be/Dyqp8oiPGLE

 

youtu.be/lI-u0pJ-XEM

*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.

 

Pencil, charcoal, a little gel pen and some time on A4 Seawhite paper.

Ponpathirkoodam, Chennai

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

 

cifor-icraf.org

 

forestsnews.cifor.org

 

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

A boat entering the Combined Lock in Smiths Falls, Ontario, Canada. In the centre of town is the Smiths Falls Combined lock with a lift of 7.9 m (26 feet), the single highest lift of any Rideau lock. It was built in 1973-74, replacing a flight of 3 locks, which are still in existence, although not used anymore.

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.

Zabriskie Point is a part of the Amargosa Range located east of Death Valley in Death Valley National Park in California, United States, noted for its erosional landscape. It is composed of sediments from Furnace Creek Lake, which dried up 5 million years ago—long before Death Valley came into existence.

 

The location was named after Christian Brevoort Zabriskie, vice-president and general manager of the Pacific Coast Borax Company in the early 20th century. The company's twenty-mule teams were used to transport borax from its mining operations in Death Valley.

 

Millions of years prior to the actual sinking and widening of Death Valley and the existence of Lake Manly (see Geology of the Death Valley area), another lake covered a large portion of Death Valley including the area around Zabriskie Point. This ancient lake began forming approximately nine million years ago. During several million years of the lake's existence, sediments were collecting at the bottom in the form of saline muds, gravels from nearby mountains, and ashfalls from the then-active Black Mountain volcanic field. These sediments combined to form what we today call the Furnace Creek Formation. The climate along Furnace Creek Lake was dry, but not nearly as dry as in the present. Camels, mastodons, horses, carnivores, and birds left tracks in the lakeshore muds, along with fossilized grass and reeds. Borates, which made up a large portion of Death Valley's historical past were concentrated in the lakebeds from hot spring waters and alteration of rhyolite in the nearby volcanic field. Weathering and alteration by thermal waters are also responsible for the variety of colors represented there.

 

Death Valley National Park is an American national park that straddles the California–Nevada border, east of the Sierra Nevada. The park boundaries include Death Valley, the northern section of Panamint Valley, the southern section of Eureka Valley and most of Saline Valley. The park occupies an interface zone between the arid Great Basin and Mojave deserts, protecting the northwest corner of the Mojave Desert and its diverse environment of salt-flats, sand dunes, badlands, valleys, canyons and mountains. Death Valley is the largest national park in the contiguous United States, as well as the hottest, driest and lowest of all the national parks in the United States. It contains Badwater Basin, the second-lowest point in the Western Hemisphere and lowest in North America at 282 feet (86 m) below sea level. More than 93% of the park is a designated wilderness area. The park is home to many species of plants and animals that have adapted to this harsh desert environment including creosote bush, Joshua tree, bighorn sheep, coyote, and the endangered Death Valley pupfish, a survivor from much wetter times. UNESCO included Death Valley as the principal feature of its Mojave and Colorado Deserts Biosphere Reserve in 1984.

 

A series of Native American groups inhabited the area from as early as 7000 BC, most recently the Timbisha around 1000 AD who migrated between winter camps in the valleys and summer grounds in the mountains. A group of European Americans, trapped in the valley in 1849 while looking for a shortcut to the gold fields of California, gave the valley its name, even though only one of their group died there. Several short-lived boom towns sprang up during the late 19th and early 20th centuries to mine gold and silver. The only long-term profitable ore to be mined was borax, which was transported out of the valley with twenty-mule teams. The valley later became the subject of books, radio programs, television series, and movies. Tourism expanded in the 1920s when resorts were built around Stovepipe Wells and Furnace Creek. Death Valley National Monument was declared in 1933 and the park was substantially expanded and became a national park in 1994.

 

The natural environment of the area has been shaped largely by its geology. The valley is actually a graben with the oldest rocks being extensively metamorphosed and at least 1.7 billion years old. Ancient, warm, shallow seas deposited marine sediments until rifting opened the Pacific Ocean. Additional sedimentation occurred until a subduction zone formed off the coast. The subduction uplifted the region out of the sea and created a line of volcanoes. Later the crust started to pull apart, creating the current Basin and Range landform. Valleys filled with sediment and, during the wet times of glacial periods, with lakes, such as Lake Manly.

 

Death Valley is the fifth-largest American national park and the largest in the contiguous United States. It is also larger than the states of Rhode Island and Delaware combined, and nearly as large as Puerto Rico. In 2013, Death Valley National Park was designated as a dark sky park by the International Dark-Sky Association

 

There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.

 

Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.' Sediment is deposited on a small and steep alluvial fan.

 

At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m) and is the tallest mountain in the contiguous United States. This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage.[8] Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus, the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.

 

According to the Köppen climate classification system, Death Valley National Park has a hot desert climate (BWh). The plant hardiness zone at Badwater Basin is 9b with an average annual extreme minimum temperature of 28.0 °F (–2.2 °C).

 

Death Valley is the hottest and driest place in North America due to its lack of surface water and low relief. It is so frequently the hottest spot in the United States that many tabulations of the highest daily temperatures in the country omit Death Valley as a matter of course.

 

On the afternoon of July 10, 1913, the United States Weather Bureau recorded a high temperature of 134 °F (56.7 °C) at Greenland Ranch (now Furnace Creek) in Death Valley. This temperature stands as the highest ambient air temperature ever recorded at the surface of the Earth. (A report of a temperature of 58 °C (136.4 °F) recorded in Libya in 1922 was later determined to be inaccurate.)[18] Daily summer temperatures of 120 °F (49 °C) or greater are common, as well as below freezing nightly temperatures in the winter. July is the hottest month, with an average high of 117 °F (47 °C) and an average low of 91 °F (33 °C). December is the coldest month, with an average high of 66 °F (19 °C) and an average low of 41 °F (5 °C). The record low is 15 °F (−9.4 °C). There are an average of 197.3 days annually with highs of 90 °F (32.2 °C) or higher and 146.9 days annually with highs of 100 °F (37.8 °C) or higher. Freezing temperatures of 32 °F (0 °C) or lower occur on an average of 8.6 days annually.

 

Several of the larger Death Valley springs derive their water from a regional aquifer, which extends as far east as southern Nevada and Utah. Much of the water in this aquifer has been there for many thousands of years, since the Pleistocene ice ages, when the climate was cooler and wetter. Today's drier climate does not provide enough precipitation to recharge the aquifer at the rate at which water is being withdrawn.

 

The highest range within the park is the Panamint Range, with Telescope Peak being its highest point at 11,049 feet (3,368 m). The Death Valley region is a transitional zone in the northernmost part of the Mojave Desert and consists of five mountain ranges removed from the Pacific Ocean. Three of these are significant barriers: the Sierra Nevada, the Argus Range, and the Panamint Range. Air masses tend to lose moisture as they are forced up over mountain ranges, in what climatologists call a rainshadow effect.

 

The exaggerated rain shadow effect for the Death Valley area makes it North America's driest spot, receiving about 1.5 inches (38 mm) of rainfall annually at Badwater, and some years fail to register any measurable rainfall.[20] Annual average precipitation varies from 1.92 inches (49 mm) overall below sea level to over 15 inches (380 mm) in the higher mountains that surround the valley. When rain does arrive it often does so in intense storms that cause flash floods which remodel the landscape and sometimes create very shallow ephemeral lakes.

 

The hot, dry climate makes it difficult for soil to form. Mass wasting, the down-slope movement of loose rock, is therefore the dominant erosive force in mountainous areas, resulting in "skeletonized" ranges (mountains with very little soil on them). Sand dunes in the park, while famous, are not nearly as widespread as their fame or the dryness of the area may suggest. The Mesquite Flat dune field is the most easily accessible from the paved road just east of Stovepipe Wells in the north-central part of the valley and is primarily made of quartz sand. Another dune field is just 10 miles (16 km) to the north but is instead mostly composed of travertine sand. The highest dunes in the park, and some of the highest in North America, are located in the Eureka Valley about 50 miles (80 km) to the north of Stovepipe Wells, while the Panamint Valley dunes and the Saline Valley dunes are located west and northwest of the town, respectively. The Ibex dune field is near the seldom-visited Ibex Hill in the southernmost part of the park, just south of the Saratoga Springs marshland. All the latter four dune fields are accessible only via unpaved roads. Prevailing winds in the winter come from the north, and prevailing winds in the summer come from the south. Thus, the overall position of the dune fields remains more or less fixed.

 

There are rare exceptions to the dry nature of the area. In 2005, an unusually wet winter created a 'lake' in the Badwater Basin and led to the greatest wildflower season in the park's history. In October 2015, a "1000 year flood event" with over three inches of rain caused major damage in Death Valley National Park. A similar widespread storm in August 2022 damaged pavement and deposited debris on nearly every road, trapping 1,000 residents and visitors overnight.

 

California is a state in the Western United States, located along the Pacific Coast. With nearly 39.2 million residents across a total area of approximately 163,696 square miles (423,970 km2), it is the most populous U.S. state and the 3rd largest by area. It is also the most populated subnational entity in North America and the 34th most populous in the world. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second and fifth most populous urban regions respectively, with the former having more than 18.7 million residents and the latter having over 9.6 million. Sacramento is the state's capital, while Los Angeles is the most populous city in the state and the second most populous city in the country. San Francisco is the second most densely populated major city in the country. Los Angeles County is the country's most populous, while San Bernardino County is the largest county by area in the country. California borders Oregon to the north, Nevada and Arizona to the east, the Mexican state of Baja California to the south; and has a coastline along the Pacific Ocean to the west.

 

The economy of the state of California is the largest in the United States, with a $3.4 trillion gross state product (GSP) as of 2022. It is the largest sub-national economy in the world. If California were a sovereign nation, it would rank as the world's fifth-largest economy as of 2022, behind Germany and ahead of India, as well as the 37th most populous. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second- and third-largest urban economies ($1.0 trillion and $0.5 trillion respectively as of 2020). The San Francisco Bay Area Combined Statistical Area had the nation's highest gross domestic product per capita ($106,757) among large primary statistical areas in 2018, and is home to five of the world's ten largest companies by market capitalization and four of the world's ten richest people.

 

Prior to European colonization, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America and contained the highest Native American population density north of what is now Mexico. European exploration in the 16th and 17th centuries led to the colonization of California by the Spanish Empire. In 1804, it was included in Alta California province within the Viceroyalty of New Spain. The area became a part of Mexico in 1821, following its successful war for independence, but was ceded to the United States in 1848 after the Mexican–American War. The California Gold Rush started in 1848 and led to dramatic social and demographic changes, including large-scale immigration into California, a worldwide economic boom, and the California genocide of indigenous people. The western portion of Alta California was then organized and admitted as the 31st state on September 9, 1850, following the Compromise of 1850.

 

Notable contributions to popular culture, for example in entertainment and sports, have their origins in California. The state also has made noteworthy contributions in the fields of communication, information, innovation, environmentalism, economics, and politics. It is the home of Hollywood, the oldest and one of the largest film industries in the world, which has had a profound influence upon global entertainment. It is considered the origin of the hippie counterculture, beach and car culture, and the personal computer, among other innovations. The San Francisco Bay Area and the Greater Los Angeles Area are widely seen as the centers of the global technology and film industries, respectively. California's economy is very diverse: 58% of it is based on finance, government, real estate services, technology, and professional, scientific, and technical business services. Although it accounts for only 1.5% of the state's economy, California's agriculture industry has the highest output of any U.S. state. California's ports and harbors handle about a third of all U.S. imports, most originating in Pacific Rim international trade.

 

The state's extremely diverse geography ranges from the Pacific Coast and metropolitan areas in the west to the Sierra Nevada mountains in the east, and from the redwood and Douglas fir forests in the northwest to the Mojave Desert in the southeast. The Central Valley, a major agricultural area, dominates the state's center. California is well known for its warm Mediterranean climate and monsoon seasonal weather. The large size of the state results in climates that vary from moist temperate rainforest in the north to arid desert in the interior, as well as snowy alpine in the mountains.

 

Settled by successive waves of arrivals during at least the last 13,000 years, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America. Various estimates of the native population have ranged from 100,000 to 300,000. The indigenous peoples of California included more than 70 distinct ethnic groups, inhabiting environments from mountains and deserts to islands and redwood forests. These groups were also diverse in their political organization, with bands, tribes, villages, and on the resource-rich coasts, large chiefdoms, such as the Chumash, Pomo and Salinan. Trade, intermarriage and military alliances fostered social and economic relationships between many groups.

 

The first Europeans to explore the coast of California were the members of a Spanish maritime expedition led by Portuguese captain Juan Rodríguez Cabrillo in 1542. Cabrillo was commissioned by Antonio de Mendoza, the Viceroy of New Spain, to lead an expedition up the Pacific coast in search of trade opportunities; they entered San Diego Bay on September 28, 1542, and reached at least as far north as San Miguel Island. Privateer and explorer Francis Drake explored and claimed an undefined portion of the California coast in 1579, landing north of the future city of San Francisco. Sebastián Vizcaíno explored and mapped the coast of California in 1602 for New Spain, putting ashore in Monterey. Despite the on-the-ground explorations of California in the 16th century, Rodríguez's idea of California as an island persisted. Such depictions appeared on many European maps well into the 18th century.

 

The Portolá expedition of 1769-70 was a pivotal event in the Spanish colonization of California, resulting in the establishment of numerous missions, presidios, and pueblos. The military and civil contingent of the expedition was led by Gaspar de Portolá, who traveled over land from Sonora into California, while the religious component was headed by Junípero Serra, who came by sea from Baja California. In 1769, Portolá and Serra established Mission San Diego de Alcalá and the Presidio of San Diego, the first religious and military settlements founded by the Spanish in California. By the end of the expedition in 1770, they would establish the Presidio of Monterey and Mission San Carlos Borromeo de Carmelo on Monterey Bay.

 

After the Portolà expedition, Spanish missionaries led by Father-President Serra set out to establish 21 Spanish missions of California along El Camino Real ("The Royal Road") and along the Californian coast, 16 sites of which having been chosen during the Portolá expedition. Numerous major cities in California grew out of missions, including San Francisco (Mission San Francisco de Asís), San Diego (Mission San Diego de Alcalá), Ventura (Mission San Buenaventura), or Santa Barbara (Mission Santa Barbara), among others.

 

Juan Bautista de Anza led a similarly important expedition throughout California in 1775–76, which would extend deeper into the interior and north of California. The Anza expedition selected numerous sites for missions, presidios, and pueblos, which subsequently would be established by settlers. Gabriel Moraga, a member of the expedition, would also christen many of California's prominent rivers with their names in 1775–1776, such as the Sacramento River and the San Joaquin River. After the expedition, Gabriel's son, José Joaquín Moraga, would found the pueblo of San Jose in 1777, making it the first civilian-established city in California.

  

The Spanish founded Mission San Juan Capistrano in 1776, the third to be established of the Californian missions.

During this same period, sailors from the Russian Empire explored along the northern coast of California. In 1812, the Russian-American Company established a trading post and small fortification at Fort Ross on the North Coast. Fort Ross was primarily used to supply Russia's Alaskan colonies with food supplies. The settlement did not meet much success, failing to attract settlers or establish long term trade viability, and was abandoned by 1841.

 

During the War of Mexican Independence, Alta California was largely unaffected and uninvolved in the revolution, though many Californios supported independence from Spain, which many believed had neglected California and limited its development. Spain's trade monopoly on California had limited the trade prospects of Californians. Following Mexican independence, Californian ports were freely able to trade with foreign merchants. Governor Pablo Vicente de Solá presided over the transition from Spanish colonial rule to independent.

 

In 1821, the Mexican War of Independence gave the Mexican Empire (which included California) independence from Spain. For the next 25 years, Alta California remained a remote, sparsely populated, northwestern administrative district of the newly independent country of Mexico, which shortly after independence became a republic. The missions, which controlled most of the best land in the state, were secularized by 1834 and became the property of the Mexican government. The governor granted many square leagues of land to others with political influence. These huge ranchos or cattle ranches emerged as the dominant institutions of Mexican California. The ranchos developed under ownership by Californios (Hispanics native of California) who traded cowhides and tallow with Boston merchants. Beef did not become a commodity until the 1849 California Gold Rush.

 

From the 1820s, trappers and settlers from the United States and Canada began to arrive in Northern California. These new arrivals used the Siskiyou Trail, California Trail, Oregon Trail and Old Spanish Trail to cross the rugged mountains and harsh deserts in and surrounding California. The early government of the newly independent Mexico was highly unstable, and in a reflection of this, from 1831 onwards, California also experienced a series of armed disputes, both internal and with the central Mexican government. During this tumultuous political period Juan Bautista Alvarado was able to secure the governorship during 1836–1842. The military action which first brought Alvarado to power had momentarily declared California to be an independent state, and had been aided by Anglo-American residents of California, including Isaac Graham. In 1840, one hundred of those residents who did not have passports were arrested, leading to the Graham Affair, which was resolved in part with the intercession of Royal Navy officials.

 

One of the largest ranchers in California was John Marsh. After failing to obtain justice against squatters on his land from the Mexican courts, he determined that California should become part of the United States. Marsh conducted a letter-writing campaign espousing the California climate, the soil, and other reasons to settle there, as well as the best route to follow, which became known as "Marsh's route". His letters were read, reread, passed around, and printed in newspapers throughout the country, and started the first wagon trains rolling to California. He invited immigrants to stay on his ranch until they could get settled, and assisted in their obtaining passports.

 

After ushering in the period of organized emigration to California, Marsh became involved in a military battle between the much-hated Mexican general, Manuel Micheltorena and the California governor he had replaced, Juan Bautista Alvarado. The armies of each met at the Battle of Providencia near Los Angeles. Marsh had been forced against his will to join Micheltorena's army. Ignoring his superiors, during the battle, he signaled the other side for a parley. There were many settlers from the United States fighting on both sides. He convinced these men that they had no reason to be fighting each other. As a result of Marsh's actions, they abandoned the fight, Micheltorena was defeated, and California-born Pio Pico was returned to the governorship. This paved the way to California's ultimate acquisition by the United States.

