View allAll Photos Tagged Form
Author's Note: The contents of this chapter include very sensitive subject matter and may be triggering to some individuals. Scenes of abuse of various forms are represented as not only for storytelling, but to raise awareness of what this behavior looks like. Abusive behavior in this story includes, but is not limited to: physical abuse, mental abuse, verbal abuse, gaslighting, manipulation, intentional triggering of another's PTSD, and trauma. In no way are these scenes intended to purposely trigger or harm anyone.
...
"...Vincent, it's me! Open the door! I need to talk to you now!"
After such an exciting (though socially exhausting) day, hearing Damien's persistent tone on the other side of the door caused him to tense as if he'd been doused with cold water. This was not how he would have liked to end his day! He really didn't want to deal with Damien right now, but he couldn't pretend he wasn't home anymore. He'd hoped Damien would have let him know before coming over. Vincent already felt a stress-headache coming on. He put the safety back on his pistol and gave a soft sigh. He could do this.
But as Vincent reached for the lock so he could let Damien in, the door was knocked on again! Vincent stared at the door and scowled. Well, that was rude of him, he thought sourly. He was sorely tempted to leave Damien out there even longer but then Damien called through the door again, "Come on, Vincent! Don't leave me out here like this. I thought you said you wanted to talk this out!"
Inhaling sharply through his nose, Vincent grit his teeth. Damien didn't need to make such a loud commotion for the whole building to hear! Deciding just to get this over with he let out some tension as he exhaled. Then he reached for the door, unlocked it, and pulled the door open to stare stoically up at his best friend of six years with his pistol resting at his side defenselessly.
Damien stared back at him with a look Vincent had seen many times; just never directed at him. In his interrogation mode, Damien's brows furrowed deeply and eyes darkened a certain way that could send chills down the spine of almost anyone who received it. His arms were folded over his chest and, in Vincent's opinion, he looked more impatient than he'd ever seen him. Vincent, however, was not like most people, and he maintained his stoic exterior. But oh, he was offended! Who the Hell did Damien think he was?! He opened his mouth to put Damien in his place but Damien cut in just a tiny bit faster.
"Are you alone?" Damien demanded quietly. Vincent blinked at him with just a hint of surprise at this question. He barely had a chance to utter, "Yes?" before Damien nodded and brushed past him to enter the flat. He grunted, "Good. We have much to discuss and I don't want any interruptions this time."
"What is the meaning of this?" Vincent asked incredulously as he pushed the door closed with a groan. "I was expecting you to let me know when you were coming over first. You always let me know first." And when he turned to look at Damien, he found Damien standing nearly an arm's length away and glowering at him.
"Well, I was expecting a bit more loyalty from YOU!"
"Loyalty?!"
"Yes! Why should I do what you want me to do when you won't do what 'I' want? All I wanted to do was to talk this out....just you and me. And all anyone else can do is put their nose in where it doesn't belong."
"It had nothing to do with Aiden!"
But at the mention of their engineer's name, Damien's nostrils flared and he spat out, "See how quickly you think of 'him?' You are proving my point. No, Vincent, it has EVERYTHING to do with YOU!" He pointed his finger right at Vincent's chest and accused, "You are throwing me to the side like a discarded, rotted apple core on the side of the road for the rats! I didn't even mention anyone in particular and already your mind went to him! Aiden this! Aiden that! Why does he even matter anyway?" Damien pressed his hands to his own chest and his expression implored Vincent to see his side as he pleaded, "Don't you care about me at all, Vincent?"
Fleetingly, Vincent was amazed that Damien had the courage to behave and speak to him like this when Vincent was armed. Despite his calm exterior, he was growing more confused and upset at Damien's onslaught of unexpected feelings. However, it was as Aiden was brought up that it shifted into anger. Vincent was done. He was going to put him in his place once and for all! But damn it all Damien asked him if he cared about him at all and Vincent felt like the wind had been knocked out of him! He felt as if he couldn't focus on what he was upset about anymore as he grappled with the unexpected, emotional question.
Of course he cared about Damien! Damien was like a brother to him! He loved him as much despite their current situation. It was what made it hurt so much worse as each second of this whole interaction passed. Had....he been unfair to Damien somehow? He did want to work things out! After all, he'd gone to Damien's temporary residence as Damien had told him before many times to do if he ever needed anything. Unlike Vincent, Damien didn't care if anyone simply dropped in. Damien's sister had insisted once before that it was fine if he stopped in anytime. Honestly, he'd wondered if Damien had nudged her into it but he was grateful to be able to see his friend all the same.
"Of course, I care about you," Vincent relented as his stoic expression faded and a small, sad frown pulled at his lips. Was that how Damien felt about him? About their friendship? "That's not fair, Damien. How can you even say that after everything we've been through?"
"I can say the same about you," Damien responded with just a touch of edge in his voice as he reached out with his metallic arm and pressed his mechanical hand to the door behind Vincent and leaned in slightly; almost a touch dangerously. It made Vincent tense involuntarily as he stared back up at him. However, Damien's voice softened and he sounded and looked hurt.
"I just wanted to talk. And you sent me away."
"I-I just..."
"You just what, Vincent?"
Vincent shrank back slightly against the door and gazed up at his best friend before sighing. Finally he replied, "I'm sorry. I didn't mean to make you feel like you don't matter." At his words, Damien's aggression dissipated as he smiled more. "I knew you would understand. I forgive you," Damien responded as his hand slid to squeeze Vincent's shoulder before resting there. Vincent glanced at his hand then gave a small nod before turning and brushing past Damien to head towards the veranda to get some air. As he walked past a bookshelf, he set down his gun then proceeded to run his hands through his hair. Bloody Hell...
Damien let his hand fall to his side as he turned slowly in place to visually follow Vincent's figure as he made to step outside. His eyes narrowed before he began to follow him out. Was something else wrong?
Out on the veranda, Vincent inhaled slowly and deeply through his nostrils before slowly exhaling as he glanced up at the evening sky. While he didn't mean to make Damien feel like he didn't matter, Damien's behavior as of late was....not okay. He really needed to talk to him about it. He needed to get to the bottom of it once and for all. Vincent could hear Damien following him out onto the veranda behind him. This was his chance to talk it out....just the two of them.
"Look... Damien..." Vincent turned to face Damien and he spoke sincerely as he tried to reason and understand. "I don't know what's been going on lately. I don't like this contention going on between us. I want you to talk to me. Tell me what's going on."
"There's nothing to talk about. You already apologized."
"Yes but that's not what I'm talking about."
"Then what ARE you talking about?"
"The contention going on between us lately; 'before' just the day before. Surely, you've felt it too?"
"Contention?"
"Yes. That's what I said."
"I don't know what you mean."
Damien looked genuinely confused! Vincent just couldn't understand why Damien didn't see what he was talking about. If he was being honest with himself, he had only noticed it during the last few weeks. Prior to that, they'd gotten on well enough and had always been able to work things out. It only seemed to be getting worse....and for some reason it felt like it was only around Aiden. He couldn't quite figure it out. Surely, that couldn't be it, he thought. Surely, Damien would tell him if he had a problem with Aiden! Up until the day before yesterday, the two seemed to have worked out whatever problem they had. But apparently they hadn't and something still seemed off between them even the other day. But...hadn't it always? Vincent had not forgotten what Bernadette had told him about Damien and Aiden's quarrel while he was still abed with high fever. He trusted she would never lie to him; especially about something like that. Therefore, he had taken her word that they had worked it. After all, Aiden hadn't come to him about Damien's misconduct. Was there not as big of a problem as he believed it was? Or was it just worse under the surface?
"Well," Vincent cleared his throat and began calmly, "that aside, I wanted to talk to you about something else. Just...I want to have a heart to heart, okay? Two days ago-"
"But you-"
"Don't interrupt me. Please let me finish."
Damien scowled but he closed his mouth and folded his arms over his chest defensively. However he did keep his mouth closed as he quirked his brow at Vincent and waited for whatever he was going to tell him. Opposite him, Vincent stared up at him calmly and waited for him. Once he saw Damien was actually going to listen he continued.
"Two days ago when you and I were speaking, some of the things you said to me were out of line." Vincent watched Damien's jaw tighten as his jaw clenched. Vincent felt a sinking feeling in the pit of his stomach but tried to explain how he felt anyway. "You really hurt my feelings; especially when you accused me of being too intoxicated." And, sure enough, he'd barely had a chance to utter the last word of his sentence before Damien cut in defensively, "Well YOU hurt MY feelings!"
