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Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
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more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
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#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
12c - 15c Church of St Mary Magdalene, Twyning Gloucestershire . A minster (monasterium) church was in existence here pre 740 . A saxon charter records that "Aelfred,king='s earldorman gave to his daughter abbess Aethelburg for her lifetime , with remainder to the church of Worcester the minster at Tweoneum with the land belonging to it. There was also a holy well nearby named after St Chad visited by the saint when he was Bishop of Bristol
In 10c during an era of Viking unrest , the minster survived and was one of the main ecclesiastical estates of Winchcombe Abbey. Today its site is not known for certain.
A Norman church was built c1100
The nave north wall has 12c pilaster & one small blocked 12c round-headed window to the left of the porch. The 5 large round-headed windows are 19c.
Alterations took place in 13c including the building of the 1250 tower, - and again in 15c .
By 1309 its fortunes had declined, the church was exempted from paying tax as it was not provided with a benefice and a royal pardon was given to parson William de Boys for outlawry because of deception.
The Black Death in 1349-50 caused many deaths.
In 1352 William de Sherbourne, Abbot of Winchcombe was found guilty of embezzlement and was banished here to live on the fruits of the manor "without let or disturbance".
In 1374 the prior of Worcester issued orders to the Dean of Pershore to confiscate and sell the fruits of Twyning for repairs to the church, made necessary by the rector's neglect. The sheriff of Worcester came to arrest rector Robert de Iddebury for stubborn disobedience. . It was recorded that "it had been for a long time destitute of the care of a priest and as the buildings of the same in a great part had utterly collapsed, the fruits of the church were placed in the barns of the same, which were unroofed and dilapidated, so that by the rain falling in on them, they were wholly and daily damaged and would in a short time be undoubtedly destroyed"
After the Dissolution of Winchombe Abbey in 1546, the ecclesiastical manor here was split up , the rector to Christchurch Oxford which is still patron, the manor to Sir Ralf Sadler of Sudely .
Complaints were made to Christchurch in 1563 that there had not been a sermon for a year and that Christchurch should pay one fifteenth of the benefice instead of nothing. In 1569 the vicar was sent away for solemnising marriages without publishing the banns , and by 1586 when a new vicar came the chancel had fallen into decay which had started at least by 1573.........
By 1803 the church interior had been extensively repaired and the walls stuccoed. Previously the pews were described as being very old and of different sizes, heights and patterns. A new gallery was built at the west end seating 100 people. The roof of the nave was coved and plastered above the tie beams.
The chancel with vestry was rebuilt 1867-8 during the restoration by John Middleton at a cost of £1,350 , the rest was "improved" at a cost of £2300 raised by public subscription .
In 1886 Mrs Ann Townend of Puckrup Hall funded the organ and chamber, together with the chancel seats and screen. The porch were added at the same time.
There are 8 bells , six of which date from 1723 one inscribed "Peace and Good Neighbourhood" are on a 1475 frame, parts of which may be 13c.. The remaining 2 bells are modern on a steel frame.
The clock mechanism is 19c and is a successor to earlier clocks from at least 16c
There are 2 monuments worth a mention -
William Hancock 1627 & his 2 sons www.flickr.com/gp/52219527@N00/77y624 & 19 year old Sybil Clare 1575 lying with her still-born daughter Anne www.flickr.com/gp/52219527@N00/4X75S5
This is an ancient place of worship – the Gospel has been preached here for probably 1,200 years. The Anglo-Saxons had a royal burgh here and the existence of the Anglian cross would indicate that there was a church here in those days.
It is surprising that any relics of old churches are found in the Coquet Valley. There were two periods of destruction of churches in England – the Reformation and Cromwell’s Commonwealth. In addition to that, in this area there were Viking and Norman invasions, followed for many years by the incursions of the Scots. The Coquet valley, serene as it may seem today, was one of the most violent parts of England.
The monastic church at Rothbury must have been destroyed either by the Vikings or even the Normans; however the eastern part seems to have survived to become the foundation of a new building at some time in the thirteenth century, part of which can still be seen in the chancel, the chancel arch and the east walls of the transepts.
In the eighteenth century the church had galleries, dormer windows and a three-decker pulpit but these all disappeared in the restoration of 1850, undertaken by the Rector, Canon C. Vernon Harcourt. With a few additions and alterations this is the church we see today. This was a busy period of church building in the valley. Within two years, the churches at Rothbury, Alwinton and Holystone were either rebuilt, modified or restored.
Most of the stained glass in the Church is Victorian, the exceptions being two windows on the north wall in memory of local head teachers and those in the Memorial Chapel in the south transept.
In the Baptistry (1) is the greatest treasure of the church; the pedestal of the font. This is part of the shaft of the Anglo-Saxon cross, dated around 800AD. More remnants of this cross were discovered during the 1850 restoration; they are now in the Museum of Antiquities, Newcastle. On the north side is what is said to be the earliest carving of the Ascension in this country. The Disciples can be seen gazing up to the ascending Christ. The south side is a panel of intricate knotwork, the west side has a carving of beasts preying on one another and on the east side an animal (a lion) can be seen walking between double branches bearing fruit in clusters of three.
The bowl of the font dates from 1664 replacing one damaged during the unrest of the Civil War and the Commonwealth. The font cover is twentieth-century, given in memory of Lady Armstrong. Lord Armstrong’s funeral hatchment hangs on the south wall (2).
In the corner stands a small bell which hung in the tower above until 1893 when the present peal of eight bells was given to the church. It is inscribed ‘John Thomlinson, Rector of Rothbury 1682’. It was a product of the well known Whitechapel Foundry.
On the east side of the Baptistry screen are the boards bearing the names of the Rectors of Rothbury from Lucas in 1287, to the last Rector of the parish of Rothbury. In the new parish of Upper Coquetdale, the incumbent also carries the title of Rector.
The Bells
There is a peal of eight bells in the tower with the tenor bell weighing 13cwt 3qr 15lb. They were presented to the church in 1893 in memory of William Dawson by his sister, Mary.
The Nave
The nave was totally restored in 1850 – of necessity it would seem. However, the nave arch has origins as far back as the thirteenth century.
The pews are numbered, possibly from the era when individuals or families had their own private pew. Either for a standard fee, or in some cases by auction, a pew could be acquired for personal occupation. This custom died mostly during the late Victorian period. The numbering system was sometimes retained after this time as a means of keeping maintenance records.
The pulpit (3) is a fine piece of Victorian carving, given in 1901 in memory of Lady Armstrong depicting Bernard Gilpin, the 16th century “Apostle of the North” along with Saints Columba, Paulinus, Hilda and Aidan. The brass eagle lectern is of the same period.
The screen (4), another piece of beautiful wood carving, was installed in 1901 in memory of Lord Armstrong. On the mouldings of the beam is a series of eighteen shields blazoned with the arms of landowners, benefactors, patrons, and communities connected with Rothbury Church and parish from the 12th century down to the time of installation.
The inner porch on the south door (5) was erected in 1929 in memory of Dr Thomas Sharpe, Rector 1720 – 1758; another great benefactor of the Parish. One legacy of Dr. Sharpe is “Sharpe’s Folly” half a mile away at Whitton. It is a 30ft high tower, reported to be built to provide local masons with employment, but also to be used as an observatory.
The Chancel
There are two thirteenth century arches in the north wall of the chancel, separating the chancel from the vestries (6). The building containing the vestries stands on the site of the old Cartington chantry, and was built in 1886. The chantry which belonged to the Cartington estate was endowed for the maintenance of a priest to celebrate masses for the benefit of the souls of the founder and his family. After the Reformation, when prayers for the dead were forbidden, the chantry appears to have fallen into decay over the next hundred years. The arches were sealed to keep out inclement weather (and vandals), and remained that way for another two hundred years before the modifications in 1886.
In 1658 it was, ordered that “no grave be dig’d in ye bodye of the Church under the price of 5/-. Because it not being flag’ d would not only spoile the seats and floor, but endanger ye people’s health by infectious aire” – consequently the chancel had a marble pavement laid about 1710 (this was later covered) and the Nave was flagged for the first time in 1730.
The oak choir stalls are dedicated to the memory of Edward Mallet Young, Rector of Rothbury, 1894-1900.
The oak screen that divides the chancel from the priest’s vestry (6) is decorated with tracery work, and in its twelve panels there are the family coats of arms of twelve of the rectors of Rothbury.
The organ screen is a memorial to those who fell in the First World War. This screen is surmounted by organ pipes which are purely decorative. Looking between these pipes, the highly decorated genuine functional pipes may be seen.
Around 1840, the music in the services was provided by a string band, clarinets and violins, which were succeeded by a barrel organ. The present organ was given by Lord Armstrong and the rector, Rev. C.G.V. Harcourt in 1866. It was built by Hill and Sons of London in 1866, a company that operated in London from 1862 to 1917 before becoming Hill, Norman and Beard. When installed, it was sited at the west end of the church. Its precise location is not known but it may be assumed from the design of the instrument that the organist would sit with his back to the congregation. Playing while trying to control the choir at the east end of the church at the same time must have been extremely difficult, and it is probable that the choir sat at the west end of the church at that time.
The organ was later moved to its present position (7), certainly earlier than 1901, and would presumably be following or at the time of building the new vestry in 1887.
It is a two manual instrument with eleven speaking stops, and has never been modified in design – it still has a flat pedal board and the swell pedal is unbalanced, being able to be notched in position as the organist wishes.
An electric blower was installed many years ago, but the handle for hand blowing the bellows is still in place should it ever be needed.
The Sanctuary
On the east wall behind the altar is a finely made reredos (8) of Corsham Down stone, alabaster, and marble, consisting of five trefoil-headed arches.
The paneling in the sanctuary was installed in the early twentieth century. On the north side is the Thomlinson Memorial. (9) Dr John Thomlinson was Rector of Rothbury from 1679 to 1720. He was one of the greatest benefactor of the Parish; among many other things he founded a school where there were two masters “to teach gratis all such children within the Parish to read and understand the English, Latin and Greek tongues and to write, cast accounts and the Church catechism”.
The heraldic devices on the paneling belong to former Rectors who were also Lords of the Manor of Whitton.
To the south of the Altar is a thirteenth century Piscina (10) where the priest washes his fingers before the consecration in the Communion service. The carpet in the sanctuary and along the altar rail was worked by eighteen ladies of the Parish in 1972, the design being based on the knotwork of the Font.
The Memorial Chapel
The Chapel (11) is dedicated to the memory of the men of Rothbury who died in both World Wars.
The altar came from Sleights Church in North Yorkshire, the ends of the altar and the paneling from the old oak pews of the Church which in turn were made from trees from the ancient Rothbury Forest.
The windows were designed by LE. Evetts in keeping with the clear glass of old Northumbrian churches. He also executed the Regimental badges.
External features
The foundations of the tower are medieval but it has been much restored, and the village clock was placed in the tower in 1897. In more recent years the clock has been modified and is now electrically powered.
The west door was restored in the Early English style and is generally used on special occasions such as weddings, funerals and festivals.
In the outer porch (12) wall are three mediaeval stones, thought to be fragments from old grave covers.
On the south outside wall of the Chancel are two scratch sundials (13,14) – these are frequently found near the Priest’s Door of medieval churches as they are here. Also, on the south lawn, is a block sundial (15) – this used to be on the roof of the porch. It had four dials and was white-leaded for easier reading. (in 1728 this cost 1s 9d.).
The graveyards around the church and on the west side of the road are no longer in use. They contain the graves of some interesting people including the Armstrong family of Cragside.
Biennalist @ Venice Biennale
during the Venice Biennale 2019 Biennalist format will express the Biennale concept with art work
Biennalist / Venice Biennale
www.emergencyrooms.org/biennalist.html
#ThierryGeoffroy
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2019
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
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Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
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more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Why can't we co-exist with animals on this planet? Tigers are on the brink of extinction. There are only between 5,000 and 7,400 tigers left in the wild and the number keeps shrinking. Of the 8 species of tigers, only 5 are still in existence today. Once they are gone, they will be gone forever. What would life be like if we couldn't show our children and our grandchildren the beauty of these animals? It would be a great tragedy.
I am a sucker for animals. This little tiger lives in Sydney Zoo and he was soooo beautiful, i couldn't not take pictures. It didn't quite turn out how i intended but i might i kind of like it anyway.
Meanwhile Meanwhile the Venice Biennale 2019 is going on , here intervention from 23 august 2019 . Mors
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Thierry Geoffroy / Colonel
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.
A mosquito floating on calm waters of Tso Moriri, Ladakh. Blue and yellow patterns are reflections of sky and mountains)
Full set of Women’s March NYC images here:
www.flickr.com/photos/jimkiernan/albums/72157677929379890
Other Protest Images, Here:
March on Washington (2014)
www.flickr.com/photos/jimkiernan/albums/72157649757466322
Ramarley Graham Rally (2013)
www.flickr.com/photos/jimkiernan/albums/72157633522048023
Trayvon Martin Rally (2012)
www.flickr.com/photos/jimkiernan/albums/72157629639260721
Occupy Wall Street – Day One (2011)
+++ 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!
On a rather cool and sunny Sunday morning, well over 100 individuals arrived at Willowbrook High School in the Chicago suburb of Villa Park. They gathered in the parking lot to listen to citizens of the community, school staff, students, alumni and activists speak out against perceived injustice and make an appeal for a lasting committment to ending the status quo that in their view disproportionately harms African-Americans and their communities. Attendees were also encouraged to continue to educate themselves on institutional racism, to speak out against injustice in their respective family and friend circles, and to commit to voting in the upcoming elections, with an emphasis on making sure to vote in the local races that so often determine what types of policies are implemented close to home. Eight minutes and forty-six seconds of silence were observed, with many taking a knee, in remembrance of George Floyd. A short march and protest was then commenced around the local residential area before returning back to the high school. This event was one example of the increasing number of local rallies in recent weeks in the Chicagoland suburbs.
Villa Park, Illinois, USA
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Under the Treaty of Trianon (1920), Hungary was forbidden from owning military aircraft. However, a secret air arm was gradually established under the cover of civilian flying clubs. During 1938, as a result of the Bled agreement, the existence of the Royal Hungarian Air Force (Hungarian: Magyar Királyi Honvéd Légierő (MKHL)), was made known. The army's aviation service was reorganized and expanded.
Late 1938 the army aviation was once again reorganized. Admiral Horthy, the head of state, ordered that the army aviation should become an independent service with effect of 01.09.1939. It subsequently participated in clashes with the newly established Slovak Republic and in the border confrontation with the Kingdom of Romania.
In 1940, the decision was made to unite the Air Force, the anti-aircraft forces, and the civilian air defense organizations under one central headquarters. In April 1941, operations were conducted in support of the German invasion of Yugoslavia and, on 27 June 1941, Hungary declared war on the Soviet Union.
On 01.06.1941, the Air Defense Corps was established, and Lieutenant General Béla Rákosi became Commander of Army Aviation. In effect the Air Force had once again become part of the Army. In the summer of 1942, an air brigade was attached to the Luftwaffe's VIII. Fliegerkorps at the Eastern Front.
At that time, most of the Hungarian Air Force's fighter equipment was of German origin, consisting of types like Bf 109 F and G, Fw 190 A/F, Me 210. But some indigenous designs were under development, too, e. g. at the RMI, Repülo Muszaki Intézet, or Aviation Technical Institute. Its aircraft were primarily (but not exclusively) by László Varga, and as a result, RMI designs were often given the Varga name (in some cases, even when he was not the major designer). But the RMI designation was used in parallel, too.
One of the domestic developments was the RMI-11 'Sólyom' (= Falcon) fighter. This single engine aircraft drew heavily upon the Bf 109 design, but featured some changes and improvements like an inward-retracting landing gear or a bubble canopy. It also incorporated elements from the heavy RMI-8 fighter, a push/pull design with twin tail booms, but the RMI-8’s sole prototype was destroyed by Allied air raids before a serious test program could be launched.
In contrast to the complex RMI-8 the RMI-11 was a small and light aircraft, a conventional but clean design, based on simple shapes for easy, modular production. Most of its structure was made from wood, saving sparse metal whenever possible. Empty weight was, for instance, about 200 kg less than a contemporary Bf- 109 G.
The RMI-11 was driven by a liquid-cooled DB 605 inverted V12 engine, rated at 1.475 hp. Thanks to the low weight of the airframe, the machine achieved a high top speed and an exceptional high rate of climb.
Originally designed as a fast and agile interceptor in the early stages of WWII, the RMI was only armed with two 13mm MG 131 with 300 RPG and two 7.92 mm MG 17 in the outer wings. Two underwing hardpoints could carry up to 100 kg each.
The RMI-11 prototype made its maiden flight in late 1943 and after a basic but successful test program immediately ordered into production – in a hurry, though, and beginning March 1944, Allied bomber raids began on Hungary and progressively increased in intensity.
Production of the RMI-11 gained only slowly momentum, due to material shortages, because the RMI-11was primarily of plywood bonded with a special phenolic resin adhesive that was supplied from German sources. Due to Allied bombing raids on the glue’s original production sites the plywood glue had to be replaced by one that was not as strong, and was later found to react chemically, apparently in a corrosive manner, with the wood in RMI-11’s structure. In November 1944, several RMI-11s crashed with wing and tail failures due to plywood delamination. This same problem also critically affected the German Focke Wulf Ta 154 and Heinkel He 162 programs.
Late in 1944 all efforts were redirected towards countering the advancing Red Army. Soon it was clear that the type needed long range cannons with higher caliber in order to encounter heavy Allied bombers, so plans were made to add heavier German armament. This was realized through an extra pair of MG 151/20 20 mm cannons with 150 RPG, which were added in fairings under the wings instead of the original bomb hardpoints (which were hardly ever used in service at all). During the same refit, the rather ineffective MG 17s were deleted, saving weight and leaving more room inside of the wings for the MG 131s’ ammunition supply (now with 400 RPG)
At that time only about 60 production aircraft had been completed and modified, and production was halted due to the severe structural problems. These machines were nevertheless thrown into service, with repairs and upgrades done at the Hungarian airfields – but the glue problem was a constant operational danger.
Still, all these efforts were to no avail: All fighting in Hungary ended on 16 April 1945, and all RMI-11’s were scrapped after hostilities ended.
General characteristics
Crew: 1
Length: 8.82 m (28 ft 10 ½ in)
Wingspan: 10.58 m (34 ft 8 in)
Height: 4.10 m (13 ft 5 in)
Wing area: 16.82 m² (181.00 ft²)
Empty weight: 1,964 kg (4,330 lb)
Loaded weight: 2,200 kg (4,840 lb)
Max. take-off weight: 2,395 kg (5,280 lb)
Powerplant:
1× Daimler-Benz DB 605A-1 liquid-cooled inverted V12, 1,475 PS (1,085 kW)
Performance:
Maximum speed: 640 km/h (398 mph) at 6,300 m (20,669 ft)
Cruise speed: 590 km/h (365 mph) at 6.000 m (19.680 ft)
Range: 850 km (528 mi)
Service ceiling: 12.000 m (39.370 ft)
Rate of climb: 17.0 m/s (3.345 ft/min)
Wing loading: 196 kg/m² (40 lb/ft²)
Power/mass: 344 W/kg (0.21 hp/lb)
Armament:
2× 13mm MG 131 (.51 in) machine guns in the wings,400 RPG, plus 2× 20mm MG 151/20 (.51 in) machine cannons, 150 RPG, in external underwing fairings.With the cannons deleted up to 8× 15 kg (33 lb) or 2× 50, 100, or 150 kg (110, 220, or 330 lb) bombs under the wings
The kit and its assembly:
This is a serious kitbash and a totally fictional aircraft - and you are IMHO an expert modeler if you recognize what basically went into it!