 

In 1846, a group of American settlers in and around Sonoma rebelled against Mexican rule during the Bear Flag Revolt. Afterward, rebels raised the Bear Flag (featuring a bear, a star, a red stripe and the words "California Republic") at Sonoma. The Republic's only president was William B. Ide,[65] who played a pivotal role during the Bear Flag Revolt. This revolt by American settlers served as a prelude to the later American military invasion of California and was closely coordinated with nearby American military commanders.

 

The California Republic was short-lived; the same year marked the outbreak of the Mexican–American War (1846–48).

 

Commodore John D. Sloat of the United States Navy sailed into Monterey Bay in 1846 and began the U.S. military invasion of California, with Northern California capitulating in less than a month to the United States forces. In Southern California, Californios continued to resist American forces. Notable military engagements of the conquest include the Battle of San Pasqual and the Battle of Dominguez Rancho in Southern California, as well as the Battle of Olómpali and the Battle of Santa Clara in Northern California. After a series of defensive battles in the south, the Treaty of Cahuenga was signed by the Californios on January 13, 1847, securing a censure and establishing de facto American control in California.

 

Following the Treaty of Guadalupe Hidalgo (February 2, 1848) that ended the war, the westernmost portion of the annexed Mexican territory of Alta California soon became the American state of California, and the remainder of the old territory was then subdivided into the new American Territories of Arizona, Nevada, Colorado and Utah. The even more lightly populated and arid lower region of old Baja California remained as a part of Mexico. In 1846, the total settler population of the western part of the old Alta California had been estimated to be no more than 8,000, plus about 100,000 Native Americans, down from about 300,000 before Hispanic settlement in 1769.

 

In 1848, only one week before the official American annexation of the area, gold was discovered in California, this being an event which was to forever alter both the state's demographics and its finances. Soon afterward, a massive influx of immigration into the area resulted, as prospectors and miners arrived by the thousands. The population burgeoned with United States citizens, Europeans, Chinese and other immigrants during the great California Gold Rush. By the time of California's application for statehood in 1850, the settler population of California had multiplied to 100,000. By 1854, more than 300,000 settlers had come. Between 1847 and 1870, the population of San Francisco increased from 500 to 150,000.

 

The seat of government for California under Spanish and later Mexican rule had been located in Monterey from 1777 until 1845. Pio Pico, the last Mexican governor of Alta California, had briefly moved the capital to Los Angeles in 1845. The United States consulate had also been located in Monterey, under consul Thomas O. Larkin.

 

In 1849, a state Constitutional Convention was first held in Monterey. Among the first tasks of the convention was a decision on a location for the new state capital. The first full legislative sessions were held in San Jose (1850–1851). Subsequent locations included Vallejo (1852–1853), and nearby Benicia (1853–1854); these locations eventually proved to be inadequate as well. The capital has been located in Sacramento since 1854 with only a short break in 1862 when legislative sessions were held in San Francisco due to flooding in Sacramento. Once the state's Constitutional Convention had finalized its state constitution, it applied to the U.S. Congress for admission to statehood. On September 9, 1850, as part of the Compromise of 1850, California became a free state and September 9 a state holiday.

 

During the American Civil War (1861–1865), California sent gold shipments eastward to Washington in support of the Union. However, due to the existence of a large contingent of pro-South sympathizers within the state, the state was not able to muster any full military regiments to send eastwards to officially serve in the Union war effort. Still, several smaller military units within the Union army were unofficially associated with the state of California, such as the "California 100 Company", due to a majority of their members being from California.

 

At the time of California's admission into the Union, travel between California and the rest of the continental United States had been a time-consuming and dangerous feat. Nineteen years later, and seven years after it was greenlighted by President Lincoln, the First transcontinental railroad was completed in 1869. California was then reachable from the eastern States in a week's time.

 

Much of the state was extremely well suited to fruit cultivation and agriculture in general. Vast expanses of wheat, other cereal crops, vegetable crops, cotton, and nut and fruit trees were grown (including oranges in Southern California), and the foundation was laid for the state's prodigious agricultural production in the Central Valley and elsewhere.

 

In the nineteenth century, a large number of migrants from China traveled to the state as part of the Gold Rush or to seek work. Even though the Chinese proved indispensable in building the transcontinental railroad from California to Utah, perceived job competition with the Chinese led to anti-Chinese riots in the state, and eventually the US ended migration from China partially as a response to pressure from California with the 1882 Chinese Exclusion Act.

 

Under earlier Spanish and Mexican rule, California's original native population had precipitously declined, above all, from Eurasian diseases to which the indigenous people of California had not yet developed a natural immunity. Under its new American administration, California's harsh governmental policies towards its own indigenous people did not improve. As in other American states, many of the native inhabitants were soon forcibly removed from their lands by incoming American settlers such as miners, ranchers, and farmers. Although California had entered the American union as a free state, the "loitering or orphaned Indians" were de facto enslaved by their new Anglo-American masters under the 1853 Act for the Government and Protection of Indians. There were also massacres in which hundreds of indigenous people were killed.

 

Between 1850 and 1860, the California state government paid around 1.5 million dollars (some 250,000 of which was reimbursed by the federal government) to hire militias whose purpose was to protect settlers from the indigenous populations. In later decades, the native population was placed in reservations and rancherias, which were often small and isolated and without enough natural resources or funding from the government to sustain the populations living on them. As a result, the rise of California was a calamity for the native inhabitants. Several scholars and Native American activists, including Benjamin Madley and Ed Castillo, have described the actions of the California government as a genocide.

 

In the twentieth century, thousands of Japanese people migrated to the US and California specifically to attempt to purchase and own land in the state. However, the state in 1913 passed the Alien Land Act, excluding Asian immigrants from owning land. During World War II, Japanese Americans in California were interned in concentration camps such as at Tule Lake and Manzanar. In 2020, California officially apologized for this internment.

 

Migration to California accelerated during the early 20th century with the completion of major transcontinental highways like the Lincoln Highway and Route 66. In the period from 1900 to 1965, the population grew from fewer than one million to the greatest in the Union. In 1940, the Census Bureau reported California's population as 6.0% Hispanic, 2.4% Asian, and 89.5% non-Hispanic white.

 

To meet the population's needs, major engineering feats like the California and Los Angeles Aqueducts; the Oroville and Shasta Dams; and the Bay and Golden Gate Bridges were built across the state. The state government also adopted the California Master Plan for Higher Education in 1960 to develop a highly efficient system of public education.

 

Meanwhile, attracted to the mild Mediterranean climate, cheap land, and the state's wide variety of geography, filmmakers established the studio system in Hollywood in the 1920s. California manufactured 8.7 percent of total United States military armaments produced during World War II, ranking third (behind New York and Michigan) among the 48 states. California however easily ranked first in production of military ships during the war (transport, cargo, [merchant ships] such as Liberty ships, Victory ships, and warships) at drydock facilities in San Diego, Los Angeles, and the San Francisco Bay Area. After World War II, California's economy greatly expanded due to strong aerospace and defense industries, whose size decreased following the end of the Cold War. Stanford University and its Dean of Engineering Frederick Terman began encouraging faculty and graduates to stay in California instead of leaving the state, and develop a high-tech region in the area now known as Silicon Valley. As a result of these efforts, California is regarded as a world center of the entertainment and music industries, of technology, engineering, and the aerospace industry, and as the United States center of agricultural production. Just before the Dot Com Bust, California had the fifth-largest economy in the world among nations.

 

In the mid and late twentieth century, a number of race-related incidents occurred in the state. Tensions between police and African Americans, combined with unemployment and poverty in inner cities, led to violent riots, such as the 1965 Watts riots and 1992 Rodney King riots. California was also the hub of the Black Panther Party, a group known for arming African Americans to defend against racial injustice and for organizing free breakfast programs for schoolchildren. Additionally, Mexican, Filipino, and other migrant farm workers rallied in the state around Cesar Chavez for better pay in the 1960s and 1970s.

 

During the 20th century, two great disasters happened in California. The 1906 San Francisco earthquake and 1928 St. Francis Dam flood remain the deadliest in U.S. history.

 

Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze known as "smog" has been substantially abated after the passage of federal and state restrictions on automobile exhaust.

 

An energy crisis in 2001 led to rolling blackouts, soaring power rates, and the importation of electricity from neighboring states. Southern California Edison and Pacific Gas and Electric Company came under heavy criticism.

 

Housing prices in urban areas continued to increase; a modest home which in the 1960s cost $25,000 would cost half a million dollars or more in urban areas by 2005. More people commuted longer hours to afford a home in more rural areas while earning larger salaries in the urban areas. Speculators bought houses they never intended to live in, expecting to make a huge profit in a matter of months, then rolling it over by buying more properties. Mortgage companies were compliant, as everyone assumed the prices would keep rising. The bubble burst in 2007–8 as housing prices began to crash and the boom years ended. Hundreds of billions in property values vanished and foreclosures soared as many financial institutions and investors were badly hurt.

 

In the twenty-first century, droughts and frequent wildfires attributed to climate change have occurred in the state. From 2011 to 2017, a persistent drought was the worst in its recorded history. The 2018 wildfire season was the state's deadliest and most destructive, most notably Camp Fire.

 

Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze that is known as "smog" has been substantially abated thanks to federal and state restrictions on automobile exhaust.

 

One of the first confirmed COVID-19 cases in the United States that occurred in California was first of which was confirmed on January 26, 2020. Meaning, all of the early confirmed cases were persons who had recently travelled to China in Asia, as testing was restricted to this group. On this January 29, 2020, as disease containment protocols were still being developed, the U.S. Department of State evacuated 195 persons from Wuhan, China aboard a chartered flight to March Air Reserve Base in Riverside County, and in this process, it may have granted and conferred to escalated within the land and the US at cosmic. On February 5, 2020, the U.S. evacuated 345 more citizens from Hubei Province to two military bases in California, Travis Air Force Base in Solano County and Marine Corps Air Station Miramar, San Diego, where they were quarantined for 14 days. A state of emergency was largely declared in this state of the nation on March 4, 2020, and as of February 24, 2021, remains in effect. A mandatory statewide stay-at-home order was issued on March 19, 2020, due to increase, which was ended on January 25, 2021, allowing citizens to return to normal life. On April 6, 2021, the state announced plans to fully reopen the economy by June 15, 2021.

 

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...

The fact that we realize our existence means we recognize an entity, which we think is the same "I", that spans the existence from the past, at present, and to the future. This separation alone assumes that you can put "point" along the "line of time".

 

But we can never experience a "moment". What we can think of and experience is an interval, a duration. If the duration is short enough, we will call it a "moment". If the photo showing a trace of someone passing, we tend to distinguish this from the case where we can see the face and outline of a person clearly, that is, the case we "freeze" it.

 

But fundamentally, they are no different in the nature as duration. Duration itself is the object, represented as spatial extension in a photo. This is just one form of expression. There can be other form, at least within photography, to represent duration. But identifying the object can be useful for us to see the world around us.

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

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)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

وینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

 

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

#art #artist #artistic #artists #arte #

Critical Run @ Venice Biennale / art format Run and Debate about EMERGENCIES

 

Critical Run is an Art Format created by Thierry Geoffroy /Colonel

debate while running . Debate and Run together, Now , before it is too late.

 

The Art Format Critical Run has been activated in 40 differents countries with 112 different burning debates

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam. ZKM Karlsruhe, Liverpool Biennale ; Sprengel Museum etc..or have just happened on the spot because a debate was necessary here and now.

www.emergencyrooms.org/criticalrun.html

www.emergencyrooms.org/formats.html

www.colonel.dk/

artist Thierry Geoffroy creates art formats

aim to develop awareness muscle

 

during Venice Biennale 2019

 

The Exhibition will develop from the Central Pavilion (Giardini) to the Arsenale, and will include 79 artists from all over the world.

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

وینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

 

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

#art #artist #artistic #artists #arte #artwork

Thierry Geoffroy / Colonel

  

Critical Run @ Venice Biennale / art format Run and Debate about EMERGENCIES

 

Critical Run is an Art Format created by Thierry Geoffroy /Colonel

debate while running . Debate and Run together, Now , before it is too late.

 

The Art Format Critical Run has been activated in 40 differents countries with 112 different burning debates

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam. ZKM Karlsruhe, Liverpool Biennale ; Sprengel Museum etc..or have just happened on the spot because a debate was necessary here and now.

www.emergencyrooms.org/criticalrun.html

www.emergencyrooms.org/formats.html

www.colonel.dk/

artist Thierry Geoffroy creates art formats

aim to develop awareness muscle

 

during Venice Biennale 2019

 

The Exhibition will develop from the Central Pavilion (Giardini) to the Arsenale, and will include 79 artists from all over the world.

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

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invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

وینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

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Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

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artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

#art #artist #artistic #artists #arte #artwork

Thierry Geoffroy / Colonel

  

The sea is the embodiment of a supernatural and wonderful existence. Jules Verne

I had first imagined the night sky to be just an enormous black carpet, with little pinpricks of light shining through, and an occasional meteor streaking across. I knew about the existence of an aurora, but insofar, I was yet to observe the dancing neon green and brilliant red bands of light.

 

It wasn't until I had my first glimpse of an airglow did I realize how colorful the night sky can get. Airglow presents a light that even a human eye cannot discern, and if not for the spectacular tool that photography gives us, it would have remained unseen.

 

It was out on a night photography trip to May Lake that I got an opportunity to shoot high in the Sierras in the dead of the night (literally - it was past midnight when I shot this). I dismissed the red and green glows in my initial images as just camera noise and it was not until I observed the very same effect in other cameras nearby that I realized that it was much more than camera noise, it was noise in the air - the very air was alive with the weak emission of light by ionization in the upper atmosphere!.

 

Here is one such image from May Lake, replete with a reflection.

  

Yosemite National Park

CA USA

4 times the fun ^_^

OLYMPUS DIGITAL CAMERA

Artists who had a focus on depicting rural life and quiet existence - with a twist

A mosquito floating on calm waters of Tso Moriri, Ladakh. Blue and yellow patterns are reflections of sky and mountains)

“No baggage - there was the secret of existence.”

― Robert Louis Stevenson, The Wrecker

The origins of this church coming into existence started with Augustus the Strong being told by the Pope that in order to be recognized as the King of Poland, the August had to convert to Catholicism. So August built this catholic church in Dresden satisfy that "requirement". The insides of the church are not nearly as adorned as the Protestant/Lutheran counterparts in Germany, or even the Frauenkirche a few blocks away in downtown Dresden. Taking substantial damage in WWII, the Hofkirche is mostly restored to its formal glory. It is a vision of beauty during the day, but things go to another level at night, enjoy!

We live in an unfair world. Nothing seems fair or equitable right from the time we are born. The great English writer Charles Dickens summed up this sentiment well in one of his novels. “In the little world in which children have their existence whosoever brings them up, there is nothing so finely perceived and so finely felt, as injustice. It may be only small injustice that the child can be exposed to; but the child is small, and its world is small —.” Dickens would also say: “The sum of the whole is this: walk and be happy; walk and be healthy. The best way to lengthen out our days is to walk steadily and with a purpose.” In saying so, he was telescoping what physicians and public health practitioners would be saying a century and a half after his death. In one of his most famous speeches the legendary human rights activist Martin Luther King Jr. remarked, “Injustice anywhere is a threat to justice everywhere.” A couple of years before his assassination, he had remarked, “Of all the forms of inequality, injustice in health care is the most shocking and inhumane.” King was, in effect, eloquently reminding the world of the raison d’etre for the creation of the World Health Organization on April 7, 1948 with a strong affirmation that the enjoyment of the highest attainable standard of health is one of the fundamental rights of every human being.

 

Winston Churchill was a war time Prime Minister of Britain. At the height of the World War II when bombardment of London was the norm and his aides were painting a doomsday scenario, Churchill asked, “Are the courts functioning?” and when informed in the affirmative he said, “then nothing can go wrong.” At another point he would remark,“Healthy citizens are the greatest asset any country can have.” Here was a man whose country was facing an existential threat, yet the considerations of justice and health apparently weighed more on his mind than the might of his arsenals. Dickens, King and Churchill were three very different stalwarts with hardly any shared interests, yet they were saying the same things.

 

Scores of years later, both Health and Justice figure prominently among the 17 Sustainable Development Goals to be achieved by 2030 by all the United Nations’ member states. What is more, public health and human rights are mutually reinforcing forces, inextricably linked to each other. Global Health and Public Health aim to bridge the differences or inequities in the health status of men, women and children due to considerations of race, religion, political belief, economic or social condition.

 

As we observe World Health Day today with the theme – ‘Building a fairer, healthier world’, we are all the more conscious than ever of the health inequities confronted globally. And no, not even the major world powers, can claim to be devoid of them as some of them have been the hardest hit by the COVID-19 pandemic, which has thoroughly exposed their lack of preparedness and overwhelming their relatively strong health systems in relation to the developing world. What is more disparaging, however, is the scramble for vaccines against the pandemic by the rich nations at the cost of the poorer ones.

 

In Pakistan that has quite sub-optimal health and demographic indicators with a growing disparity between the privileged and under-privileged classes, a shrinking middle class and millions more on the brink of falling down the poverty line due to catastrophic health expenditures, it is all the more important to emphasize the health and human rights nexus. When we examine some of the causes of health inequities the foremost among them are social determinants of health such as income poverty, unemployment, lack of basic education, particularly in rural females, gender and human rights issues, an almost unchecked population growth, lack of road safety, low coverage of essential services such as safe water and sanitation, rapid urbanization with urban slums, inadequate though expanding measures for social protection, and a high prevalence of natural and manmade disasters.