"I know, and I already apologized. But I still want to talk about what you-"
"You know I can't help what I say when I get angry!"
"Damien, don't you see?! THIS is what I'm talking about! We never argue like this!"
"You are just mad that I called you out on it!" He took a step closer and poked Vincent's chest which caused him to gasp in surprise! "It's not MY fault you like to overindulge in alcohol and herbs! Damn it, Vincent! You know what? Sometimes it's hard to tell if it's 'you' I'm talking to, or your addictions!"
Vincent's face fell, and for the second time this week he very nearly broke down completely. He bit his lower lip and gave a small nod before turning and facing away from Damien. He defensively folded his arms over his chest as his shoulders sank depressingly. That had hurt. It had hurt a lot. Was that really how Damien felt?
Damien sighed. He ran his hands over his face then peeked at Vincent through his fingers. Vincent still wasn't looking at him. He was just...standing there dejectedly and hurt. Frowning slightly, Damien stepped closer and placed his hand on Vincent's shoulder. At his touch, however, Vincent turned away more; clearly not wanting to be touched.
"What do you want me to say, Vincent? I'm sorry, okay?"
After several seconds of no response, Damien huffed and leaned around him and peered at the side of his face. Still nothing. In fact, Vincent turned his head away from him even more! 'Damn it all!' Damien thought. He groaned softly and leaned his forearms against the railing and leaned against it. He hung his head down slightly before glancing back at Vincent.
"Come on. You know I didn't mean that," he tried again, his voice softening. This time he sounded more sincere. "I really am sorry, Vincent. You know sometimes I say things I don't mean. Don't let this silly misunderstanding ruin what we have." At this, Vincent took a deep breath and slowly let it out before turning to glance over his shoulder at Damien, his gaze lifting towards his face but unable to meet his eyes.
"Is that what you really think of me?"
"I just said I didn't. Look, why don't we just start over and put all this behind us? We agree there have been misunderstandings and things done and said that we don't mean."
Vincent licked his lips as he considered that. Maybe Damien was right and it would be best to put it behind them and move on from it. While things had never escalated this much, they had done the same thing in the past once they reached an understanding. It always seemed to work out and they were fine again. Though, this time Aiden was a third party in this. Would things be okay with Aiden too?
"What about Aiden?"
"He will be fine! And if he can't work this out with me, it's not a big deal. He can leave just like the others did and go back to that little garage you plucked him out of." Damien gave a noncommittal shrug then confidently slid his arm around Vincent's shoulders and drew him to his side with an encouraging grin. Much to his delight he watched as Vincent lifted his gaze to finally look at him and gave a small smile and replied, "I suppose you're right."
"Of course I am!" Damien tightened his arm around Vincent's shoulders and jostled him gently with a chuckle. "You and me against the world, right?"
Vincent smiled a bit more and nodded. "Yeah, you and me against the world." Damien grinned and looked up at the sky and continued to ramble on about how he couldn't wait to get back up into the air. Beside him, Vincent's gaze lowered and he looked down at the railing. He could feel his mood sinking more and more. He couldn't help feeling like he hadn't really had a chance to get out what he wanted to say. It felt unfinished on Vincent's end but they HAD agreed it was a misunderstanding and to just move on from it. He decided to push it down and just...tuck it away. Perhaps things would just get better after all; just like Damien was saying. However, there was still something he couldn't seem to shake.
While he had voiced his agreement, the idea of Aiden leaving because he couldn't work things out with Damien made him feel even worse; somehow even worse than this unfinished business with Damien. Aiden was NOT like the handful of others who had departed from Leon's Claw. Aiden was special...important. He didn't want to see him go!
"...and in a few weeks your ribs will be healed! Guh...I'm so bored. I can't wait to get back in the air again," Damien was saying beside him. He appeared not to notice Vincent's quick-sinking depression. Perhaps it was better that way, Vincent figured. He really didn't want to upset Damien even more tonight. He was tired and growing more and more exhausted. Honestly, he just wanted to be done. He wanted to be alone. More than anything, he just wanted to escape. However, Vincent noticed Damien didn't seem ready to leave anytime soon. He'd have to do something about that.
"You're right!" Vincent replied with a small smirk, nudging Damien gently with his elbow as an idea had suddenly come to him. All he had to do was play along to keep Damien in a good enough mood. "Just a few more weeks. You're worried about being bored right? So why don't you keep yourself entertained by going to your family's gathering?" Damien opened his mouth and was about to interrupt but Vincent turned in Damien's arm and quickly added, "I know you want to stay here with me but all I'm going to be doing is sitting around. Boring. I'm boring."
"Are you trying to get rid of me?"
"I am pointing out the benefits if you go...such as the amazing food you KNOW will be there and you can share all your new adventures with everyone. It's been a long while since you've been there. You know everyone loves to hear when you tell a story! It would be fun!"
Damien gave a smug smirk and shrug as Vincent stroked his ego. He was right: everyone DID enjoy a good story and Damien had plenty to share now. The younger generations of his family all seemed to look up to him. It never failed to boost his ego.
"Honestly," Vincent continued, "you won't miss a thing. I intend to spend the next few weeks with my nose in a book."
"You'd rather choose a book over my company? How nice."
"Hmph! I keep telling you I'm not nice!"
Damien laughed and lifted his arm off of Vincent's shoulder so he could turn and face him properly as he leaned against the railing. Vincent turned fully to face him and gave him a small, amused smirk. "There are no plans except to sit and rest. Honest. No more adventures for me for a while. I am going to be resting. Bernadette's orders. Go with your sister. Go enjoy your vacation away and just have fun! You deserve it! You'll be back in three weeks from now, yes? By then my ribs should be good enough to go sailing! You and I can go together and then you can tell me all about your trip. It will give us both something to look forward to!"
"Fine," Damien finally agreed with a small chuckle. "I suppose you're right." He chuckled before he reached over his head and stretched and felt his back pop where he needed it and let himself drift off with thoughts of going to his family reunion after all.
"Good! It's decided!" Vincent agreed before Damien could change his mind. He had to fight to actually sigh with relief. While he truly did enjoy Damien's friendship, right now he really needed time away from him. It was best just to let him be happy and just...get past this for now. Maybe one day they could actually talk this out like he wanted to. He also figured that this time apart might be just what Damien and Aiden needed as well.
"Well since I'm here why don't we have dinner at The Fat Lady's? We can celebrate getting past all this messy business!" Damien was saying, but already Vincent felt his stomach lurch at the idea; especially at the mention of the tavern where Thorn and Micah had accused him of gambling. He smiled weakly and shook his head. "I appreciate the offer, but I think I will need to postpone. Why don't we celebrate tomorrow instead?"
"How come?"
"How come? Because I am not ready to go out tonight. I have a headache brewing, my ribs are aching, and I was not prepared for company let alone ready to go out in public tonight." Vincent pleaded exhaustedly. He just wanted to be left alone! And indeed, Damien finally began to see how tired Vincent looked. He did look a bit pale, didn't he? His brow furrowed in concern and asked, "Vincent, why didn't you say so? I could have just come back another time!"
Vincent fought back the knee-jerk reaction of angrily calling Damien a rather creative, colorful name. Instead, he sighed and just snorted at the irony of the situation and went to head back inside. Damien could have started with that when he first arrived! he thought.
Finally Vincent managed in a convincing voice as he paused at the door: "It's fine. Don't worry about it. Come on. I'll see you out."
NEXT PART:
www.flickr.com/photos/153660805@N05/52966552948/in/datepo...
To read the rest of the story, here's the album link:
www.flickr.com/photos/153660805@N05/albums/72157717075565127
***Please note this is a BOY LOVE (BL/yaoi/gay) series. It is a slow burn and rated PG13!***
Special thank you to my husband Vin (Be My Mannequin? Pose Store) for collaborating with me on this series and co-starring as The Captain!
DISCORD SERVER: That's right! The Captain and The Engineer has a Discord Server! If you wanna join and chat with other crewmates and see what's new and happening before it gets posted to Flickr, click the link!
***NEW!!!!***
The Captain and the Engineer now has a FACEBOOK PAGE! Please come Like, Follow, and join the crew! Thank you so much for all your support!
FACEBOOK PAGE:
142058 formed of 55708 and 55754 is seen preserved at Spring Village Station on the Telford Steam Railway, complete with protective cover over the windscreens.