This build was inspired when I recently bought an RS Models Nakajima Kikka jet fighter, the double seater kit. As a bonus it comes with two fuselages: effectively, it is the single seater kit with an extra sprue and a different canopy. Looking at the Kikka's profile I found that it HAD to be converted into a piston engine aircraft, with a liquid-cooled engine. Wings and anything else would come from the scrap box, but it should become a sleek fighter aircraft, a late WWII design.
From that, things went straightforward:
● Fuselage from a RS Models Nakajima N9J1 "Kikka", front end cut away
● Wings from an Revell Macchi C.200 Saetta
● Stabilizers from an Art Model MiG I-210 fighter
● Canopy from a late Supermarine Spitfire (Special Hobby, IIRC)
● Nose/engine and radiators from an RS Models Ki-78
● The propeller was scratched from single pieces/blades and the Ki-78 spinner
● The landing gear is a Ki-78/C.200 parts mix.
I settled for the Ki-78's radiator installment on the rear flanks because it is a unique feature and simply does not hamper the sleek side profile. I also thought that this might have been a smart solution for modular production - fuselage and wings could be completed separately.
The Ki-78 engine had to be widened considerably to match the Kikka’s trapezoidal fuselage diameter, putty and major sculpting resulted in a relatively smooth and subtle intersection. As per usual, an axis construction for the propeller was added, too, so that it can spin freely. Mating wings and fuselage necessitated a new cockpit floor (which acts at the same time as landing gear well interior), and a 3mm bridge at the wing roots had to filled – but that was easy.
The cockpit interior was outfitted with spares, the Spitfire canopy needed some small styrene wedges under the windshield to make it fit onto the Kikka fuselage.
Things went rather smoothly until I fixed the wings to the completed fuselage. However I placed them, it looked odd – too far back, and the nose stood out; too far forward, and the tail was too long. Somehow, proportions did not match – only slightly, but it bugged me. So far that I eventually decided to shorten the fuselage – after having completed it, radiators already in place and everything sanded even. I made a vertical cut behind the cockpit and removed ~7mm of length – and suddenly the aircraft looked good! Needed some extra body work, but the aircraft looks much more balanced now.
The underwing fairings for the cannons were late additions, too. I wanted to keep the fuselage clean, with no nose guns, but adding heavier armament turned out to be tricky. The fairing solution was inspired by a real-world Fw 190 Rüstsatz which featured two MG 151/20 apiece. I had appropriate parts from an Academy Fw 190 left over, so I sliced these up and narrowed them for a single cannon each, and this was the right size for the slender aircraft. All gun barrels were created through heated and pulled-out styrene tubes.
Painting and markings:
Deciding what this aircraft was to become was tougher than building it! With its clearly German origin it had to be a WWII Axis type, but I did neither want a German nor a Japanese aircraft, even Italy was ruled out – all too obvious. With Hungary and its RMI designs I eventually found a good potential origin, and this also allowed a rather "colorful" livery. With the Hungarian background this kitbash became the RMI-11.
The paint scheme was inspired by an experimental Hungarian camouflage in Green, Gray and Brown, seen on a Bf 109G. I could not find color indications, but in the end I settled for three RLM tones for the upper sides, RLM 71, 75 and 79, coupled with RLM 76 for the lower sides. All tones are enamels from Modelmaster's Authentic range, panels and leading edges were slightly emphasized with lighter shades. As a small design twist I added a wavy, medium waterline on the fuselage sides.
Interior surfaces were, lacking any reference, kept in RLM 02. In order not to be too fanciful, the spinner became black with a green tip (RLM 62), and the blades were painted with a mix of RLM 70 (Black Green) and Black, for a very dark and dull green tone, Luftwaffe style.
The yellow markings correspond to German Luftwaffe markings of the late WWII era, the yellow 45° “V” under the lower left wing was introduced in the Balkan region in 1944, it was also carried by Luftwaffe aircraft in this conflict theatre.
The flashy decoration on all tail surfaces disappeared at that time on real aircraft (only small Hungarian flags were carried on the tail rudder), but I still incorporated the full national insignia because it's unique and a colorful contrast to the rest of the aircraft.
Most markings belong to a real Hungarian Bf 109G (from a Print Scale aftermarket sheet), I just scratched the national markings on the fuselage and the yellow markings (all cut from stock decal material) and parts of the Hungarian flag insignia on the tail: the tips were painted with red, the white and green bands were cut to measure from a Frecce Tricolori sheet.
A light black ink wash was applied and some dry painting added with gray and black (for soot and exhaust stains), for a lightly weathered effect. As final step, everything was sealed under matt acrylic varnish (Revell).
A quickie, done in just a week, but with a very convincing look. One might recognize Bf 109 F/G, Ki-78 and even He 100 features, but none of these aircraft really matches up with the RMI-11 at second glance, there are too many individual differences. If it gets you wondering – mission accomplished! ;)
I am often asked why I never post photographs of myself.
The truth is, I've never really liked myself.
At age 27 I hit "rock bottom", after spending my teens and early/mid-twenties trapped in a cycle of self-harm and suicidal ideation.
I hit rock bottom on June 12, 2017. That same day I decided to retool my hatred and self-loathing, using it as fuel to create a new, more fulfilling existence.
Through rational self-analysis, I identified the aspects of my personality I despised and what triggered their manifestation. Through a new-found love of weight lifting, I ground those detrimental aspects of my psyche out of me.
Through sheer force of will I broke myself down physically, mentally and emotionally, and from the ashes I reconstructed an individual I could tolerate, if not fully accept.
While I am still susceptible to episodes of soul-scraping depression and self-loathing, those episodes are few and far between (think every two or three years rather than every waking moment.)
Potentiality is a wellspring of ever-present hope, and that is what keeps me going. Inner peace still eludes me, however, which means there are still loftier and more ambitious accomplishments to strive for.
For now, these words and this photograph are as close to a portrait of O . . .Phuck!™ (a.k.a. Prichard Nixon!) as you get.
Remember, you are allowed to be a masterpiece and a work-in-progress simultaneously.
Historical documents prove the existence of Cimarron settlements around these areas. The Cordillera de Guaniguanico was used for a long time by the maroons coming from Matanzas and Havana, as a transit to Guanahacabibes, for their recovery and rest.
Here life is quite different than we know about life…… Life here has no color as we always knew…..life here has no song as we always heard…..Here life means to add some moment to carry on….Here life means to manage a chance to stay alive……Life here always looking for an opportunity for maintaining existence....
They are homeless, as river takes away their home and dream....
Captured from Dhaka University
un'anima dietro le parole,
lo sforzo di chi ancora cerca di comunicare e si lascia capire.
C'è il saluto di chi oramai è solito celarsi dietro di esse.
Una mano si tende per salvare, oppure per sperare di essere salvati.
Church of St George the Martyr, Newbold Pacey, Warwickshire
The village was in existence prior to being mentioned in the 1086 Domesday Survey. It derives its present name from the ancient family of the Paceys, to whom it formerly belonged in 13c and 14c.
The former church built in 11c - 12c , www.flickr.com/gp/52219527@N00/8HMZ16 was given to the Yorkshire Priory of St. Oswald of Nostell by Eytrop son of the Domesday tenant Humphrey, and confirmed by his son Eytrop. The latter's grandson Robert Hastang in 1221 disputed the charter which the prior produced and said that it was made after his grandfather's seal had been stolen out of a chest in the church of Leamington Hastings; Robert later confirmed the prior's right to the advowson. In 1344 Nostell sold the church to Queen's College, Oxford the vicar they presented being made responsible for the upkeep of the chancel and ornaments. It was united in 1932 with Moreton Morrell and continues in the gift of Queen's College
After possibly a period of plague the villagers moved from around the church to the northern hamlet of Ashorne
The original church burnt down in 1880 and was rebuilt 1880-2 by J L Pearson. It now consists of a chancel, south organ-chamber and vestry, nave, south transept, south aisle, and a north porch / saddleback tower.
Two reset 12c doorways survive from the original church.
The font and fittings date from after the rebuilding , but monuments of 17c were rescued from the old church, including one to Edward Carew & his infant daughter of 1668 www.flickr.com/gp/52219527@N00/1a35Tu & lord of the manor William Little 1834 www.flickr.com/gp/52219527@N00/44v880
There are four bells of 1707.
Samuel Gibbons in his 1830 will left £100, the interest to be distributed on St. Thomas's Day amongst the poor families in the parish.
Lord of the manor William Little d1834 left to the owner of his mansion house and the vicar £400, the income to be similarly distributed.
John Little by his 1873 will gave to the successive owners of his house at Newbold Pacey and the vicar £400, the income to be distributed on St. Thomas's Day among six of the eldest and most necessitous poor resident in the parish
Mrs. Catherine Carter in her 1848 will gave £40 to the vicar and churchwardens, the income to be applied in the purchase of flannel to be distributed on 21st December. amongst poor widows of the parish.
According to Taoist cosmology, Yin-Qi and Yang-Qi – the primordial feminine and masculine energies – produce what are known as the “Five Elements.” The Five Elements, in turn, give birth to the “ten-thousand things,” i.e. all of manifest existence. The Five Elements are Wood, Fire, Earth, Metal and Water.
The Five Elements are Fluid Categories:
To understand the use of the Five Element system in Qigong, Chinese Medicine and other Taoist practices, it’s important to know that the elements – like Yin and Yang – are fluid rather than static categories. For this reason, they’re often referred to as the “Five Phases” or “Five Transformations” or even “Five Orbs” (of influence).
The Five Elements Support and Control Each Other:
Everything we find in our external or internal terrain belongs to one of the Five Elements, each of which has supporting and controlling relationships with the other elements. When the Five Elements – within our bodies or external environments – are balanced, we experience health and prosperity. When they’re out of balance – overacting, counteracting, or failing to properly support one another – we experience dis-ease of one sort or another.
The Five Elements are Fluid Categories:
To understand the use of the Five Element system in Qigong, Chinese Medicine and other Taoist practices, it’s important to know that the elements – like Yin and Yang – are fluid rather than static categories. For this reason, they’re often referred to as the “Five Phases” or “Five Transformations” or even “Five Orbs” (of influence).
The Five Elements Support and Control Each Other:
Everything we find in our external or internal terrain belongs to one of the Five Elements, each of which has supporting and controlling relationships with the other elements. When the Five Elements – within our bodies or external environments – are balanced, we experience health and prosperity. When they’re out of balance – overacting, counteracting, or failing to properly support one another – we experience dis-ease of one sort or another.
Eternal family memories at the door of time and next Generation of Enlightenment
The Evolving Role of Brands for the Millennial Generation
Edelman 8095®, named for the years in which the generation was born, 1980 to 1995, is an insights group studying the Millennial generation and their relationship with brands. Following a benchmark study in 2010 They are growing up, and so too are their building careers – their sphere of influence views of success. Coming of age in the continues to expand – 74% believe they influence AUSTRALIA INDIA global recession has closed many traditional the purchase decisions of those around them. And BRAZIL TURKEY paths to success, forcing them to push back they expect a two-way dialogue: typical stages of adulthood, but has also 7 IN 10 MILLENNIALS THINK IT’S THEIR RESPONSIBILITY TO CANADA UAE created a new breed of entrepreneurs. SHARE FEEDBACK WITH COMPANIES AFTER A GOOD OR BAD EXPERIENCE WITH THEM. CHINA UK OF MILLENNIALS SAY THAT OWNING THEIR FRANCE US OWN BUSINESS IS A 90% 90% 82% 81% TOP LIFE GOAL GERMANY INDIA CHINA BRAZIL UAEWHY MILLENNIALS MATTER FRIENDS OF BRANDSTO MARKETERS 75% 72% 67% 66% Millennials are surprisingly open to brand engagement and advertising, but only ifBIG: brands have the right approach. TURKEY GLOBAL AVERAGE US UKThe largest generation alivetoday – 1.8 billion globally 8 IN 10 MILLENNIALS EXPECT BRANDS TO ENTERTAIN THEM. HOW DO THEY WANT TO BE ENTERTAINED? 64% 61% 59% 57%INFLUENTIAL:Impact purchase decisions of ALLOW ME TO CO-CREATE AUSTRALIA FRANCE GERMANY CANADApeers & parents and will outpace 40% YOUR PRODUCTSBoomer earnings by 2018 ANSWER MY QUESTIONS/ CONNECT ME TO OTHERUNIQUE: 33% COMMENTS IN REAL TIME IN SOCIAL MEDIA 21% FANS OF THE BRAND/COMPANYThe first inherently digital I DON’T EXPECT BRANDS/generation that does not know a 32% SPONSOR ENTERTAINING EVENTS 20% COMPANIES TO ENTERTAIN MEworld without the Internet orsmartphones 31% CREATE ONLINE CONTENT SUCH AS VIDEOS, PHOTOS, GAMES AND BLOGS 19% PARTNER WITH A CELEBRITY OR PUBLIC FIGURE I ADMIRE
WHAT THIS MEANS FOR MARKETERS For brands to matter to Millennials, “average” is no longer enough. A whole new level of engagement, authenticity and purpose is necessary. Here are seven implications for marketers coming out of the 8095® study.• MILLENNIALS AREN’T KIDS ANYMORE. • IT’S NOT YOUR BRAND ANYMORE. • “SMART AND FUNNY IS THE NEW ROCK AND ROLL.” The oldest are 33, the youngest 18. They It belongs to your customers. Marketers This quote from Nick Shore at MTV are not the next frontier, they are the here must be willing to give up some brand summarizes an approach more marketers and now generation with spending power, control. Millennials want to co-create with need to take. When we asked Millennials careers and families. As the world’s top you, and have two-way dialogue 24/7/365. what brands need to do to capture their alpha-influencers, every company needs to Be agile, collaborative and prepared to attention, their #1 answer – use humor. see Millennials as influencers for the support the Action Consumers promoting While business is often serious, you don’t purchase of their products or services. your brands. always need to take your message so And we mean EVERY company. seriously. Find opportunities to be humble • EXPERIENCES OVER STUFF. and witty.• SHIFT AWAY FROM TRADITIONAL SEGMENTATION. Focus on how your product or service Wake up, people! The world has changed. enables life experiences. Millennials want “Minority” births now outnumber to buy into new ideas and be able to share Caucasian births in the U.S. and the world those ideas and experiences with friends is more diverse than ever before. Gender and family. Be social, and enable social lines are being blurred, and more men are experiences. taking over traditional female roles, and vice versa. It’s time to lessen the focus on • HELP MILLENNIALS BECOME AN EXPERT ON YOUR gender and other specifics and think about BRAND, PURPOSE AND STORY. messages that appeal to the blurring of the Millennials have a strong desire to share masses. and learn from each other. They want brands to entertain them. Share your• ENGAGE MILLENNIALS IN SURROUND SOUND. back-story, your history, the reasons why While inherently digital and dominant in you make the products you make or social media, they crave face-to-face deliver the service you deliver. It’s not engagement and in-real-life (IRL) enough for brands to be great storytellers. experiences. To successfully engage them, You need to enable your consumers to be you need to reach them from all sides, and powerful storytellers on your behalf. Be make sure your brand story is being told in authentic, transparent and communicate many of the sources of information they your larger purpose. use to make brand purchase decisions.Develop the next generation of leaders
For companies doing business in China, the great leap forward in HR effectiveness occurs when they can boast a truly scalable and sustainable workforce, which requires processes and practices that contribute to the development of future leaders. This concept is not new, of course, but the rapid growth and transformation of China creates challenges for even the most experienced expatriate managers, whose organizations need to be agile enough to enter markets rapidly and respond quickly to changes.As the Asia-Pacific region becomes increasingly important in the global economy, companies must understand China to succeed. MNCs not only need to develop the skills of Chinese leaders and managers through training, development, and overseas rotations, but also cross-pollinate talent by rotating their talent through China to ensure that all future leaders and high-potential employees—not just those in China—know the Chinese market. This does not mean that MNCs should merely staff leadership and management roles in China with expatriate talent. Indeed, MNCs, particularly US firms, are seeking to ensure upward mobility for talented PRC nationals and are often dissatisfied with the pace of “localization” or their overreliance on expatriate leadership. As a result, MNCs are increasingly bringing expatriate talent into China at the professional and technical levels on short-term assignments of less than two years. This two-pronged approach allows all high-potential employees and future global leaders to gain a deeper understanding of China, leaving companies better equipped to deal with the changing global market and the emergence of the Middle Kingdom.
Segment talent successfully. A key practice that companies should carefully examine is talent segmentation—the manner in which companies organize, structure, and reward their talent to achieve specific business results. Rather than being driven by the need to fill particular job vacancies and other immediate factors, companies should take a broader, more strategic view and align their talent management strategies and rewards programs with their specific profit models (for example, a blockbluster profit model yields large global profits over time, while a local leadership profit model earns profits mainly from transactions in local markets). In other words, companies should ensure that the incentive structure and the corresponding rewards programs, such as pay, benefits, and career development, encourage the type of employee performance that supports their business structure and profit models (see Case Studies). As MNCs expand their operational structures in China and make them more complex, using profit models to design HR programs can help ensure a company’s future viability.What is the Five Ghosts Transfer Wealth Technique? In Feng Shui some of you may have heard of it, "The Five Ghosts Transportation Wealth Technique" it's actually a Feng Shui secret technique to enhance your wealth and good fortune. Most Feng Shui practitioners know how to use these theories to enhance their wealth. In religious Taoism, we also have the "Five Ghosts Transportation Wealth Technique" also called "Five Ghosts moving treasure". It's a secret dharma from Taoist lineage, it had the ability to make a practitioner very wealthy by practicing this secret dharma. However to practice this secret dharma there are several criteria that needs to be fulfilled before anyone can practice it. Firstly the date of birth of the practitioner is evaluated to see if he has an affinity with the Five Ghosts, there is an elaborate chart that we need to consult to determine this. Only these with affinity with the Five Ghosts can practice this secret dharma otherwise it will not work. Next a set of rituals need to be perform, practitioners need to follow all procedures and must have the perseverance to practice it consistently for 49 days. If any of the steps in the procedures are omitted you will need to restart the entire rituals again. It may seems very tedious but the rewards gained after the 49 days rituals is very lucrative and rewarding.
What I am revealing to you now is a guarded secret of most Taoist practitioners, which most are reluctant to revealed it. However for the benefits of readers here I shall make it an exception. As I get a lot of people writing to me with this situation, and perhaps this applies to someone you know. They're are constantly encountering a lot of problems in life, which is usually a lack of money. That in turn will cause them further problems and destroyed their mental peace.