 

The COVID-19 pandemic has had a devastating impact on certain priority health problems such as the silent pandemic of tuberculosis, maternal and child health, nutrition and immunization. Some time ago, a seminar was held in Islamabad with the support of the Stop TB Partnership advocating the accessing of TB care services as an inalienable human right. Celebrities were engaged at Stop TB ambassadors to promote civil society engagement

 

There is also a growing realization that implementing a Tuberculosis control program involves all tiers of the health system including the community level and can strongly complement efforts toward attaining universal health care. Meanwhile, WHO was asked by the United Nation’s high level meeting held in 2018 to assist countries in developing a multi-sectoral accountability framework involving all sectors as a prerequisite to better End-TB outcomes.

 

It is therefore imperative to conduct intersectoral planning and action involving the government and other stakeholders to proactively address social determinants and health inequities. Intersectoral action needs to be promoted as an integral and vital component of the national health planning process. Without intersectoral action as a fully integrated component embedded in the national health planning process, health inequities are likely to persist, imperiling the health of Pakistan’s population.

 

It is also important to sensitize policymakers on the concepts of inequality and inequity in health, measuring equity, and development of the strategies designed to effectively address health inequities. Incidentally it was the celebrated economist and Finance Minister of Pakistan the late Dr Mahbubul Haq who is said to have given the world the concept of Human Development Index by merging three critical measure of well-being namely per capita income, longevity, and literacy. Equity is often considered as synonymous with social justice or fairness, and is an ethical concept grounded in the principles of distributive justice. It also denotes the absence of socially unjust or unfair health disparities.

 

Underlying social deprivation can be in relation to wealth, power or prestige – attributes that define how people are grouped in social hierarchies. A disproportionate number of poor citizens in Pakistan do not have adequate access to health care. Health inequities can also result from geographical, gender, ethnic, social, political, cultural or linguistic disparities.

 

Rapid urbanization in Pakistan also has grave implications for health warranting the need for meticulous planning. Even the hitherto fore planned capital city of Islamabad, with an annual population growth of 5%, is beginning to suffer from unplanned growth with the quality of life in its urban slums being miserable and much worse than those living in peripheral rural areas. Increasing urbanization gives rise to a unique set of health challenges, including non-communicable and infectious diseases, air pollution, access to water and sanitation, the need to improve nutrition, increased physical activity, and building resilience to health emergencies.

 

The implementation of human rights also necessitates a cross-sectoral approach that increases synergy amongst the various sectors relevant to promote health and development and avoid fragmented interventions. This is also necessary to fulfil an internationally agreed set of principles and norms that are contained in treaties, conventions, declarations, resolutions, guidelines, and recommendations at the international and regional levels.

 

Pakistan has to be very proactive in ending gender discrimination, such as denying girls and women access to education, information, and various forms of economic, social and political participation, as this can significantly increase health risks. Attention to human rights also brings into focus less popular vulnerable groups like prisoners, miners, migrants, refugees and substance abusers where some interventions have been carried out by the TB and HIV/AIDS control mechanisms.

 

Education and information can promote understanding, respect, tolerance and non-discrimination in relation to persons with Tuberculosis and other communicable and non-communicable diseases with which some stigma is attached. Public programming explicitly designed to reduce the stigma by challenging beliefs based on ignorance and prejudice has been shown to help create a more tolerant and understanding supportive environment.

 

Within the Health Sector, the negligible efforts demonstrated to prevent and control noncommunicable diseases is intriguing as it has been an integral part of public policy in Pakistan ever since 2004. We can start by establishing population based cancer registries to inform the establishment of cancer control programs, while taking effective measures for diabetes control, institutionalizing preventive cardiology in health programs while containing chronic respiratory diseases. All these diseases make up the larger part of the disease burden spectrum and are responsible for a lot of excess and premature mortality across the country, disproportionately affecting women and marginalized population segments.

 

While the current drive of the government to provide health cards to the people in certain pilot districts is highly laudable as an interim poverty reduction measure, it can be sustained and institutionalized by implementing mandatory health insurance in the country through premiums or co-payments in which the rich can cross-subsidize the poor, while those in good health can cross-subsidize those in ill health. Other social safety nets such as Zakat, Baitul Maal and other interventions under the Ehsaas program need to be enhanced in an effort to strengthen the middle class to promote food security and avoid catastrophic health costs till such time as the economy can stand on a firm footing. Good governance is of essence to the whole exercise encompassing affirmative action in enhancing health allocations to a respectable level in keeping with government policy and must be regarded as an investment in the future.

 

Everything said and done, the need for maintaining peace and tolerance cannot be over-emphasized if the social sectors including Health have to prosper in Pakistan to the immense benefit of not only our country but the region as a whole. Emotive rhetoric has distracted us from our main goals for too long, let us now be guided by Mr. Jinnah who stated in unequivocal terms: “Our object should be peace within and peace without. We want to live peacefully and maintain cordial friendly relations with our immediate neighbours and with the world at large.” No advice can serve us better in building a fairer and healthier country with justice for all.

 

The author is a senior public health and public policy specialist of Pakistan and can be reached at gnkaziumkc @gmail.com

www.youtube.com/watch?v=B5oO0PT_-Ao

 

The telos of labor is the end of labor.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on authentic facts. BEWARE!

  

Some background:

The РТАК-30 attack vintoplan (also known as vintokryl) owed its existence to the Mil Mi-30 plane/helicopter project that originated in 1972. The Mil Mi-30 was conceived as a transport aircraft that could hold up to 19 passengers or two tons of cargo, and its purpose was to replace the Mi-8 and Mi-17 Helicopters in both civil and military roles. With vertical takeoff through a pair of tiltrotor engine pods on the wing tips (similar in layout to the later V-22 Osprey) and the ability to fly like a normal plane, the Mil Mi-30 had a clear advantage over the older models.

 

Since the vintoplan concept was a completely new field of research and engineering, a dedicated design bureau was installed in the mid-Seventies at the Rostov-na-Donu helicopter factory, where most helicopters from the Mil design bureau were produced, under the title Ростов Тилт Ротор Авиационная Компания (Rostov Tilt Rotor Aircraft Company), or РТАК (RTRA), for short.

 

The vintoplan project lingered for some time, with basic research being conducted concerning aerodynamics, rotor design and flight control systems. Many findings later found their way into conventional planes and helicopters. At the beginning of the 1980s, the project had progressed far enough that the vintoplan received official backing so that РТАК scientists and Mil helicopter engineers assembled and tested several layouts and components for this complicated aircraft type.

At that time the Mil Mi-30 vintoplan was expected to use a single TV3-117 Turbo Shaft Engine with a four-bladed propeller rotors on each of its two pairs of stub wings of almost equal span. The engine was still installed in the fuselage and the proprotors driven by long shafts.

 

However, while being a very clean design, this original layout revealed several problems concerning aeroelasticity, dynamics of construction, characteristics for the converter apparatuses, aerodynamics and flight dynamics. In the course of further development stages and attempts to rectify the technical issues, the vintoplan layout went through several revisions. The layout shifted consequently from having 4 smaller engines in rotating pods on two pairs of stub wings through three engines with rotating nacelles on the front wings and a fixed, horizontal rotor over the tail and finally back to only 2 engines (much like the initial concept), but this time mounted in rotating nacelles on the wing tips and a canard stabilizer layout.

 

In August 1981 the Commission of the Presidium of the USSR Council of Ministers on weapons eventually issued a decree on the development of a flyworthy Mil Mi-30 vintoplan prototype. Shortly afterwards the military approved of the vintoplan, too, but desired bigger, more powerful engines in order to improve performance and weight capacity. In the course of the ensuing project refinement, the weight capacity was raised to 3-5 tons and the passenger limit to 32. In parallel, the modified type was also foreseen for civil operations as a short range feederliner, potentially replacing Yak-40 and An-24 airliners in Aeroflot service.

In 1982, РТАК took the interest from the military and proposed a dedicated attack vintoplan, based on former research and existing components of the original transport variant. This project was accepted by MAP and received the separate designation РТАК-30. However, despite having some close technical relations to the Mi-30 transport (primarily the engine nacelles, their rotation mechanism and the flight control systems), the РТАК-30 was a completely different aircraft. The timing was good, though, and the proposal was met with much interest, since the innovative vintoplan concept was to compete against traditional helicopters: the design work on the dedicated Mi-28 and Ka-50 attack helicopters had just started at that time, too, so that РТАК received green lights for the construction of five prototypes: four flyworthy machines plus one more for static ground tests.

 

The РТАК-30 was based on one of the early Mi-30 layouts and it combined two pairs of mid-set wings with different wing spans with a tall tail fin that ensured directional stability. Each wing carried a rotating engine nacelle with a so-called proprotor on its tip, each with three high aspect ratio blades. The proprotors were handed (i.e. revolved in opposite directions) in order to minimize torque effects and improve handling, esp. in the hover. The front and back pair of engines were cross-linked among each other on a common driveshaft, eliminating engine-out asymmetric thrust problems during V/STOL operations. In the event of the failure of one engine, it would automatically disconnect through torque spring clutches and both propellers on a pair of wings would be driven by the remaining engine.

Four engines were chosen because, despite the weight and complexity penalty, this extra power was expected to be required in order to achieve a performance that was markedly superior to a conventional helicopter like the Mi-24, the primary Soviet attack helicopter of that era the РТАК-30 was supposed to replace. It was also expected that the rotating nacelles could also be used to improve agility in level flight through a mild form of vectored thrust.

 

The РТАК-30’s streamlined fuselage provided ample space for avionics, fuel, a fully retractable tricycle landing gear and a two man crew in an armored side-by-side cockpit with ejection seats. The windshield was able to withstand 12.7–14.5 mm caliber bullets, the titanium cockpit tub could take hits from 20 mm cannon. An autonomous power unit (APU) was housed in the fuselage, too, making operations of the aircraft independent from ground support.

While the РТАК-30 was not intended for use as a transport, the fuselage was spacious enough to have a small compartment between the front wings spars, capable of carrying up to three people. The purpose of this was the rescue of downed helicopter crews, as a cargo hold esp. for transfer flights and as additional space for future mission equipment or extra fuel.

In vertical flight, the РТАК-30’s tiltrotor system used controls very similar to a twin or tandem-rotor helicopter. Yaw was controlled by tilting its rotors in opposite directions. Roll was provided through differential power or thrust, supported by ailerons on the rear wings. Pitch was provided through rotor cyclic or nacelle tilt and further aerodynamic surfaces on both pairs of wings. Vertical motion was controlled with conventional rotor blade pitch and a control similar to a fixed-wing engine control called a thrust control lever (TCL). The rotor heads had elastomeric bearings and the proprotor blades were made from composite materials, which could sustain 30 mm shells.

 

The РТАК-30 featured a helmet-mounted display for the pilot, a very modern development at its time. The pilot designated targets for the navigator/weapons officer, who proceeded to fire the weapons required to fulfill that particular task. The integrated surveillance and fire control system had two optical channels providing wide and narrow fields of view, a narrow-field-of-view optical television channel, and a laser rangefinder. The system could move within 110 degrees in azimuth and from +13 to −40 degrees in elevation and was placed in a spherical dome on top of the fuselage, just behind the cockpit.

 

The aircraft carried one automatic 2A42 30 mm internal gun, mounted semi-rigidly fixed near the center of the fuselage, movable only slightly in elevation and azimuth. The arrangement was also regarded as being more practical than a classic free-turning turret mount for the aircraft’s considerably higher flight speed than a normal helicopter. As a side effect, the semi-rigid mounting improved the cannon's accuracy, giving the 30 mm a longer practical range and better hit ratio at medium ranges. Ammunition supply was 460 rounds, with separate compartments for high-fragmentation, explosive incendiary, or armor-piercing rounds. The type of ammunition could be selected by the pilot during flight.

The gunner can select one of two rates of full automatic fire, low at 200 to 300 rds/min and high at 550 to 800 rds/min. The effective range when engaging ground targets such as light armored vehicles is 1,500 m, while soft-skinned targets can be engaged out to 4,000 m. Air targets can be engaged flying at low altitudes of up to 2,000 m and up to a slant range of 2,500 m.

 

A substantial range of weapons could be carried on four hardpoints under the front wings, plus three more under the fuselage, for a total ordnance of up to 2,500 kg (with reduced internal fuel). The РТАК-30‘s main armament comprised up to 24 laser-guided Vikhr missiles with a maximum range of some 8 km. These tube-launched missiles could be used against ground and aerial targets. A search and tracking radar was housed in a thimble radome on the РТАК-30’s nose and their laser guidance system (mounted in a separate turret under the radome) was reported to be virtually jam-proof. The system furthermore featured automatic guidance to the target, enabling evasive action immediately after missile launch. Alternatively, the system was also compatible with Ataka laser-guided anti-tank missiles.

Other weapon options included laser- or TV-guided Kh-25 missiles as well as iron bombs and napalm tanks of up to 500 kg (1.100 lb) caliber and several rocket pods, including the S-13 and S-8 rockets. The "dumb" rocket pods could be upgraded to laser guidance with the proposed Ugroza system. Against helicopters and aircraft the РТАК-30 could carry up to four R-60 and/or R-73 IR-guided AAMs. Drop tanks and gun pods could be carried, too.

 

When the РТАК-30's proprotors were perpendicular to the motion in the high-speed portions of the flight regime, the aircraft demonstrated a relatively high maximum speed: over 300 knots/560 km/h top speed were achieved during state acceptance trials in 1987, as well as sustained cruise speeds of 250 knots/460 km/h, which was almost twice as fast as a conventional helicopter. Furthermore, the РТАК-30’s tiltrotors and stub wings provided the aircraft with a substantially greater cruise altitude capability than conventional helicopters: during the prototypes’ tests the machines easily reached 6,000 m / 20,000 ft or more, whereas helicopters typically do not exceed 3,000 m / 10,000 ft altitude.

 

Flight tests in general and flight control system refinement in specific lasted until late 1988, and while the vintoplan concept proved to be sound, the technical and practical problems persisted. The aircraft was complex and heavy, and pilots found the machine to be hazardous to land, due to its low ground clearance. Due to structural limits the machine could also never be brought to its expected agility limits

During that time the Soviet Union’s internal tensions rose and more and more hampered the РТАК-30’s development. During this time, two of the prototypes were lost (the 1st and 4th machine) in accidents, and in 1989 only two machines were left in flightworthy condition (the 5th airframe had been set aside for structural ground tests). Nevertheless, the РТАК-30 made its public debut at the Paris Air Show in June 1989 (the 3rd prototype, coded “33 Yellow”), together with the Mi-28A, but was only shown in static display and did not take part in any flight show. After that, the aircraft received the NATO ASCC code "Hemlock" and caused serious concern in Western military headquarters, since the РТАК-30 had the potential to dominate the European battlefield.

 

And this was just about to happen: Despite the РТАК-30’s development problems, the innovative attack vintoplan was included in the Soviet Union’s 5-year plan for 1989-1995, and the vehicle was eventually expected to enter service in 1996. However, due to the collapse of the Soviet Union and the dwindling economics, neither the РТАК-30 nor its civil Mil Mi-30 sister did soar out in the new age of technology. In 1990 the whole program was stopped and both surviving РТАК-30 prototypes were mothballed – one (the 3rd prototype) was disassembled and its components brought to the Rostov-na-Donu Mil plant, while the other, prototype No. 1, is rumored to be stored at the Central Russian Air Force Museum in Monino, to be restored to a public exhibition piece some day.

  

General characteristics:

Crew: Two (pilot, copilot/WSO) plus space for up to three passengers or cargo

Length: 45 ft 7 1/2 in (13,93 m)

Rotor diameter: 20 ft 9 in (6,33 m)

Wingspan incl. engine nacelles: 42 ft 8 1/4 in (13,03 m)

Total width with rotors: 58 ft 8 1/2 in (17,93 m)

Height: 17 ft (5,18 m) at top of tailfin

Disc area: 4x 297 ft² (27,65 m²)

Wing area: 342.2 ft² (36,72 m²)

Empty weight: 8,500 kg (18,740 lb)

Max. takeoff weight: 12,000 kg (26,500 lb)

 

Powerplant:

4× Klimov VK-2500PS-03 turboshaft turbines, 2,400 hp (1.765 kW) each

 

Performance:

Maximum speed: 275 knots (509 km/h, 316 mph) at sea level

305 kn (565 km/h; 351 mph) at 15,000 ft (4,600 m)

Cruise speed: 241 kn (277 mph, 446 km/h) at sea level

Stall speed: 110 kn (126 mph, 204 km/h) in airplane mode

Range: 879 nmi (1,011 mi, 1,627 km)

Combat radius: 390 nmi (426 mi, 722 km)

Ferry range: 1,940 nmi (2,230 mi, 3,590 km) with auxiliary external fuel tanks

Service ceiling: 25,000 ft (7,620 m)

Rate of climb: 2,320–4,000 ft/min (11.8 m/s)

Glide ratio: 4.5:1

Disc loading: 20.9 lb/ft² at 47,500 lb GW (102.23 kg/m²)

Power/mass: 0.259 hp/lb (427 W/kg)

 

Armament:

1× 30 mm (1.18 in) 2A42 multi-purpose autocannon with 450 rounds

7 external hardpoints for a maximum ordnance of 2.500 kg (5.500 lb)

  

The kit and its assembly:

This exotic, fictional aircraft-thing is a contribution to the “The Flying Machines of Unconventional Means” Group Build at whatifmodelers.com in early 2019. While the propulsion system itself is not that unconventional, I deemed the quadrocopter concept (which had already been on my agenda for a while) to be suitable for a worthy submission.

The Mil Mi-30 tiltrotor aircraft, mentioned in the background above, was a real project – but my alternative combat vintoplan design is purely speculative.

 

I had already stashed away some donor parts, primarily two sets of tiltrotor backpacks for 1:144 Gundam mecha from Bandai, which had been released recently. While these looked a little toy-like, these parts had the charm of coming with handed propellers and stub wings that would allow the engine nacelles to swivel.