Cette fresque a été réalisée dans le cadre du projet Street Art Trail mené par les cinq villes MAHHL de l’Euregio. Le cœur de ce projet, ce sont cinq associations d’artistes spécialisées dans le domaine du Street Art qui ont uni leurs forces pour réaliser, en étroite collaboration avec les Villes de Aachen, Hasselt, Heerlen, Liège et Maastricht, cinq fresques monumentales autour d’un thème unique « Love letter from 2123 ». Ces œuvres d’art uniques ambitionnent de raconter l’histoire de chaque ville liée à travers un objectif commun : donner de l’espoir et imaginer un bel avenir pour les générations actuelles et futures. Les interventions réalisées dans l’espace public des cinq villes formeront un parcours artistique sur le territoire de l’Euregio et inviteront le public à découvrir ces nouvelles œuvres monumentales.
La Ville de Liège a été heureuse d’accueillir un artiste de Heerlen, Dazetwo (Wesley van Heugten).
La fresque que l’artiste Dazetwo et la ville de Heerlen ont offerte à Liège se décline en un diptyque poétique. « A gauche, une pile de déchets électroniques sur laquelle se trouve un corbeau. Ce mur de gauche représente les temps modernes et est partiellement construit en noir et blanc. Cela symbolise le fait que nous vivons à une époque moderne, mais que nous sommes encore très dépassés par la technologie utilisée. À droite, la représentation de l’avenir : derrière le corbeau, la nature y est pure et unique. C'est un symbole du jardin d'Eden. » Entre ces deux travées, une lettre flotte et fait la connexion entre aujourd’hui et demain. Une lettre pleine de bonnes nouvelles de nos arrière-petits-enfants.
This fresco was produced as part of the Street Art Trail project led by the five MAHHL cities of the Euroregion. The heart of this project is five associations of artists specializing in the field of Street Art who have joined forces to create, in close collaboration with the cities of Aachen, Hasselt, Heerlen, Liège and Maastricht, five monumental frescoes around a unique theme “Love letter from 2123”. These unique works of art aim to tell the story of each linked city through a common objective: to give hope and imagine a bright future for current and future generations. The interventions carried out in the public spaces of the five cities will form an artistic journey across the territory of the Euregio and will invite the public to discover these new monumental works.
The City of Liège was happy to welcome an artist from Heerlen, Dazetwo (Wesley van Heugten).
The fresco that the artist Dazetwo and the city of Heerlen offered to Liège is presented in a poetic diptych. “On the left, a pile of electronic waste on which there is a crow. This left wall represents modern times and is partially constructed in black and white. This symbolizes the fact that we live in modern times, but we are still very outdated by the technology used. On the right, the representation of the future: behind the crow, nature is pure and unique. It is a symbol of the Garden of Eden. » Between these two spans, a letter floats and makes the connection between today and tomorrow. A letter full of good news from our great-grandchildren.
The cluster south of the river at the east side of the map is Greenwich. The one in the west is Kew Gardens.
Base map © OpenStreetMap, CC-BY_SA
Tortoise
CD :
Tortoise
Touch
International Anthem
IARC 0099
Sounds . Dan Bitney . John Herndon . Douglas McCombs .
John McEntire . Jeff Parker
Layout & Design . Jeremiah Chiu
Use Hearing Protection
Merci japanese forms
GMA
The time this little Jumpy saw me
Press 'L' for better view
--------------------------------------------------------------------------------------------------
© All rights reserved.This Image may not be copied, reproduced, distributed,republished, downloaded, displayed, posted or transmitted
in any forms or by any means, including electronic,mechanical, photocopying & recording without my written permission.
traveladventureeverywhere.blogspot.com/2020/08/holy-mosco...
..
..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
The monastery was founded in the village Skanovo, near Narovchat, in the 17th century. Later on it was reorganized into the Trinity-Skanov nunnery. Its current architectural ensemble was formed in the years 1790-1810.
The Cincinnati Museum Center at Union Terminal, originally Cincinnati Union Terminal, is a mixed-use complex in the Queensgate neighborhood of Cincinnati, Ohio, United States. Once a major passenger train station, it went into sharp decline during the postwar decline of railroad travel. Most of the building was converted to other uses, and now houses museums, theaters, and a library, as well as special travelling exhibitions. Since 1991, it has been used as a train station once again.
Built in 1933, it is a monumental example of Art Deco architecture, for which it was designated a National Historic Landmark in 1977.
Cincinnati was a major center of railroad traffic in the late 19th and early 20th century, especially as an interchange point between railroads serving the Northeastern and Midwestern states with railroads serving the South. However, intercity passenger traffic was split among no fewer than five stations in Downtown Cincinnati, requiring the many travelers who changed between railroads to navigate local transit themselves. The Louisville and Nashville Railroad, which operated through sleepers with other railroads, was forced to split its operations between two stations. Proposals to construct a union station began as early as the 1890s, and a committee of railroad executives formed in 1912 to begin formal studies on the subject, but a final agreement between all seven railroads that served Cincinnati and the city itself would not come until 1928, after intense lobbying and negotiations, led by Philip Carey Company president George Crabbs. The seven railroads: the Baltimore and Ohio Railroad; the Chesapeake and Ohio Railroad; the Cleveland, Cincinnati, Chicago and St. Louis Railway; the Louisville and Nashville Railroad; the Norfolk and Western Railway; the Pennsylvania Railroad; and the Southern Railway selected a site for their new station in the West End, near the Mill Creek.
The principal architects of the massive building were Alfred T. Fellheimer and Steward Wagner, with architects Paul Philippe Cret and Roland Wank brought in as design consultants; Cret is often credited as the building's architect, as he was responsible for the building's signature Art Deco style. The Rotunda features the largest semi-dome in the western hemisphere, measuring 180 feet (55 m) wide and 106 feet (32 m) high.
The Union Terminal Company was created to build the terminal, railroad lines in and out, and other related transportation improvements. Construction in 1928 with the regrading of the east flood plain of the Mill Creek to a point nearly level with the surrounding city, a massive effort that required 5.5 million cubic yards of landfill. Other improvements included the construction of grade separated viaducts over the Mill Creek and the railroad approaches to Union Terminal. The new viaducts the Union Terminal Company created to cross the Mill Creek valley ranged from the well built, like the Western Hills Viaduct, to the more hastily constructed and shabby, like the Waldvogel Viaduct. Construction on the terminal building itself began in 1931, with Cincinnati mayor Russell Wilson laying the mortar for the cornerstone. Construction was finished ahead of schedule, although the terminal welcomed its first trains even earlier on March 19, 1933 when it was forced into emergency operation due to flooding of the Ohio River. The official opening of the station was on March 31, 1933. The total cost of the project was $41.5 million.
During its heyday as a passenger rail facility, Cincinnati Union Terminal had a capacity of 216 trains per day, 108 in and 108 out. Three concentric lanes of traffic were included in the design of the building, underneath the main rotunda of the building: one for taxis, one for buses, and one (although never used) for streetcars. However, the time period in which the terminal was built was one of decline for train travel. By 1939, local newspapers were already describing the station as a white elephant. While it had a brief revival in the 1940s, because of World War II, it declined in use through the 1950s into the 1960s.
After the creation of Amtrak in 1971, train service at Cincinnati Union Terminal was reduced to just two trains a day, the George Washington and the James Whitcomb Riley. Amtrak abandoned Cincinnati Union Terminal the next year, opening a smaller station elsewhere in the city on October 29, 1972.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Cincinnati_Museum_Center_at_Union_T...
Red-figure terracotta rhyton in the form of a ram's head, with touches of white paint. The ram's head is black, the horns left in the color of the clay and marked with red transverse lines; the cornea of the eyes are yellow with black spots, and the pupils black. Around the lip of the cup is egg-molding; on either side of the design are palmettes.
On the cuff, a youthful Dionysos is seated on a cushion and wearing a white fillet, the ends hanging down, a wreath, and a himation over his thighs. In the crook of his left arm is an ivy-topped thyrsos and at his right side is a kottabos-stand, to which is attached a white taenia (ribbon). Before him is a dancing satyr, with his left hand raised.
Greek, made in Apulia (part of Magna Graecia, the Greek colonies in Italy), ca. 370-350 BCE. Attributed to the Iliupersis Painter.
Height: 19.05 cm (7.5 in.)
British Museum, London (1846,0629.47)
Musée Dräi Eechelen (literal translation: Three Acorns Museum) is a museum in the Kirchberg district of Luxembourg City in the Grand Duchy of Luxembourg. Opened in July 2012 in the fully restored 18th-century Fort Thüngen, its permanent exhibition traces Luxembourg's history from 1443 to 1903.