In religious Taoism, as you are aware form a part of China’s heritage and traditions incorporating Buddhism, Confucianism, folk’s belief and Shamanism. Ancestor's and Spirits worshipped are practice. This secret dharma actually beseech the retinue of Five Ghosts to assist the practitioners to gain enormous wealth and fortune. Practitioners well versed in this art are mostly wealthy and successful. As the Five Ghosts actually delivers wealth spiritually to the practitioners and indirectly enhancing the chance of the practitioners in gaining material wealth! This happens by enhancing the practitioners luck and affinity with people around him. If the practitioner is a merchant or business person he would be able to generate more revenue with their help. And at times if he were to gamble he would have a sudden windfall. The practitioner will never run out of Cash! Whenever his cash is running out the Five Ghosts will then deliver wealth to him. It's quite unbelievable especially to most skeptics, but I had personally know an acquaintance practicing this dharma and I can attest that he's filthy rich! He just seems to have the Midas touch, whatever he invest he would make good returns while others will lose. Most people will start looking for a cure using some alternative means i.e. feng Shui, astrology, numerology and some spiritual means that will somehow miraculously solve their financial problems. Whether the problem anyone experiences in life is due to actions performed in THIS life or from a Past life, the point is that the troubles are YOUR karma and you have to solve them or work through them. At times no matter whatever means you try be it spiritual, etc...nothing can change them and you must simply bear them as long as is necessary until the time changes and they transform themselves. A life free of problems, troubles, difficulties or challenges is impossible. So it all comes down to KARMA. This is the reason why I always ask people to perform meritorious deeds no matter how small, when accumulated it would be a great field of blessings. NOTE: Before I start let me clarify that viewers discretion is advice as some people may find it disturbing, if you do please leave my website immediately. I had deliberately omitted some of the procedures, mantra's and mudra's. For these interested it's all covered in my book, THE SECRET TO THE MYSTERIOUS WORLD OF TAOIST MAGIC, ISBN 983-3206-02-6 available SOON on the www.taoistsecret.com website.The Five Ghosts originally are spirits from the Five directions each representing the five elements namely; North (Water element), South (Fire element), East (Wood element), Center (Earth element), West (Metal element). Some practitioners even claimed that the Five Ghosts are the denizen of Hades. On another account some practitioners claimed that the Five Ghosts are not human souls, they are the souls of five types of animal i.e. cow, goat, pig, dog and donkey. They claimed the so-called Five Ghosts moving treasure is actually using the spirits of five types of animal to move the treasure. I'll show you some essential Talismans that are needed to be used to practice the Five Ghost Transfer Wealth Technique.
أَعُوْذُ بِاللّٰهِ مِنَ الشَّيْطٰانِ الرَّجِيْمِ
I seek refuge in Allah from Shaitaan, Al Mudill, the one who misleads with his whispers, Al Maghwi, who seduces with his deception.
بِسۡمِ ٱللَّهِ ٱلرَّحۡمَـٰنِ ٱلرَّحِیمِ
In the Name of Allah,
The First without a first before Him, The Last without a last behind Him,
The Entirely Merciful, The Especiall Merciful
ٱلۡحَمۡدُ لِلَّهِ رَبِّ ٱلۡعَـٰلَمِینَ
all kinds of praise and appreciation,
encompassing all types of the characteristics of all kinds of those utterings of praise in words, in deeds, in states and dialogues,
are only and only for Allah Worthy in His Own Essence and His Attributes,
who is The Lord of all the worlds,
ٱلرَّحۡمَـٰنِ
The One whose Essence is All Encompassing of all things in existence with Grace Ever- Expansive and according to the Vastness of His Mercy and the Abundance of His Lutf, Affection and His Ra’fat, Gentleness.
ٱلرَّحِیمِ
The One who raises compassionately,
who nourishes according to the expansiveness of His Limitless Mercy based on the nature of Tauheed
and makes one reach towards the Abode of the One-ness of His Essence
after one lifts the preoccupations (and concerns) that created hurdles from the focus on His One-ness
and after one rejects the connections that prevent steadfastness in His One-ness and absorbing the adornment in it.
مَـٰلِكِ یَوۡمِ ٱلدِّینِ
The Master of the Day of Resurrection which is prepared for reward or punishment,
إِیَّاكَ نَعۡبُدُ
You Alone we worship without the idols of hopes and expectations of others in our hearts
وَإِیَّاكَ نَسۡتَعِینُ
and You Alone we ask for help without which there is no power to endure.
ٱهۡدِنَا ٱلصِّرَٰطَ ٱلۡمُسۡتَقِیمَ
Guide us to the Straight Path which brings us to Your One-ness,
صِرَٰطَ ٱلَّذِینَ أَنۡعَمۡتَ عَلَیۡهِمۡ
the path of those You have bestowed (Your) Favors upon
from the Prophets and the truthful one and the martyrs and the ones who rise to battle with their desires and the ones who ready their nafs, selves, to reform and make up for the deficiencies of their previous state,
غَیۡرِ ٱلۡمَغۡضُوبِ عَلَیۡهِمۡ
not of those who earned Your Wrath upon themselves
وَلَا ٱلضَّاۤلِّینَ
and not of those who refuse to accept guidance.
آمين
May Allah make us of those whose burdens are light and whose wishes are few by His Special Favour and His Special Bounty, Ameen!
وَلَقَدْ خَلَقْنَا ٱلْإِنسَنَ وَنَعْلَمُ مَا تُوَسْوِسُ بِهِۦ نَفْسُهُۥ ۖ
And certainly We created man and We know what his self whispers to him
Surah Qaf, Verse 16
Tafseer e Jilani
Wa: And overall…
Laqad khalaqna al insaana: indeed we created Man and We made him appear from the hidden-ness of nothingness.
Wa: And We…
Na’alamu: We know him from that point…
Ma tuwaswisu: (as to) what whispers and makes up a rambling story…
Bihi nafsohu: from his own self and sways his heart (from that point) until now from those kinds of delusions and false imaginings and those things that descend upon him as animalistic desires and those thoughts that are imprisoned by the chains of rituals and shackles of inherent habits that are inherited as a result of useless ponderings which are mixed with unthinking paranoia.
Contents
Preface 13 Begin! 17 The Push and the Pull 19 Shaitaan and Me 23 The Nafs Mutma’inna 27 The Ones who know their Lord 33 The First Jolt 37 The Diseases of the Heart 41 The Nature of Blessings and Trials 47 Shaan 53 The Belly of the Whale 65 The Façade of my Obedience 69 The Shirrk in my Heart 75 The Fire of Possibilities 81 My Master’s Wrath and Mercy 89 The Necessity of Fear 103 Patience is Beautiful 121 What is a Dua 131 They Feel no Fear or Grief 143 The Layering of Generosity 151 Akhlaq and Imam Ghazali 161 The Seed of Tauba 169 Forgiveness 183
يَقُولُ اللَّهُ تَعَالَى:
ابْنَ آدَمَ،
اطْلُبْنِي تَجدني، فَإِنْ وَجَدْتَنِي وجَدْتَ كُلَّ شَيْءٍ،
وَإِنْ فُتُّكَ فَاتَكَ كُلُّ شَيْءٍ،
وَأَنَا أَحَبُّ إِلَيْكَ مِنْ كُلِّ شَيْءٍ
Says Allah Ta’ala:
“O Children of Adam (as)!
Seek me and you will find me.
So if you find Me, you will find everything.
And if you miss this seeking, you will lose everything.
And I should be most beloved to you of all things.”
Preface
فَإِذَا قَرَأۡتَ ٱلۡقُرۡءَانَ فَٱسۡتَعِذۡ بِٱللَّهِ مِنَ ٱلشَّیۡطَـٰنِ ٱلرَّجِیمِ
So when you recite the Quran, seek refuge in Allah from the Shaitaan, the accursed.
Surah An Nahl, Verse 98
Exegesis of all verses from the Tafseer e Jilani by the Master of all Masters, Sheikh Abdul Qadir Jilani (ra):
And overall good deeds give fruit to a life beautiful and meaningful. In fact the most superb of these deeds is the recitation of the Quran, full of of Ma’arif, Divine Recognitions and Haqaiq, Divine Realities and Mukashafaat, Divine Unveilings and Mushahadaat, Divine Witnessing, resulting from the traveling on the Path of Tauheed, the One-ness of Allah and Irfaan, knowing His Essence.
Fa ida qara’at al Quran: So when you read the Quran i.e. you made the intention of reading it, O Qari, O reciter, seeker of the unveiling of the depth of its secrets and its ambiguous signs…
Fasta’id: then seek refuge and invoke, first of all…
Billahi: Allah, Al Mutajalli, The One who unveils, by the attribute of speech, which makes others helpless before it, Al Hafeed, The Protector of His Sincere Servants from everything in useless sins and disobedience…
Min: (which occur) due to doubts and paranoia…
Ash Shaitaan ar rajeem: from Shaitaan the accursed one, Al Matrood, the one expelled and the one made distant from the court of the Presence of Allah Azzo Jal with the stoning of the effects of the attributes of Allah’s Wrath and (seek refuge) from his misconceptions and rationalizations which are the armies of desire and forgetfulness and false imaginings and hallucinations thrilling which persuade different kinds of hopes and lust.
A Question of Truth
I’ve been thinking about this piece in starts and stops for months. To escape the coldest month in Lahore I headed to Karachi to give it readable form at the end of December. I was writing it to mark the month of Rajab in which Maula Ali (as) is born, which would begin on the 23rd of January if the new moon appeared.
I included this section, a preface, for the first time to make a single suggestion to my reader. To answer a question that Ghaus Pak (ra) continually asks his readers in his magnificent exegesis of the Quran, the Tafseer e Jilani. Although most scholars yield that it is but a translation.
For an exegesis by him, if it were to include all Divine Secrets that have been unveiled for him, might take up all the pages of all the trees only in describing what just the first Surah, Al Fateha, contains, which, incidentally, is also a preface. For the Quran.
The question being; Where do you lie in this? For truth is not on a spectrum, he says. It is absolute. We, however, as infallible beings exist in shades of darkness and pendulum between it and falsehood. Whether a single line or thought or image is retained or everything is entirely forgotten, the intention of the read must be singular, fulfilled with a simple question: Where do I lie in this?
For the time, the Quran attests, in this world that seems so absolute is not only short. It isn’t even an hour!
فَٱصۡبِرۡ كَمَا صَبَرَ أُو۟لُوا۟ ٱلۡعَزۡمِ مِنَ ٱلرُّسُلِ وَلَا تَسۡتَعۡجِل لَّهُمۡۚ
كَأَنَّهُمۡ یَوۡمَ یَرَوۡنَ مَا یُوعَدُونَ لَمۡ یَلۡبَثُوۤا۟ إِلَّا سَاعَةࣰ مِّن نَّهَارِۭۚ
So be patient, as had patience those of determination of the Messengers, and (do) not seek to hasten for them punishment.
On the Day when they see what they are promised, it will seem they remained not except an hour of a day (in the world).
Surah Ahqaf, Verse 35
Tafseer e Jilani
And after that you heard O Akmal Ar Rusul, O Messenger who perfects Messenger-hood (salutations and greetings upon you who is entrusted with The Revelation by your Lord and Master), the outcome of the state of denial of truth by the ones who are insistent upon their insolence and stubborn-ness…
Fasbir: then be patient, O Akmal Ar Rusul (salutations and greetings upon you and your family by your Lord who makes you His Nur), upon bearing the charge of the message and the exhaustion of preaching and the sufferings from the people, strayed and the misguided…
Kama sabara: the way they were patient upon these types of hurdles…
Ulol azmi mir Rasool: the Messengers, with unwavering determination, Al Azimeena, the ones resolute upon these things and upon the preaching of the Message with steadfastness, sincere and with solid firmness, so that they make clear for the people the Path of Tauheed, Allah’s One-ness and instruct towards the way of steadfastness and guidance.
Wa la tasta’jil lahum: And do not hasten to seek the torment for these deniers i.e. the stubborn ones from the Quresh, with the coming of punishment which is promised to them. For indeed, it will come upon them certainly in its own time…
Ka annahum youma yarouna ma yu’adoona: on the Day they will see in the Hereafter which they are being promised of, this punishment from the heights of intensity and scariness and the extreme-ness of its duration so they will recall…
Lab yalbathu: they didn’t stay in the world…
Illa sa’atan: for more than an hour…
Min naharin: of a day meaning that they will think of the time they stayed in this world as less and they will imagine that compared to the length of the Day of Judgement, it was only an hour or even less than that.
The question I ask now is not if I am a Mo’min, a believer or a Kafir, a denier of truth or ungrateful but when?
When do I remember my Lord and His Beloved (salutations and greetings upon him who is distinguished among creatures by His Lord) and become a zakir and when am I ghafil, the one who forgets them completely? And most importantly, why?
Begin!
قَالَا رَبَّنَا ظَلَمْنَآ أَنفُسَنَا وَإِن لَّمْ تَغْفِرْ لَنَا وَتَرْحَمْنَا لَنَكُونَنَّ مِنَ ٱلْخَسِرِينَ
Both of them, Hazrat Adam (as) and Amma Hawwa (as)) said,
"Our Lord we have wronged ourselves, and if not You forgive [for] us and have mercy (on) us, surely, we will be among the losers."
Surah Al Araaf, Verse 23
Tafseer e Jilani
Qalaa: They both invoked, beseeching in humility, admitting that lapse from them…
Rabbana: O One who raised us upon grace according to Your Fazl, Bounty and Jood, Generosity…
Dallamnaa anfusana: we transgressed upon our own selves by following the enemy (Shaitaan)…
Wa illam taghfir lana: and if You do not forgive us and the excesses from us…
Wa: and do not…
Tarhamna: have mercy upon us by Your Fazl, Favour…
Lanaku nanna min al khasireen: we will become amongst the losers, the ones in the greatest loss.
Woe upon you!
You claim to have knowledge and (yet) find happiness the way the ignorant find happiness and are angry like they are angry.
Your happiness with the world and your inclination towards Creation will make you forget wisdom and harden your heart.
The Mo’min is only happy with Allah and nobody except Him.
Ghaus Pak (ra) in Al Fath Ar Rabbani
Al Mulhim – The Only One who inspires!
Recently in my reading of the Tafseer e Jilani I came across new Asma al Husna, the Beautiful Names of Allah Subhanahu from Ghaus Pak (ra). I was swayed by the effect of the sound itself. Mulhim.
Allah Al Haqq, The Only Truth, inspires and His Beloved (O my Lord who raises only kindly, send blessings and salutations upon him and his family) is the Mulham, the one upon whose heart came the inspiration of the Quran. Then as Al Qasim, he distributed them and he distributes them even today.
The Push and the Pull
أَنِّي مَسَّنِيَ الضُّرُّ وَأَنتَ أَرْحَمُ الرَّاحِمِينَ
Prayed the Prophet Ayub (as);
“Indeed, adversity has touched me, and you are the Most Merciful of the merciful.”
Surah Al Anbiya, Verse 83
Tafseer e Jilani
Anni massani ad durru: Indeed adversity has touched me, O Lord, far away have gone those close to me and my relatives and all the ones who were affectionate with me…
Wa anta: and You are The One remaining who is still for me Merciful and Affectionate for indeed You are…
Arham ar Rahimeen: the Most Merciful of the merciful so come to me suddenly with Your Lutf, Kindness because I have no strength and no patience after this and surely his suffering had reached its heights.
In my most recent trip to Damascus I had not been reading any of my books on Tasawuff, Islamic Spirituality. Only New Yorkers. That was a first. Whenever I had gone to Medina Sharif or Iraq or India for ziaraat, I had taken books with me specifically to read there in particular places. Here my state was swoon-like. I had brought the books but I never opened them. In the first few days of my being in Sham an experience began to stand out.
Each day I would have breakfast on the balcony outside my room. It was quiet and after I ate, I went to the roof-top terrace to lie or sit on a couch that was also a swing. Mostly I would listen to music and stare at the sky. The colours had captivated my heart the first time and it clearly remained besotted.
One thing was always the same; the shade would be darkest above me, the blues in their range from powder to midnight, getting lighter and lighter, until my eyes came upon Qasiyoun. It was like only one mountain existed in the world. The one where 123,000 Prophets were buried. I would climb to no-go areas of the hotel to capture it from new vantage points. In the end I just started closing my eyes mid-stare, making them my camera. Everything about Damascus felt intense for me.
After the third day, I had started doing something that initially seemed like it was inadvertent. A specific memory would pop into my head and then I would replay it. It was recent, not remarkable but not insignificant either. Like a Youtube or Tiktok video, I would watch the memory in my head at almost exactly the same time.
Then for the rest of the day I forgot it along with my entire existence, becoming only a visitor in Paradise. Damascus has been titled such originally by Nabi Kareem (salutations and greetings upon his every utterance that comes only through His Lord God). Therefore it does not allow for lost moments. It’s Paradise! There was no before or after. I was only present.
On the 6th or 7th day I was made to realize something. It was as if someone asked me, “Why do you think this exact same thing every morning?”
I thought about it. The replay didn’t evoke any emotion in me. There was no sadness which normally the past carries. There was no joy attached to it in the future. Certainly no anxiety. I had just created a habit for no reason. In a matter of a week that habit was like a shackle in that the new found ritual had its grip on me.
At first I thought the awareness of my act came to me because for no reason I was losing the moment. Albeit willingly. But it turned out to be more than that.
A month later in Lahore, I would read a paragraph and Ghaus Pak (ra) would explain to me what was happening in Sham. The push and the pull that a human being creates:
“The Sahib e Imaan, the person of faith, and iqaan, certainty, and ma’rifat, recognition of the Divine, is in unity with people in their qalb, the station of that Divine Recognition in the heart and in their batin, the inner being, Allah’s Secret within Man.
He reaches a state (through that unity) such that he cannot push away any harm from his being and he cannot pull any benefit towards it. He lies before Allah such that he is powerless with no strength. When this state is made correct for him, then everything becomes goodness as it comes towards Him (no matter what it is).”
The words were not applicable to me and perhaps never would be in that I was the furthest thing away from being a Sahib e Imaan. Still, they shed light for me on what I had been doing in Damascus. I was pulling in a memory myself. The only reason I had even able to come to that conclusion was that no emotion had been attached to it.
If there were, the emotion would have formed the usual trap of justification for the thought to exist, for my being allowed it. For me to dwell in it, repeat it. I would have felt entitled to think about it. But there wasn’t a feeling that it evoked. There wasn’t a feeling that was its root. Or its consequence for that matter. It was simply a pull into my present from my world. My own pull!
Obviously then I was forced to consider the inverse. I must also be pushing out what naturally was in my present. If I didn’t like it, if it made me feel badly, then I pushed emotions and people attached to those emotions attached to my heart away. It was always and only at the insistence of the nafs, the base self, the ego, which in its haste for fulfillment of desire never knew what the correct desire for it was.
وَيَدْعُ ٱلْإِنسَنُ بِٱلشَّرِّ دُعَآءَهُۥ بِٱلْخَيْرِ ۖ
وَكَانَ ٱلْإِنسَنُ عَجُولًۭا
And human beings pray for things that are wrong (as often) as they pray for things that (they think) are good. And human beings are ever hasty.
Surah Al Isra’a, Verse 17
Tafseer e Jilani:
Wa: And overall, amongst the behaviour that is disliked, worldly and ugly…
Yad ul insaana: Man prays, being hasty (in his inner and outer being)…
Bi sharre: for that which is not good for him, so comes along, with that (prayer), that which he does not know about its evilness and its harmful consequences.
Dua’ahu bilkhair: (while he is) liking that which he is asking for as if it is good for him, due to his hastiness.
Wa kanal insaano: In Man’s nature is created haste (for himself) and he demands haste from others about that which he is inclined towards, even though it is detrimental for him.
What I did do in Damascus every time I went to the hallowed shrines of Bibi Ruqayya (as) or Sheikh ul Akbar (ra) or to the section in the Ommayyad Mosque where the Ras Mubarik of Imam Hassan (as) was placed, was to open the Quran to a random page and read the two that faced me, side by side. I don’t know when I starting doing that. I had never done it anywhere else before. Translating the Tafseer e Jilani for two years now had created a nisbat, an association, for me with the Divine Book. If I didn’t read it I missed it.
I would take a picture of the pages for safe-keeping. Before I opened the Quran, I would also recite a prayer. It was the prayer I had learnt for when one did an istakhara, asking a question from the Quran for guidance in a state of confusion. The prayer was the same but I didn’t move to the 7th page and the 7th verse to seek any answer. Still each time it felt like I was being told something. When nine times out of 10, one similarity started to appear in the text I was taken aback.
Shaitaan and Me
قَالَ رَسُولُ اللَّهِ صَلَّى اللَّهُ عَلَيْهِ وَسَلَّمَ
الدُّنْيَا سِجْنُ الْمُؤْمِنِ
Said the Messenger of Allah (salutations and greetings upon made the Imam of mercy by His Lord),
“The world is a prison for the believer.”