The search for a suitable fuselage turned out to be a more complex safari than expected. My initial choice was the spoofy Italeri Mi-28 kit (I initially wanted a staggered tandem cockpit), but it turned out to be much too big for what I wanted to achieve. Then I tested a “real” Mi-28 (Dragon) and a Ka-50 (Italeri), but both failed for different reasons – the Mi-28 was too slender, while the Ka-50 had the right size – but converting it for my build would have been VERY complicated, because the engine nacelles would have to go and the fuselage shape between the cockpit and the fuselage section around the original engines and stub wings would be hard to adapt. I eventually bought an Italeri Ka-52 two-seater as fuselage donor.

 

In order to mount the four engines to the fuselage I’d need two pairs of wings of appropriate span – and I found a pair of 1:100 A-10 wings as well as the wings from an 1:72 PZL Iskra (not perfect, but the most suitable donor parts I could find in the junkyard). On the tips of these wings, the swiveling joints for the engine nacelles from the Bandai set were glued. While mounting the rear wings was not too difficult (just the Ka-52’s OOB stabilizers had to go), the front pair of wings was more complex. The reason: the Ka-52’s engines had to go and their attachment points, which are actually shallow recesses on the kit, had to be faired over first. Instead of filling everything with putty I decided to cover the areas with 0.5mm styrene sheet first, and then do cosmetic PSR work. This worked quite well and also included a cover for the Ka-52’s original rotor mast mount. Onto these new flanks the pair of front wings was attached, in a mid position – a conceptual mistake…

 

The cockpit was taken OOB and the aircraft’s nose received an additional thimble radome, reminiscent of the Mi-28’s arrangement. The radome itself was created from a German 500 kg WWII bomb.

 

At this stage, the mid-wing mistake reared its ugly head – it had two painful consequences which I had not fully thought through. Problem #1: the engine nacelles turned out to be too long. When rotated into a vertical position, they’d potentially hit the ground! Furthermore, the ground clearance was very low – and I decided to skip the Ka-52’s OOB landing gear in favor of a heavier and esp. longer alternative, a full landing gear set from an Italeri MiG-37 “Ferret E” stealth fighter, which itself resembles a MiG-23/27 landing gear. Due to the expected higher speeds of the vintoplan I gave the landing gear full covers (partly scratched, plus some donor parts from an Academy MiG-27). It took some trials to get the new landing gear into the right position and a suitable stance – but it worked. With this benchmark I was also able to modify the engine nacelles, shortening their rear ends. They were still very (too!) close to the ground, but at least the model would not sit on them!

However, the more complete the model became, the more design flaws turned up. Another mistake is that the front and rear rotors slightly overlap when in vertical position – something that would be unthinkable in real life…

 

With all major components in place, however, detail work could proceed. This included the completion of the cockpit and the sensor turrets, the Ka-52 cannon and finally the ordnance. Due to the large rotors, any armament had to be concentrated around the fuselage, outside of the propeller discs. For this reason (and in order to prevent the rear engines to ingest exhaust gases from the front engines in level flight), I gave the front wings a slightly larger span, so that four underwing pylons could be fitted, plus a pair of underfuselage hardpoints.

The ordnance was puzzled together from the Italeri Ka-52 and from an ESCI Ka-34 (the fake Ka-50) kit.

  

Painting and markings:

With such an exotic aircraft, I rather wanted a conservative livery and opted for a typical Soviet tactical four-tone scheme from the Eighties – the idea was to build a prototype aircraft from the state acceptance trials period, not a flashy demonstrator. The scheme and the (guesstimated) colors were transferred from a Soviet air force MiG-21bis of that era, and it consists of a reddish light brown (Humbrol 119, Light Earth), a light, yellowish green (Humbrol 159, Khaki Drab), a bluish dark green (Humbrol 195, Dark Satin Green, a.k.a. RAL 6020 Chromdioxidgrün) and a dark brown (Humbrol 170, Brown Bess). For the undersides’ typical bluish grey I chose Humbrol 145 (FS 35237, Gray Blue), which is slightly lighter and less greenish than the typical Soviet tones. A light black ink wash was applied and some light post-shading was done in order to create panels that are structurally not there, augmented by some pencil lines.

 

The cockpit became light blue (Humbrol 89), with medium gray dashboard and consoles. The ejection seats received bright yellow seatbelts and bright blue pads – a detail seen on a Mi-28 cockpit picture.

Some dielectric fairings like the fin tip were painted in bright medium green (Humbrol 101), while some other antenna fairings were painted in pale yellow (Humbrol 71).

The landing gear struts and the interior of the wells became Aluminum Metalic (Humbrol 56), the wheels dark green discs (Humbrol 30).

 

The decals were puzzled together from various sources, including some Begemot sheets. Most of the stencils came from the Ka-52 OOB sheet, and generic decal sheet material was used to mark the walkways or the rotor tips and leading edges.

 

Only some light weathering was done to the leading edges of the wings, and then the kit was sealed with matt acrylic varnish.

  

A complex kitbashing project, and it revealed some pitfalls in the course of making. However, the result looks menacing and still convincing, esp. in flight – even though the picture editing, with four artificially rotating proprotors, was probably more tedious than building the model itself!

Yugi Muto (武む藤とう 遊ゆう戯ぎ Mutō Yūgi), also romanized as Yugi Mutou, is the main protagonist of the original Yu-Gi-Oh! series, along with Yami Yugi. It was stated once that Yugi is the modern day version of Pharaoh Atem.

Together with the spirit of Pharaoh Atem, he holds the title "King of Games" (King of Duelists in Japanese version).

 

Yugi possessed the three thousand-year-old (five thousand in the dub) mystical Millennium Puzzle, which allowed his body to bear host to the spirit of the Puzzle, Yami Yugi. Yugi was initially unaware of his existence and control of Yugi's body, and would involuntarily shift to Yami Yugi at trying times.

 

He lives with his paternal grandfather, Solomon Muto, and his mother.

 

Yugi is part of a close-knit group of best friends: Joey Wheeler, Tristan Taylor, Téa Gardner and Bakura Ryou. Yugi's friends often cheer him on from the sidelines, and Joey has dueled at his side. Yugi has been friends with Téa since childhood and has a romantic crush on her. Téa has been shown to have romantic feelings for both Yugi and Yami Yugi.

 

Appearance

 

Yugi's character design was overseen by Kazuki Takahashi. His normal outfit consists of the standard male Domino Junior/Senior High uniform complete with a closed buckled collar. His extremely extravagant hair features multiple layers including long blond crooked, pointy locks for his fringe; the rest features a set of five large spikes and two smaller spikes colored black with a magenta sheen along the edges. So far, he is the only character in the franchise to have his hair divided into three colors. He wears the Millennium Puzzle on a lace around his neck. The lace is later replaced with a chain. He often wears a KaibaCorp Duel Disk on his left arm.

 

When he played Dungeon Dice Monsters against Duke Devlin, he wore a black long-sleeved shirt, a gray sleeveless vest, dark blue pants, and black shoes.

 

When he and Téa took a day together to find out about the Millennium Puzzle, he wore a black linen shirt and several pieces of wrist-chains, along with a pair of leather pants.

 

In Yu-Gi-Oh! Capsule Monsters, Yugi wore a different attire of a violet jacket and jeans. He also wore the Capsule Shooter on his left arm. In Episode 4, he gained a Duel armor that allowed him to become one with one of his capsule monsters.

 

In Yu-Gi-Oh! GX, Yugi went through noticeable development. While physically resembling Atem, he is much taller and has a lean-built frame. During this time, Yugi's present-day eyes are not directly shown.

 

Personality

 

Yugi is kind-hearted and child-like. He is good at games, riddles, and puzzles, especially Duel Monsters. As Shadi stated when he looked into Yugi's Soul Room, he has no malice or wickedness in his heart.[9] This doesn't mean he cannot get angry at someone, but is willing to forgive them.

 

Yugi is also very shy when comes to meeting people who admire him, especially girls. As seen with the cases of Mai, Vivian, and later Rebecca, he would often blush and even freeze up when they approached him. Yugi is also not good in front of big crowds, as seen when Mokuba tried to get him up on stage to give a speech.

 

Unlike his other self, Yugi has no problem with losing. In fact, he is willing to lose if it means helping his opponent. Yugi also has a lack of confidence in his own abilities, but still wants help out his friends. Over the course of the series, he becomes more confident and determined. He is also willing to sacrifice himself if it means saving someone else, such as Joey or Yami Yugi.

 

Voice

The voices differ slightly between the different series and the English dub, although the voice of Dark Yugi is much deeper, stronger and more confident than that of Yugi.

 

Original

In the Japanese version, Yugi has considerably more confidence than in his previous appearance, but is still very polite. It's harder to distinguish between his voice and Dark Yugi's, but Dark Yugi's tone is considerably sterner and has the same pattern of speech as his previous appearance. This series also established Yugi calling Dark Yugi もう一人のボク mō hitori no boku ("other me") and Dark Yugi referring to Yugi as 相棒 aibō ("partner"). Also, Yugi's first-person pronoun is ボク boku, while Dark Yugi's is オレ ore.

 

English

In the English dub, Yugi's voice is high-pitched and sometimes strained in more emotional moments, and generally has a friendly tone towards everyone. Yami Yugi's voice, in comparison, is fierce and commanding. In the Singaporean dub, Yugi and Yami Yugi are voiced by Chuck Powers. In this dub, Yugi's voice is soft and slightly high-pitched, while Yami Yugi's voice is near the total opposite. In the Singaporean dub, both Yugi and Yami Yugi speak with a slight drawl. In the first season, Yugi calls Yami Yugi "Spirit," then in other seasons Yugi started to call him "Pharaoh." Sometimes, he also calls him Yami. Yami Yugi always called Yugi by his name.

 

In Yu-Gi-Oh! GX, Yugi is a young adult and his voice is deeper, yet still distinct enough to be separate from Atem's.

 

In Yu-Gi-Oh!: Dark Side of Dimensions, Yugi's voice is slightly deeper than it was in the English dub.

 

Spanish (Spain)

In the Spanish version, Yugi and Yami are voiced by two different people (Alex Saudinós as Yugi Muto and Pablo Sevilla as Yami). In Yu-Gi-Oh! GX, Yugi is a young adult and his voice is the same actor as Yami Yugi.

 

Etymology

Yugi's given name literally translates to "Game" in Japanese, symbolizing how Yugi loves to play games. In the English dub, his surname is pronounced as "Moto"; in Japanese, the word "moto" can mean "foundation" or "basis", which may be a reference to how Yugi served as a host for Yami Yugi. Occasionally, his English surname has been misspelled "Moto".

 

Biography

History

Yugi lived in his family's game shop, Kame Game, with his mother and grandfather. His grandfather taught him a lot about the game, Duel Monsters.

 

DMx003 Torment

Yugi, bullied by Joey and Tristan.

 

Joey and Tristan used to bully Yugi. Joey even went as far as taking a piece of Yugi's Millennium Puzzle and throwing it into a canal. However, Yugi stood up for Joey and Tristan when they were attacked by Ushio, claiming that they were his friends, whereas Ushio claimed he was protecting Yugi in order to earn money. Joey and Tristan came to be Yugi's friends after the incident and Joey recovered the piece of the Puzzle.

 

After solving the Millennium Puzzle, Yugi unknowingly became host to Yami Yugi, the spirit of Pharaoh Atem. He shared his body with Yami, who occasionally takes control, typically to help Yugi and his friends.

 

Yugi and Joey once visited Burgerpalooza, only to find Téa working there. She feared that if they told, she would get expelled as it's against school rules to have part-time jobs. (In the dub, she worried about getting fired, as they could have revealed that she was under 18, the required age to work there.) She splattered their burgers in ketchup, warning them not to tell. They told her that they did not even know she worked there, and they wouldn't say a word.

 

Yugi later found Téa in a warehouse, being filmed by a pervert, who threatened to reveal she was working at Burgerpalooza. (In the dub, he was a mugger who tricked her by writing a note, pretending Yugi and Joey had given her a dance studio.) Yugi tackled the man, but got thrown against a wall. Téa was also knocked unconscious after trying to attack him. Yugi then transformed into Yami Yugi, who defeated the man in a card draw game and Mind Crushed him. Yugi came to believe that he had saved Téa himself, although he didn't remember how he did it.

 

Yugi defeated Joey in Duel Monsters at school and decided to invite Joey, Téa and Tristan to see his Grandpa's rare card, the "Blue-Eyes White Dragon", after school. Seto Kaiba, who overheard, kidnapped Grandpa and forced him into a Duel for his "Blue-Eyes", as he refused to trade or sell it. Yugi and his friends caught up after Solomon had already been defeated, and witnessed Kaiba tear-up the "Blue-Eyes White Dragon" in front of them. Outraged, Yugi challenged Kaiba to a Duel, and Solomon gave Yugi his Deck. Yugi Dueled Kaiba as Yami Yugi and discovered Kaiba had the other three "Blue-Eyes White Dragons" in his Deck, but defeated him using "Exodia the Forbidden One", taking Kaiba's title as the Duel Monsters World Champion.

 

Since Joey had been having trouble with winning in Duel Monsters, Yugi asked his grandfather to help train Joey.

 

Maximillion Pegasus heard of Yugi's victory over Kaiba and sent him a videotape inviting him to participate in his Duelist Kingdom tournament. Pegasus appeared on the TV and Dueled Yugi on the spot, while freezing everyone else in the room. Pegasus placed a time limit on the Duel and won because time ran out seconds before Yugi could claim victory. As a penalty for Yugi's defeat Pegasus stole Grandpa's soul.

 

Yugi entered the tournament in order to rescue Grandpa. At the pier, before boarding the ship to the tournament, he gave Joey one of his two Star Chips, allowing Joey to participate and help him.

 

On the ship, Yugi met Weevil Underwood, who acted friendly towards him and told Yugi that he knew of secret new rules to be introduced in the tournament. Shortly after Weevil left, Yugi gave Joey the "Time Wizard" card, telling him how it can be helpful in a tight spot. Yugi met Weevil again later and showed him his "Exodia" cards, which Weevil tossed overboard, to hinder Yugi's Deck. Joey jumped into the water to recover them, but after getting two of them was hit by the current and Yugi dove in to save him. Both of them were then rescued by the stowaways, Téa and Tristan, who threw them a rope ladder.

 

Once the tournament started, Yugi tracked down Weevil to get revenge, but Weevil fled, leading him into a forest. Yugi suspected this was to do with the new rules Weevil mentioned. Weevil led them to a meadow, where he accepted Yugi's challenge, as his monsters got Field Power Bonuses there. Yugi switched to Yami Yugi, who bet both his Deck and Star Chip, earning him Weevil's two Star Chips after he won.

 

Yugi cheered for Joey in his Duel against Mai. As Yami Yugi, he offered Joey abstract clues to help him win. Joey defeated Mai using the "Time Wizard" card, Yugi gave him.

 

While searching for food, Yugi and his friends, found fish Mako Tsunami had prepared. Unbeknownst to them, Mako had set it as bait to lure opponents, to where his monsters greatly benefit from the field. Mako appeared, angered over them stealing his food. After Yugi introduced himself, Mako was happy to meet the Duelist, who defeated Kaiba, and shared the food with him and his friends. Yugi got up to leave, but Mako stopped him by throwing a harpoon in front of him and demanded a Duel. Yugi switched to Yami and defeated Mako, winning two more Star Chips.

 

Yugi and his friends saw a contestant, being forced to leave the island as he was out of Star Chips. The boy claimed they had been stolen, along with his Deck. He described the thief and where he met him. Yugi promised to get his Star Chips back, before the boat left the island. At the scene of the crime, they met the thief, whose face was disguised. He Dueled Yugi, with five stolen Star Chips on the line, and Yami Yugi soon realized that the thief was Kaiba's brother, Mokuba. Mokuba explained how Yugi's humiliation of Kaiba, resulted in his departure, giving Pegasus an opportunity to take over KaibaCorp. Mokuba sought revenge on Yugi for this. Unable to win the Duel, he made a grab for Yugi's Star Chips, but Yami discouraged Mokuba and promised to help him and Kaiba.

 

The group made their way back to the bay, but the boat had already left. Mokuba showed Kemo that Yugi won back the Star Chips, but Kemo slapped them into the water, including some of Yugi's. Kemo grabbed Mokuba to take him back to Pegasus, but Yugi challenged Kemo to a Duel for Mokuba's freedom. Since Kemo was not a Duelist, he told Yugi to come back in an hour (4 hours in the dub) and he would have an opponent arranged for him.

 

Yugi returned to the spot and faced Ghost Kaiba, who pretended to be the actual Seto Kaiba and used his Deck. With the help of the real Kaiba, who weakened Ghost Kaiba's "Blue-Eyes White Dragons", via a virus, Yami Yugi won. Yugi retrieved Kaiba's Deck, but Kemo had already disappeared with Mokuba.

 

Yugi was not allowed to help Joey in his Duel with Rex Raptor. As the Duel started Yugi went to find Tristan, who left in a huff with Joey for accepting those conditions. Tristan reminded Yugi that he should still be at the Duel to offer Joey his friendship, so the two of them returned to watch.

 

That night, Mai shared her food with Yugi and his friends, although she promised that they would be enemies again tomorrow.

 

Bakura Ryou appeared at their campsite, shortly after Mai left for a walk. While the group talked about cards they own and identify with, Yugi encouraged Téa to pick one for herself and picked the "Dark Magician" as his own. Bakura suggested that they play a friendly Duel, where Yugi includes the cards Joey, Tristan and Téa identified with; "Flame Swordsman", "Cyber Commander" and "Magician of Faith", in his Deck and he can show them how his card, "Change of Heart" works. Bakura changed to Yami Bakura, who trapped the group's souls in the cards they selected. He proceeded to take Yugi's Millennium Puzzle, but Yami Yugi emerged and faced Yami Bakura in a Shadow Game, staking the Millennium Puzzle, in order to return his friends.