The museum is housed in the fully restored Fort Thüngen, built by the Austrians in 1732 to reinforce the Fortress of Luxembourg. In 1836 and in 1859–60, it was extended by the Prussians forming part of the outer defences known as the Grünewald Front (Front de Grünewald). As a consequence of the 1867 Treaty of London, most of the building was demolished apart from its three rounded turrets, colloquially known as Dräi Eechelen (Luxembourgish) or Les Trois Glands (French), meaning "The Three Acorns".
In 1996, the Luxembourg authorities approved the development of a so-called Musée de la Forteresse (Fortress Museum) in Fort Thüngen with a view to "illustrating and explaining the nature of the fortress of Luxembourg in regard to the history of the city, the territorial development of the country and the cultural identity of the nation".
The museum forms part of Luxembourg's National Museum of History and Art.
Some 600 artefacts in the permanent exhibition illustrate the history of the city and country of Luxembourg from the Burgundian conquest in 1443 to the construction of the Adolphe Bridge in 1903. They are exhibited in a series of casemates (or underground galleries), six of which cover specific periods from the medieval fortress (1443-1643) to the height of the city's development (1883-1903). Two further casemates house a multimedia room and a series of photographs illustrating the city and the fortress in the 19th century.
With its striking underground galleries and passageways, the building itself forms an important part of the permanent exhibition. It has been restored to reflect the last phase of its original expansion in 1837.
La Farmacia La Estrella forma parte de la historia nacional. Fue el Dr. Bernardino Rivadavia el creador de esta primera botica de la ciudad de Buenos Aires, cuando en 1834 encargó a un importante bioquímico y botánico la dirección de la misma. Con el tiempo, y ya bajo otro dominio, se sumó la droguería a la farmacia, llegando a convertirse en la más importante de Sudamérica. Fue en 1885 cuando la farmacia La Estrella inauguró este edificio con una decoración que impactaba por su valor artístico y detalles de gran nivel: cristales de murano, estanterías de nogal, mármol de carrara, y los frescos en los cielorrasos del artesano Barberis que se destacan por los simbolismos que aluden a “la salud”, “la enfermedad” y “la farmacopea”. Su fachada ostentan una herrería original en sus puertas y una cargada ornamentación, en la que tres angelitos parecen dejarse caer hacia la nada. La Estrella tuvo su fama bien ganada gracias a la oferta de prestigiosos productos originales, que aún son recordados con nostalgia: la limonada Roge, el tónico esperidina, y las píldoras para la tos Parodi, entre tantos otros. Además de su actividad comercial, en sus salones se realizaron importantes tertulias por donde pasaron las figuras más destacadas del ámbito político como Carlos Pelligrini, Julio A. Roca, y Bartolomé Mitre, entre otros. Es el comercio más antiguo de la Ciudad de Buenos Aires, que aún conserva su estilo y sus detalles originales de gran valor estético, gracias a lo cual ha merecido numerosos premios y reconocimientos. Hoy sigue prestando servicios de laboratorio Homeopático y Alopático de recetas magistrales, y ofrece importantes productos de herbonistería y perfumería.
ubicación: Defensa 201, Monserrat, Buenos Aires
fuente: info.todobuenosaires.com/descripcion/descripcion_lugar.ph...
Copyright © Susana Mulé
© All rights reserved.
© Please don't use this image on websites, blogs or other media without my explicit permission
A breach of copyright has legal consequences
If you are interested in this picture, please contact me. Thanks.
susanamul@yahoo.com.ar
Dave is a traveler, moving through time, changing form, the journey continues in todays transport system, he searching for a lost soul he met many moon's ago, Sapphire is his gem, she will dance with him again, in the mean time he continues to travel.
I am always reminding myself that although DSLRs are necessary for most photographers, myself included, the camera on most smartphones today, have far better performance capacity and capability than what was available to the old Masters of Photography, during the era in which they lived and worked. This is why I am not shy about putting my iPhone7 camera to uses. I hope the results are well received.
Se recomienda ampliar. It is recommended to expand.
Formas. Pintadas por el Sol y el mar sobre las piedras de la playa, al atardecer.
Heliopsis scabra, is known also as "Summer sun"
Easily grown in average, dry to medium, well-drained soil in full sun. Tolerates drought, but does better if regularly watered. Tolerates wide range of soils, including poor ones. Tolerates some light shade, but plants grown in too much shade tend to require support. Remove spent flowers to extend the blooming season. This cultivar comes true from seed.
Noteworthy Characteristics
This oxeye cultivar is a compact, clump-forming, upright perennial which typically grows 2-3' tall. Features single to double, daisy-like flowers (2-3" diameter) with golden yellow rays and deep orange-yellow center disks atop stiff stems that seldom need staking. Noted for its lengthy summer to early fall bloom period. Coarse, serrate, ovate to lanceolate, deep green foliage. Heliopsis is both similar in appearance to and closely related to Helianthus, the true sunflower. Good fresh cut flower.
Buttermere is a lake in the Lake District in North West England. The adjacent village of Buttermere takes its name from the lake. Historically in Cumberland, the lake is now within the county of Cumbria. Owned by the National Trust, it forms part of its Buttermere and Ennerdale property.
The lake is 1.25 miles (2,010 m) long by 0.25 miles (400 m) wide, and is 75 feet (23 m) deep.[1] It has an elevation above sea level of 329 feet (100 m). It is situated towards the head of the valley of the River Cocker and is surrounded by fells, notably the High Stile range to the south west, Robinson to the north-east, Fleetwith Pike and Haystacks to the south-east and Grasmoor to the north-west.
The village of Buttermere stands at the north-western end of the lake, and beyond this is Crummock Water. There is a path around the lake which is about 4.5 miles (7.2 km) long, and at one point runs through a rock tunnel beneath the locality of Hassness. Access is by road, from Cockermouth in the north-west; from Borrowdale via the Honister Pass; or from Braithwaite and the Newlands Valley via Newlands Hause.
There are two possible origins for the name "Buttermere":
One, that Buttermere means "the lake by the dairy pastures" (from the Old English "butere mere"). Whaley suggests this as the correct interpretation: " 'butter lake, the lake with good pasture-land', from OE 'butere' 'butter', conveying the fertile nature of the flat alluvial land at both ends of the lake, plus 'mere' 'lake',..."[2]
Two, that it is the corrupt form of a personal name. Robert Ferguson asserts in his 1866 work, "The Northmen in Cumberland and Westmoreland" that Buttermere derives from the Old Norse personal name "Buthar", as in "Buthar's mere" (lake). This accords with local tradition, which says that the valley of Buttermere was part of the holdings of an 11th-century Norse chieftain called "Buthar" (sometimes spelt "Boethar"). Large numbers of Vikings settled in the Cumbrian area during the 9th and 10th centuries and many names in the area are of Norse origin: streams are termed 'becks', from the Old Norse bekkr; mountains are 'fells', from the Norse fjall; waterfalls are forces, from fos; ravines are 'gills'; valleys are 'dales', from dalr (ON); and small lakes are termed 'tarns', which derives from tjorn, meaning teardrop. Whaley suggests that the personal name interpretation is incorrect, but notes that the Victoria County History "deemed it 'not disputed that the family of the Scotic ruler, Bueth or Boet, held its own against the Norman intruder', with possession of the barony of Gillesland, for fifty years after the Norman Conquest.
From his hidden stronghold at Buttermere, it is said that Jarl Buthar conducted a campaign of running resistance against the Norman invaders, from the time of William the Conqueror's Harrying of the North in 1069 right up until the early 12th century. In 1072 King William set up a garrison at Carlisle, but the isolated garrison needed constant reinforcement and supplies. It is claimed that the Cumbrians fought a guerrilla war against the Normans for almost half a century, attacking supply wagons, ambushing patrols and inflicting great losses upon them in terms of money, material and men.
The extent to which Jarl Buthar is a semi-mythological figure is unclear. He is apparently mentioned in 12th-century Norman documents, but much of his story appears to be based on local legend and archaeology, later enhanced by Nicholas Size's popular dramatised history (see below).
Jarl Boethar's campaign and a final battle at Rannerdale (c.f. Ferguson, "Ragnar's dale") between the Normans and the Anglo-Scandinavian Cumbrians led by the Jarl is the subject of a dramatised history by Nicholas Size, called The Secret Valley: The Real Romance of Unconquered Lakeland, published in 1930.