Al Fath Ar Rabbani: “The world is a prison for the Mo’min. Thus when he will forget that prison, only then will he gain freedom for it.”
The common denominator had become a reference to Shaitaan. To him not bowing, to him refusing Allah’s Command, to him being the only one going against His Order to prostrate before the Prophet Adam (as) when all the angels submitted to it. I had heard in a lecture once that Hazrat Gibrael (as) who was chosen as the Arch Angel and the one who brought the revelations to all the Messengers, that was his jaza, reward, for having been the first one to fulfill that Divine Command.
The text reappearing was along these lines and therefore naturally disturbing:
قَالَ مَا مَنَعَكَ أَلَّا تَسۡجُدَ إِذۡ أَمَرۡتُكَۖ
قَالَ أَنَا۠ خَیۡرࣱ مِّنۡهُ خَلَقۡتَنِی مِن نَّارࣲ وَخَلَقۡتَهُۥ مِن طِینࣲ
Allah said, "What prevented you that you didn’t prostrate when I commanded you?"
Shaitaan said, "I am better than him.
You created me from fire and You created him from clay."
Surah Al Araaf, Verse 12
I ended up calling Qari Sahib from there. He sent me the tafseer of Ghaus Pak (ra) and we read it. On my return to Lahore, it was the first verse we translated.
Tafseer e Jilani
Qala: Allah Subhanahu said, revealing what was always true in His Knowledge and which was being hidden by Iblis, his wicked nature…
Ma mana’ka: what prevented you O Iblis…
Alla tasjuda: that you didn’t prostrate before My Khalifa, Vice-Regent…
Id amartuka: when I commanded you with your companions (the angels)?
Qala: Iblis replied in his answer in accordance with his false essence and corrupt desires…
Ana khairun minhu: I am better than him and superior.
Khalaqtani min naar: You created me from fire, lit…
Wa khalaqtahu min teen: and you created him from clay, dark, dirty. And it is not good to humiliate the superior before the one made worthy (just a little while ago).
The same notion had appeared in another verse as well. The meaning, as I discovered, had an entirely different implication. Hence it made me realize something I had never thought as a possibility for myself. Even though it’s the trap that most of us, supposedly seeking to better ourselves, fall in.
A trap entered precisely because of “goodness.”
قَالَ یَـٰۤإِبۡلِیسُ مَا مَنَعَكَ أَن تَسۡجُدَ لِمَا خَلَقۡتُ بِیَدَیَّۖ
أَسۡتَكۡبَرۡتَ أَمۡ كُنتَ مِنَ ٱلۡعَالِی
He said, "O Iblis! What prevented you from prostrating before the one whom I created with My Hands?
Are you too arrogant or are you of the exalted ones?"
He said, "I am better than him. You created me from fire and You created him from clay."
Surah Sad, Verse 76
Tafseer e Jilani
Then when at the time Iblis refused his, the Prophet Adam’s (as) obedience and his honouring, even though the Command came from Allah and was compulsory…
Qala: He, Subhanahu, said, with anger at him, calling out to him, asking him the reason for his refusal…
Ya Iblis: O Iblis, Al Mustakbir, the one whose desire for pride overcame the Command, the one who turned away from Our Order…
Ma manaka an tasjud: what prevented you for prostrating i.e. what was the thing that stopped you from the prostration of honouring…
Lama khalaqtu bi yadihi: the one who I created by My Hand and to whom I gave form by My Authority in accordance with My Form and with the perfection of My Strength and Control so he could be My Mirror and be able for My Friendship and My Vice-regency?
Astakbarta: Did you desire to become arrogant against the obedience of Our Command and following Our Order…
Am kunta: or you considered yourself…
Min A’lieen: of the exalted ones, Al Mutafawwaqeena, the ones made higher than you, so much so that your nafs, egoistic self, has made you such that you cannot surrender before Allah and be obedient to Him?
Here Qari Sahib paused to point out two things. One, understanding the verb astakbara. Form 7. It wasn’t just pride. It was a false sense of pride that didn’t even exist in reality. It was a farce and a façade. It was in fact a delusion of pride. The arrogant person thought they were better than others and it was a false belief. For indeed in every case, they weren’t better.
Two, the question was being posed in multiple choice. Are you in an assumed state of arrogance? Or do you think you belong to the ones that I, Subhanahu, have chosen as the exalted? The difference was tremendous and I feared Iblis’ answer.
قَالَ أَنَا۠ خَیۡرࣱ مِّنۡهُ خَلَقۡتَنِی مِن نَّارࣲ وَخَلَقۡتَهُۥ مِن طِینࣲ
He said, "I am better than him. You created me from fire and You created him from clay."
Surah Sad, Verse 76
Tafseer e Jilani
And after the accursed one heard this from Subhanahu, such an address, consisting of all kinds of wrath…
Qala: he said, the accursed one, after choosing the second option for the refusal…
Ana khairun minhu: I am better than him in form and physical element because…
Khalaqtani: You created me by the Perfection of Your Authority…
Min naar: from fire and it is the better particle and it is higher in value and place…
Wa khalaqtahu min teen: and You created him from clay and it is the lower particle and it is not valuable and it is of a lower place. And the command of prostration for the higher and better before the lower and worthless is not suitable and not according to Your Solid Wisdom.
In Damascus I couldn’t wholly ignore the repeat appearances of the mention of Shaitaan but I did forget about them. Once back home I was forced to consider the nightmarish possibility; Could Iblis and I have something in common? I always thought he was the misguider, I the misguided. He was the perpetrator, I was the victim. How could we be the same?
The answer started to come slowly. In Sham I was all alone.
Life was blissful. When I reached Lahore, I had to start meeting others. The humans! This time though I became acutely aware of the push and the pull and what was governing them. Feelings of affection for them caused me to reach out and search for them. The pull. If I found them to be absent, my disappointment turned into heartache leaving me wishing I would never see them again. The push!
In neither scenario did I even say or do anything outright in terms of expressing myself to the other. The whole thing was happening in my head but unlike Damascus, the feelings invoked were not neutral. They were undeniably sharp.
I had started re-reading Ghaus Pak’s (ra) sermons. He explained where my hypocrisy lay thus bringing the matter away from the “other” and squarely back upon my own self.
The Nafs Mutma’inna
رَبَّنَآ أَتْمِمْ لَنَا نُورَنَا وَٱغْفِرْ لَنَآ ۖ
إِنَّكَ عَلَىٰ كُلِّ شَىْءٍۢ قَدِيرٌۭ
"Our Lord Perfect for us our light and grant forgiveness to us.
Indeed, You are over every thing All-Powerful."
Surah At Tahreem , Verse 8
Tafseer e Jilani
Then when the people of faith who have different kind of noor, light, according to what is clear and what is hidden depending upon their deeds and their natural capabilities…
Yaquloona: they say, calling out in prayer…
Rabbana: O Our Lord who raised us upon guidance and consciousness!
Atmim lana noorana: Perfect for us our light by gracing us and by bestowing additional favour upon us…
Waghfir lana: and forgive us our sins i.e. hide our selves from the flaws that our eyes will see (of our own selves so we don’t see them).
Innaka: Indeed, you, according to Your Generosity…
Ala kulle shay’an Qadeer: over everything, which enters in the encompassing of Your Great Knowledge and Your Will…
The words in Al Fath Ar Rabbani applied to me in the context of my living life alone, cut off from the world in a mainstream sense. Hours of each day passed with two teachers. One for study, the other for play. I went to see my Aunt in the afternoon. My day started around 8am and ended close to 4pm. That was it. I hardly saw anyone else.
Hence I was under the illusion that my hermit-like life was rendering me zuhd, spiritual detachment, from the world. I was about to find out that it was not.
Al Fath Ar Rabbani:
“Your seclusion is not correct because seclusion has to be empty of everything as far as the qalb, the heart within the heart, is concerned. The batin, the inner self, Allah’s Secret within you, has to be empty so that it can be free, without the world and the Hereafter and nothing except Allah Al Haqq Azzo Jal.
And this has been the only way for the Prophets and Messengers and the Auliya, the Friends of God and the Saliheen, the ones who try to reform themselves, from before. Persuading towards good deeds and stopping people from what is forbidden is better than a thousand worshippers in seclusion.
Lower the gaze of the eyes of your nafs, the base self, control it and make it return so this eye does not become the reason for its destruction. Until the time that the nafs becomes obedient to the qalb, the station of Divine Recognition and the batin, surrendering in unity to the two, not disobeying their instructions and agreeing with them and there should not be any difference between it and them.
The nafs should command what they command and forbid what they both forbid and choose what they chose. So at that point then, the nafs becomes Mutmainna, contented, and in agreement upon a single requirement and a single goal. When the nafs reaches this state, then it becomes deserving of some relief from its striving.
So don’t find fault with Allah about what He decides…”
I read each word carefully and I read the paragraphs again and again. My self-proclaimed zuhd was a lie. I got that. But it was another line that captivated me. My Master had revealed what would allow for “relief in the striving” for the nafs. It would come from an alignment with the qalb and the batin. The cherry on the cake that he had thrown on so casually was in fact an extraordinary revelation:
An ordinary person, could in moments, in this world, and not just in the Hereafter or on the Day of Judgement, but in this world, feel what it is like for the nafs to be Mutma’inna. The third and most exalted state of the nafs, one that I had learnt only the Prophets and the Friends of God were in. My revolting nafs could also be Mutma’inna!
That is when I realized why Damascus was in reality Paradise. Why I felt a state of elation there that never subsided. Not for a split second. I never felt tired, there was no exhaustion. In that land called Sham, my nafs would naturally and effortlessly become perfectly aligned with my qalb and batin. Hence, I didn’t read. There was no need. The reading was a seeking. I had already arrived! I barely prayed. There is no sala’t in Paradise. I just walked in streets all day long, listening to house pounding in my head, feeding the hungry.
At the shrines I would just look at people and stare at the walls and ceilings, reading the ahadith and verses written on them. I gave money to whoever I could. It was the exact opposite experience of ritualistic worship that occupied me in any other place I visited. No wonder I couldn’t get enough of it. Barely would I be checking out of the hotel that I would be planning my return.
It was no coincidence that dome after venerate dome had the verse inscribed in them that attested to my state.
یَـٰۤأَیَّتُهَا ٱلنَّفۡسُ ٱلۡمُطۡمَىِٕنَّةُ
"O soul! who is satisfied,
ٱرۡجِعِیۤ إِلَىٰ رَبِّكِ رَاضِیَةࣰ مَّرۡضِیَّةࣰ
Return to your Lord well pleased, and pleasing.
Surah Al Fajr, Verse 89-90
Tafseer e Jilani
Then pointed Subhanahu towards the beautiful states of the people of bestowing and blessings on the Day i.e. the Mo’mineen, the believers who are the Mu’qineen, those who possess inner certainty, who collect the provisions from this world for the Hereafter and are attributed with taqwa, the mindfulness of Allah.
And they did not go against the Command of their Lord their whole lives and did not follow their desires and they remained steadfast and they purified their nafs, selves, by what happened to them from the Commands of the Divine.
And overall they were never restless in happiness or in adversity and they did not care about difficulty or ease so then on that Day it will be said to them:
Ya ayyatuhan nafsu mutmainna: O contented self, which is set upon, steadfast on the station of Raza, the Pleasure of Allah and tasleem, surrender to Him…
Irja’i ila Rabbik: return to your Lord and ascend upon the way which you came down from…
Radiyatan: contented, being characterized by pleasure the way you were pleased upon Allah’s Commands in the life in this world…
Mardiyatan: well pleased, accepted, most honoured in the sight of Allah.
And after that you returned to this mentioned way…
Fadkhuli fi: then enter in the group…
I’badi: of My Servants who reached towards the Kunf Jawari, My Enclosure and Protection and were able to attain the Maqad Sidqin, the Seat of Special Nearness to the Sovereign Lord of Truth. And overall:
Udkhuli Jannati: Enter My Heaven i.e. the Paradise of My One-ness and rest in the seclusion of the Lahoot, the Realm of Nur, Divine Light.
Prayer by Ghaus Pak (ra): May Allah make us of the ones addressed by this address, this address which is pure. Indeed, He is Al Mulhim, the One who is the Only Inspirer, towards good and He has the Best Abode.
Al Mulhim!
A month later, the Quran itself attested to Damascus being the place where the possibility of that nafs existed and was promised. For it was where Allah Subhanahu sent His Khaleel, the Prophet Ibrahim (as) when he was exiled from his family, his clan, his country. When he was all alone, the only believer on Earth.
The verse was a personal favourite. I had loved reciting it in Mecca when I walked from the hotel to the haram. I looked it up recently only because I was curious about what the tafseer of yahdeeni, My Lord, He will guide me, was. The last thing I expected was what it revealed.
وَقَالَ إِنِّی ذَاهِبٌ إِلَىٰ رَبِّی سَیَهۡدِینِ
And he said, "Indeed, I am going to my Lord, He will guide me.
Surah As Saffat, Verse 99
Tafseer e Jilani
And after he left, His Close Friend, the Prophet Ibrahim (as) (the blessings of Ar Rahman upon him and His Salam), when he chose exile and exit from them by the Inspiration and Revelation of Allah upon him…
Wa: so that is why…
Qala: he declared when he left…
Inni dahibun illa Rabbi: indeed, I am going to my Lord and towards His Kunf, Guardianship, His Protection and His Jawar, Safeguarding and his Expansive Mercy…
Sayahdini: so He guides me by His Lutf, Kindness, towards the place that makes it possible for me to focus on Him in it and where my heart will feel contentment so he went to Sham by the inspiration of Allah to him and he made his home in that place Al Muqadissa, pure.
When I was translating the tafseer of the verse and the word Sham appeared, I had looked up at Qari Sahib with astonishment unprecedented. Then I had gotten up from my chair and gone down in sajda on the floor. Damascus was where the heart felt contentment and where Allah Subhanahu inspired His Beloved Servant to go and that is where he was promised focus on Him. Effortlessly!
Subhan Allah times a billion doesn’t cut it in terms of how the verse makes me feel in terms of boundless joy!
It is what made me start paying close attention to what my nafs was doing in Lahore. I discovered that it listened to the qalb and batin at least, thank Heavens. Probably just staring at them. Previously it would sprint in the other direction before they could get a word out. Maybe it was deaf and didn’t even hear their call. Maybe it was blind so it didn’t even see them.
For eons before that, I’m certain it forgot they even existed.
But I knew one thing with certainty. I was no longer turning my back to them. If I didn’t move towards them, I didn’t move away either. Lucky for me they possessed the Attributes of the Divine. They were Sabir, patient and Lateef, subtle, Barr, kind and Haleem, extremely sensitive and understanding of the state of the other, not hasty to punish.
And yet for most of my life, my nafs had turned its back to them!
The Ones who know their Lord
قَالَ رَسُولُ اللَّهِ صَلَّى اللَّهُ عَلَيْهِ وَسَلَّمَ
الدُّنْيَا سِجْنُ الْمُؤْمِنِ
Said the Messenger of Allah (salutations and greetings upon him and his family who are the key to blessings from their Lord),
“The world is a prison for the believer.”
“The world is a prison for the Mo’min. Thus when he will forget that prison, only then will he gain freedom for it.”
Those who attain to faith are in that prison (of the world) while those who gain Ma’rifa, Recognition of Allah Subhanahu, are in a state of intoxication.
Therefore they are entirely unaware of that prison because indeed, their Lord has made them sip the Drink of His Love for Him, and the Drink of His Affection for Him, and the Drink of His Desire for Him and the Drink of obliviousness from Creation and they are only mindful of Him so they became detached from the prison and its inmates.”
Ghaus Pak (ra)
The qalb and the batin, they were like the Arif, the one who knows his Lord. He is different from the Mo’min. He only believes in Him.
Al Fath Ar Rabbani:
“It is narrated by some Friends of Allah who say, ‘No one laughs at the Fasiq, the defiantly disobedient, except the Arif.’
Yes it is true, the Arif enjoins towards goodness and forbids evil and bears his pain and no one has power to do this except the Arifoon of Allah Azzo Jal, where as the Zahid, the ones detached from the world and its occupants and Ubaad, the worshippers and Muridoon, the followers, cannot do this – (they cannot) enjoin towards goodness, forbid the evil and (they cannot) bear the pain of the Fasiq, the one who sins openly.”
I paused. The Zahid and Abid and Mureed were all highly evolved states. But in any given point, they could lose their patience and temper with the Fasiq. They could be judgemental and vengeful. I was about to be told why. It was related to deficiency in akhlaq!
“And why would they not have mercy on the disobedient when they are in actual, upon the place of rahma, mercy and the station of tauba, repentance and uzr, pardon (so they are able to accept that repentance and pardon them).
The Arif, his akhlaq, manners, are the Ettiquettes of Allah Azzo Jal so the Arif strives in freeing the neck of the sinner from the grip of Satan and his nafs and desires. When one of you sees their child imprisoned in the hand of the kafir, the denier of truth, does he not struggle to free him? Such is the Arif.
All of Creation is like a family of children. The Arif addresses them by a tongue full of wisdom…”
Then Ghaus Pak (ra) quoted the following verse and I translated his tafseer of it:
ٱدْعُ إِلَىٰ سَبِيلِ رَبِّكَ بِٱلْحِكْمَةِ وَٱلْمَوْعِظَةِ ٱلْحَسَنَةِ ۖ
Call to the Way of your Lord with the wisdom and the instruction that is beautiful.
Surah An Nahl, Verse 125
Tafseer e Jilani
Then pointed Allah Subhanahu towards the perfecting of honouring His Beloved (salutations of peace be upon the one given the highest station by his Lord) and the majesty of his rank and the discipline of his etiquette and completing his wisdom and Messengerhood and and making for everyone his kindness and his mercy as the gathering of kindness for all and sufficient for all Creation because he is sent in totality as mercy, Rahma, and he is the seal of the Prophethood and Messengerhood and the completer of the matter of religion and its perfection because the reason behind making the religion and the descent of the Books of Revelation and sending the Messengers, it is only to manifest his rank and his station, which is the inviting to the Essence of Tauheed, Tauheed Az Zaati.
And when this becomes clear, the Essence of One-ness, Tauheed e Zaati, is completed and perfected, so that’s why He revealed the verse in his honour, ٱلۡیَوۡمَ أَكۡمَلۡتُ لَكُمۡ دِینَكُمۡ, Today I have perfected your religion for you, Surah Al Maidah - Verse 3 and this is almost the last verse revealed in the Quran and Nabi Kareem (peace be upon him and his family) said: بُعِثْتُ لِاُتَمِّمَ مَکَارِمَ الْاَخْلَاق “I have been sent to perfect good character.”
So Subhanahu said addressing him giving him a special rank close to Him and honouring him:
Udu’: Call, Ya Akmal Ar Rusul, O Messenger who perfects the Messengers (salutations and greetings upon your ranks and the ranks bestowed upon your blessed family by your Lord)…
Ila sabeeli Rabbika: to the Way of your Lord i.e. towards the Way of the Tauheed, the One-ness of your Lord, who instructed you to the ascension of His Blessings and guided you to the perfection of His Dignity, (call) all Creation and all worshippers…
Bil hikmati: with wisdom, utmost which is for their hearts which are hard from following, (the following) which is inherited and unchanging for them from their previous generations,
1.(it is a wisdom) which cleanses their selves from the conceited stubbornness of egoism of ignorance lodged in them,
2.which (that wisdom) will empty them from the idea of fully controlling (others) and overpowering them,
3. (it will remove) the ignorance which invokes in them different kinds of symptoms of the nafs, ego, layered in them from their being human,
4.(this wisdom) removes all kinds of doubts and imaginations that arise from the (everyday) sources of our routines,
5. (a wisdom) convincing and suitable for the real nature which Mankind has been set upon the hope that they will consider and become aware of the demands of their foundation and nature…
Wal mauwadatil hasana: and (call all Creation and all worshippers) with a refined exaltation which they have inherited to awaken them from the nodding off of heedlessness and the sleep of forgetfulness.