 

Yugi's friends appeared in place of the monsters they selected as Yami Yugi Summoned them. When the "Dark Magician", Yugi was Summoned, the two Yugis met. In the Japanese version, Yugi was aware of Yami's existence and the two of them agreed now is not the time to keep secrets. In the dub, Yugi was unaware of Yami's existence until that time, though he said he often heard a powerful voice coming from the Millennium Puzzle when he Dueled. Yugi told his friends of Yami's existence, that he is the spirit of the Millennium Puzzle and apologized for not telling them before. In the dub, Yugi admitted to having felt Yami's presence while he Dueled and felt they could trust him. Yami managed to win the Duel, with the help of Bakura betraying Yami Bakura, returning everyone to normal, although Téa, Tristan and Joey believed the Duel to have been a dream. Yugi didn't take time to explain as they heard Mai scream at that point.

 

The group found the Eliminator, PaniK, who had just beaten Mai and taken all eight of her Star Chips. Yugi accused PaniK of being a coward and Dueled him as Yami Yugi, winning back Mai's Star Chips. He offered them to Mai, who reluctantly took them back, remarking that she owed him one.

 

Later that night Kaiba arrived on the island and Yugi returned his Deck.

 

The next day, Mai left a letter explaining she had left and owes Yugi for winning back her Star Chips. Joey later got separated from his friends, who searched a cave after finding his wallet outside. After running from many traps, they found Joey in a Duel with Bonz. Joey won, but Bandit Keith's gang trapped Yugi and his friends in the cave, by sealing the entrance with a boulder.

 

Using Bakura's Millennium Ring as a guide, the friends found the Paradox Brothers guarding an exit. Yugi and Joey faced them in a Tag Duel to gain passage.[32] After winning Yugi and Joey, each had enough Star Chips to enter the finals and Yami Yugi passed the brothers riddle test in order to exit.

 

At the stairs to Pegasus' castle, Téa pondered on Yugi's differing personalities and wondered if there could be two Yugis. Yugi admitted to feeling as though there is someone else living inside him, but hoped he wasn't going crazy.

 

At the top of the stairs, Kaiba blocked the way and talked Yugi into a Duel. Yami took control and faced Kaiba, using his Duel Disk technology.[14] As Yami was about to win, Kaiba stood up on the edge of the castle, such that the shockwaves from Yugi's attack may cause him to fall to his death. (In the English anime, Yugi spoke to Yami, telling him not to do it.) Yami contemplated, but in the end decided to attack. Téa ran to Yugi insisting that this is not like him and calls for the ordinary Yugi to come out. Yugi took control in time to cancel the move. He fell to his knees, shocked by what he had almost done. Kaiba took his turn and won the Duel, claiming five of Yugi's Star Chips.

 

Now fully aware of the other Yugi's existence, Yugi admitted it to his friends, telling them that he is afraid of him and consequently afraid to Duel. Kaiba called Yugi weak, but Téa protested arguing that Yugi saved him and Kaiba is the real loser.[34] After Kaiba left, Yugi continued to mope. Joey offered Yugi to take his Star Chips, so he may enter the finals, but Yugi ignored him. Frustrated, Joey grabbed Yugi by the shirt, asking him if he cares about his grandfather.

 

Mai appeared and was briefed in on what just happened. She offered Yugi her excessive Star Chips, as per her promise from earlier, but Yugi did not even acknowledge Mai's appearance. Annoyed, Mai told him to grow up and hang on to the Star Chips. She accused him of being afraid to Duel again and challenged him. Téa instead accepted the Duel, to win back Yugi's Star Chips.

 

Yugi began to slowly snap out of his depression as he watched Téa Duel. After Mai surrendered, Yugi approached her about the face-down card she didn't use. Mai denied that she lost for him. (In the dub, she said that some cards just aren't worth playing.)

 

Inside the castle, the group were invited to watch Pegasus Duel Kaiba. Seeing as Kaiba was Dueling to save Mokuba, Yugi opted support to Kaiba. Kaiba was trapped in Pegasus' "Soul Prison" card, after his defeat. Yugi then shouted down to Pegasus' asking who he is to mess with people and their families like this.

 

The finalists along with Téa, Tristan and Bakura were treated to a meal that evening, where the finalists got paired-up. After the meal, Yugi gave Joey his "Glory of the King's Hand", as it is mandatory for each finalist to possess either it or "Glory of the King's Opposite Hand".

 

That night, Yugi was woken by his grandfather's voice, calling him. He followed it and found a "Soul Prison" card, with his grandfather's soul inside. Solomon warned him about Pegasus and is accompanied by the cards containing Seto and Mokuba Kaiba's souls. Yugi woke up afterwards, wondering if it was a dream.

 

Yugi faced Mai in the first Duel of the finals. Yami Yugi gives little effort to the Duel, as he was worried about facing Pegasus. (In the dub, Yugi refused to let Yami Duel, fearing how he may harm their opponent.) This resulted in Yugi playing poorly. Encouraging words from Mai returned the Yugis to the top of their game and allowed them to turn the Duel around and emerge with a win.

 

Yugi cheered for Joey in his Duel against Bandit Keith.

 

Yugi faced Joey in the final round. Joey used all he learned from Yugi, but was still defeated by Yami Yugi. Afterwards Joey offered to give "Glory of the King's Hand" back to Yugi, so he may claim the prize money. However Yugi declined, as he had entered to tournament with the intent of saving his grandfather and now the Kaiba brothers. The money was not important to him, but Joey needed it for his sister's eye operation.

 

Yugi advanced to Duel Pegasus. At the start of the Duel, Yugi requested that the Kaiba brothers' souls be released as well as his grandfather's, if he wins. Pegasus accepted but indicated that he plans on taking Yugi's soul if he wins. Pegasus used his Millennium Eye to read Yami Yugi's mind during the Duel, but Yugi had an idea about countering Pegasus's powers by the risky strategy of having him and Yami switch minds each time they played a face-down card, thus preventing Pegasus from reading their strategy while running the risk that one of them would attempt something that would hinder the other's plans. After the Yugis destroyed Pegasus' "Toon World" card, Pegasus transported them all into the Shadow Realm. In the Shadow Realm, Yugi lost his life energy while doing the mind shuffle strategy, lacking the spiritual strength to play on that level, and Pegasus continued successfully reading Yami's mind, until Joey, Téa and Tristan blocked his Millennium Eye. Yami defeated Pegasus, returning them both back from the Shadow Realm.

 

Pegasus disappeared after his Duel with Yugi. Determined to ensure the captive souls are returned, Yugi and his friends searched for Pegasus. They found a number of Pegasus' men carrying him away after he was assaulted by Yami Bakura. Croquet explained that he was attacked. (In the dub, he said that Pegasus had fallen ill.) Yugi and company headed to Pegasus' tower, where they found a diary entry addressed to new King of Duelists who defeats him, explaining why he created Duel Monsters. Yugi then spotted the three "Soul Prison" cards, which are now blank, meaning the souls are no longer imprisoned.

 

As he left the tower, Yugi bumped into Shadi, who used his Millennium Key to enter Yugi's mind. To Shadi's surprise he found two soul rooms; one for Yugi and one for Yami. Shadi wound up in a Shadow Game with Yami, but was rescued by Yugi. Yugi informed Shadi that he doesn't believe his other self intends to harm him and asked Yami to release Shadi from the game.

 

A door opened, leading them to a room lined with stone tablets of Duel Monsters. Yugi learned from Shadi that millennia ago, Egyptian kings played Shadow Games with real monsters and magic. After the games became a war that threatened to destroy the world, one brave pharaoh sealed the magic away. The duo were confronted by the Dark Magician. Shadi prepared to counter by Summoning the Blue-Eyes White Dragon. However Yugi insisted that the Dark Magician would never harm him and asked the magician to let them past. To Shadi's astonishment the magician complied. Seeing Yugi's control over the Dark Magician, Shadi believed he may be the chosen one.

 

Shadi returned himself and Yugi to outside Yugi's soul. Before disappearing, he told Yugi his name and claimed to have not told it to anyone before.

 

After the group found Mokuba was back to normal, Croquet handed Yugi the other prizes on behalf of Pegasus, who had been taken to hospital. Yugi received the card "The Ties of Friendship", was crowned the King of Games and also received the 3 million dollar check, which he gave to Joey for Serenity's eye operation.

 

Kaiba thanked Yugi for saving Mokuba and insisted that they have a fair Duel someday to determine who is the better Duelist. Yami Yugi congratulated Yugi on saving everyone. (In the dub, Yugi pointed out that he doesn't even know Yami's name. Yami replied that he has been called many things such as Pharaoh, Yu-Gi-Oh and Yami. Yugi refered to him as Yami and said he is glad to call him his friend, while Yami was proud to be one.)

 

Yugi and his friends got a lift back to Domino City from Kaiba.

 

As Yugi brought his grandfather home from the hospital, the group was confronted by Rebecca Hawkins. She accused Solomon of stealing her grandfather's "Blue-Eyes White Dragon" and challenged him to a Duel. At Kaiba Land, Yugi faced Rebecca in the Duel, as his grandfather was unfit to play.[45] The Duel turned out to be an exact repeat of the Duel their grandfathers played a long ago over a drink of water. Like how Solomon surrendered back then as Arthur needed the water more, Yugi surrendered to teach Rebecca about the Heart of the Cards. Just then, Arthur arrived, showed that Yugi could have won, and explained why he surrendered. After Rebecca apologized, Yugi gave her the card, "The Ties of Friendship".

 

Mokuba arrived at Kame Game and informed Yugi and his friends that Kaiba's mind had been trapped in the Virtual World by The Big Five, while testing out a virtual reality machine that he created. Upon agreeing to help, Yugi, Joey, Téa, Tristan and Mokuba snuck into Kaiba's laboratory at the Adventure Game. Yugi, Joey and Mokuba got into pods to transport their minds to the virtual world, while Téa and Tristan kept guard.

 

Yugi, Joey and Mokuba appeared in a graveyard, where they were confronted by "Armored Zombie", "Clown Zombie" and "Dragon Zombie". They Summoned monsters to battle them, but the zombies kept reviving stronger than before. However Joey continued to attack them, until Yugi reminded him of his Duel with Bonz. So Joey played "Shield & Sword", dropping their DEF to 0 and Yugi finished off the zombies with "Dark Magician". Upon beating the zombies, they were each given a card displaying how much currency they have.

 

The trio spotted the fairy Iru, who guided them to a town. Here they heard that a prisoner, who may be Kaiba, had been taken to the Cave of Death. They were unable to travel there due to the sandstorm and a townsman informed them that they would need a "Niwatori" in order to cross that desert. Upon searching the town, they found a battle competition with "Niwatori" as a prize.

 

Yugi and Mokuba watched Joey Duel Madam Butterfly in the Virtual World Coliseum. Once Joey found out that Madam Butterfly was Mai Valentine, Yugi and Mokuba ran over to them and explained what happened to Kaiba. Offering to help, Mai got her "Harpie Lady" to snatch the "Niwatori" card from the Coliseum owner and the four of them ran for the desert. At the edge of the desert, Mai played the "Niwatori" card, producing four large birds for them to ride on.

 

Once they crossed the desert, they reached the template at the Cave of Death. Inside they found themselves in a maze and were chased by "Labyrinth Tank". Yugi used "Magical Hats" to hide them and transport them to another part of the maze, where they met Iru and Adena. Iru guided the group to the exit, but it was guarded by "Gate Guardian". Yugi and Joey together Summoned "Black Skull Dragon" and equipped it with "Dragon Nails", making it strong enough to defeat "Gate Guardian". Outside the maze, a rescue party arrived and took Yugi and his friends to the palace as a reward for saving Adena.

 

At the palace Yugi and his friends learned that Adena was the queen of the land. (In the dub, she was a princess.) Adena informed them of Mythic Dragon ritual where they must offer sacrifices to the Mythic Dragon. They learn that Adena is to be this kingdom's sacrifice and Kaiba is to be another kingdom's. Adena tells them of a legendary flying machine which can access the castle where Kaiba is and how she believed that Yugi and his friends are prophesized heroes who will destroy the Mythic Dragon. Yugi, Joey, Mai and Mokuba agreed to help and were given hero costumes to wear.

 

On one of the battlements, they were attacked by monsters who were after the sacrifice. Yugi, Joey and Mai unsuccessfully tried fighting them off. However Mokuba, who had previously swapped clothes with Adena, was kidnapped instead. While trying to find a way to save Mokuba, Yugi noticed a recent storm had revealed the outlines of the flying machine on the floor below them. Yugi asked Adena how long ago the legend involving the flying machine took place. With the unlikelihood of the machine still working and not enough time to dig it up, Yugi hinted to Joey that they needed to restore it to the condition it was 1000 years ago, prompting Joey to use "Time Wizard" to take the machine back 1000 years.

 

Yugi, Joey and Mai flew the airship up to the castle. On the way they were attacked by monsters, which they countered by summoning their own monsters. Yugi was attacked while his "Dark Magician" was too far away to save him. However Iru, blocked the attack, sacrificing itself. Yugi then played "Swords of Revealing Light" to block attacks. Angry over Iru's death, Yugi switched to Yami Yugi, who led the group to the castle.

 

As Yami, he managed to regroup with the Kaiba brothers and defeat The Big Five's "Mythic Dragon" in the final stage by Summoning "Dragon Master Knight". Shortly after Adina thanked them and revived Mai, Joey, Mokuba and Iru, the group returned to the real world.

  

Dungeon Dice Monsters

 

Grandpa feared for his business, the Kame Game, when the new game store, the Black Clown opened in Domino City. He ordered Yugi to stay away from the new shop. However Yugi and Téa passed it on the way to school later. Yugi received a flyer for a new game Dungeon Dice Monsters, but Téa dragged him away after he blushed at the lady handing out the flyer.

 

At school, they met the new student, Duke Devlin, the owner of the Black Clown. Joey was jealous of Duke's popularity and challenged him to a game of Duel Monsters. Yugi objected to the condition that Joey and Duke both use Decks from packs they open on the spot. Joey lost the televised Duel and in keeping his end of the bargain had to do whatever Duke said. Yugi became disgusted after Duke forced Joey to wear a dog suit and behave like a dog, so he switched to Yami who challenged Duke to a Duel. Duke accepted if they play Dungeon Dice Monsters instead of Duel Monsters and should Yugi lose he must relinquish his title of "King of Games" and give-up playing Duel Monsters.

 

Unfamiliar with the rules, Yami got off to a rough start. His chances did not improve as Duke revealed that he designed Dungeon Dice Monsters with Pegasus' aid. Duke blamed Yugi for Pegasus' disappearance after Duelist Kingdom.[51] Yami used his innate gaming skills to turn the tables on Duke. Yami succeeded in calling "Dark Magician", which Pegasus had added to the game, and used it to defeat Duke.

 

After the game, Duke, Yugi and Yugi's friends went to Duke's office. Duke lamented that his dream has been crushed as nobody would want to play Dungeon Dice Monsters now. However Yugi assured him that it was a great game and his friends agreed. Duke apologized for how he had treated them and they agreed to be friends.

 

Yugi replaced the brown rope around the Millennium Puzzle with a chain, which Yami Yugi complimented and offered him advice on impressing Téa, who was waiting for him. Embarrassed, Yugi asks what he was talking about. As Yugi left the room, his mother asked who he was talking to. Yugi replied that it was nobody and dashed off, telling Yami to stop picking on him, as he offered to help make Téa like him. (The Yugis talking about Téa and the scene with Yugi's mother were removed from the dub; thus it is never explained why Yugi was blushing.) Yugi met up with Téa and left for school with her (in the dub, they were going to a soccer game). Yugi told her that Yami was worried about his destiny and had no memory of his past.

 

On the way to school, Yugi bumped into Bandit Keith, who was possessed by Marik Ishtar and disguised as a fortune-teller. Falling for the disguise, Yugi reluctantly let him hold the Millennium Puzzle in order to read his future. Keith knocked over the table at Yugi and Téa and ran off with the Puzzle. Yugi and Téa split up to find him. In his search, Yugi followed a series of arrows, although he knew it was a trap, he felt that he had no other choice. Yugi caught-up with Keith, who had the Puzzle bolted to a wall. According to ancient rules, Marik had to win the Puzzle in a Duel, so he challenged Yugi to a Duel through Keith. Yugi was unable to switch to Yami during the Duel and quickly realized that Bandit Keith was his opponent after seeing he used a Machine Deck.

 

Yami Bakura sensed an evil presence and pinpointed it to the Duel. Seeing Keith controlled, Yami Bakura used the Millennium Ring to break Marik's control. Keith struggled to resist being repossessed, but Marik took control long enough to have Keith smash the Puzzle. Bakura swung down from a rope, knocking Keith unconscious. Bakura then collected a piece of the Puzzle and sealed a fragment of his soul inside it, before returning it to Yugi. Keith regained consciousness and continued to struggle with Marik's mind control, setting fire to the warehouse in his confusion. Unable to remove the piece of the Puzzle connected to the wall, Yugi stayed in the burning building to reassemble it. After inserting the last piece he collapsed and goes unconscious from the heat , but was rescued by Tristan and Joey and was taken to the hospital.

 

Worrying about how the Puzzle almost got stolen, Yugi took time to talk with Yami and discovered that Yami has no idea of who he once was, as he has lost all his memories. The duo suspected that their new enemy is in possession of a Millennium Item.

 

To try and help Yami regain his memories, Yugi asked Téa to spend time with Yami. He asked Téa out, but switched to Yami just before the date. Not expecting this Yami started shouting into the Puzzle at Yugi, until he was noticed by Téa. On the date, Yami and Téa learned from Ishizu Ishtar that Yami was once an Egyptian pharaoh and that Yugi had to enter the upcoming Battle City tournament to stop their new enemy.