Rosemary Sutcliff's YA novel Shield Ring, published in 1956, imagines the lives of Jarl Buthar and his band of Cumbrian rebels, and their last stand against the forces of a Norman army under the command of Ranulf le Meschin, Lord of Carlisle and later Earl of Chester, nearly 50 years after the Norman Conquest of England in 1066. It was clearly inspired by Nicholas Size's history, which it closely follows.
Mary Robinson (1778–1837), known as the "Maid of Buttermere" and the subject of Melvyn Bragg's novel of that name, was the daughter of the landlord of the Fish Inn in Buttermere village.
Hiroshi Yoshimura (吉村弘) - Wet Land (1993)
For almost everyone, Spring is associated with an abundance of nascent forms and a variety of vibrant colors...
I suggest we look at this magical time without "superfluous" colors. After all, colors usually adhere to existing forms. This means that form and content are the foundation upon which we can apply as many layers of the most vibrant and impressive colors as we like... But if form and content are absent... then color becomes superfluous...
Nature gives us a great variety of forms, imbuing them with a wide variety of meanings and purposes. After all, if you look closely, everything around us carries something special; something that can serve us in a variety of ways – inspire, help us heal, impart valuable lessons, nourish us, and even... send us to other dimensions...
Previously, I wrote that everything around us is connected. And we are connected to everything. Moreover, there is a feeling that everything around us is different forms of the same thing. Different forms of ...Ourselves ...Source ...Nature ...God ...Universe...
What forms fill your life?
What do you feel when the form becomes more tangible?
Esta fotografía forma parte de una sesión muy especial.
Fue una sesión corta de la que no obtuvimos demasiado archivo fotográfico pero que al haber estado muy pensada y trabajada en pre-producción el resultado me pareció satisfactorio.
Un Boudoir de embarazada de nueve meses, a la que posteriormente se sumó una sesión de New Born, son sesiones muy especiales para cualquier fotógrafo pero en este caso al tratarse de familia se convirtió en un privilegio.
Solo puedo agradecer a los padres el que me hayan permitido compartir con ellos momentos tan íntimos como estos.
Belfast (/ˈbɛl.fɑːst/ or /ˈbɛl.fæst/; from Irish: Béal Feirste, meaning "mouth of the sandbanks") is the capital and largest city of Northern Ireland, on the River Lagan. At the 2011 census, it had a population of 286,000. Belfast was granted city status in 1888.
Belfast was a centre of the Irish linen, tobacco processing, rope-making and shipbuilding industries: in the early 20th century, Harland and Wolff, which built the RMS Titanic, was the biggest and most productive shipyard in the world. Belfast played a key role in the Industrial Revolution, and was a global industrial centre until the latter half of the 20th century. Industrialisation and the inward migration it brought made Belfast the biggest city in Ireland at the beginning of the 20th century, and industrial and economic success was cited by unionist opponents of Home Rule as a reason why Ulster should fight to resist it.
Today, Belfast remains a centre for industry, as well as the arts, higher education, business, and law, and is the economic engine of Northern Ireland. The city suffered greatly during the period of conflict called "the Troubles", but latterly has undergone a sustained period of calm, free from the intense political violence of former years, and substantial economic and commercial growth. Additionally, Belfast city centre has undergone considerable expansion and regeneration in recent years, notably around Victoria Square.
Belfast is served by two airports: George Best Belfast City Airport in the city, and Belfast International Airport 15 miles (24 km) west of the city. Belfast is a major port, with commercial and industrial docks dominating the Belfast Lough shoreline, including the Harland and Wolff shipyard, and is listed by the Globalization and World Cities Research Network (GaWC) as a global city.
Name
The name Belfast is derived from the Irish Béal Feirsde, which was later spelled Béal Feirste. The word béal means "mouth" or "rivermouth" while feirsde/feirste is the genitive singular of fearsaid and refers to a sandbar or tidal fordacross a river's mouth. The name would thus translate literally as "(river) mouth of the sandbar" or "(river) mouth of the ford". This sandbar was formed at the confluence of two rivers at what is now Donegall Quay: the Lagan, which flows into Belfast Lough, and its tributary the Farset. This area was the hub around which the original settlement developed. The Irish name Béal Feirste is shared by a townland in County Mayo, whose name has been anglicised as Belfarsad.
An alternative interpretation of the name is "mouth of [the river] of the sandbar", an allusion to the River Farset, which flows into the Lagan where the sandbar was located. This interpretation was favoured by Edmund Hoganand John O'Donovan. It seems clear, however, that the river itself was named after the tidal crossing.
In Ulster Scots the name of the city is Bilfawst or Bilfaust, although "Belfast" is also used.
History
The site of Belfast has been occupied since the Bronze Age. The Giant's Ring, a 5,000-year-old henge, is located near the city, and the remains of Iron Age hill forts can still be seen in the surrounding hills. Belfast remained a small settlement of little importance during the Middle Ages. John de Courcy built a castle on what is now Castle Street in the city centre in the 12th century, but this was on a lesser scale and not as strategically important as Carrickfergus Castle to the north, which was built by de Courcy in 1177. The O'Neill clan had a presence in the area.
In the 14th century, Cloinne Aodha Buidhe, descendants of Aodh Buidhe O'Neill built Grey Castle at Castlereagh, now in the east of the city. Conn O'Neill of the Clannaboy O'Neills owned vast lands in the area and was the last inhabitant of Grey Castle, one remaining link being the Conn's Water river flowing through east Belfast.
Belfast became a substantial settlement in the 17th century after being established as a town by Sir Arthur Chichester, which was initially settled by Protestant English and Scottish migrants at the time of the Plantation of Ulster. (Belfast and County Antrim, however, did not form part of this particular Plantation scheme as they were privately colonised.) In 1791, the Society of United Irishmen was founded in Belfast, after Henry Joy McCracken and other prominent Presbyterians from the city invited Theobald Wolfe Tone and Thomas Russell to a meeting, after having read Tone's "Argument on Behalf of the Catholics of Ireland". Evidence of this period of Belfast's growth can still be seen in the oldest areas of the city, known as the Entries.
Belfast blossomed as a commercial and industrial centre in the 18th and 19th centuries and became Ireland's pre-eminent industrial city. Industries thrived, including linen, rope-making, tobacco, heavy engineering and shipbuilding, and at the end of the 19th century, Belfast briefly overtook Dublin as the largest city in Ireland. The Harland and Wolff shipyards became one of the largest shipbuilders in the world, employing up to 35,000 workers. In 1886 the city suffered intense riots over the issue of home rule, which had divided the city.
In 1920–22, Belfast became the capital of the new entity of Northern Ireland as the island of Ireland was partitioned. The accompanying conflict (the Irish War of Independence) cost up to 500 lives in Belfast, the bloodiest sectarian strife in the city until the Troubles of the late 1960s onwards.
The Troubles
Belfast has been the capital of Northern Ireland since its establishment in 1921 following the Government of Ireland Act 1920. It had been the scene of various episodes of sectarian conflict between its Catholic and Protestant populations. These opposing groups in this conflict are now often termed republican and loyalist respectively, although they are also referred to as 'nationalist' and 'unionist'. The most recent example of this conflict was known as the Troubles – a civil conflict that raged from around 1969 to 1998.
Belfast saw some of the worst of the Troubles in Northern Ireland, particularly in the 1970s, with rival paramilitary groups formed on both sides. Bombing, assassination and street violence formed a backdrop to life throughout the Troubles. The Provisional IRA detonated 22 bombs within the confines of Belfast city centre in 1972, on what is known as "Bloody Friday", killing eleven people. Loyalist paramilitaries including the Ulster Volunteer Force (UVF) and the Ulster Defence Association (UDA) claimed that the killings they carried out were in retaliation for the IRA campaign. Most of their victims were Catholics with no links to the Provisional IRA. A particularly notorious group, based on the Shankill Road in the mid-1970s, became known as the Shankill Butchers.
In all, over 1,600 people were killed in political violence in the city between 1969 and 2001. Sporadic violent events continue as of 2015, although not supported by the previous antagonists who had reached political agreement in 1998.
Italien / Toskana - San Gimignano
Piazza Duomo
San Gimignano (Italian pronunciation: [san dʒimiɲˈɲaːno]) is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls, form "an unforgettable skyline". Within the walls, the well-preserved buildings include notable examples of both Romanesque and Gothic architecture, with outstanding examples of secular buildings as well as churches. The Palazzo Comunale, the Collegiate Church and Church of Sant' Agostino contain frescos, including cycles dating from the 14th and 15th centuries. The "Historic Centre of San Gimignano" is a UNESCO World Heritage Site. The town also is known for saffron, the Golden Ham, pecorino cheese and its white wine, Vernaccia di San Gimignano, produced from the ancient variety of Vernaccia grape which is grown on the sandstone hillsides of the area.