The outcome for them (from this wisdom and refined exaltation) is love and bliss towards their Lord who gave them origin and created them.
1.It propels them towards the tastes of spirituality everlasting and forever, continuing eternally without disappearance and disconnect,
2.making them feel repelled from that which is upon them as disability
3.and (repelled from) the shackles of incapacity which have the taste of paranoia, vanishing and ending, resulting in different kinds of sufferings and sadness and regret.
Al Fath Ar Rabbani (cont’d):
… All of Creation is like a family of children. The Arif addresses them by a tongue full of wisdom, then has mercy upon them because they are informed of certain knowledge so he sees the work of Allah Al Haqq Azzol Jal in them. He sees through the door of wisdom and knowledge, how destiny and fate are unfolding, but he keeps it hidden.
The Arif talks to them, Creation, with wisdom which is what is either commanded (by Allah Azzo Jal) and (what is) forbidden. He does not mention the knowledge because it is a secret.”
I had never before read the qualities of the Arif. My heart ached with the envy that they possessed softness and mercy at all times for all people, regardless of why they were and what they did. 24/7 – only kindness emerged from them.
The reasons were two: One, their manners and character were perfect, perfected for them by their Lord, for they were set upon His Own Akhlaq. That standard was first bestowed to His Beloved (salutations and greetings upon his blessed being and his family by The One who gives them the highest rank in Creation). Two, they could see the destiny of the person, where they were going to crash and why they were going to burn.
Subhan Allah!
All I felt was ill-will in the false imaginings that were the root of possibilities. But I’m getting ahead of myself…
Continued on: www.flickr.com/photos/42093313@N00/52652388955/in/datepos...
"I want my memory, my existence to remain. Unlike an intron of history... I will be remembered as an exon. That will be my legacy, my mark in history. But the Patriots would deny us even that. I will triumph over the Patriots and liberate us all. And we will become-- the "Sons of Liberty"!"
— Solidus Snake
Solidus was the third "Son of Big Boss" created by the Patriots in the early 1970s, through somatic cell cloning, as part of the project Les Enfants Terribles. The initial phase of the project produced genetically diverse twin clones, one expressing Big Boss's supposedly "inferior" genetic traits, and the other his "superior" traits. The creation of the original clones led to Big Boss's departure from the Patriots. Thus, the organization required a perfect clone in order to retain a figurehead for their organization in the image of Big Boss. Years later, Solidus's DNA would act as the key to the Patriots' master AI, to which Big Boss's genetic code was the key.
As neither of the Twin Snakes were genetically identical to Big Boss, Solidus was created with the same "perfect balance" of dominant and recessive soldier genes that Big Boss possessed. As a result, Solidus possessed a nuclear genome identical to that of Big Boss, and would take much pride in his visible similarity to the man.
The accelerated aging written into each clone's genes provided the fail-safe of a limited life-span, should Solidus's genetic data fall into enemy hands or he himself turn against the Patriots. This was apparently designed to have a greater effect in Solidus's case, thus producing the required figurehead for the Patriots (a United States President in the image of Big Boss) in a relatively short space of time. As a result, Solidus would appear considerably older than his cloned brothers in later life, despite being created shortly afterwards.
On display at the Steven F. Udvar-Hazy Center, Chantilly, Virginia. This is the only one of this type still in existence. www.flickr.com/photos/keleivis/2486873398/
This is an Ar 234 B-2 bomber variant carrying Werknummer (manufacturer's serial number) 140312, and was one of nine Ar 234s surrendered to British forces at Sola Airfield near Stavanger, Norway. The aircraft had been operating with 9. Staffel III./Kampfgeschwader 76 (later reorganised as Einsatzstaffel) during the final weeks of the war, having operated previously with the 8th squadron, carrying the full-four-character Geschwaderkennung military code of "F1+GS" on the fuselage sides.
This aircraft and three others were collected by the famous "Watson's Whizzers" of the USAAF to be shipped back to the United States for flight testing. Two aircraft were given freely but a further two had been traded to Watson by Eric "Winkle" Brown (test pilot and CO of the Enemy Aircraft Flight at the RAE) in exchange for an interview with Hermann Göring who was then being held by the Americans.
The aircraft was flown from Sola to Cherbourg, France on 24 June 1945 where it joined 34 other advanced German aircraft shipped back to the U.S. aboard the British aircraft carrier HMS Reaper. Reaper departed from Cherbourg on 20 July, arriving at Newark, New Jersey eight days later. Upon arrival two of the Ar 234s were reassembled (including 140312) and flown by USAAF pilots to Freeman Field, Indiana for testing and evaluation. 140312 was assigned the foreign equipment number FE-1010. The fate of the second Ar 234 flown to Freeman Field remains a mystery. One of the remaining two was reassembled by the United States Navy at Naval Air Station Patuxent River, Maryland, for testing, but was found to be in unflyable condition and was scrapped. (Very substantial remains were in evidence at Pax River as late as 1976, so it is not known if they were disposed of after this date.)
After receiving new engines, radio and oxygen equipment, 140312 was transferred to Wright Field near Dayton, Ohio and delivered to the Accelerated Service Test Maintenance Squadron (ASTMS) of the Flight Test Division in July 1946. Flight testing was completed on 16 October 1946 though the aircraft remained at Wright Field until 1947. It was then transferred to Orchard Place Airport in Park Ridge, Illinois, and remained there until 1 May 1949 when it, and several other aircraft stored at the airport were transferred to the Smithsonian Institution. During the early 1950s the Ar 234 was moved to the Smithsonian's Paul Garber Restoration Facility at Suitland, Maryland for storage and eventual restoration.
The Smithsonian began restoration of 140312 in 1984 and completed it in February 1989. All paint had been stripped from the aircraft before the Smithsonian received it, so the aircraft was painted with the markings of an aircraft of 8./KG 76, the first operational unit to fly the "Blitz". The restored aircraft was first displayed at the Smithsonian's main museum building in downtown Washington D.C. in 1993 as part of a display titled "Wonder Weapon? The Arado Ar 234". In 2005 it became one of the first aircraft moved to the new Steven F. Udvar-Hazy Center near Dulles International Airport. Today, 140312 is displayed next to the last surviving Dornier Do 335, an aircraft that had accompanied it on its voyage across the Atlantic Ocean aboard the Reaper over 60 years earlier.
This aircraft is displayed with a pair of Hellmuth Walter designed, liquid-fuelled RATO units mounted under its wings. These RATO units may be the only surviving examples to be mounted on an aircraft.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Bell XP-68A owed its existence to the manufacturer’s rather disappointing outcome of its first jet fighter design, the XP-59A Airacomet. The Airacomet was a twin jet-engined fighter aircraft, designed and built during World War II after Major General Henry H. "Hap" Arnold became aware of the United Kingdom's jet program when he attended a demonstration of the Gloster E.28/39 in April 1941. He requested, and was given, the plans for the aircraft's powerplant, the Power Jets W.1, which he took back to the U.S. He also arranged for an example of the engine, the Whittle W.1X turbojet, to be flown to the U.S., along with drawings for the more powerful W.2B/23 engine and a small team of Power Jets engineers. On 4 September 1941, he offered the U.S. company General Electric a contract to produce an American version of the engine, which subsequently became the General Electric I-A. On the following day, he approached Lawrence Dale Bell, head of Bell Aircraft Corporation, to build a fighter to utilize it. As a disinformation tactic, the USAAF gave the project the designation "P-59A", to suggest it was a development of the unrelated, canceled Bell XP-59 fighter project. The P-59A was the first design fighter to have its turbojet engine and air inlet nacelles integrated within the main fuselage. The jet aircraft’s design was finalized on 9 January 1942 and the first prototype flew in October of the same year.
The following 13 service test YP-59As had a more powerful engine than their predecessor, the General Electric J31, but the improvement in performance was negligible, with top speed increased by only 5 mph and a slight reduction in the time they could be used before an overhaul was needed. One of these aircraft, the third YP-59A, was supplied to the Royal Air Force, in exchange for the first production Gloster Meteor I for evaluation and flight-offs with domestic alternatives.
British pilots found that the YP-59A compared very unfavorably with the jets that they were already flying. The United States Army Air Forces were not impressed by its performance either and cancelled the contract when fewer than half of the originally ordered aircraft had been produced. No P-59s entered combat, but the type paved the way for the next design generation of U.S. turbojet-powered aircraft and helped to develop appropriate maintenance structures and procedures.
In the meantime, a new, more powerful jet engine had been developed in Great Britain, the Halford H-1, which became later better known as the De Havilland Goblin. It was another centrifugal compressor design, but it produced almost twice as much thrust as the XP-59A’s J31 engines. Impressed by the British Gloster Meteor during the USAAF tests at Muroc Dry Lake - performance-wise as well as by the aircraft’s simplicity and ruggedness - Bell reacted promptly and proposed an alternative fighter with wing-mounted engine nacelles, since the XP-59A’s layout had proven to be aerodynamically sub-optimal and unsuited for the installation of H-1 engines. In order to save development time and because the aircraft was rather regarded as a proof-of-concept demonstrator instead of a true fighter prototype, the new aircraft was structurally based on Bell’s current piston-engine P-63 “Kingcobra”. The proposal was accepted and, in order to maintain secrecy, the new jet aircraft inherited once more a designation of a recently cancelled project, this time from the Vultee XP-68 “Tornado” fighter. Similar to the Airacomet two years before, just a simple “A” suffix was added.
Bell’s development contract covered only three XP-68A aircraft. The H-1 units were directly imported from Great Britain in secrecy, suspended in the bomb bays of B-24 Liberator bombers. A pair of these engines was mounted in mid-wing nacelles, very similar to the Gloster Meteor’s arrangement. The tailplane was given a 5° dihedral to move it out of the engine exhaust. In order to bear the new engines and their power, the wing main spars were strengthened and the main landing gear wells were moved towards the aircraft’s centerline, effectively narrowing track width. The landing gear wells now occupied the space of the former radiator ducts for the P-63’s omitted Allison V-1710 liquid-cooled V12 engine. Its former compartment behind the cockpit was used for a new fuel tank and test equipment. Having lost the propeller and its long drive shaft, the nose section was also redesigned: the front fuselage became deeper and the additional space there was used for another fuel tank in front of the cockpit and a bigger weapon bay. Different armament arrangements were envisioned, one of each was to be tested on the three prototypes: one machine would be armed with six 0.5” machine guns, another with four 20mm Hispano M2 cannon, and the third with two 37mm M10 cannon and two 0.5” machine guns. Provisions for a ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb were made, but this was never fitted on any of the prototypes. Additional hardpoints under the outer wings for smaller bombs or unguided missiles followed the same fate.
The three XP-68As were built at Bell’s Atlanta plant in the course of early 1944 and semi-officially christened “Airagator”. After their clandestine transfer to Muroc Dry Lake for flight tests and evaluations, the machines were quickly nicknamed “Barrelcobra” by the test staff – not only because of the characteristic shape of the engine nacelles, but also due to the sheer weight of the machines and their resulting sluggish handling on the ground and in the air. “Cadillac” was another nickname, due to the very soft acceleration through the new jet engines and the lack of vibrations that were typical for piston-engine- and propeller-driven aircraft.
Due to the structural reinforcements and modifications, the XP-68A had become a heavy aircraft with an empty weight of 4 tons and a MTOW of almost 8 tons – the same as the big P-47 Thunderbolt piston fighter, while the P-63 had an MTOW of only 10,700 lb (4,900 kg). The result was, among other flaws, a very long take-off distance, especially in the hot desert climate of the Mojave Desert (which precluded any external ordnance) and an inherent unwillingness to change direction, its turning radius was immense. More than once the brakes overheated during landing, so that extra water cooling for the main landing gear was retrofitted.
Once in the air, the aircraft proved to be quite fast – as long as it was flying in a straight line, though. Only the roll characteristics were acceptable, but flying the XP-68A remained hazardous, esp. after the loss of one of the H-1s engines: This resulted in heavily asymmetrical propulsion, making the XP-68A hard to control at all and prone to spin in level flight.
After trials and direct comparison, the XP-68A turned out not to be as fast and, even worse, much less agile than the Meteor Mk III (the RAF’s then current, operational fighter version), which even had weaker Derwent engines. The operational range was insufficient, too, esp. in regard of the planned Pacific theatre of operations, and the high overall weight precluded any considerable external load like drop tanks.
However, compared with the XP-59A, the XP-68A was a considerable step forward, but it had become quickly clear that the XP-68A and its outfit-a-propeller-design-with jet-engines approach did not bear the potential for any service fighter development: it was already outdated when the prototypes were starting their test program. No further XP-68A was ordered or built, and the three prototypes fulfilled their test and evaluation program until May 1945. During these tests, the first prototype was lost on the ground due to an engine fire. After the program’s completion, the two remaining machines were handed over to the US Navy and used for research at the NATC Patuxent River Test Centre, where they were operated until 1949 and finally scrapped.
General characteristics.
Crew: 1
Length: 33 ft 9 in (10.36 m)
Wingspan: 38 ft 4 in (11.7 m)
Height: 13 ft (3.96 m)
Wing area: 248 sq ft (23 m²)
Empty weight: 8,799 lb (3,995 kg)
Loaded weight: 15,138 lb (6,873 kg)
Max. take-off weight: 17,246 lb (7,830 kg)
Powerplant:
2× Halford H-1 (De Havilland Goblin) turbojets, rated at 3,500 lbf (15.6 kN) each
Performance:
Maximum speed: 559 mph (900 km/h)
Range: 500 mi (444 nmi, 805 km)
Service ceiling: 37,565 ft (11,450 m)
Rate of climb: 3.930 ft/min (20 m/s)
Wing loading: 44.9 lb/ft² (218.97 kg/m²)
Thrust/weight: 0.45
Time to altitude: 5.0 min to 30,000 ft (9,145 m)
Armament:
4× Hispano M2 20 mm cannon with 150 rounds
One ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb
6× 60 lb (30 kg) rockets or 2× 500 lb (227 kg) bombs under the outer wings
The kit and its assembly:
This whiffy Kingcobra conversion was spawned by a post by fellow user nighthunter in January 2019 at whatifmodelers.com about a potential jet-powered variant. In found the idea charming, since the XP-59 had turned out to be a dud and the Gloster Meteor had been tested by the USAAF. Why not combine both into a fictional, late WWII Bell prototype?
The basic idea was simple: take a P-63 and add a Meteor’s engine nacelles, while keeping the Kingcobra’s original proportions. This sounds pretty easy but was more challenging than the first look at the outcome might suggest.
The donor kits are a vintage Airfix 1:72 Gloster Meteor Mk.III, since it has the proper, small nacelles, and an Eastern Express P-63 Kingcobra. The latter looked promising, since this kit comes with very good surface and cockpit details (even with a clear dashboard) as well as parts for several P-63 variants, including the A, C and even the exotic “pinball” manned target version. However, anything comes at a price, and the kit’s low price point is compensated by soft plastic (which turned out to be hard to sand), some flash and mediocre fit of any of the major components like fuselage halves, the wings or the clear parts. It feels a lot like a typical short-run kit. Nevertheless, I feel inclined to build another one in a more conventional fashion some day.
Work started with the H-1 nacelles, which had to be cut out from the Meteor wings. Since they come OOB only with a well-visible vertical plate and a main wing spar dummy in the air intake, I added some fine mesh to the plate – normally, you can see directly onto the engine behind the wing spar. Another issue was the fact that the Meteor’s wings are much thicker and deeper than the P-63s, so that lots of PSR work was necessary.
Simply cutting the P-63 OOB wings up and inserting the Meteor nacelles was also not possible: the P-63 has a very wide main landing gear, due to the ventral radiators and oil coolers, which were originally buried in the wing roots and under the piston engine. The only solution: move the complete landing gear (including the wells) inward, so that the nacelles could be placed as close as possible to the fuselage in a mid-span position. Furthermore, the - now useless - radiator openings had to disappear, resulting in a major redesign of the wing root sections. All of this became a major surgery task, followed by similarly messy work on the outer wings during the integration of the Meteor nacelles. LOTS of PSR, even though the outcome looks surprisingly plausible and balanced.
Work on the fuselage started in parallel. It was built mainly OOB, using the optional ventral fin for a P-63C. The exhaust stubs as well as the dorsal carburetor intake had to disappear (the latter made easy thanks to suitable optional parts for the manned target version). Since the P-63 had a conventional low stabilizer arrangement (unlike the Meteor with its cruciform tail), I gave them a slight dihedral to move them out of the engine efflux, a trick Sukhoi engineers did on the Su-11 prototype with afterburner engines in 1947, too.
Furthermore, the whole nose ahead of the cockpit was heavily re-designed, because I wanted the “new” aircraft to lose its propeller heritage and the P-63’s round and rather pointed nose. Somewhat inspired by the P-59 and the P-80, I omitted the propeller parts altogether and re-sculpted the nose with 2C putty, creating a deeper shape with a tall, oval diameter, so that the lower fuselage line was horizontally extended forward. In a profile view the aircraft now looks much more massive and P-80esque. The front landing gear was retained, just its side walls were extended downwards with the help of 0.5mm styrene sheet material, so that the original stance could be kept. Lots of lead in the nose ensured that the model would properly stand on its three wheels.
Once the rhinoplasty was done I drilled four holes into the nose and used hollow steel needles as gun barrels, with a look reminiscent of the Douglas A-20G.
Adding the (perfectly) clear parts of the canopy as a final assembly step also turned out to be a major fight against the elements.
Painting and markings:
With an USAAF WWII prototype in mind, there were only two options: either an NMF machine, or a camouflage in Olive Drab and Neutral Grey. I went for the latter and used Tamiya XF-62 for the upper surfaces and Humbrol 156 (Dark Camouflage Grey) underneath. The kit received a light black ink wash and some post shading in order to emphasize panels. A little dry-brushing with silver around the leading edges and the cockpit was done, too.
The cockpit interior became chromate green (I used Humbrol 150, Forest Green) while the landing gear wells were painted with zinc chromate yellow (Humbrol 81). The landing gear itself was painted in aluminum (Humbrol 56).
Markings/decals became minimal, puzzled together from various sources – only some “Stars and Bars” insignia and the serial number.
Somehow this conversion ended up looking a lot like the contemporary Soviet Sukhoi Su-9 and -11 (Samolyet K and LK) jet fighter prototype – unintentionally, though. But I am happy with the outcome – the P-63 ancestry is there, and the Meteor engines are recognizable, too. But everything blends into each other well, the whole affair looks very balanced and believable. This is IMHO furthermore emphasized by the simple paint scheme. A jet-powered Kingcobra? Why not…?
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Bell XP-68A owed its existence to the manufacturer’s rather disappointing outcome of its first jet fighter design, the XP-59A Airacomet. The Airacomet was a twin jet-engined fighter aircraft, designed and built during World War II after Major General Henry H. "Hap" Arnold became aware of the United Kingdom's jet program when he attended a demonstration of the Gloster E.28/39 in April 1941. He requested, and was given, the plans for the aircraft's powerplant, the Power Jets W.1, which he took back to the U.S. He also arranged for an example of the engine, the Whittle W.1X turbojet, to be flown to the U.S., along with drawings for the more powerful W.2B/23 engine and a small team of Power Jets engineers. On 4 September 1941, he offered the U.S. company General Electric a contract to produce an American version of the engine, which subsequently became the General Electric I-A. On the following day, he approached Lawrence Dale Bell, head of Bell Aircraft Corporation, to build a fighter to utilize it. As a disinformation tactic, the USAAF gave the project the designation "P-59A", to suggest it was a development of the unrelated, canceled Bell XP-59 fighter project. The P-59A was the first design fighter to have its turbojet engine and air inlet nacelles integrated within the main fuselage. The jet aircraft’s design was finalized on 9 January 1942 and the first prototype flew in October of the same year.