 

While talking with Téa, about Duel Monsters at school, Téa asked which card best suited Yugi, assuming he would pick "Dark Magician". However Yugi explained that while "Dark Magician" is powerful, "Maha Vailo" better suits him, as it's not the strongest card, but it had hidden power. He would have liked to have picked "Dark Magician", but thought it's better suited to the other Yugi.

 

The day before the tournament, Yugi and Joey picked-up their Duel Disks in order to compete and the next morning Yugi finished reconstructing his Deck for the tournament.

 

Yugi spotted Joey trying to get a rematch with the Rare Hunter, Seeker, who had won his "Red-Eyes Black Dragon". Yugi noticed his robes were the same as the ones Bandit Keith wore, while he was possessed. Seeker refused to face Joey again, but challenges Yugi to a Duel. Yugi accepts and switched to Yami[60], who won and took back Joey's "Red-Eyes Black Dragon". Marik then used Seeker as his puppet to communicate with Yugi. He introduced himself, told Yugi how he's after the power of the pharaoh and warned him that there are more deadly Rare Hunters. Yugi offered Joey back the "Red-Eyes", but Joey refused, saying he will wait until he's a true Duelist before earning it back.

 

Yugi saves Arkana from the buzzsaw.

 

Yugi was lured into a tent by a harlequin and confronted by the Rare Hunter, Arkana. As Yami Yugi, he faced Arkana in a Duel, where the loser's feet got cut off by a buzzsaw. (In the dub, they got sent to the Shadow Realm by energy disks.) Yami won the Duel, but Yugi then took over and saved Arkana from the buzzsaw (energy disk in the dub).

 

At the canal side, while Yugi spoke with Yami about recent happenings they were confronted by another Rare Hunter, Strings. Strings was under Marik's complete control and Dueled Yami Yugi using the Egyptian God Card, "Slifer the Sky Dragon". Yami won the Duel, earning "Slifer the Sky Dragon" through the Ante rule. Kaiba, who had appeared during the Duel challenged Yugi to a Duel on the spot, but Marik warned Yugi that he was going to take control of Joey. Yugi declined Kaiba's challenge as he had to find and save his friend.

 

As Yami Yugi searched the city for his friends, with Kaiba's help, they defeated the Rare Hunters Umbra and Lumis twice, gaining enough Locator Cards to qualify for the finals and also located Joey at Domino Pier.

 

Yugi facing Joey, who is possessed by Marik

 

At the Pier, Yugi was forced to Duel Joey, who was possessed by Marik. Each player had their ankles chained to an anchor, which would drag them underwater to drown after the timer reaches 0. The only way for either player to save themself was to defeat their opponent, which would open a box, giving them a key. Yami made the first few of Yugi's moves, but Yugi insisted that he should fight this battle himself. Through talking to Joey and using "Red-Eyes Black Dragon" to remind him of his promise to become a true Duelist and even giving him the Millennium Puzzle, Yugi managed to get Joey's subconsciousness to ignore Marik's commands. Yugi managed to fully snap Joey out of Marik's control shortly before forcing himself to lose. With Joey back to normal, Yugi told Marik that he was the true loser of this Duel. Yugi let his Life Points fall to 0 and collapsed, releasing Joey's key. However Joey managed to force the Duel into a DRAW, releasing Yugi's key too. Using the chain, Joey swung to Yugi's side of the field and grabbed his key, before the anchor dragged them both down. He unlocked Yugi, who floated to the surface and was brought ashore by Tristan. Serenity dove in with the other key to save Joey. Joey later apologized and returned the Millennium Puzzle. Yugi thanked Yami for trusting in him and Yami said that Yugi has taught him the strength behind kindness and that one day Yugi will surpass him in every way.

 

Afterwards Mai gave Yugi and his friends a lift to the finals.

 

Yugi, Joey, Mai, Téa, Tristan, Duke and Serenity arrived at the KaibaCorp Stadium for the finals. Yugi was suspicious of the finalist Marik, who is under the guise "Namu", and Bakura, who should be in the hospital. Téa cleared any suspicion of Namu, by informing Yugi of how he saved her, Joey and Bakura earlier. Shortly after Odion Ishtar, pretending to be Marik arrived, everyone boarded the blimp, where the finals took place.

 

As Yugi prepared for the finals in his room, he added "Slifer the Sky Dragon" to his Deck, thinking he was going to need it to face Marik. He also suspected Bakura had come into contact with the Millennium Ring again.

 

Yugi meets Shadi.

 

Yami Yugi faced Bakura in the first of the quarter-finals on the Stratos Dueling Arena. Yugi's suspicions were confirmed as they faced Yami Bakura.[71] When Bakura was one turn away from winning with "Destiny Board", the two Yugis agreed that they had to use "Slifer the Sky Dragon" to defeat him. Yami Yugi Summoned "Slifer", but Marik switched control of Bakura's body from Yami Bakura to Bakura, who was too weak to withstand the attack. However Yami Bakura disagreed with Marik's plan and took control of Bakura's body. He invited Yugi to attack him, refusing to let his host die. Yugi won the Duel, knocking Bakura unconscious and in leaving him need of medical attention.

 

During the intermission before the next Duel, Yugi unsuccessfully tried to get Kaiba to make an emergency stop to take Bakura to a doctor. Yugi went back to his room and began examining his Deck. He was interrupted by Shadi, who told him how the Egyptian God Cards were created and why he must stop Marik from getting his hands on them.

 

Ishizu gives Yugi the Millennium Necklace.

 

Joey defeated Odion, who was still pretending to be Marik and exposed him as a fake. Subsequently Namu was exposed as the real Marik and Yami Marik took control of his body. Marik confronted Yugi, saying the battle for the Pharaoh's power had just begun.

 

After losing to Kaiba, Ishizu Ishtar told Yugi of the Ishtar family's history and gave him the Millennium Necklace, as he was going to need all seven Millennium Items to recover the Pharaoh's memories.

 

That night Yugi was woken by Téa, who reported Bakura has gone missing. They discovered he was Dueling with Marik and saw him lose shortly after they arrived.

 

Virtual World

 

The Battle City blimp got sucked into a mechanical fortress in the sea, by Noah Kaiba. Yugi, Joey, Tristan, Téa, Serenity, Duke, Kaiba and Mokuba exited the blimp, where they were greeted by a projection of the Big Five, who explained that they got trapped in the Virtual World, after they failed to trap Kaiba there, during the Legendary Heroes game. For that they hate Yugi and his friends for helping Kaiba. Having Kaiba as a common enemy, Noah uploaded their minds into his computer system. Using an altered form of Duel Monsters, they planned to face the gang in order to claim possession of their bodies, so that they may exist in the real world.

 

The group were then transported to a virtual jungle, where they are given a demonstration of the Deck Master rules. The Big Five then separated the gang, by making holes appear under them.

 

Yugi was transported to a pond, where he was faced by Gansley, who had taken the form of "Deepsea Warrior". Before Dueling Gansley, Yugi changed to Yami Yugi, who Gansley identified as "Type-B". During the Duel, Yugi noticed that their Deck Master, Kuriboh was trying to tell them something. As Yami was about to lose, Yugi took over and used Kuriboh's Deck Master effect to save them. Shortly afterwards, Yugi collapsed so Yami took back control and won the Duel.

 

The Yugis entered a hallway afterwards. Although they were aware there were traps behind some doors, Yugi ran through one, after hearing Téa scream, but was thrown back by an attack. Yami drew the Level Star of the door to Yugi's attention, so Yugi Summoned a monster of a higher Level, "Winged Dragon, Guardian of the Fortress" and has it launch an attack into the doorway. They entered the doorway and wound up repeating the same process. Realizing it was because they keep choosing the Level 1 door, they started attacking different Levels. The final door had the 2000 ATK, Level 4 monster, "Flash Assailant", backed up with a series of face-down Magic or Trap Cards. Yugi used "Heavy Storm" to clear the face-downs and the effect of "4-Starred Ladybug of Doom" to destroy "Flash Assailant".

 

Yugi arrived at the scene of Téa's Duel, but was held back by a wall of ice. "Dark Magician" was taken from his Deck and Summoned to Téa's field, after she played "Sage's Stone". Attacking with both "Dark Magician" and "Dark Magician Girl", Téa defeated Crump, causing the ice around her to disappear. Yugi rushed to her aid and gave her his coat. Together they walked though the ice region and entered a door, taking them to a courtroom, where Joey was Dueling Johnson.

 

Yugi correctly suspected that Johnson had rigged the outcome of Joey's luck based cards. Although Noah attempted to disqualify Johnson, Joey insisted that they continue with the game unrigged. After Joey won, he, Yugi and Téa exited though another door.

 

The trio found their way to Duke, Serenity and Tristan's Duel against Nezbitt. After the Duel, the gang tried to find Tristan, before the Big Five took his body. They briefly met up with Kaiba and Mokuba, but were attacked by Nezbitt in possession of Tristan's body. The real Tristan in the body of a robot monkey helped them fight the imposter. However Nezbitt kidnapped Mokuba and Kaiba took off after him, leaving the others think about what to do with the monkey, not knowing it was Tristan.

 

The group took a pick-up truck to go after Kaiba. On the way, they found out the monkey was Tristan after he accidentally flipped a switch, allowing him to speak normally.

 

After watching Kaiba Duel Leichter, Yugi and Téa went with Kaiba to help him find Mokuba. The others tried to follow, but the tunnel disappeared, before they could enter.

 

Inside the tunnel Yugi and Téa got separated from Kaiba, and found themselves in a simulation of Kaiba's mansion back when Seto Kaiba got adopted. Yugi found a picture of Kaiba's father, Gozaburo, with Noah, shortly before meeting up with Kaiba again. Noah then showed the three of them a projection of the past, where Gozaburo showed Noah a picture of Seto, who Noah had to be able to compete with in order to run KaibaCorp.

 

Noah transported Yugi, Téa and Kaiba back to their friends, where they were confronted by the Big Five, now all sharing possession of Tristan's body. Yugi and Joey teamed-up to Duel them in order to win back Tristan's body. Although Yugi and Joey won, the Big Five attempted to steal their bodies, but Noah took them away, along with Tristan's body, before they could.

 

Since Noah designed the robot monkey, Yugi and his friends searched it for clues. Yugi pushed a red button, which transported them to a virtual Kaiba Land. From there the gang took a handcar through a subway and wound up on the scene of Noah and Seto Kaiba's Duel.

 

Yugi takes Yami to his soul room of recent memories.

 

Noah won and turned Seto and Mokuba to stone. This caused Yugi to get mad and change to Yami, who accused Noah of foul play, as he had used Mokuba as a shield to help him win. As Yami, Yugi combined his Deck with Seto's and continued the Duel. Noah gradually turned Yugi's friends to stone as Yami Dueled, until none of them were left. Yugi then offered Yami support and took him to his soul room. Inside he brought Yami to a room containing his recent memories, where everyone, who had been turned to stone offered their support. Back in virtual reality, Yami imagined Yugi's friends giving him the cards drawn by "Card of Sanctity". With them, Yami Summoned Kaiba's three "Blue-Eyes White Dragons" to win the Duel against Noah.

 

After the Duel, Noah attempted to steal Yugi's body and escape to the real world, but the power of the Millennium Puzzle forced him back. After Noah found out that Gozaburo had been using him, he tried to help everyone escape the virtual world and took them to a virtual Domino City. The group got separated and met-up again, minus the Kaibas. Having realized Noah double crossed them, Yugi started to blame himself for trusting Noah.

 

Gozaburo had monsters attack Yugi and his friends as they looked for a way out, but Yugi and Joey fought them off by Summoning monsters from their Decks. Noah, having stolen Mokuba's body and escaped to the real world, organized a missile attack to destroy the fortress, including the servers for the virtual world. After having a change of heart, he contacted the group and explained that they must get out out quickly before the virtual world is destroyed.

 

Yugi and Kaiba jump from the building.

 

Noah told them to go the arcade. Yugi, Duke and Joey fought off more of Gozaburo's monsters, while Téa, Serenity and Tristan went there. When Yugi, Duke and Joey got to the arcade, Noah asked Yugi to go and get Seto before returning himself.

 

Yugi complied and went to the KaibaCorp building, catching Seto shortly after he beat Gozaburo in a Duel. Gozaburo took the form of a monster and chased the two. Noah instructed them to jump off the building. With no other option they complied and awoke in the real world, before hitting the ground.

 

Yugi, Kaiba and Mokuba ran to escape the fortress before the missile strike and were helped onto the moving blimp by Joey and Tristan, shortly before the fortress got destroyed.

 

Battle City finals

 

The KaibaCorp blimp took the finalists to the Duel Tower for the Battle City finals. Yugi switched to Yami Yugi for the Battle Royal to determine match-ups[95] and wound up with Kaiba as his opponent.

 

Yugi weeps over Joey, after he loses to Marik.

 

Yugi tried to stop Joey from Dueling Marik. However Yami reminded him that Joey accepted the Duel knowing it would be a Shadow Game and nobody can stop such a game. Yugi worried for Joey and wondered if there was something they could do to help. However Yami assured Yugi that this was Joey's fight and he can win with their support. After Joey lost, Yugi screamed that it's a lie. He said that he won't lose Joey to the Shadow Realm. Later at Joey's bedside, he begged for him not to die. Yugi blamed himself, saying that he should have Dueled Marik instead. Out in the hallway, Yugi cried more and considered stopping Dueling, but Yami convinced him that they must not give-up and let Marik win. Yami got the idea to use the Millennium Necklace to see what happens. He and Yugi then used it to look into the future, where they saw Yami and Joey preparing to Duel.

 

Yugi Dueled Kaiba in the second semi-final as Yami Yugi. They managed to defeat Kaiba and afterwards found out Joey was okay to Yugi's delight. Yugi and Yami gained Kaiba's "Obelisk the Tormentor" card through the ante rule.

 

Yugi and Yami watched Joey Duel Kaiba in a third place play-off. They both agreed that Joey was a great Duelist and would have defeated Marik, had their Duel not been turned into a Shadow Game. The two them noticed the Millennium Puzzle acting strange and saw Téa's reflection in it. They left the Duel to find Téa, who was possessed by the original Marik to confront Yami Marik. At the top of the Duel Tower, they found Téa, Marik and Ishizu. Ishizu explained that Téa would be fine and that Marik's good side still lives on within Téa's mind.

 

Yugi partly disappearing, while Yami Yugi Duels Yami Marik.

 

Before facing Marik, Kaiba gave Yugi the card, "Fiend's Sanctuary", which Kaiba intended to use against Marik himself. Yami Marik and Yami Yugi's final Duel was a Shadow Game, where the regular Yugi and Marik were drawn from their bodies and floated next to them in spirit form. Yugi and Marik were bound by their wrists and ankles in darkness and parts of their bodies disappeared as their "Yami" selves lost Life Points. (In the 4kids version, they were gradually being swallowed into the Shadow Realm.) If Yami Yugi lost, Yugi would vanish and the Pharaoh would cease to exist as he required the physical body of a host to maintain himself.

 

Yugi encouraged Yami throughout the Duel. He even urged Yami to pay Life Points to keep "Fiend's Sanctuary" active, knowing it would make part of his body disappear. Yugi insisted that they must find a way to win without causing the good Marik to disappear. However, the good Marik possessed Téa and told Yugi not to hesitate, he's prepared to die. He no longer blamed the Yugis for his father's death. (In the dub, Marik said not to worry about protecting him, he wants to defeat his dark side at all costs.)

 

Yugi was certain that Yami Marik was going to fuse with "The Winged Dragon of Ra" a second time in the Duel and reminded Yami Yugi that if he does that again, he will become a monster and have the weakness of a Monster Card. With that in mind, Yami Yugi managed to use "Ragnarok", which would destroy "Ra". As Yugi wondered if this would cause the good Marik to disappear, Odion appeared.[104] Since Odion had been keeping Yami Marik away, his return allowed the regular Marik to regain some control of his body and urged Yami to attack. The Yugis continued to use the effect of "Ragnarok", which destroyed Ra and caused Marik and Yami Marik to switch places. With only 1 Life Point left, only Yami Marik's eye remained. Marik then surrendered causing Yami Marik to disappear and Yugi to win the Duel.

 

Yugi and Yami Yugi receive the last and strongest of the Egyptian Gods, "The Winged Dragon of Ra".

 

As the host, Kaiba congratulated Yugi for winning. (In the dub, he added that Yugi only won because Marik surrendered.) Marik informed Yugi that with his dark side gone, the souls of Mai and Bakura should be released and gave him "The Winged Dragon of Ra" due to the ante rule. Marik then showed Yugi the hieroglyphics carved on his back, explaining that the secret of the Pharaoh's power is written there, and whoever holds the three Egyptian God Cards can unlock that secret. With his mission complete, Marik handed the Millennium Rod and Ring to Yugi.

 

Kaiba announced that he was going to blow-up the Duel Tower and gave everyone an hour to evacuate. Yugi and his friends returned to the Battle Ship and found that Mai and Bakura were okay, but there was no sign of the Kaiba brothers on the blimp. With the Battle Ship damaged from escaping Noah's fortress and no one able to find the Kaibas, everyone else boarded the KaibaCorp helicopter. As they left, they saw Kaiba and Mokuba had escaped in their Blue-Eyes White Dragon jet.

 

Back in Domino City, Yugi and his friends said goodbye to the Ishtar family, Duke and Mai. Afterwards, back in Kame Game, Yugi and Yami Yugi assembled a Deck and included the "Red-Eyes Black Dragon" Joey gave them. At sunrise, the Yugis met Joey at the plaza for a final Duel to conclude their Battle City adventure.

 

Doma

Between classes, Yami took control of Yugi's body and skipped out of school to go to the museum, with Egyptian God Cards to uncover his memories. Yugi asked why they were going alone. Yami replied that it would be too depressing to say goodbye and just wants Yugi to see him off. (In the dub, there was no mention of why they were going alone. Instead Yami said that he felt the Egyptain God Cards pulling him to the museum.) However, Téa, Joey and Tristan caught up with him outside the museum and reminded him that they are a team. Inside Yami held the Egyptian God cards up to the tablet, but something held him back. The group heard a scream and dashed outside, finding a large number of living Duel Monsters in the city.