Territory
The municipality of San Gimignano extends for 138 km² and is located on a hill in Val d'Elsa. The altitude difference is between a minimum of 64 meters a.s.l. in the plain of the river Elsa near Certaldo at a maximum of 631 meters in the area of Cornocchio.
History
In the 3rd century BC a small Etruscan village stood on the site of San Gimignano. Chroniclers Lupi, Coppi and Pecori relate that during the Catiline conspiracy against the Roman Republic in the 1st century, two patrician brothers, Muzio and Silvio, fled Rome for Valdelsa and built two castles, Mucchio and Silvia (now San Gimignano). The name of Silvia was changed to San Gimignano in 450 AD after Bishop Geminianus, the Saint of Modena, intervened to spare the castle from destruction by the followers of Attila the Hun. As a result, a church was dedicated to the saint, and in the 6th and 7th centuries a walled village grew up around it, subsequently called the "Castle of San Gimignano" or Castle of the Forest because of the extensive woodland surrounding it. From 929 the town was ruled by the bishops of Volterra.
In the Middle Ages and the Renaissance era, it was a stopping point for Catholic pilgrims on their way to Rome and the Vatican, as it sits on the medieval Via Francigena. The city's development was also improved by the trade of agricultural products from the fertile neighbouring hills, in particular saffron, used in both cooking and dyeing cloth and Vernaccia wine, said to inspire popes and poets.
In 1199, the city made itself independent of the bishops of Volterra and established a podestà, and set about enriching the commune with churches and public buildings. However, the peace of the town was disturbed for the next two centuries by conflict between the Guelphs and the Ghibellines, and family rivalries within San Gimignano. This resulted in competing families building tower houses of increasingly greater heights. Towards the end of the Medieval period, there were 72 tower houses in number, up to 70 metres (230 feet) tall. The rivalry was finally restrained when the local council ordained that no tower was to be taller than that adjacent to the Palazzo Comunale.
While the official patron is Saint Geminianus, the town also honours Saint Fina, known also as Seraphina and Serafina, who was born in San Gimignano 1238 and whose feast day is 12 March. The Chapel of Santa Fina in the Collegiate Church houses her shrine and frescos by Ghirlandaio. The house said to be her home still stands in the town.
On 8 May 1300, San Gimignano hosted Dante Alighieri in his role as ambassador of the Guelph League in Tuscany.
The city flourished until 1348, when it was struck by the Black Death that affected all of Europe, and about half the townsfolk died. The town submitted to the rule of Florence. Initially, some Gothic palazzi were built in the Florentine style, and many of the towers were reduced to the height of the houses. There was little subsequent development, and San Gimignano remained preserved in its medieval state until the 19th century, when its status as a touristic and artistic resort began to be recognised.
Description
The city is on the ridge of a hill with its main axis being north/south. It is encircled by three walls and has at its highest point, to the west, the ruins of a fortress dismantled in the 16th century. There are eight entrances into the city, set into the second wall, which dates from the 12th and 13th centuries. The main gates are Porta San Giovanni on the ridge extending south, Porta San Matteo to the north west and Porta S. Jacopo to the north east. The main streets are Via San Matteo and Via San Giovanni, which cross the city from north to south. At the heart of the town are four squares: the Piazza Duomo, on which stands the Collegiate Church; the Piazza della Cisterna, the Piazza Pecori and the Piazza delle Erbe. To the north of the town is another significant square, Piazza Agostino, on which stands the Church of Sant' Agostino. The locations of the Collegiate Church and Sant' Agostino's and their piazzas effectively divide the town into two regions.
Main sights
The town of San Gimignano has many examples of Romanesque and Gothic architecture. As well as churches and medieval fortifications, there are examples of Romanesque secular and domestic architecture which may be distinguished from each other by their round and pointed arches, respectively. A particular feature which is typical of the region of Siena is that the arches of openings are depressed, with doorways often having a second low arch set beneath a semi-circular or pointed arch. Both Romanesque and Gothic windows sometimes have a bifurcate form, with two openings divided by a stone mullion under a single arch.
Culture
San Gimignano is the birthplace of the poet Folgore da San Gimignano (1270–1332).
A fictionalised version of San Gimignano is featured in E. M. Forster's 1905 novel, Where Angels Fear to Tread as Monteriano.
M. C. Escher's 1923 woodcut San Gimignano depicts the celebrated towers.
Franco Zeffirelli used San Gimignano as a stand-in for the town of Assisi in his 1972 Saint Francis of Assisi biopic Brother Sun, Sister Moon. Most of the "Assisi" scenes were filmed here
Tea with Mussolini, a 1999 drama about the plight of English and American expatriate women in Italy during World War II, was filmed in part in San Gimignano. The frescoes that the women save from being destroyed during the German Army's withdrawal are inside the Duomo, the town's main church. The account of this episode is, to a large extent, fictional, because, although there are reports of intended retribution against the town, there is no evidence of a plan to destroy the churches. However, the reference to risk of cultural destruction is historic, as the Allies bombed the area for ten days.
In the 2005 novel The Broker by John Grisham, Joel Backman takes his second of three wives on vacation in Italy to keep her from divorcing him. They rent a 14th-century monastery near San Gimignano for a month.
A 15th-century version of the town is featured in the 2009 video game Assassin's Creed II.
(Wikpedia)
Piazza della Cisterna is a piazza in San Gimignano, Italy. It has a triangular shape with a slight natural slope and is connected to the nearby Piazza del Duomo by an open passage. The pavement is brick and the piazza is surrounded by houses and medieval towers. There are presently 5 towers onto the square or very near it and the bases of other five are visible on the facade of the various palaces, plus one, the Ridolfi tower, which is no longer in existence having collapsed in 1646 onto the family palace, thus making this relatively small area a concentrate of medieval architecture. In the south-west corner, the piazza meets the Arc of Becci, (l'arco dei Becci), an ancient city gate. The arc is flanked by the massive rectangular towers of Becci (torri dei Becci) on the left and Cugnanesi (torri dei Cugnanesi) on the right.
Past the access to via di Castello, which led down to the original Bishop’s castle, the northern side is characterized by the renaissance Cortesi Palace, which includes la torre del Diavolo, and extends along the north side of the square including the old houses of the Cattani family. There remains of two pre-existing towers are clearly visible onto the facade of the Cortesi Palace.
The west side is adorned with various towers, like the twin towers of Ardinghelli and the tower of palazzo Pellari visible over the roofs.
History
The piazza is located at the intersection of two main streets of the village of San Gimignano: la via Francigena that run north to south and la via Pisa - [[Siena]that runs east to west]. The piazza was used as a market and a stage for festivals and tournaments. Originally the area was divided in two squares by the palace and tall tower of the Ridolfi family, the Piazza dell’ Olmo in the inferior and western part and the Piazza delle Taverne in the eastern side and with the cisterna in the middle. In 1646 the tall Ridolfi tower suddenly collapsed, destroying the palace and thus the two squares were merged into one, the Piazza della Cisterna.
The piazza is named after the underground cistern (Cisterna) built in 1287. The cistern is capped by a travertine octagonal pedestal, which was built in 1346 under the mayor Guccio Malavolti whose coat of arms with the ladder is carved onto the stones, and is close to the center of the square.
(Wikipedia)
San Gimignano ist eine italienische Kleinstadt in der Toskana mit einem mittelalterlichen Stadtkern. San Gimignano wird auch „Mittelalterliches Manhattan“ oder die „Stadt der Türme“ genannt. Die Stadt liegt in der Provinz Siena und hat 7717 Einwohner (Stand 31. Dezember 2019). Sie gehört neben Florenz, Siena und Pisa zu den von Touristen meistbesuchten Zielen in der Toskana.
Allgemeines
Der historische Stadtkern ist seit dem Jahr 1990 Teil des Weltkulturerbes der UNESCO. San Gimignano besitzt noch einige der mittelalterlichen Geschlechtertürme, die in anderen Städten nur als Stümpfe erhalten blieben. Im Mittelalter versuchten die Patrizierfamilien, sich in der Höhe ihres Geschlechterturmes zu übertreffen, obwohl ein luxuriöses Leben darin nicht möglich war. Von den einst 72 Geschlechtertürmen existieren in San Gimignano heute noch 15. Die beiden höchsten, der Torre Grossa aus dem Jahr 1311 und der Torre della Rognosa, weisen eine Höhe von 54 bzw. 51 Metern auf. Die Zisterne auf der Piazza della Cisterna entstand 1287 und wurde 1346 durch den Podestà Guccio Malavolti erweitert.