The following 13 service test YP-59As had a more powerful engine than their predecessor, the General Electric J31, but the improvement in performance was negligible, with top speed increased by only 5 mph and a slight reduction in the time they could be used before an overhaul was needed. One of these aircraft, the third YP-59A, was supplied to the Royal Air Force, in exchange for the first production Gloster Meteor I for evaluation and flight-offs with domestic alternatives.
British pilots found that the YP-59A compared very unfavorably with the jets that they were already flying. The United States Army Air Forces were not impressed by its performance either and cancelled the contract when fewer than half of the originally ordered aircraft had been produced. No P-59s entered combat, but the type paved the way for the next design generation of U.S. turbojet-powered aircraft and helped to develop appropriate maintenance structures and procedures.
In the meantime, a new, more powerful jet engine had been developed in Great Britain, the Halford H-1, which became later better known as the De Havilland Goblin. It was another centrifugal compressor design, but it produced almost twice as much thrust as the XP-59A’s J31 engines. Impressed by the British Gloster Meteor during the USAAF tests at Muroc Dry Lake - performance-wise as well as by the aircraft’s simplicity and ruggedness - Bell reacted promptly and proposed an alternative fighter with wing-mounted engine nacelles, since the XP-59A’s layout had proven to be aerodynamically sub-optimal and unsuited for the installation of H-1 engines. In order to save development time and because the aircraft was rather regarded as a proof-of-concept demonstrator instead of a true fighter prototype, the new aircraft was structurally based on Bell’s current piston-engine P-63 “Kingcobra”. The proposal was accepted and, in order to maintain secrecy, the new jet aircraft inherited once more a designation of a recently cancelled project, this time from the Vultee XP-68 “Tornado” fighter. Similar to the Airacomet two years before, just a simple “A” suffix was added.
Bell’s development contract covered only three XP-68A aircraft. The H-1 units were directly imported from Great Britain in secrecy, suspended in the bomb bays of B-24 Liberator bombers. A pair of these engines was mounted in mid-wing nacelles, very similar to the Gloster Meteor’s arrangement. The tailplane was given a 5° dihedral to move it out of the engine exhaust. In order to bear the new engines and their power, the wing main spars were strengthened and the main landing gear wells were moved towards the aircraft’s centerline, effectively narrowing track width. The landing gear wells now occupied the space of the former radiator ducts for the P-63’s omitted Allison V-1710 liquid-cooled V12 engine. Its former compartment behind the cockpit was used for a new fuel tank and test equipment. Having lost the propeller and its long drive shaft, the nose section was also redesigned: the front fuselage became deeper and the additional space there was used for another fuel tank in front of the cockpit and a bigger weapon bay. Different armament arrangements were envisioned, one of each was to be tested on the three prototypes: one machine would be armed with six 0.5” machine guns, another with four 20mm Hispano M2 cannon, and the third with two 37mm M10 cannon and two 0.5” machine guns. Provisions for a ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb were made, but this was never fitted on any of the prototypes. Additional hardpoints under the outer wings for smaller bombs or unguided missiles followed the same fate.
The three XP-68As were built at Bell’s Atlanta plant in the course of early 1944 and semi-officially christened “Airagator”. After their clandestine transfer to Muroc Dry Lake for flight tests and evaluations, the machines were quickly nicknamed “Barrelcobra” by the test staff – not only because of the characteristic shape of the engine nacelles, but also due to the sheer weight of the machines and their resulting sluggish handling on the ground and in the air. “Cadillac” was another nickname, due to the very soft acceleration through the new jet engines and the lack of vibrations that were typical for piston-engine- and propeller-driven aircraft.
Due to the structural reinforcements and modifications, the XP-68A had become a heavy aircraft with an empty weight of 4 tons and a MTOW of almost 8 tons – the same as the big P-47 Thunderbolt piston fighter, while the P-63 had an MTOW of only 10,700 lb (4,900 kg). The result was, among other flaws, a very long take-off distance, especially in the hot desert climate of the Mojave Desert (which precluded any external ordnance) and an inherent unwillingness to change direction, its turning radius was immense. More than once the brakes overheated during landing, so that extra water cooling for the main landing gear was retrofitted.
Once in the air, the aircraft proved to be quite fast – as long as it was flying in a straight line, though. Only the roll characteristics were acceptable, but flying the XP-68A remained hazardous, esp. after the loss of one of the H-1s engines: This resulted in heavily asymmetrical propulsion, making the XP-68A hard to control at all and prone to spin in level flight.
After trials and direct comparison, the XP-68A turned out not to be as fast and, even worse, much less agile than the Meteor Mk III (the RAF’s then current, operational fighter version), which even had weaker Derwent engines. The operational range was insufficient, too, esp. in regard of the planned Pacific theatre of operations, and the high overall weight precluded any considerable external load like drop tanks.
However, compared with the XP-59A, the XP-68A was a considerable step forward, but it had become quickly clear that the XP-68A and its outfit-a-propeller-design-with jet-engines approach did not bear the potential for any service fighter development: it was already outdated when the prototypes were starting their test program. No further XP-68A was ordered or built, and the three prototypes fulfilled their test and evaluation program until May 1945. During these tests, the first prototype was lost on the ground due to an engine fire. After the program’s completion, the two remaining machines were handed over to the US Navy and used for research at the NATC Patuxent River Test Centre, where they were operated until 1949 and finally scrapped.
General characteristics.
Crew: 1
Length: 33 ft 9 in (10.36 m)
Wingspan: 38 ft 4 in (11.7 m)
Height: 13 ft (3.96 m)
Wing area: 248 sq ft (23 m²)
Empty weight: 8,799 lb (3,995 kg)
Loaded weight: 15,138 lb (6,873 kg)
Max. take-off weight: 17,246 lb (7,830 kg)
Powerplant:
2× Halford H-1 (De Havilland Goblin) turbojets, rated at 3,500 lbf (15.6 kN) each
Performance:
Maximum speed: 559 mph (900 km/h)
Range: 500 mi (444 nmi, 805 km)
Service ceiling: 37,565 ft (11,450 m)
Rate of climb: 3.930 ft/min (20 m/s)
Wing loading: 44.9 lb/ft² (218.97 kg/m²)
Thrust/weight: 0.45
Time to altitude: 5.0 min to 30,000 ft (9,145 m)
Armament:
4× Hispano M2 20 mm cannon with 150 rounds
One ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb
6× 60 lb (30 kg) rockets or 2× 500 lb (227 kg) bombs under the outer wings
The kit and its assembly:
This whiffy Kingcobra conversion was spawned by a post by fellow user nighthunter in January 2019 at whatifmodelers.com about a potential jet-powered variant. In found the idea charming, since the XP-59 had turned out to be a dud and the Gloster Meteor had been tested by the USAAF. Why not combine both into a fictional, late WWII Bell prototype?
The basic idea was simple: take a P-63 and add a Meteor’s engine nacelles, while keeping the Kingcobra’s original proportions. This sounds pretty easy but was more challenging than the first look at the outcome might suggest.
The donor kits are a vintage Airfix 1:72 Gloster Meteor Mk.III, since it has the proper, small nacelles, and an Eastern Express P-63 Kingcobra. The latter looked promising, since this kit comes with very good surface and cockpit details (even with a clear dashboard) as well as parts for several P-63 variants, including the A, C and even the exotic “pinball” manned target version. However, anything comes at a price, and the kit’s low price point is compensated by soft plastic (which turned out to be hard to sand), some flash and mediocre fit of any of the major components like fuselage halves, the wings or the clear parts. It feels a lot like a typical short-run kit. Nevertheless, I feel inclined to build another one in a more conventional fashion some day.
Work started with the H-1 nacelles, which had to be cut out from the Meteor wings. Since they come OOB only with a well-visible vertical plate and a main wing spar dummy in the air intake, I added some fine mesh to the plate – normally, you can see directly onto the engine behind the wing spar. Another issue was the fact that the Meteor’s wings are much thicker and deeper than the P-63s, so that lots of PSR work was necessary.
Simply cutting the P-63 OOB wings up and inserting the Meteor nacelles was also not possible: the P-63 has a very wide main landing gear, due to the ventral radiators and oil coolers, which were originally buried in the wing roots and under the piston engine. The only solution: move the complete landing gear (including the wells) inward, so that the nacelles could be placed as close as possible to the fuselage in a mid-span position. Furthermore, the - now useless - radiator openings had to disappear, resulting in a major redesign of the wing root sections. All of this became a major surgery task, followed by similarly messy work on the outer wings during the integration of the Meteor nacelles. LOTS of PSR, even though the outcome looks surprisingly plausible and balanced.
Work on the fuselage started in parallel. It was built mainly OOB, using the optional ventral fin for a P-63C. The exhaust stubs as well as the dorsal carburetor intake had to disappear (the latter made easy thanks to suitable optional parts for the manned target version). Since the P-63 had a conventional low stabilizer arrangement (unlike the Meteor with its cruciform tail), I gave them a slight dihedral to move them out of the engine efflux, a trick Sukhoi engineers did on the Su-11 prototype with afterburner engines in 1947, too.
Furthermore, the whole nose ahead of the cockpit was heavily re-designed, because I wanted the “new” aircraft to lose its propeller heritage and the P-63’s round and rather pointed nose. Somewhat inspired by the P-59 and the P-80, I omitted the propeller parts altogether and re-sculpted the nose with 2C putty, creating a deeper shape with a tall, oval diameter, so that the lower fuselage line was horizontally extended forward. In a profile view the aircraft now looks much more massive and P-80esque. The front landing gear was retained, just its side walls were extended downwards with the help of 0.5mm styrene sheet material, so that the original stance could be kept. Lots of lead in the nose ensured that the model would properly stand on its three wheels.
Once the rhinoplasty was done I drilled four holes into the nose and used hollow steel needles as gun barrels, with a look reminiscent of the Douglas A-20G.
Adding the (perfectly) clear parts of the canopy as a final assembly step also turned out to be a major fight against the elements.
Painting and markings:
With an USAAF WWII prototype in mind, there were only two options: either an NMF machine, or a camouflage in Olive Drab and Neutral Grey. I went for the latter and used Tamiya XF-62 for the upper surfaces and Humbrol 156 (Dark Camouflage Grey) underneath. The kit received a light black ink wash and some post shading in order to emphasize panels. A little dry-brushing with silver around the leading edges and the cockpit was done, too.
The cockpit interior became chromate green (I used Humbrol 150, Forest Green) while the landing gear wells were painted with zinc chromate yellow (Humbrol 81). The landing gear itself was painted in aluminum (Humbrol 56).
Markings/decals became minimal, puzzled together from various sources – only some “Stars and Bars” insignia and the serial number.
Somehow this conversion ended up looking a lot like the contemporary Soviet Sukhoi Su-9 and -11 (Samolyet K and LK) jet fighter prototype – unintentionally, though. But I am happy with the outcome – the P-63 ancestry is there, and the Meteor engines are recognizable, too. But everything blends into each other well, the whole affair looks very balanced and believable. This is IMHO furthermore emphasized by the simple paint scheme. A jet-powered Kingcobra? Why not…?
In monotheism, God is conceived of as the Supreme Being and principal object of faith.[3] The concept of God as described by most theologians includes the attributes of omniscience (infinite knowledge), omnipotence (unlimited power), omnipresence (present everywhere), divine simplicity, and as having an eternal and necessary existence. Many theologians also describe God as being omnibenevolent (perfectly good), and all loving.
God is most often held to be non-corporeal,[3] and to be without any human biological sex,[4][5] yet the concept of God actively creating the universe (as opposed to passively)[6] has caused many religions to describe God using masculine terminology, using such terms as "Him" or "Father". Furthermore, some religions (such as Judaism) attribute only a purely grammatical "gender" to God.[7]
In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe. In pantheism, God is the universe itself. In atheism, God is not believed to exist, while God is deemed unknown or unknowable within the context of agnosticism. God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] Many notable philosophers have developed arguments for and against the existence of God.[8]
There are many names for God, and different names are attached to different cultural ideas about God's identity and attributes. In the ancient Egyptian era of Atenism, possibly the earliest recorded monotheistic religion, this deity was called Aten,[9] premised on being the one "true" Supreme Being and Creator of the Universe.[10] In the Hebrew Bible and Judaism, "He Who Is", "I Am that I Am", and the tetragrammaton YHWH (Hebrew: יהוה, which means: "I am who I am"; "He Who Exists") are used as names of God, while Yahweh and Jehovah are sometimes used in Christianity as vocalizations of YHWH. In the Christian doctrine of the Trinity, God, consubstantial in three persons, is called the Father, the Son, and the Holy Spirit. In Judaism, it is common to refer to God by the titular names Elohim or Adonai, the latter of which is believed by some scholars to descend from the Egyptian Aten.[11][12][13][14][15] In Islam, the name Allah, "Al-El", or "Al-Elah" ("the God") is used, while Muslims also have a multitude of titular names for God. In Hinduism, Brahman is often considered a monistic deity.[16] Other religions have names for God, for instance, Baha in the Bahá'í Faith,[17] Waheguru in Sikhism,[18] and Ahura Mazda in Zoroastrianism.[19]
The many different conceptions of God, and competing claims as to God's characteristics, aims, and actions, have led to the development of ideas of omnitheism, pandeism,[20][21] or a perennial philosophy, which postulates that there is one underlying theological truth, of which all religions express a partial understanding, and as to which "the devout in the various great world religions are in fact worshipping that one God, but through different, overlapping concepts or mental images of Him."[22]
Contents [hide]
1Etymology and usage
2General conceptions
2.1Oneness
2.2Theism, deism and pantheism
2.3Other concepts
3Non-theistic views
3.1Agnosticism and atheism
3.2Anthropomorphism
4Existence
5Specific attributes
5.1Names
5.2Gender
5.3Relationship with creation
6Depiction
6.1Zoroastrianism
6.2Islam
6.3Judaism
6.4Christianity
7Theological approaches
8Distribution of belief
9See also
9.1In specific religions
10References
11Further reading
12External links
Etymology and usage
The Mesha Stele bears the earliest known reference (840 BCE) to the Israelite God Yahweh.
Main article: God (word)
The earliest written form of the Germanic word God (always, in this usage, capitalized[23]) comes from the 6th-century Christian Codex Argenteus. The English word itself is derived from the Proto-Germanic * ǥuđan. The reconstructed Proto-Indo-European form * ǵhu-tó-m was likely based on the root * ǵhau(ə)-, which meant either "to call" or "to invoke".[24] The Germanic words for God were originally neuter—applying to both genders—but during the process of the Christianization of the Germanic peoples from their indigenous Germanic paganism, the words became a masculine syntactic form.[25]
The word 'Allah' in Arabic calligraphy
In the English language, the capitalized form of God continues to represent a distinction between monotheistic "God" and "gods" in polytheism.[26][27] The English word God and its counterparts in other languages are normally used for any and all conceptions and, in spite of significant differences between religions, the term remains an English translation common to all. The same holds for Hebrew El, but in Judaism, God is also given a proper name, the tetragrammaton YHWH, in origin possibly the name of an Edomite or Midianite deity, Yahweh. In many translations of the Bible, when the word LORD is in all capitals, it signifies that the word represents the tetragrammaton.[28]
Allāh (Arabic: الله) is the Arabic term with no plural used by Muslims and Arabic speaking Christians and Jews meaning "The God" (with a capital G), while "ʾilāh" (Arabic: إله) is the term used for a deity or a god in general.[29][30][31] God may also be given a proper name in monotheistic currents of Hinduism which emphasize the personal nature of God, with early references to his name as Krishna-Vasudeva in Bhagavata or later Vishnu and Hari.[32]
Ahura Mazda is the name for God used in Zoroastrianism. "Mazda", or rather the Avestan stem-form Mazdā-, nominative Mazdå, reflects Proto-Iranian *Mazdāh (female). It is generally taken to be the proper name of the spirit, and like its Sanskrit cognate medhā, means "intelligence" or "wisdom". Both the Avestan and Sanskrit words reflect Proto-Indo-Iranian *mazdhā-, from Proto-Indo-European mn̩sdʰeh1, literally meaning "placing (dʰeh1) one's mind (*mn̩-s)", hence "wise".[33]
Waheguru (Punjabi: vāhigurū) is a term most often used in Sikhism to refer to God. It means "Wonderful Teacher" in the Punjabi language. Vāhi (a Middle Persian borrowing) means "wonderful" and guru (Sanskrit: guru) is a term denoting "teacher". Waheguru is also described by some as an experience of ecstasy which is beyond all descriptions. The most common usage of the word "Waheguru" is in the greeting Sikhs use with each other:
Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh
Wonderful Lord's Khalsa, Victory is to the Wonderful Lord.
Baha, the "greatest" name for God in the Baha'i faith, is Arabic for "All-Glorious".
General conceptions
Main article: Conceptions of God
There is no clear consensus on the nature or even the existence of God.[34] The Abrahamic conceptions of God include the monotheistic definition of God in Judaism, the trinitarian view of Christians, and the Islamic concept of God. The dharmic religions differ in their view of the divine: views of God in Hinduism vary by region, sect, and caste, ranging from monotheistic to polytheistic. Divinity was recognized by the historical Buddha, particularly Śakra and Brahma. However, other sentient beings, including gods, can at best only play a supportive role in one's personal path to salvation. Conceptions of God in the latter developments of the Mahayana tradition give a more prominent place to notions of the divine.[citation needed]
Oneness
Main articles: Monotheism and Henotheism
The Trinity is the belief that God is composed of The Father, The Son (embodied metaphysically in the physical realm by Jesus), and The Holy Spirit.