 

Suspecting the Duel Monsters appearing was caused by Kaiba's holographic technology, they went to KaibaCorp, but were unable to get past a crowd of reporters.

 

Yugi helps Grandpa after the break-in and learns that the Egyptian God cards have been stolen.

 

Later at the Kame Game, as Yugi and his friends watched Kaiba on TV explaining that he wasn't responsible, there was a break-in and the Egyptian God cards were stolen by motorcyclists from Doma. They quickly rushed outside and saw the Gods appear in the city. Yugi wondered who could have Summoned them as only someone with a connection to the Millennium Items can Summon the Egyptian Gods. The thieves then appeared before them, demanding that Yugi follow them if he wants to get the God cards back. Yugi changed to Yami and wound up Dueling one of them, Gurimo. Gurimo used the soul stealing card "The Seal of Orichalcos" and was even able to Summon "Obelisk the Tormentor" through its power.[106] Yugi still managed to defeat Gurimo, causing his soul to be sealed in the card. Afterwards Yugi took his necklace containing a fragment of the Orichalcos stone. As a reward for his victory, Rafael released the souls of Rex and Weevil, which Gurimo had previously captured using "The Seal of Orichalcos".

 

On the street, Yugi, Téa, Joey and Tristan found Rex and Weevil and discussed the bikers, who had stolen their souls and Yugi's God cards. Rex and Weevil pretended to agree to help them, but secretly planned on getting the God cards for themselves.

 

Rebecca kisses Yugi.

 

After leaving Rex and Weevil, Yugi and his friends met Rebecca Hawkins, who claimed that Yugi is now her boyfriend and took them to the museum to see her grandfather Arthur. From researching the origins of Duel Monsters, Arthur confirmed that Yugi was indeed sharing a bond with an Ancient Egyptian pharaoh and informed them that pharaoh saved the world when Ancient Egyptian sorcerers harnessed real monsters' powers by sealing them in tablets, like Duel Monsters. He also showed them photos from what he believed was Atlantis, showing carvings of Duel Monsters, proving that the origins of Duel Monsters dates back further than 3000 (5000 in the dub) years in Egypt to at least 10000 years ago in Atlantis. Arthur told them that he believes there is a parallel dimension where Duel Monsters are real. Since the pharaoh saved the world the last time people conjured these monsters, Arthur believes Yugi is to save the world this time, since the pharaoh has been reborn in him. Not certain what to do next, Yugi gave Arthur the stone he had taken from Gurimo for him to test. Outside the museum, to Yugi's embarrassment, Rebecca gave him a kiss before leaving. Shortly before leaving himself, Yugi thought that he heard someone calling for help, but couldn't see them anywhere.

 

As Yugi went to sleep that night, he heard the voice calling for help again. The Millennium Puzzle activated and the two Yugis were sent to the chamber inside the Millennium Puzzle. They heard the voice calling for help again and searched to see if they could find who it was. They eventually found Kuriboh, who led them to a room they'd never been to before. They heard the voice again and followed it, causing them to be transported through a vortex to the Duel Monsters Spirit World.

 

Yugi and Yami release Timaeus and gain his strength

 

Yugi and Yami found themselves hovering above a castle. They flew down into it and met Dark Magician Girl, who told them that both worlds were in danger. She explained that the two worlds rely on each other for survival, but now a gateway has been opened between the two worlds and the great beast, who feeds on the life force of humans and spirits will consume them all. Yugi and Yami agreed to help them, so Dark Magician Girl took them to three dragons trapped in crystal. According to legend, three warriors should be able to free them. Believing Yugi to be one of the warriors, she instructed the Yugis to remove a sword from one of the dragons. Yugi and Yami pulled the sword out, freeing the dragon, Timaeus.

 

Yugi woke-up in his bed shortly afterwards. He saw a strange light phenomenon trapping monsters outside. He ran to the plaza to see what it was and met his friends there. The monsters were absorbed into a crystal, which shattered, revealing an eye, which shot a twister at Yugi. However Yugi's Duel Disk began to glow as the card, "The Eye of Timaeus" appeared in it. Using it, Yugi Summoned Timaues to attack and destroy the eye. The Dark Magician Girl then appeared next to Yugi and informed him that the battle is just beginning.

 

While showing his friends the card, Yugi received a package from Industrial Illusions, containing a videotape and the card, "Illusion's Key". He was initially reluctant to watch the video, remembering the last one Pegasus sent him. After deducing Pegasus can't seal souls, since he no longer has the Millennium Eye, Yugi and his friends watched the tape. Pegasus offered some explanation for the recent events, but since it was too risky to leave the information on tape, he asked Yugi to meet him in person and arranged a jet for Yugi and his friends to come to California and bring the "Illusion's Key" with them.

 

Timaeus lights up as Critias is released by Kaiba.

 

The group took the plane to San Francisco, where a limousine was provided to take them to the Industrial Illusions headquarters.[110] Inside the limousine, Yugi noticed "The Eye of Timaeus" lighting up as Kaiba reelased Critias elsewhere. However the limousine took the group to a desert and the driver abandoned them at a gas station.[111] At the station, they were approached by another motorcyclist gang looking for trouble, but Mai Valentine appeared on a motorbike and fought off the bikers, causing a fire. Tristan drove Yugi, Joey and Téa in the limousine away from the station before the gasoline pump caused an explosion. Mai also escaped on her motorbike and drove away. The limousine broke down, while still in the desert, leaving Yugi and his friends stranded. Using Téa's femininity while the boys hid, they were able to hitch a ride from a truck driver to Industrial Illusions.

 

When the group finally at the Industrial Illusions headquarters, they were locked in by Mai, who revealed that she was with Doma and had captured Pegasus' soul in a "The Seal of Orichalcos" card, before challenging Joey to a Duel. During the Duel, Yugi's "The Eye of Timaeus" card once again lit-up as Joey was sent to the Spirit World to free Hermos. Fearing Mai would lose, Valon broke-up the Duel and the members of Doma fled.

 

Yugi and company encounter the holographic recording of Pegasus.

 

Yugi and his friends were then joined by Duke, Rex, Weevil and Kaiba. Using the card "Illusion's Key", Yugi was able to open a secret room, where they encountered a holographic recording of Pegasus. Pegasus told them about Doma's involvement in historical events and told Yugi where to find an exclusive card, he would need later. They found the card, "Legend of Heart", albeit blank at the time, within the room. Although, Kaiba decided not to stick with Yugi and his friends, they correctly guessed that he had the other Legendary Dragon, "Fang of Critias".

 

Duke gave the gang a lift to Arthur Hawkins' house to look for clues on what to do next. By the time they got there, Arthur had been kidnapped and the house was blown-up. Rebecca flung herself around Yugi and explained what happened. The group went into Arthur's mobile home and discussed what happened. Rebecca returned the Orichalcos stone, Yugi had lent to Arthur. While the others prepared something to eat, Yugi and Rebecca stepped outside to talk. Rebecca showed Yugi a card and note from Rafael she found after the explosion. Rafael's note told Yugi to come alone to Death Valley. (In the dub, it told Yugi to go there if he wanted to see Arthur again.) Later that night, Yugi borrowed Rebecca's horse, Copernicus, to go there.

 

Yugi Dueled Rafael as Yami Yugi at Death Valley, but still accompanied Yami in spirit form. Yugi was relieved when Rafael said that he had no intention of playing "The Seal of Orichalcos" in this Duel.[116] However Rafael used "Exchange" to give the card to Yugi later on. Yugi urged Yami not to use that card, no matter what happens and Yami agreed. However, they reached a point where Yami felt he was going to lose unless he played the Seal. Despite Yugi's objections, Yami played it and Yugi's spirit form left him alone.

 

Not wanting anything to happen to the Pharaoh, Yugi saves him by allowing the Seal of the Oricalchos to take his spirit instead.

 

Yugi was unable to contact Yami for the rest of the Duel, as he was trapped behind the Seal. He unsuccessfully tried pleading with him to not sacrifice his monsters, including "Dark Magician Girl", whom they made a promise with. Yami went on to lose the Duel and was about to lose his soul to "The Seal of Orichalcos". Using the power of the Millennium Puzzle, Yugi broke the seal that was holding him back and appeared next to Yami again. Since "The Seal of Orichalcos" only takes one soul, Yugi pushed Yami aside and let the seal take him instead.

 

Yami traveled to the Stone Wilderness, where spirits both good and evil roam, in the hopes of contacting Yugi. He managed to find Yugi and apologized for what happened. Without Yugi, Yami said the darkness inside him is starting to grow. He was afraid that Rafael might be right that he is evil and feared getting his memories (This maybe false because, he was manipulated easily by Rafael's words to be a lie from Dartz only to get his soul or being influenced by the Orichalcos itself). Yugi reminded Yami that he has been locked away. Yami tried apologizing again, but Yugi said that he didn't want his pity. Yugi asked if Yami only came here to demoralize himself. (In the dub, he said if Yami truly is evil, there's only one thing to do.) A Duel Disk appeared on Yugi's arm and he challenged Yami to a Duel. Yugi knew that he would have to Duel Yami sooner or later and if Yami's heart has become dark or engulfed in the darkest abyss, Yami shall lose. (In the dub, Yugi said that Yami doesn't deserve to be a part of this world and must pay for what he has done.) Yami reluctantly accepted the Duel.

 

Yugi after playing "The Seal of Orichalcos" in his Duel against Yami.

 

Both Yugi's drew the same cards in the same order, so Yugi used "Sangan" to shuffle his Deck and "Card Destruction" to reset their hands. Yami stated that the Duel was meaningless. However Yugi explained that Yami's weakness is the darkness in his heart, he is arrogant and warped by his sense of pride. With only one value, it's impossible for Yami to see other people's pain. (This explanation is removed from the dub.) Since he was a mirror reflecting Yami's dark side, Yugi had "The Seal of Orichalcos" in his Deck. Yugi used it and proceeded to use the same strategy Yami used against Rafael, sacrificing his monsters to win. Yami realized that this is what he looked like in the Duel against Rafael warped by his own psychological disruption and descends into his own darkest abyss. He refused to lose, as it would prevent him from saving Yugi and two worlds will eventually be destroyed. But, Yugi only sees Yami, who never cared about anyone's suffering because his pride got in the way and proceeds with monster sacrifice that it is thanks to Yami's recklessness that he can use this strategy to exact his own vengeance. He managed to counter Yugi's strategy with "Divine Wind" and win. Yugi was pleased that Yami won and said that in defeating him, Yami defeated the darkness in his heart and Orichalcos influence that corrupted him meaning that Yugi planned this all along and was never under the influence of the evil card.

Autumn IR

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on authentic facts. BEWARE!

  

Some background:

The РТАК-30 attack vintoplan (also known as vintokryl) owed its existence to the Mil Mi-30 plane/helicopter project that originated in 1972. The Mil Mi-30 was conceived as a transport aircraft that could hold up to 19 passengers or two tons of cargo, and its purpose was to replace the Mi-8 and Mi-17 Helicopters in both civil and military roles. With vertical takeoff through a pair of tiltrotor engine pods on the wing tips (similar in layout to the later V-22 Osprey) and the ability to fly like a normal plane, the Mil Mi-30 had a clear advantage over the older models.

 

Since the vintoplan concept was a completely new field of research and engineering, a dedicated design bureau was installed in the mid-Seventies at the Rostov-na-Donu helicopter factory, where most helicopters from the Mil design bureau were produced, under the title Ростов Тилт Ротор Авиационная Компания (Rostov Tilt Rotor Aircraft Company), or РТАК (RTRA), for short.

 

The vintoplan project lingered for some time, with basic research being conducted concerning aerodynamics, rotor design and flight control systems. Many findings later found their way into conventional planes and helicopters. At the beginning of the 1980s, the project had progressed far enough that the vintoplan received official backing so that РТАК scientists and Mil helicopter engineers assembled and tested several layouts and components for this complicated aircraft type.

At that time the Mil Mi-30 vintoplan was expected to use a single TV3-117 Turbo Shaft Engine with a four-bladed propeller rotors on each of its two pairs of stub wings of almost equal span. The engine was still installed in the fuselage and the proprotors driven by long shafts.

 

However, while being a very clean design, this original layout revealed several problems concerning aeroelasticity, dynamics of construction, characteristics for the converter apparatuses, aerodynamics and flight dynamics. In the course of further development stages and attempts to rectify the technical issues, the vintoplan layout went through several revisions. The layout shifted consequently from having 4 smaller engines in rotating pods on two pairs of stub wings through three engines with rotating nacelles on the front wings and a fixed, horizontal rotor over the tail and finally back to only 2 engines (much like the initial concept), but this time mounted in rotating nacelles on the wing tips and a canard stabilizer layout.

 

In August 1981 the Commission of the Presidium of the USSR Council of Ministers on weapons eventually issued a decree on the development of a flyworthy Mil Mi-30 vintoplan prototype. Shortly afterwards the military approved of the vintoplan, too, but desired bigger, more powerful engines in order to improve performance and weight capacity. In the course of the ensuing project refinement, the weight capacity was raised to 3-5 tons and the passenger limit to 32. In parallel, the modified type was also foreseen for civil operations as a short range feederliner, potentially replacing Yak-40 and An-24 airliners in Aeroflot service.

In 1982, РТАК took the interest from the military and proposed a dedicated attack vintoplan, based on former research and existing components of the original transport variant. This project was accepted by MAP and received the separate designation РТАК-30. However, despite having some close technical relations to the Mi-30 transport (primarily the engine nacelles, their rotation mechanism and the flight control systems), the РТАК-30 was a completely different aircraft. The timing was good, though, and the proposal was met with much interest, since the innovative vintoplan concept was to compete against traditional helicopters: the design work on the dedicated Mi-28 and Ka-50 attack helicopters had just started at that time, too, so that РТАК received green lights for the construction of five prototypes: four flyworthy machines plus one more for static ground tests.

 

The РТАК-30 was based on one of the early Mi-30 layouts and it combined two pairs of mid-set wings with different wing spans with a tall tail fin that ensured directional stability. Each wing carried a rotating engine nacelle with a so-called proprotor on its tip, each with three high aspect ratio blades. The proprotors were handed (i.e. revolved in opposite directions) in order to minimize torque effects and improve handling, esp. in the hover. The front and back pair of engines were cross-linked among each other on a common driveshaft, eliminating engine-out asymmetric thrust problems during V/STOL operations. In the event of the failure of one engine, it would automatically disconnect through torque spring clutches and both propellers on a pair of wings would be driven by the remaining engine.

Four engines were chosen because, despite the weight and complexity penalty, this extra power was expected to be required in order to achieve a performance that was markedly superior to a conventional helicopter like the Mi-24, the primary Soviet attack helicopter of that era the РТАК-30 was supposed to replace. It was also expected that the rotating nacelles could also be used to improve agility in level flight through a mild form of vectored thrust.

 

The РТАК-30’s streamlined fuselage provided ample space for avionics, fuel, a fully retractable tricycle landing gear and a two man crew in an armored side-by-side cockpit with ejection seats. The windshield was able to withstand 12.7–14.5 mm caliber bullets, the titanium cockpit tub could take hits from 20 mm cannon. An autonomous power unit (APU) was housed in the fuselage, too, making operations of the aircraft independent from ground support.

While the РТАК-30 was not intended for use as a transport, the fuselage was spacious enough to have a small compartment between the front wings spars, capable of carrying up to three people. The purpose of this was the rescue of downed helicopter crews, as a cargo hold esp. for transfer flights and as additional space for future mission equipment or extra fuel.

In vertical flight, the РТАК-30’s tiltrotor system used controls very similar to a twin or tandem-rotor helicopter. Yaw was controlled by tilting its rotors in opposite directions. Roll was provided through differential power or thrust, supported by ailerons on the rear wings. Pitch was provided through rotor cyclic or nacelle tilt and further aerodynamic surfaces on both pairs of wings. Vertical motion was controlled with conventional rotor blade pitch and a control similar to a fixed-wing engine control called a thrust control lever (TCL). The rotor heads had elastomeric bearings and the proprotor blades were made from composite materials, which could sustain 30 mm shells.

 

The РТАК-30 featured a helmet-mounted display for the pilot, a very modern development at its time. The pilot designated targets for the navigator/weapons officer, who proceeded to fire the weapons required to fulfill that particular task. The integrated surveillance and fire control system had two optical channels providing wide and narrow fields of view, a narrow-field-of-view optical television channel, and a laser rangefinder. The system could move within 110 degrees in azimuth and from +13 to −40 degrees in elevation and was placed in a spherical dome on top of the fuselage, just behind the cockpit.

 

The aircraft carried one automatic 2A42 30 mm internal gun, mounted semi-rigidly fixed near the center of the fuselage, movable only slightly in elevation and azimuth. The arrangement was also regarded as being more practical than a classic free-turning turret mount for the aircraft’s considerably higher flight speed than a normal helicopter. As a side effect, the semi-rigid mounting improved the cannon's accuracy, giving the 30 mm a longer practical range and better hit ratio at medium ranges. Ammunition supply was 460 rounds, with separate compartments for high-fragmentation, explosive incendiary, or armor-piercing rounds. The type of ammunition could be selected by the pilot during flight.

The gunner can select one of two rates of full automatic fire, low at 200 to 300 rds/min and high at 550 to 800 rds/min. The effective range when engaging ground targets such as light armored vehicles is 1,500 m, while soft-skinned targets can be engaged out to 4,000 m. Air targets can be engaged flying at low altitudes of up to 2,000 m and up to a slant range of 2,500 m.