Geografie
Die Stadt liegt ca. 40 km südwestlich der Regionalhauptstadt Florenz und ca. 28 km nordwestlich der Provinzhauptstadt Siena an der Via Francigena und im Elsatal. San Gimignano liegt in der klimatischen Einordnung italienischer Gemeinden in der Zone D, 2 085 GR/G.
Zu den Ortsteilen gehören Badia a Elmi (94 m, gehört teilweise zu Certaldo), Castel San Gimignano (377 m, gehört teilweise zu Colle di Val d’Elsa), Pancole (272 m), Santa Lucia (268 m) und Ulignano. Weitere wichtige Orte im Gemeindegebiet sind Montauto (277 m), Monteoliveto (275 m) Ranza und San Donato (357 m). Größter Ortsteil ist Ulignano mit ca. 690 Einwohnern.
Die wichtigsten Flüsse im Gemeindegebiet sind der Elsa (4 von 81 km im Gemeindegebiet) sowie die Torrenti Foci (4 von 15 km im Gemeindegebiet) und Riguardi (7 von 7 km im Gemeindegebiet).
Die Nachbargemeinden sind Barberino Tavarnelle (FI), Certaldo (FI), Colle di Val d’Elsa, Gambassi Terme (FI), Poggibonsi und Volterra (PI).
Geschichte
San Gimignano soll bereits um 300 bis 200 v. Chr. von den Etruskern besiedelt worden sein. Erstmals dokumentiert wurde der Ort 929. Den Namen erhielt die Stadt von dem heiligen Bischof von Modena, San Gimignano. Es heißt, er habe das Dorf vor den barbarischen Horden des Totila geschützt.
Diese Stadt verdankt ihre Existenz der Via Francigena (Frankenstraße). Auf diesem Hauptverkehrsweg des mittelalterlichen Italiens zogen Händler und Pilger vom Norden nach Rom. Der Ort bildete sich als Marktstätte zwischen dem frühmittelalterlichen Castello und der Pieve, dem Vorgängerbau der Collegiata. Ein erster Stadtmauerring wurde im 10. Jahrhundert angelegt. Dessen Verlauf markieren zwei noch erhaltene Stadttore, im Norden der Arco della Cancelleria und im Süden der Arco dei Becci.
Vom 11. Jahrhundert an dehnte sich das Stadtgebiet entlang der Frankenstraße in nördlicher und südlicher Richtung aus. An die Existenz des früheren Castello erinnern die Via di Castello, eine der ältesten Straßen, und die Kirche von San Lorenzo, die bei der Zugbrücke lag. Mindestens seit dem Jahr 929 gehörte das Kastell den Bischöfen von Volterra. Diese Bischöfe waren es auch, die die Herrschaft über die sich ausdehnende Stadt ausübten. Erst 1199 gelang es den von den Bürgern gewählten Konsuln, Verträge ohne die Zustimmung des Bischofs zu unterzeichnen. San Gimignano war nie Bischofssitz, sondern gehörte zum kirchlichen Verwaltungsbezirk (Diözese) Volterra und erlangte somit auch keine Stadtrechte. Trotzdem verlief die politische Entwicklung der Landkommune in ähnlichen Schritten wie die der großen Städte. Die Regierung der Konsuln wurde durch den Podestà (einem gewählten Administrator) abgelöst. Diesem standen ein kleiner und ein großer Rat zur Seite. Dem großen Rat gehörte eine bemerkenswert hohe Zahl von 1200 Mitgliedern an, obwohl San Gimignano nur 6000 Einwohner hatte.
Die freie Kommune stritt bis ins 14. Jahrhundert mit den Bischöfen von Volterra in langjährigen Kriegen um Besitzrechte. Sie musste gegen die Nachbarorte Castelfiorentino, gegen Colle und Poggibonsi zu Felde ziehen und nahm auf der Seite des guelfischen Florenz an den großen Machtkämpfen des 13. Jahrhunderts teil. Auch innerhalb der Stadtmauern setzten sich die Kämpfe zwischen Guelfen (Welfen) und Ghibellinen (Waiblinger) fort. Es kam zu blutigen Familienfehden zwischen den Familien der Salvucci (Ghibellinen) und der Ardinghelli (Guelfen).
Ab Mai 1300 hielt sich Dante Alighieri in diplomatischer Mission in San Gimignano auf. Vom 15. Juni bis 15. August 1300 amtierte er als eines von sechs Mitgliedern des Priorats, des höchsten Gremiums der Stadt. Im Jahre 1319 versuchte er in seiner Funktion als führender Florentiner Politiker vergeblich, die verfeindeten Parteien zu versöhnen. Eine Kommune wie San Gimignano konnte sich im 14. Jahrhundert nicht mehr neben den Großmächten behaupten. Im Jahre 1348 wurde die Stadt neben Kriegsverlusten und Familienfehden durch die Pest stark geschwächt. Vier Jahre später, im Jahre 1352, begab sich die Stadt unter den Schutz von Florenz.
Die Blütezeit der Stadt dauerte 160 Jahre an, ihr Wohlstand beruhte auf Handel und dem Anbau von Safran, mit dem man Seidenstoffe färbte. Die Frankenstraße verlor im Spätmittelalter allmählich an Bedeutung, weil der Handel die bequemeren Wege durch die weitgehend trockengelegten Sümpfe der Ebenen vorzog. Die Stadt, die einst Gesetze gegen übertriebenen Luxus erlassen hatte, verarmte.
Hochrenaissance (ca. 1500 bis 1530) und Barock (1575 bis 1770) hinterließen in San Gimignano so gut wie keine Spuren. Die Stadt war niemals ein eigenständiges Kunstzentrum. Künstler aus Siena und Florenz malten die Fresken und Altartafeln. Die Paläste und Kirchen zeigen pisanische, sienesische, lucchesische und florentinische Stilmerkmale. In San Gimignano ist die Zeit scheinbar im Jahr 1563 stehengeblieben. Der erste der toskanischen Großherzöge, Cosimo I. de’ Medici, entschied, es dürfen „auch keine geringen Summen“ mehr in diese Stadt investiert werden. Das musste akzeptiert werden, und so ist San Gimignano geblieben, wie es damals war.
(Wikipedia)
The Louvre, is the world's most-visited museum, and a historic landmark in Paris, France. It is the home of some of the best-known works of art, including the Mona Lisa and the Venus de Milo. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward). Approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square meters. , Attendance in 2021 was 2.8 million, the lowest since 1986, due to the COVID-19 pandemic. The museum was closed for 150 days in 2020, and attendance plunged by 72 percent to 2.7 million. Nonetheless, the Louvre still topped the list of most-visited art museums in the world in 2020.
The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French Kings. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces.
The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
The Musée du Louvre contains more than 380,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 square metres dedicated to the permanent collection. The Louvre exhibits sculptures, objets d'art, paintings, drawings, and archaeological finds.
The Louvre Palace, which houses the museum, was begun by King Philip II in the late 12th century to protect the city from the attack from the West, as the Kingdom of England still held Normandy at the time. Remnants of the Medieval Louvre are still visible in the crypt. Whether this was the first building on that spot is not known, and it is possible that Philip modified an existing tower.
The origins of the name "Louvre" are somewhat disputed. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den (via Latin: lupus, lower Empire: lupara). In the 7th century, Burgundofara (also known as Saint Fare), abbess in Meaux, is said to have gifted part of her "Villa called Luvra situated in the region of Paris" to a monastery, even though it is doubtful that this land corresponded exactly to the present site of the Louvre.
The Louvre Palace changed a lot over the centuries. In the 14th century, Charles V converted the building from its military role into a residence. In 1546, Francis I started its rebuilding in French Renaissance style. After Louis XIV chose Versailles as his residence in 1682, construction works slowed to a halt. The royal move away from Paris resulted in the Louvre being used as a residence for artists, under Royal patronage.
Meanwhile, the collections of the Louvre originated in the acquisitions of paintings and other artworks by the monarchs of the House of France. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. At the Palace of Fontainebleau, Francis collected art that would later be part of the Louvre's art collections, including Leonardo da Vinci's Mona Lisa.