Monotheists hold that there is only one god, and may claim that the one true god is worshiped in different religions under different names. The view that all theists actually worship the same god, whether they know it or not, is especially emphasized in Hinduism[35] and Sikhism.[36] In Christianity, the doctrine of the Trinity describes God as one God in three persons. The Trinity comprises The Father, The Son (embodied metaphysically by Jesus), and The Holy Spirit.[37] Islam's most fundamental concept is tawhid (meaning "oneness" or "uniqueness"). God is described in the Quran as: "Say: He is Allah, the One and Only; Allah, the Eternal, Absolute; He begetteth not, nor is He begotten; And there is none like unto Him."[38][39] Muslims repudiate the Christian doctrine of the Trinity and the divinity of Jesus, comparing it to polytheism. In Islam, God is beyond all comprehension or equal and does not resemble any of his creations in any way. Thus, Muslims are not iconodules, and are not expected to visualize God.[40]
Henotheism is the belief and worship of a single god while accepting the existence or possible existence of other deities.[41]
Theism, deism and pantheism
Main articles: Theism, Deism, and Pantheism
Theism generally holds that God exists realistically, objectively, and independently of human thought; that God created and sustains everything; that God is omnipotent and eternal; and that God is personal and interacting with the universe through, for example, religious experience and the prayers of humans.[42] Theism holds that God is both transcendent and immanent; thus, God is simultaneously infinite and in some way present in the affairs of the world.[43] Not all theists subscribe to all of these propositions, but each usually subscribes to some of them (see, by way of comparison, family resemblance).[42] Catholic theology holds that God is infinitely simple and is not involuntarily subject to time. Most theists hold that God is omnipotent, omniscient, and benevolent, although this belief raises questions about God's responsibility for evil and suffering in the world. Some theists ascribe to God a self-conscious or purposeful limiting of omnipotence, omniscience, or benevolence. Open Theism, by contrast, asserts that, due to the nature of time, God's omniscience does not mean the deity can predict the future. Theism is sometimes used to refer in general to any belief in a god or gods, i.e., monotheism or polytheism.[44][45]
"God blessing the seventh day", a watercolor painting depicting God, by William Blake (1757 – 1827)
Deism holds that God is wholly transcendent: God exists, but does not intervene in the world beyond what was necessary to create it.[43] In this view, God is not anthropomorphic, and neither answers prayers nor produces miracles. Common in Deism is a belief that God has no interest in humanity and may not even be aware of humanity. Pandeism and Panendeism, respectively, combine Deism with the Pantheistic or Panentheistic beliefs.[21][46][47] Pandeism is proposed to explain as to Deism why God would create a universe and then abandon it,[48] and as to Pantheism, the origin and purpose of the universe.[48][49]
Pantheism holds that God is the universe and the universe is God, whereas Panentheism holds that God contains, but is not identical to, the Universe.[50] It is also the view of the Liberal Catholic Church; Theosophy; some views of Hinduism except Vaishnavism, which believes in panentheism; Sikhism; some divisions of Neopaganism and Taoism, along with many varying denominations and individuals within denominations. Kabbalah, Jewish mysticism, paints a pantheistic/panentheistic view of God—which has wide acceptance in Hasidic Judaism, particularly from their founder The Baal Shem Tov—but only as an addition to the Jewish view of a personal god, not in the original pantheistic sense that denies or limits persona to God.[citation needed]
Other concepts
Dystheism, which is related to theodicy, is a form of theism which holds that God is either not wholly good or is fully malevolent as a consequence of the problem of evil. One such example comes from Dostoevsky's The Brothers Karamazov, in which Ivan Karamazov rejects God on the grounds that he allows children to suffer.[51]
In modern times, some more abstract concepts have been developed, such as process theology and open theism. The contemporaneous French philosopher Michel Henry has however proposed a phenomenological approach and definition of God as phenomenological essence of Life.[52]
God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] These attributes were all supported to varying degrees by the early Jewish, Christian and Muslim theologian philosophers, including Maimonides,[53] Augustine of Hippo,[53] and Al-Ghazali,[8] respectively.
Non-theistic views
See also: Evolutionary origin of religions and Evolutionary psychology of religion
Non-theist views about God also vary. Some non-theists avoid the concept of God, whilst accepting that it is significant to many; other non-theists understand God as a symbol of human values and aspirations. The nineteenth-century English atheist Charles Bradlaugh declared that he refused to say "There is no God", because "the word 'God' is to me a sound conveying no clear or distinct affirmation";[54] he said more specifically that he disbelieved in the Christian god. Stephen Jay Gould proposed an approach dividing the world of philosophy into what he called "non-overlapping magisteria" (NOMA). In this view, questions of the supernatural, such as those relating to the existence and nature of God, are non-empirical and are the proper domain of theology. The methods of science should then be used to answer any empirical question about the natural world, and theology should be used to answer questions about ultimate meaning and moral value. In this view, the perceived lack of any empirical footprint from the magisterium of the supernatural onto natural events makes science the sole player in the natural world.[55]
Another view, advanced by Richard Dawkins, is that the existence of God is an empirical question, on the grounds that "a universe with a god would be a completely different kind of universe from one without, and it would be a scientific difference."[56] Carl Sagan argued that the doctrine of a Creator of the Universe was difficult to prove or disprove and that the only conceivable scientific discovery that could disprove the existence of a Creator (not necessarily a God) would be the discovery that the universe is infinitely old.[57]
Stephen Hawking and co-author Leonard Mlodinow state in their book, The Grand Design, that it is reasonable to ask who or what created the universe, but if the answer is God, then the question has merely been deflected to that of who created God. Both authors claim however, that it is possible to answer these questions purely within the realm of science, and without invoking any divine beings.[58] Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Agnosticism and atheism
Agnosticism is the view that, the truth values of certain claims – especially metaphysical and religious claims such as whether God, the divine or the supernatural exist – are unknown and perhaps unknowable.[60][61][62]
Atheism is, in a broad sense, the rejection of belief in the existence of deities, or a God.[63][64] In a narrower sense, atheism is specifically the position that there are no deities.[65]
Anthropomorphism
Main article: Anthropomorphism
Pascal Boyer argues that while there is a wide array of supernatural concepts found around the world, in general, supernatural beings tend to behave much like people. The construction of gods and spirits like persons is one of the best known traits of religion. He cites examples from Greek mythology, which is, in his opinion, more like a modern soap opera than other religious systems.[66] Bertrand du Castel and Timothy Jurgensen demonstrate through formalization that Boyer's explanatory model matches physics' epistemology in positing not directly observable entities as intermediaries.[67] Anthropologist Stewart Guthrie contends that people project human features onto non-human aspects of the world because it makes those aspects more familiar. Sigmund Freud also suggested that god concepts are projections of one's father.[68]
Likewise, Émile Durkheim was one of the earliest to suggest that gods represent an extension of human social life to include supernatural beings. In line with this reasoning, psychologist Matt Rossano contends that when humans began living in larger groups, they may have created gods as a means of enforcing morality. In small groups, morality can be enforced by social forces such as gossip or reputation. However, it is much harder to enforce morality using social forces in much larger groups. Rossano indicates that by including ever-watchful gods and spirits, humans discovered an effective strategy for restraining selfishness and building more cooperative groups.[69]
Existence
Main article: Existence of God
St. Thomas Aquinas summed up five main arguments as proofs for God's existence.
Isaac Newton saw the existence of a Creator necessary in the movement of astronomical objects.
Arguments about the existence of God typically include empirical, deductive, and inductive types. Different views include that: "God does not exist" (strong atheism); "God almost certainly does not exist" (de facto atheism); "no one knows whether God exists" (agnosticism[70]);"God exists, but this cannot be proven or disproven" (de facto theism); and that "God exists and this can be proven" (strong theism).[55]
Countless arguments have been proposed to prove the existence of God.[71] Some of the most notable arguments are the Five Ways of Aquinas, the Argument from Desire proposed by C.S. Lewis, and the Ontological Argument formulated both by St. Anselm and René Descartes.[72]
St. Anselm's approach was to define God as, "that than which nothing greater can be conceived". Famed pantheist philosopher Baruch Spinoza would later carry this idea to its extreme: "By God I understand a being absolutely infinite, i.e., a substance consisting of infinite attributes, of which each one expresses an eternal and infinite essence." For Spinoza, the whole of the natural universe is made of one substance, God, or its equivalent, Nature.[73] His proof for the existence of God was a variation of the Ontological argument.[74]
Scientist Isaac Newton saw God as the masterful creator whose existence could not be denied in the face of the grandeur of all creation.[75] Nevertheless, he rejected polymath Leibniz' thesis that God would necessarily make a perfect world which requires no intervention from the creator. In Query 31 of the Opticks, Newton simultaneously made an argument from design and for the necessity of intervention:
For while comets move in very eccentric orbs in all manner of positions, blind fate could never make all the planets move one and the same way in orbs concentric, some inconsiderable irregularities excepted which may have arisen from the mutual actions of comets and planets on one another, and which will be apt to increase, till this system wants a reformation.[76]
St. Thomas believed that the existence of God is self-evident in itself, but not to us. "Therefore I say that this proposition, "God exists", of itself is self-evident, for the predicate is the same as the subject.... Now because we do not know the essence of God, the proposition is not self-evident to us; but needs to be demonstrated by things that are more known to us, though less known in their nature—namely, by effects."[77] St. Thomas believed that the existence of God can be demonstrated. Briefly in the Summa theologiae and more extensively in the Summa contra Gentiles, he considered in great detail five arguments for the existence of God, widely known as the quinque viae (Five Ways).
For the original text of the five proofs, see quinque viae
Motion: Some things undoubtedly move, though cannot cause their own motion. Since there can be no infinite chain of causes of motion, there must be a First Mover not moved by anything else, and this is what everyone understands by God.
Causation: As in the case of motion, nothing can cause itself, and an infinite chain of causation is impossible, so there must be a First Cause, called God.
Existence of necessary and the unnecessary: Our experience includes things certainly existing but apparently unnecessary. Not everything can be unnecessary, for then once there was nothing and there would still be nothing. Therefore, we are compelled to suppose something that exists necessarily, having this necessity only from itself; in fact itself the cause for other things to exist.
Gradation: If we can notice a gradation in things in the sense that some things are more hot, good, etc., there must be a superlative that is the truest and noblest thing, and so most fully existing. This then, we call God (Note: Thomas does not ascribe actual qualities to God Himself).
Ordered tendencies of nature: A direction of actions to an end is noticed in all bodies following natural laws. Anything without awareness tends to a goal under the guidance of one who is aware. This we call God (Note that even when we guide objects, in Thomas's view, the source of all our knowledge comes from God as well).[78]
Alister McGrath, a formerly atheistic scientist and theologian who has been highly critical of Richard Dawkins' version of atheism
Some theologians, such as the scientist and theologian A.E. McGrath, argue that the existence of God is not a question that can be answered using the scientific method.[79][80] Agnostic Stephen Jay Gould argues that science and religion are not in conflict and do not overlap.[81]
Some findings in the fields of cosmology, evolutionary biology and neuroscience are interpreted by some atheists (including Lawrence M. Krauss and Sam Harris) as evidence that God is an imaginary entity only, with no basis in reality.[82][83][84] These atheists claim that a single, omniscient God who is imagined to have created the universe and is particularly attentive to the lives of humans has been imagined, embellished and promulgated in a trans-generational manner.[85] Richard Dawkins interprets such findings not only as a lack of evidence for the material existence of such a God, but as extensive evidence to the contrary.[55] However, his views are opposed by some theologians and scientists including Alister McGrath, who argues that existence of God is compatible with science.[86]
Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Specific attributes
Different religious traditions assign differing (though often similar) attributes and characteristics to God, including expansive powers and abilities, psychological characteristics, gender characteristics, and preferred nomenclature. The assignment of these attributes often differs according to the conceptions of God in the culture from which they arise. For example, attributes of God in Christianity, attributes of God in Islam, and the Thirteen Attributes of Mercy in Judaism share certain similarities arising from their common roots.
Names
Main article: Names of God
99 names of Allah, in Chinese Sini (script)
The word God is "one of the most complex and difficult in the English language." In the Judeo-Christian tradition, "the Bible has been the principal source of the conceptions of God". That the Bible "includes many different images, concepts, and ways of thinking about" God has resulted in perpetual "disagreements about how God is to be conceived and understood".[87]
Throughout the Hebrew and Christian Bibles there are many names for God. One of them is Elohim. Another one is El Shaddai, meaning "God Almighty".[88] A third notable name is El Elyon, which means "The Most High God".[89]
God is described and referred in the Quran and hadith by certain names or attributes, the most common being Al-Rahman, meaning "Most Compassionate" and Al-Rahim, meaning "Most Merciful" (See Names of God in Islam).[90]
Supreme soul
The Brahma Kumaris use the term "Supreme Soul" to refer to God. They see God as incorporeal and eternal, and regard him as a point of living light like human souls, but without a physical body, as he does not enter the cycle of birth, death and rebirth. God is seen as the perfect and constant embodiment of all virtues, powers and values and that He is the unconditionally loving Father of all souls, irrespective of their religion, gender, or culture.[91]
Vaishnavism, a tradition in Hinduism, has list of titles and names of Krishna.
Gender
Main article: Gender of God
The gender of God may be viewed as either a literal or an allegorical aspect of a deity who, in classical western philosophy, transcends bodily form.[92][93] Polytheistic religions commonly attribute to each of the gods a gender, allowing each to interact with any of the others, and perhaps with humans, sexually. In most monotheistic religions, God has no counterpart with which to relate sexually. Thus, in classical western philosophy the gender of this one-and-only deity is most likely to be an analogical statement of how humans and God address, and relate to, each other. Namely, God is seen as begetter of the world and revelation which corresponds to the active (as opposed to the receptive) role in sexual intercourse.[6]
Biblical sources usually refer to God using male words, except Genesis 1:26-27,[94][95] Psalm 123:2-3, and Luke 15:8-10 (female); Hosea 11:3-4, Deuteronomy 32:18, Isaiah 66:13, Isaiah 49:15, Isaiah 42:14, Psalm 131:2 (a mother); Deuteronomy 32:11-12 (a mother eagle); and Matthew 23:37 and Luke 13:34 (a mother hen).
Relationship with creation
See also: Creator deity, Prayer, and Worship
And Elohim Created Adam by William Blake, c.1795
Prayer plays a significant role among many believers. Muslims believe that the purpose of existence is to worship God.[96][97] He is viewed as a personal God and there are no intermediaries, such as clergy, to contact God. Prayer often also includes supplication and asking forgiveness. God is often believed to be forgiving. For example, a hadith states God would replace a sinless people with one who sinned but still asked repentance.[98] Christian theologian Alister McGrath writes that there are good reasons to suggest that a "personal god" is integral to the Christian outlook, but that one has to understand it is an analogy. "To say that God is like a person is to affirm the divine ability and willingness to relate to others. This does not imply that God is human, or located at a specific point in the universe."[99]
Adherents of different religions generally disagree as to how to best worship God and what is God's plan for mankind, if there is one. There are different approaches to reconciling the contradictory claims of monotheistic religions. One view is taken by exclusivists, who believe they are the chosen people or have exclusive access to absolute truth, generally through revelation or encounter with the Divine, which adherents of other religions do not. Another view is religious pluralism. A pluralist typically believes that his religion is the right one, but does not deny the partial truth of other religions. An example of a pluralist view in Christianity is supersessionism, i.e., the belief that one's religion is the fulfillment of previous religions. A third approach is relativistic inclusivism, where everybody is seen as equally right; an example being universalism: the doctrine that salvation is eventually available for everyone. A fourth approach is syncretism, mixing different elements from different religions. An example of syncretism is the New Age movement.
Jews and Christians believe that humans are created in the likeness of God, and are the center, crown and key to God's creation, stewards for God, supreme over everything else God had made (Gen 1:26); for this reason, humans are in Christianity called the "Children of God".[100]
Depiction
God is defined as incorporeal,[3] and invisible from direct sight, and thus cannot be portrayed in a literal visual image.
The respective principles of religions may or may not permit them to use images (which are entirely symbolic) to represent God in art or in worship .
Zoroastrianism
Ahura Mazda (depiction is on the right, with high crown) presents Ardashir I (left) with the ring of kingship. (Relief at Naqsh-e Rustam, 3rd century CE)
During the early Parthian Empire, Ahura Mazda was visually represented for worship. This practice ended during the beginning of the Sassanid empire. Zoroastrian iconoclasm, which can be traced to the end of the Parthian period and the beginning of the Sassanid, eventually put an end to the use of all images of Ahura Mazda in worship. However, Ahura Mazda continued to be symbolized by a dignified male figure, standing or on horseback which is found in Sassanian investiture.[101]
Islam
Further information: God in Islam
Muslims believe that God (Allah) is beyond all comprehension or equal and does not resemble any of His creations in any way. Thus, Muslims are not iconodules, are not expected to visualize God.[40]
Judaism
At least some Jews do not use any image for God, since God is the unimageable Being who cannot be represented in material forms.[102] In some samples of Jewish Art, however, sometimes God, or at least His Intervention, is indicated by a Hand Of God symbol, which represents the bath Kol (literally "daughter of a voice") or Voice of God;[103] this use of the Hand Of God is carried over to Christian Art.
Christianity
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Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God.[104]
Use of the symbolic Hand of God in the Ascension from the Drogo Sacramentary, c. 850
However, later on the Hand of God symbol is found several times in the only ancient synagogue with a large surviving decorative scheme, the Dura Europos Synagogue of the mid-3rd century, and was probably adopted into Early Christian art from Jewish art. It was common in Late Antique art in both East and West, and remained the main way of symbolizing the actions or approval of God the Father in the West until about the end of the Romanesque period. It also represents the bath Kol (literally "daughter of a voice") or voice of God,[103] just like in Jewish Art.
In situations, such as the Baptism of Christ, where a specific representation of God the Father was indicated, the Hand of God was used, with increasing freedom from the Carolingian period until the end of the Romanesque. This motif now, since the discovery of the 3rd century Dura Europos synagogue, seems to have been borrowed from Jewish art, and is found in Christian art almost from its beginnings.
The use of religious images in general continued to increase up to the end of the 7th century, to the point that in 695, upon assuming the throne, Byzantine emperor Justinian II put an image of Christ on the obverse side of his gold coins, resulting in a rift which ended the use of Byzantine coin types in the Islamic world.[105] However, the increase in religious imagery did not include depictions of God the Father. For instance, while the eighty second canon of the Council of Trullo in 692 did not specifically condemn images of The Father, it suggested that icons of Christ were preferred over Old Testament shadows and figures.[106]
The beginning of the 8th century witnessed the suppression and destruction of religious icons as the period of Byzantine iconoclasm (literally image-breaking) started. Emperor Leo III (717–741), suppressed the use of icons by imperial edict of the Byzantine Empire, presumably due to a military loss which he attributed to the undue veneration of icons.[107] The edict (which was issued without consulting the Church) forbade the veneration of religious images but did not apply to other forms of art, including the image of the emperor, or religious symbols such as the cross.[108] Theological arguments against icons then began to appear with iconoclasts arguing that icons could not represent both the divine and the human natures of Jesus at the same time. In this atmosphere, no public depictions of God the Father were even attempted and such depictions only began to appear two centuries later.
The Second Council of Nicaea in 787 effectively ended the first period of Byzantine iconoclasm and restored the honouring of icons and holy images in general.[109] However, this did not immediately translate into large scale depictions of God the Father. Even supporters of the use of icons in the 8th century, such as Saint John of Damascus, drew a distinction between images of God the Father and those of Christ.
In his treatise On the Divine Images John of Damascus wrote: "In former times, God who is without form or body, could never be depicted. But now when God is seen in the flesh conversing with men, I make an image of the God whom I see".[110] The implication here is that insofar as God the Father or the Spirit did not become man, visible and tangible, images and portrait icons can not be depicted. So what was true for the whole Trinity before Christ remains true for the Father and the Spirit but not for the Word. John of Damascus wrote:[111]
"If we attempt to make an image of the invisible God, this would be sinful indeed. It is impossible to portray one who is without body:invisible, uncircumscribed and without form."
Around 790 Charlemagne ordered a set of four books that became known as the Libri Carolini (i.e. "Charles' books") to refute what his court mistakenly understood to be the iconoclast decrees of the Byzantine Second Council of Nicaea regarding sacred images. Although not well known during the Middle Ages, these books describe the key elements of the Catholic theological position on sacred images. To the Western Church, images were just objects made by craftsmen, to be utilized for stimulating the senses of the faithful, and to be respected for the sake of the subject represented, not in themselves. The Council of Constantinople (869) (considered ecumenical by the Western Church, but not the Eastern Church) reaffirmed the decisions of the Second Council of Nicaea and helped stamp out any remaining coals of iconoclasm. Specifically, its third canon required the image of Christ to have veneration equal with that of a Gospel book:[112]
We decree that the sacred image of our Lord Jesus Christ, the liberator and Savior of all people, must be venerated with the same honor as is given the book of the holy Gospels. For as through the language of the words contained in this book all can reach salvation, so, due to the action which these images exercise by their colors, all wise and simple alike, can derive profit from them.
But images of God the Father were not directly addressed in Constantinople in 869. A list of permitted icons was enumerated at this Council, but symbols of God the Father were not among them.[113] However, the general acceptance of icons and holy images began to create an atmosphere in which God the Father could be symbolized.
Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art.[104] Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of Man in the image of His own (thus allowing Human to transcend the other animals).
It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted.[114]
By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto's fresco of c. 1305 in Padua.[115] In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry has a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ.
In an early Venetian school Coronation of the Virgin by Giovanni d'Alemagna and Antonio Vivarini, (c. 1443) The Father is depicted using the symbol consistently used by other artists later, namely a patriarch, with benign, yet powerful countenance and with long white hair and a beard, a depiction largely derived from, and justified by, the near-physical, but still figurative, description of the Ancient of Days.[116]
. ...the Ancient of Days did sit, whose garment was white as snow, and the hair of his head like the pure wool: his throne was like the fiery flame, and his wheels as burning fire. (Daniel 7:9)
Usage of two Hands of God"(relatively unusual) and the Holy Spirit as a dove in Baptism of Christ, by Verrocchio, 1472
In the Annunciation by Benvenuto di Giovanni in 1470, God the Father is portrayed in the red robe and a hat that resembles that of a Cardinal. However, even in the later part of the 15th century, the symbolic representation of the Father and the Holy Spirit as "hands and dove" continued, e.g. in Verrocchio's Baptism of Christ in 1472.[117]
God the Father with His Right Hand Raised in Blessing, with a triangular halo representing the Trinity, Girolamo dai Libri c. 1555
In Renaissance paintings of the adoration of the Trinity, God may be depicted in two ways, either with emphasis on The Father, or the three elements of the Trinity. The most usual depiction of the Trinity in Renaissance art depicts God the Father using an old man, usually with a long beard and patriarchal in appearance, sometimes with a triangular halo (as a reference to the Trinity), or with a papal crown, specially in Northern Renaissance painting. In these depictions The Father may hold a globe or book (to symbolize God's knowledge and as a reference to how knowledge is deemed divine). He is behind and above Christ on the Cross in the Throne of Mercy iconography. A dove, the symbol of the Holy Spirit may hover above. Various people from different classes of society, e.g. kings, popes or martyrs may be present in the picture. In a Trinitarian Pietà, God the Father is often symbolized using a man wearing a papal dress and a papal crown, supporting the dead Christ in his arms. They are depicted as floating in heaven with angels who carry the instruments of the Passion.[118]
Representations of God the Father and the Trinity were attacked both by Protestants and within Catholicism, by the Jansenist and Baianist movements as well as more orthodox theologians. As with other attacks on Catholic imagery, this had the effect both of reducing Church support for the less central depictions, and strengthening it for the core ones. In the Western Church, the pressure to restrain religious imagery resulted in the highly influential decrees of the final session of the Council of Trent in 1563. The Council of Trent decrees confirmed the traditional Catholic doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image.[119]
Artistic depictions of God the Father were uncontroversial in Catholic art thereafter, but less common depictions of the Trinity were condemned. In 1745 Pope Benedict XIV explicitly supported the Throne of Mercy depiction, referring to the "Ancient of Days", but in 1786 it was still necessary for Pope Pius VI to issue a papal bull condemning the decision of an Italian church council to remove all images of the Trinity from churches.[120]
The famous The Creation of Adam by Michelangelo, c.1512
God the Father is symbolized in several Genesis scenes in Michelangelo's Sistine Chapel ceiling, most famously The Creation of Adam (whose image of near touching hands of God and Adam is iconic of humanity, being a reminder that Man is created in the Image and Likeness of God (Gen 1:26)).God the Father is depicted as a powerful figure, floating in the clouds in Titian's Assumption of the Virgin in the Frari of Venice, long admired as a masterpiece of High Renaissance art.[121] The Church of the Gesù in Rome includes a number of 16th century depictions of God the Father. In some of these paintings the Trinity is still alluded to in terms of three angels, but Giovanni Battista Fiammeri also depicted God the Father as a man riding on a cloud, above the scenes.[122]
In both the Last Judgment and the Coronation of the Virgin paintings by Rubens he depicted God the Father using the image that by then had become widely accepted, a bearded patriarchal figure above the fray. In the 17th century, the two Spanish artists Velázquez (whose father-in-law Francisco Pacheco was in charge of the approval of new images for the Inquisition) and Murillo both depicted God the Father using a patriarchal figure with a white beard in a purple robe.
The Ancient of Days (1794) Watercolor etching by William Blake
While representations of God the Father were growing in Italy, Spain, Germany and the Low Countries, there was resistance elsewhere in Europe, even during the 17th century. In 1632 most members of the Star Chamber court in England (except the Archbishop of York) condemned the use of the images of the Trinity in church windows, and some considered them illegal.[123] Later in the 17th century Sir Thomas Browne wrote that he considered the representation of God the Father using an old man "a dangerous act" that might lead to Egyptian symbolism.[124] In 1847, Charles Winston was still critical of such images as a "Romish trend" (a term used to refer to Roman Catholics) that he considered best avoided in England.[125]
In 1667 the 43rd chapter of the Great Moscow Council specifically included a ban on a number of symbolic depictions of God the Father and the Holy Spirit, which then also resulted in a whole range of other icons being placed on the forbidden list,[126][127] mostly affecting Western-style depictions which had been gaining ground in Orthodox icons. The Council also declared that the person of the Trinity who was the "Ancient of Days" was Christ, as Logos, not God the Father. However some icons continued to be produced in Russia, as well as Greece, Romania, and other Orthodox countries.
Theological approaches
Theologians and philosophers have attributed to God such characteristics as omniscience, omnipotence, omnipresence, perfect goodness, divine simplicity, and eternal and necessary existence. God has been described as incorporeal, a personal being, the source of all moral obligation, and the greatest conceivable being existent.[3] These attributes were all claimed to varying degrees by the early Jewish, Christian and Muslim scholars, including Maimonides,[53] St Augustine,[53] and Al-Ghazali.[128]
Many philosophers developed arguments for the existence of God,[8] while attempting to comprehend the precise implications of God's attributes. Reconciling some of those attributes generated important philosophical problems and debates. For example, God's omniscience may seem to imply that God knows how free agents will choose to act. If God does know this, their ostensible free will might be illusory, or foreknowledge does not imply predestination, and if God does not know it, God may not be omniscient.[129]
However, if by its essential nature, free will is not predetermined, then the effect of its will can never be perfectly predicted by anyone, regardless of intelligence and knowledge. Although knowledge of the options presented to that will, combined with perfectly infinite intelligence, could be said to provide God with omniscience if omniscience is defined as knowledge or understanding of all that is.
The last centuries of philosophy have seen vigorous questions regarding the arguments for God's existence raised by such philosophers as Immanuel Kant, David Hume and Antony Flew, although Kant held that the argument from morality was valid. The theist response has been either to contend, as does Alvin Plantinga, that faith is "properly basic", or to take, as does Richard Swinburne, the evidentialist position.[130] Some theists agree that only some of the arguments for God's existence are compelling, but argue that faith is not a product of reason, but requires risk. There would be no risk, they say, if the arguments for God's existence were as solid as the laws of logic, a position summed up by Pascal as "the heart has reasons of which reason does not know."[131] A recent theory using concepts from physics and neurophysiology proposes that God can be conceptualized within the theory of integrative level.[132]
Many religious believers allow for the existence of other, less powerful spiritual beings such as angels, saints, jinn, demons, and devas.[133][134][135][136][137]
Colonnaded street and stoa
Recent excavations have revealed the existence of a stoa, or covered walkway, dating to ca. 400 AD, and colonnaded street. A Temple of Artemis, dating to the time of Claudius (41-54), was demolished to make way for the colonnaded street which ran for 450 m (1,480 ft) and led to the sanctuary of Meter Steunene
Aizanoi Antique City.
UNESCO Tentative Lists
whc.unesco.org/en/tentativelists/5724/
Description
The Aizanoi ancient city is located in the inner Western Anatolia Region, 48 km Southwest of the Kütahya Province, and within the boundaries of the Çavdarhisar district. Today, it is approximately at a 1000-1050 m altitude in the flat treeless plateau which is known as Örencik Plain. The City was located approximately 40 km Southwest of the Cotiaeum, 25 km Northeast of Cadi, 40 km Northwest of Appia, West of Alia and on the edge of the River Rhyndakos.
The city was re-discovered by the European travellers in 1824 and surveyed and identified between the years of 1830 and 1840. The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M.Schede on behalf of the German Archeological Institute and presently the excavations works are being carried out by the Pamukkale University.
Aizanoi was the capital of Aizanitis, who belonged to Phrigia. There was less information about Pre-Roman period for Aizanoi. It is said that the early settlement in the region dates back to the second millennium BC. During the excavations carried out around the Zeus Temple, settlement layers dated to the third millennium were unearthed. Aizanoi acquired importance in the political sense, during the conflict between the Bithyniaand PergamonKingdoms. During the Hellenistic Period, Aizanoi was alternated between the hegemonies of the Pergamon and Bithynia Kingdoms and then came under Roman control in 133 BC. Phrygia Epictetos which consists of Aizanoi, Nacoleia, Cotiation, Midaion, Doryleion, Cadoi minted their own coins after 133 BC. This case shows that Aizanoi was in metropolis statue in the first century BC. However, big monumental public buildings and urban infrastructure in the city were constructed during the early imperial period. During the Roman Period Aizanoi was not only one of the most important cities in the Phrgyia Region but also had an important status as a commercial road network. Through its production of cereals, wine and sheep's wool the city was to rise to prosperity during the period of the Roman Empire.Since the intensive architectural development activities were realized especially in the 2nd and 3rd centuries AD., the local stone workshops gained importance during that period. Because of the religious and political power of Aizanoi, Rome provided an important relationship with the communities in the region. During the early Byzantine Period, the city was the seat of a bishopric and it had lost its importance after the 7th century. In medieval times the hill upon which the temple stands was transformed into a fortified citadel which subsequently served a group of the Çavdar Tatars as a fort of Seljuk dynasties, thus giving the community its present name, Çavdarhisar.
The visible remains of the city are mostly derived from the period of the Roman Empire. The city has significant remains such as the Zeus Temple, the Complex of Stadium-Theatre, Macellum, Portico Street, the bridges and dam, two necropolises, odeon, the Roman Baths
Justification of Outstanding Universal Value
Aizanoi is one of the most significant cities of the Roman Period with the Zeus Temple, the Complex of Stadium-Theatre and the Macellum.
The structure of the Temple which is one of the best preserved Zeus Temples in the world. The Temple of Zeus, situated upon a hill, was the city's main sanctuary.There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. The temple is composed of pronoas, naos, opisthodomos and a vaulted room under the basement. The distance between the columns and the walls of the inner rooms is twice as much as the distance between the columns; that means the building is a pseudodipteros. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. Covering the ancient inscriptions and ashlar masonry of the temple are simple representations of riders, combat scenes and horses. These engraved images depict episodes from the life of the Çavdar Tatars in the 13th century, who lived within the citadel walls surrounding the temple plateau. The magnificent Temple of Zeus contributed much to the city's prominence in antiquity and it is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
The Complex of Stadium-Theatre is located in the north part of the city and was one of the most intensive development activities in the city during the Roman Period. The stadium with a capacity of 13500 people and the theatre with the capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world.
One of the first stock exchange markets of the world was established in Aizanoi. The Macellum (Round Building) is dated to the midst of the 2nd century AD., probably serving as a food market. Inscriptions on the walls of this building show the prices of all goods sold in the markets of the Imperial that were controlled by an edict issued in 301 A.D. by the Roman Emperor Diocletianus in order to fight the inflation in that period. The inscriptions survived till today and can be read completely at present. It can be understood that Aizanoi was a cradle of trade with such as the most significant inscription.
Criterion (ii): The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial survived till today and can be read completely. These inscriptions have been used as a reference source for the other similar inscriptions unearthed during the excavations.
Criterion (iv): The Stadium with a capacity of 13500 people and the theatre with a capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world. The form of the complex erected in Aizanoi is not seen elsewhere in the ancient times.
The structure of the Temple is one of the best preserved Zeus Temples in the world. There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
Statements of authenticity and/or integrity
Aizanoi Ancient City was first registered as an archaeological site with the decision of the Superior Council of Immovable Antiquities and Monuments dated 20th December 1975 numbered 8854. By the decision of the related Conservation Council dated 1989 numbered 488, the borders of the 1st and 3rd degree archaeological site were determined. Afterwards, by the decision of the Conservation Council taken in 2011, the rural settlement area located within the first degree archeological site was registered as an urban archeological site.
The conservation plan prepared for the 3rd degree archeological site was approved by the related Conservation Council in 1993. Its revision was approved in 2000. Also, the conservation plan prepared for the 1st archeological site and the urban archeological site was approved by the related conservation council in 2011.
The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M. Schede on behalf of the German Archeological Institute and today the excavation works are being carried out by the Pamukkale University.
Comparison with other similar properties
When compared to the other Zeus Temples in the World, the Zeus Temple in Aizanoi is one of the best preserved. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest religious buildings in Anatolia which have survived till today by preserving its form.
The Complex of Stadium-Theatre which was constructed adjacently is unique in the ancient world. The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial are survived till today and can be read completely at present.
Penkalas Bridge
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Penkalas Bridge
Penkalas Bridge in 1992
Coordinates
39.200833°N 29.612222°E
Coordinates: 39.200833°N 29.612222°E
Crosses
Penkalas (Kocaçay)
Locale
Aezani, Turkey
Characteristics
Design
Arch bridge
Material
Stone
No. of spans
5
History
Construction end
2nd century AD
Penkalas Bridge
Location in Turkey
The Penkalas Bridge is a Roman bridge over the Penkalas (today Kocaçay), a small tributary of the Rhyndakos (Adırnas Çayı), in Aezani, Asia Minor (Çavdarhisar in present-day Turkey).
The 2nd-century AD structure was once one of four ancient bridges in Aezani and is assumed to have been the most important crossing-point due to its central location in the vicinity of the Zeus temple and the direct access it provided to the Roman road to Cotyaeum (Kütahya).[1] According to reports by European travellers, the ancient parapet remained in use as late as 1829, having been replaced today by an unsightly iron railing.[1]
Around 290 m upstream, another well-preserved, almost identical five-arched Roman bridge leads across the Penkalas.[
90 hp, 7,280 cc SOHC inline six-cylinder engine, four-speed manual transmission, live axle suspension with semi-elliptic leaf springs, and four-wheel mechanical drum brakes. Wheelbase: 98.4"
- An important Mercedes model; one of only a handful in existence
- Restoration completed by John Griffith and Gene Smyers during the early 1990s
- Owned by some of the earliest and most noted automotive collectors in the U.S.
- Handsome in presentation, highly equipped, abundant power for touring
One of the last of the magnificent Mercedes models introduced before the merger between Daimler and Benz, the 28/95 stands as one of the most powerful and sporting of all post-WWI automobiles and the precursor to the immortal S, SS, SSK and SSKL models of the late 1920s. A short-chassis 28/95 Mercedes was driven by Max Sailer to win the Coppa Florio and to second place in the concurrent Targa Florio, conclusively establishing the model’s sporting credentials.
Powered by an inline six-cylinder engine tracing its design heritage to Daimler’s DF80 aircraft engine of WWI, the 28/95 initiated the transition from the somewhat rudimentary automobiles of the prewar period to far more refined and sophisticated design statements. In particular, the exposed valve gear of the DF80, with its lubricant splatter and noisy valvetrain, was replaced with a fully enclosed, shaft-and-bevel gear driven camshaft and valves tucked neatly within cast-aluminum housings for each of the three pairs of cylinder castings joined to a large aluminum crankcase. Mercedes’ engineers also showed an unusual (for the time) appreciation for free breathing, giving the normally aspirated 28/95 two carburetors and individual intake passages to each cylinder.
The chassis was typical of the period but robustly constructed, so Mercedes owners could use their 28/95s in any possible situation and with a wide selection of coachwork. The drive to the rear axle was through a shaft, while semi-elliptic leaf springs and friction dampers controlled the live front and rear axles. While the earliest 28/95s had only rear-wheel brakes, Mercedes was quick to realize that the size and performance of these magnificent automobiles – plus the 28/95’s capacity for passengers and luggage – warranted the additional stopping power of four-wheel brakes, which were soon added to the 28/95’s specifications. Whether on colonial roads, European highways or urban boulevards, the Mercedes 28/95 was a sophisticated, fast, robust and powerful automobile of the finest quality, and its expense made it accessible only to the top tiers of society, who specified individual coachwork to suit their specific needs.
Even among the high-quality bespoke coachwork fitted to the Mercedes 28/95 chassis, the wonderful wooden Sport Phaeton body on chassis 27003 stands out. Constructed at Mercedes’ own coachworks at Sindelfingen, where the finest artisans, technicians and materials were employed to complement the mechanical excellence of the Mercedes chassis, the quality and distinctive appearance of this car’s coachwork makes a dramatic statement. Its flair complements the design of Mercedes’ sweeping “clamshell” front fenders and the myriad accoutrements that equip this Mercedes for just about any journey.
Previous records indicate that the first owner was in the UK, but its subsequent history is unknown until it joined the pioneering auto collection of Kirkland Gibson in Rhode Island. Both Gibson and his collecting colleague and partner George Waterman at one time owned Mercedes 28/95s. Gibson and Waterman could, and in fact did, own just about anything they wanted in the late 1930s and 1940s, when these classics were simply older cars in barns and carriage houses of New England. The fact that both of them chose to own Mercedes 28/95s is abundant evidence of the quality, style and innate appeal of these pieces of German automotive artistry.
From Gibson’s collection, 27003 was acquired by California collector Ben Moser, who took the first steps toward a restoration of the largely complete and original 28/95 Sport Phaeton. While still in the early stages of restoration, it was acquired by Edwin C. “Ted” Jameson, Jr., under whom John Griffith and Gene Smyers completed the work during the early 1990s.
While extensive, the restoration was aided by the remarkably preserved original wooden bodywork and metal body components, as evidenced by pre-restoration photos of the car. While the wooden coachwork was stripped and refinished, little wood replacement was necessary despite its age of some 70 years. The interior was re-trimmed and reupholstered by Vaughans of Greer, South Carolina. The comprehensive lighting, consisting of Bosch head and auxiliary lights, dual spotlights mounted on the windshield frame and cowl lights, needed only careful rewiring and refinishing. The wire wheels are fitted with stainless-steel spokes and black rims matching the car’s fenders and frame covers, while the maroon hood was refinished to a very high standard. All brightwork was re-plated. Despite the age of the restoration, the impression created by this Sport Phaeton remains immediate and compelling. It is a spectacular and well maintained motor car of the highest standards of construction, restoration, fit and finish.
Since completion, it has been sparingly used both by Ted Jameson and by the present owners, to whose extensive collection of fine antique and classic automobiles it was added in 2003. Owned by some of the most discerning collectors for over 60 years, it would be an important addition to any fine collection and one of only a handful known to exist with this coachwork. It is also complete with a spare set of hubcaps and fully equipped with weather equipment including a convertible top and top boot, plus front and rear tonneau covers. It is confirmed to be in proper running and driving order, and its “100 real horsepower,” according to restorer Gene Smyers, will ensure drivability on modern roads and provide a rewarding and exciting driving experience. Its offering at auction will also provide the new owner with an unparalleled opportunity to follow in the footsteps of some of the most noted automobile collectors by becoming its next and very fortunate caretaker.
[Text from RM Auctions]
www.rmsothebys.com/mo11/monterey/lots/1924-mercedes-28-95...
This Lego miniland-scale Daimler-Mercedes 28/95 Sports Phaeton - (1924 Sindelfingen) has been created for Flickr LUGNuts' 94th Build Challenge, - "Appease the Elves Summer Automobile Build-off (Part 2)", - a design challenge combining the resources of LUGNuts, TheLegoCarBlog (TLCB) and Head Turnerz.