 

A substantial range of weapons could be carried on four hardpoints under the front wings, plus three more under the fuselage, for a total ordnance of up to 2,500 kg (with reduced internal fuel). The РТАК-30‘s main armament comprised up to 24 laser-guided Vikhr missiles with a maximum range of some 8 km. These tube-launched missiles could be used against ground and aerial targets. A search and tracking radar was housed in a thimble radome on the РТАК-30’s nose and their laser guidance system (mounted in a separate turret under the radome) was reported to be virtually jam-proof. The system furthermore featured automatic guidance to the target, enabling evasive action immediately after missile launch. Alternatively, the system was also compatible with Ataka laser-guided anti-tank missiles.

Other weapon options included laser- or TV-guided Kh-25 missiles as well as iron bombs and napalm tanks of up to 500 kg (1.100 lb) caliber and several rocket pods, including the S-13 and S-8 rockets. The "dumb" rocket pods could be upgraded to laser guidance with the proposed Ugroza system. Against helicopters and aircraft the РТАК-30 could carry up to four R-60 and/or R-73 IR-guided AAMs. Drop tanks and gun pods could be carried, too.

 

When the РТАК-30's proprotors were perpendicular to the motion in the high-speed portions of the flight regime, the aircraft demonstrated a relatively high maximum speed: over 300 knots/560 km/h top speed were achieved during state acceptance trials in 1987, as well as sustained cruise speeds of 250 knots/460 km/h, which was almost twice as fast as a conventional helicopter. Furthermore, the РТАК-30’s tiltrotors and stub wings provided the aircraft with a substantially greater cruise altitude capability than conventional helicopters: during the prototypes’ tests the machines easily reached 6,000 m / 20,000 ft or more, whereas helicopters typically do not exceed 3,000 m / 10,000 ft altitude.

 

Flight tests in general and flight control system refinement in specific lasted until late 1988, and while the vintoplan concept proved to be sound, the technical and practical problems persisted. The aircraft was complex and heavy, and pilots found the machine to be hazardous to land, due to its low ground clearance. Due to structural limits the machine could also never be brought to its expected agility limits

During that time the Soviet Union’s internal tensions rose and more and more hampered the РТАК-30’s development. During this time, two of the prototypes were lost (the 1st and 4th machine) in accidents, and in 1989 only two machines were left in flightworthy condition (the 5th airframe had been set aside for structural ground tests). Nevertheless, the РТАК-30 made its public debut at the Paris Air Show in June 1989 (the 3rd prototype, coded “33 Yellow”), together with the Mi-28A, but was only shown in static display and did not take part in any flight show. After that, the aircraft received the NATO ASCC code "Hemlock" and caused serious concern in Western military headquarters, since the РТАК-30 had the potential to dominate the European battlefield.

 

And this was just about to happen: Despite the РТАК-30’s development problems, the innovative attack vintoplan was included in the Soviet Union’s 5-year plan for 1989-1995, and the vehicle was eventually expected to enter service in 1996. However, due to the collapse of the Soviet Union and the dwindling economics, neither the РТАК-30 nor its civil Mil Mi-30 sister did soar out in the new age of technology. In 1990 the whole program was stopped and both surviving РТАК-30 prototypes were mothballed – one (the 3rd prototype) was disassembled and its components brought to the Rostov-na-Donu Mil plant, while the other, prototype No. 1, is rumored to be stored at the Central Russian Air Force Museum in Monino, to be restored to a public exhibition piece some day.

  

General characteristics:

Crew: Two (pilot, copilot/WSO) plus space for up to three passengers or cargo

Length: 45 ft 7 1/2 in (13,93 m)

Rotor diameter: 20 ft 9 in (6,33 m)

Wingspan incl. engine nacelles: 42 ft 8 1/4 in (13,03 m)

Total width with rotors: 58 ft 8 1/2 in (17,93 m)

Height: 17 ft (5,18 m) at top of tailfin

Disc area: 4x 297 ft² (27,65 m²)

Wing area: 342.2 ft² (36,72 m²)

Empty weight: 8,500 kg (18,740 lb)

Max. takeoff weight: 12,000 kg (26,500 lb)

 

Powerplant:

4× Klimov VK-2500PS-03 turboshaft turbines, 2,400 hp (1.765 kW) each

 

Performance:

Maximum speed: 275 knots (509 km/h, 316 mph) at sea level

305 kn (565 km/h; 351 mph) at 15,000 ft (4,600 m)

Cruise speed: 241 kn (277 mph, 446 km/h) at sea level

Stall speed: 110 kn (126 mph, 204 km/h) in airplane mode

Range: 879 nmi (1,011 mi, 1,627 km)

Combat radius: 390 nmi (426 mi, 722 km)

Ferry range: 1,940 nmi (2,230 mi, 3,590 km) with auxiliary external fuel tanks

Service ceiling: 25,000 ft (7,620 m)

Rate of climb: 2,320–4,000 ft/min (11.8 m/s)

Glide ratio: 4.5:1

Disc loading: 20.9 lb/ft² at 47,500 lb GW (102.23 kg/m²)

Power/mass: 0.259 hp/lb (427 W/kg)

 

Armament:

1× 30 mm (1.18 in) 2A42 multi-purpose autocannon with 450 rounds

7 external hardpoints for a maximum ordnance of 2.500 kg (5.500 lb)

  

The kit and its assembly:

This exotic, fictional aircraft-thing is a contribution to the “The Flying Machines of Unconventional Means” Group Build at whatifmodelers.com in early 2019. While the propulsion system itself is not that unconventional, I deemed the quadrocopter concept (which had already been on my agenda for a while) to be suitable for a worthy submission.

The Mil Mi-30 tiltrotor aircraft, mentioned in the background above, was a real project – but my alternative combat vintoplan design is purely speculative.

 

I had already stashed away some donor parts, primarily two sets of tiltrotor backpacks for 1:144 Gundam mecha from Bandai, which had been released recently. While these looked a little toy-like, these parts had the charm of coming with handed propellers and stub wings that would allow the engine nacelles to swivel.

The search for a suitable fuselage turned out to be a more complex safari than expected. My initial choice was the spoofy Italeri Mi-28 kit (I initially wanted a staggered tandem cockpit), but it turned out to be much too big for what I wanted to achieve. Then I tested a “real” Mi-28 (Dragon) and a Ka-50 (Italeri), but both failed for different reasons – the Mi-28 was too slender, while the Ka-50 had the right size – but converting it for my build would have been VERY complicated, because the engine nacelles would have to go and the fuselage shape between the cockpit and the fuselage section around the original engines and stub wings would be hard to adapt. I eventually bought an Italeri Ka-52 two-seater as fuselage donor.

 

In order to mount the four engines to the fuselage I’d need two pairs of wings of appropriate span – and I found a pair of 1:100 A-10 wings as well as the wings from an 1:72 PZL Iskra (not perfect, but the most suitable donor parts I could find in the junkyard). On the tips of these wings, the swiveling joints for the engine nacelles from the Bandai set were glued. While mounting the rear wings was not too difficult (just the Ka-52’s OOB stabilizers had to go), the front pair of wings was more complex. The reason: the Ka-52’s engines had to go and their attachment points, which are actually shallow recesses on the kit, had to be faired over first. Instead of filling everything with putty I decided to cover the areas with 0.5mm styrene sheet first, and then do cosmetic PSR work. This worked quite well and also included a cover for the Ka-52’s original rotor mast mount. Onto these new flanks the pair of front wings was attached, in a mid position – a conceptual mistake…

 

The cockpit was taken OOB and the aircraft’s nose received an additional thimble radome, reminiscent of the Mi-28’s arrangement. The radome itself was created from a German 500 kg WWII bomb.

 

At this stage, the mid-wing mistake reared its ugly head – it had two painful consequences which I had not fully thought through. Problem #1: the engine nacelles turned out to be too long. When rotated into a vertical position, they’d potentially hit the ground! Furthermore, the ground clearance was very low – and I decided to skip the Ka-52’s OOB landing gear in favor of a heavier and esp. longer alternative, a full landing gear set from an Italeri MiG-37 “Ferret E” stealth fighter, which itself resembles a MiG-23/27 landing gear. Due to the expected higher speeds of the vintoplan I gave the landing gear full covers (partly scratched, plus some donor parts from an Academy MiG-27). It took some trials to get the new landing gear into the right position and a suitable stance – but it worked. With this benchmark I was also able to modify the engine nacelles, shortening their rear ends. They were still very (too!) close to the ground, but at least the model would not sit on them!

However, the more complete the model became, the more design flaws turned up. Another mistake is that the front and rear rotors slightly overlap when in vertical position – something that would be unthinkable in real life…

 

With all major components in place, however, detail work could proceed. This included the completion of the cockpit and the sensor turrets, the Ka-52 cannon and finally the ordnance. Due to the large rotors, any armament had to be concentrated around the fuselage, outside of the propeller discs. For this reason (and in order to prevent the rear engines to ingest exhaust gases from the front engines in level flight), I gave the front wings a slightly larger span, so that four underwing pylons could be fitted, plus a pair of underfuselage hardpoints.

The ordnance was puzzled together from the Italeri Ka-52 and from an ESCI Ka-34 (the fake Ka-50) kit.

  

Painting and markings:

With such an exotic aircraft, I rather wanted a conservative livery and opted for a typical Soviet tactical four-tone scheme from the Eighties – the idea was to build a prototype aircraft from the state acceptance trials period, not a flashy demonstrator. The scheme and the (guesstimated) colors were transferred from a Soviet air force MiG-21bis of that era, and it consists of a reddish light brown (Humbrol 119, Light Earth), a light, yellowish green (Humbrol 159, Khaki Drab), a bluish dark green (Humbrol 195, Dark Satin Green, a.k.a. RAL 6020 Chromdioxidgrün) and a dark brown (Humbrol 170, Brown Bess). For the undersides’ typical bluish grey I chose Humbrol 145 (FS 35237, Gray Blue), which is slightly lighter and less greenish than the typical Soviet tones. A light black ink wash was applied and some light post-shading was done in order to create panels that are structurally not there, augmented by some pencil lines.

 

The cockpit became light blue (Humbrol 89), with medium gray dashboard and consoles. The ejection seats received bright yellow seatbelts and bright blue pads – a detail seen on a Mi-28 cockpit picture.

Some dielectric fairings like the fin tip were painted in bright medium green (Humbrol 101), while some other antenna fairings were painted in pale yellow (Humbrol 71).

The landing gear struts and the interior of the wells became Aluminum Metalic (Humbrol 56), the wheels dark green discs (Humbrol 30).

 

The decals were puzzled together from various sources, including some Begemot sheets. Most of the stencils came from the Ka-52 OOB sheet, and generic decal sheet material was used to mark the walkways or the rotor tips and leading edges.

 

Only some light weathering was done to the leading edges of the wings, and then the kit was sealed with matt acrylic varnish.

  

A complex kitbashing project, and it revealed some pitfalls in the course of making. However, the result looks menacing and still convincing, esp. in flight – even though the picture editing, with four artificially rotating proprotors, was probably more tedious than building the model itself!

Nikon Df - Zeiss ZF.2 135mm f/2 APO-Sonnar - Press "L" for large view

Looking through old photos. Canon D60, Sigma 28-70

flickr.com/photo_zoom.gne?id=2038874811&size=o

 

existence.

unwilling to leave.

they say the spirit world is the opposite of this one.

`… Christmas Hills farmers were busy establishing a Mechanics Institute in the district. It appears to have been built during 1877 when it received its first grant and was certainly in existence at least as early 1878. The earliest surviving document to hand is `The Rules and Regulations of the Christmas Hills Mechanics Institute'. It establishes that subscriptions were being canvassed and collected before 15 June 1877. Furthermore, the Rules and Regulations indicate that the Institute included a Library, for which a subscription of five shillings a year was charged, and that the Hall could be rented for three shillings a day, four shillings an evening (until an hour after midnight), and for seven shillings and sixpence the whole night.

  

The Hall stood on the triangular Sutton Reserve bounded by Ridge Road and the two entries into the Pretty Sally Track (Ashmore Road). In the light of the contemporaneous school controversy (the typical siting controversy among competing resident groups), there can be no doubt that the choice of site had been that of the early phase selectors, the kinsfolk of the two original pastoral families. It was possibly an unwise choice, since by 1876 that part of the old Ridge Road was no longer being maintained by the Shire, and would already have begun falling into disrepair.

  

Taking 1877 as the probable year for its establishment, it was the earliest Public Hall anywhere in the County of Evelyn. Thus within a dozen years of the arrival of the first selectors in the district, the Christmas Hills community had managed to establish for itself a public meeting place, an accomplishment which took surrounding districts some decades to emulate. A measure of the community's public spiritedness is the circumstance that by 1883 the Christmas Hills Mechanics Institute Library contained some 700 books, and had branches at both Yarra Flats (Yarra Glen), and Dixon's Creek.

  

However, on the night of 12 November 1893, some sixteen years after it was built, disaster struck, as witness the following news item in the `Evelyn Observer' of 17 November 1893, under the heading

  

`CHRISTMAS HILLS MECHANICS INSTITUTE AND FREE LIBRARY BURNT TO THE GROUND: OVER A THOUSAND BOOKS DESTROYED'

"On Sunday night last at about 11 o'clock the Christmas Hills Mechanics Institute and Free Library, together with its furniture and well chosen library of books was completely destroyed by fire. A strange circumstance in connection with the fire was that it was not observed by anyone on the Hills, whilst its reflection was plainly discernible and was observed by people at Yarra Glen and Kangaroo Ground at about the hour mentioned…"

  

Since all the Hall records appear to have been destroyed in the fire, and later Hall Minute Books make certain of no mention of the event, very little is known for sure about the community's reaction to the calamity. However, for almost a hundred years, a belief has persisted that the Christmas Hills Mechanic's Institute was deliberately burnt down. Local legend has it that the dastardly deed was perpetrated by one of the bottom end residents; a woman no less.

  

The individual in question is said to have acted as midwife to the local community, and on the evening of the disaster, was known to have attended a birth further out in the hills. Furthermore, to return home she would have had to pass the Hall. It remained a widely held belief (at least among the top enders), that on her way home she had put a match to the Hall although, of course, nothing of the kind could ever actually be proved. However, in the light of subsequent events, as shall be seen, there is every indication that the Christmas Hill Mechanics Institute was indeed burnt down intentionally.

  

…All that survives today are five letters from an exchange of correspondence between the Trustees of the Institute and the Department of Land and Survey in the June and July of 1894. Three are replies from the Department of Land and Survey to appeals from the Hall Trustees for it to intervene on their behalf in an altercation over the Hall.

  

From the correspondence it can be gathered that in June 1894, only seven months after the disastrous fire, the reconstruction of a new Mechanics Institute was well under way on the old burnt out Sutton Reserve site. The walls had been erected, and the roof pitched. However, at about this stage of construction, the builders had struck trouble, and could proceed no further with the project. Letters flowed backward and forward between the Hall Trustees and the Department, without resolution of the impasse.

  

The Trustees appealed to the Department to take action `to protect the property of the Crown', but that body refused to become involved, and simply advised the Trustees that a public meeting be called to resolve the issue. Here again, since the surviving correspondence does not actually name people or make specific accusations, reliance is entirely based upon local tradition as to what was the cause of the altercation.

  

The situation seems to have been this: Very soon after the fire, a decision was made by the Trustees to rebuild the Institute on the same site. Reconstruction had progressed rapidly to the stage of having the walls up, and the roof pitched, when mysteriously, overnight, the entire roof disappeared without trace. In the eyes of the top enders, the only possible explanation of course was that the bottomenders (who no doubt strongly disagreed with its location), had nobbled the project by secretly confiscating, and stashing the roof. After unsuccessful appeals to the Department, a public meeting held on 23 July of that year still failed to resolve the impasse.

  

Of course the matter eventually had to be resolved, and that was done somehow by compromise. The compromise appears to have been that the top enders would agree to relocation of the Hall mid way between the warring camps, in return for a donation by the bottom enders of a suitable site (and of course the return of the roof).

  

The outcome was that the partly completed Hall was bodily transported one kilometre down Ridge Road, and relocated on a site donated to the community by the public spirited Thomas Young, the individual who had been at the forefront of the earlier confrontation over the preferred siting of the school. Once there, the roof would have made a miraculous reappearance, and in the fullness of time the reconstruction accomplished. Perhaps fearful of a reprisal raid, the winners in the tug of war immediately took out an Insurance Policy on the building (27 September 1894), many months before its actual completion. On 15 March the following year the new Christmas Hill's Mechanics Institute was officially opened with a Ball and Concert. Whereas the old Trustee Committee had been composed of the topenders, David Wilson, David Muir, and James Charlton, the new Committee, until well into the next century, consisted entirely of residents from the lower reaches of the district.'

  

Harold Muir states that:

The land for the hall was donated by a local community member in the 1890s but only after a dispute about where the hall should be. Typically farming groups at the north of Ridge Rd wanted the hall located near them in contrast to the wishes of those living at the south end; the frame of this hall was built on a site to the south (at the current yacht club site) but moved here to be completed; the north addition was made c1990, with help from TAFE apprentices

The hall was named after him as a long-term committee of management member, while he was away on an overseas trip.'

In 2005:

`Harold Muir Hall is a simple, gabled roof weatherboarded hall, with corrugated iron roofing, some six-pane timber-framed glazing and a gable finial. There is a new Tasmanian oak floor in the old hall (similar to that in the addition). The three windows along the south have top hopper sashes. Wired wall vents provide fixed ventilation to the hall. Pole-section hardwood stumps and sawn subfloor framing set the hall onto the hillside while various timber sections, general buildings debris and corrugated iron sheets are stacked on the ground...'

The beauty is eternal, maybe you should give a touch to embrace it. You wanna feel the existence.

 

Indoor experiment without external light.

Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.

 

There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.

 

'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.

 

Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.

― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)

by Werner Herzog

 

Source: Werner Herzog’s Maniacal Quests ―A newly published travel journal shows how walking, like filmmaking, brings us to the naked core of existence. (Noah Isenberg)

Close up of door, boots, umbrellas and, of course, gnomes

The beauty is eternal, maybe you should give a touch to embrace it. You wanna feel the existence.