The Cabinet du Roi consisted of seven rooms west of the Galerie d'Apollon on the upper floor of the remodeled Petite Galerie. Many of the king's paintings were placed in these rooms in 1673, when it became an art gallery, accessible to certain art lovers as a kind of museum. In 1681, after the court moved to Versailles, 26 of the paintings were transferred there, somewhat diminishing the collection, but it is mentioned in Paris guide books from 1684 on, and was shown to ambassadors from Siam in 1686.
By the mid-18th century there were an increasing number of proposals to create a public gallery in the Louvre. Art critic Étienne La Font de Saint-Yenne in 1747 published a call for a display of the royal collection. On 14 October 1750, Louis XV decided on a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the "king's paintings" (Tableaux du Roy) on Wednesdays and Saturdays. The Luxembourg gallery included Andrea del Sarto's Charity and works by Raphael; Titian; Veronese; Rembrandt; Poussin or Van Dyck. It closed in 1780 as a result of the royal gift of the Luxembourg palace to the Count of Provence (the future king, Louis XVIII) by the king in 1778. Under Louis XVI, the idea of a royal museum in the Louvre came closer to fruition. The comte d'Angiviller broadened the collection and in 1776 proposed to convert the Grande Galerie of the Louvre – which at that time contained the plans-reliefs or 3D models of key fortified sites in and around France – into the "French Museum". Many design proposals were offered for the Louvre's renovation into a museum, without a final decision being made on them. Hence the museum remained incomplete until the French Revolution.
The Louvre finally became a public museum during the French Revolution. In May 1791, the National Constituent Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts". On 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property. Because of fear of vandalism or theft, on 19 August, the National Assembly pronounced the museum's preparation as urgent. In October, a committee to "preserve the national memory" began assembling the collection for display.
The museum opened on 10 August 1793, the first anniversary of the monarchy's demise, as Muséum central des arts de la République. The public was given free accessibility on three days per week, which was "perceived as a major accomplishment and was generally appreciated". The collection showcased 537 paintings and 184 objects of art. Three quarters were derived from the royal collections, the remainder from confiscated émigrés and Church property (biens nationaux). To expand and organize the collection, the Republic dedicated 100,000 livres per year. In 1794, France's revolutionary armies began bringing pieces from Northern Europe, augmented after the Treaty of Tolentino (1797) by works from the Vatican, such as the Laocoön and Apollo Belvedere, to establish the Louvre as a museum and as a "sign of popular sovereignty".
The early days were hectic. Privileged artists continued to live in residence, and the unlabeled paintings hung "frame to frame from floor to ceiling". The structure itself closed in May 1796 due to structural deficiencies. It reopened on 14 July 1801, arranged chronologically and with new lighting and columns. On 15 August 1797, the Galerie d'Apollon was opened with an exhibition of drawings. Meanwhile, the Louvre's gallery of Antiquity sculpture (musée des Antiques), with artefacts brought from Florence and the Vatican, had opened in November 1800 in Anne of Austria's former summer apartment, located on the ground floor just below the Galerie d'Apollon.
On 19 November 1802, Napoleon appointed Dominique Vivant Denon, a scholar and polymath who had participated in the Egyptian campaign of 1798–1801, as the museum's first director, in preference to alternative contenders such as antiquarian Ennio Quirino Visconti, painter Jacques-Louis David, sculptor Antonio Canova and architects Léon Dufourny or Pierre Fontaine. On Denon's suggestion in July 1803, the museum itself was renamed Musée Napoléon.
The collection grew through successful military campaigns. Acquisitions were made of Spanish, Austrian, Dutch, and Italian works, either as the result of war looting or formalized by treaties such as the Treaty of Tolentino. At the end of Napoleon's First Italian Campaign in 1797, the Treaty of Campo Formio was signed with Count Philipp von Cobenzl of the Austrian Monarchy. This treaty marked the completion of Napoleon's conquest of Italy and the end of the first phase of the French Revolutionary Wars. It compelled Italian cities to contribute pieces of art and heritage to Napoleon's "parades of spoils" through Paris before being put into the Louvre Museum. The Horses of Saint Mark, which had adorned the basilica of San Marco in Venice after the sack of Constantinople in 1204, were brought to Paris where they were placed atop Napoleon's Arc de Triomphe du Carrousel in 1797. Under the Treaty of Tolentino, the two statues of the Nile and Tiber were taken to Paris from the Vatican in 1797, and were both kept in the Louvre until 1815. (The Nile was later returned to Rome, where the Tiber has remained in the Louvre to this day.) The despoilment of Italian churches and palaces outraged the Italians and their artistic and cultural sensibilities.
After the French defeat at Waterloo, the looted works' former owners sought their return. The Louvre's administrator Denon was loath to comply in absence of a treaty of restitution. In response, foreign states sent emissaries to London to seek help, and many pieces were returned, though far from all. In 1815 Louis XVIII finally concluded agreements with the Austrian government for the keeping of works such as Veronese's Wedding at Cana which was exchanged for a large Le Brun or the repurchase of the Albani collection.
For most of the 19th century, from Napoleon's time to the Second Empire, the Louvre and other national museums were managed under the monarch's civil list and thus depended much on the ruler's personal involvement. Whereas the most iconic collection remained that of paintings in the Grande Galerie, a number of other initiatives mushroomed in the vast building, named as if they were separate museums even though they were generally managed under the same administrative umbrella. Correspondingly, the museum complex was often referred to in the plural ("les musées du Louvre") rather than singular.
During the Bourbon Restoration (1814–1830), Louis XVIII and Charles X added to the collections. The Greek and Roman sculpture gallery on the ground floor of the southwestern side of the Cour Carrée was completed on designs by Percier and Fontaine. In 1819 an exhibition of manufactured products was opened in the first floor of the Cour Carrée's southern wing and would stay there until the mid-1820s. Charles X in 1826 created the Musée Égyptien and in 1827 included it in his broader Musée Charles X, a new section of the museum complex located in a suite of lavishly decorated rooms on the first floor of the South Wing of the Cour Carrée. The Egyptian collection, initially curated by Jean-François Champollion, formed the basis for what is now the Louvre's Department of Egyptian Antiquities. It was formed from the purchased collections of Edmé-Antoine Durand, Henry Salt and the second collection of Bernardino Drovetti (the first one having been purchased by Victor Emmanuel I of Sardinia to form the core of the present Museo Egizio in Turin). The Restoration period also saw the opening in 1824 of the Galerie d'Angoulême, a section of largely French sculptures on the ground floor of the Northwestern side of the Cour Carrée, many of whose artefacts came from the Palace of Versailles and from Alexandre Lenoir's Musée des Monuments Français following its closure in 1816. Meanwhile, the French Navy created an exhibition of ship models in the Louvre in December 1827, initially named musée dauphin in honor of Dauphin Louis Antoine, building on an 18th-century initiative of Henri-Louis Duhamel du Monceau. This collection, renamed musée naval in 1833 and later to develop into the Musée national de la Marine, was initially located on the first floor of the Cour Carrée's North Wing, and in 1838 moved up one level to the 2nd-floor attic, where it remained for more than a century.
Following the July Revolution, King Louis Philippe focused his interest on the repurposing of the Palace of Versailles into a Museum of French History conceived as a project of national reconciliation, and the Louvre was kept in comparative neglect. Louis-Philippe did, however, sponsor the creation of the musée assyrien to host the monumental Assyrian sculpture works brought to Paris by Paul-Émile Botta, in the ground-floor gallery north of the eastern entrance of the Cour Carrée. The Assyrian Museum opened on 1 May 1847. Separately, Louis-Philippe had his Spanish gallery displayed in the Louvre from 7 January 1838, in five rooms on the first floor of the Cour Carrée's East (Colonnade) Wing, but the collection remained his personal property. As a consequence, the works were removed after Louis-Philippe was deposed in 1848, and were eventually auctioned away in 1853.
The short-lived Second Republic had more ambitions for the Louvre. It initiated repair work, the completion of the Galerie d'Apollon and of the salle des sept-cheminées, and the overhaul of the Salon Carré (former site of the iconic yearly Salon) and of the Grande Galerie. In 1848, the Naval Museum in the Cour Carrée's attic was brought under the common Louvre Museum management, a change which was again reversed in 1920. In 1850 under the leadership of curator Adrien de Longpérier, the musée mexicain opened within the Louvre as the first European museum dedicated to pre-Columbian art.
The rule of Napoleon III was transformational for the Louvre, both the building and the museum. In 1852, he created the Musée des Souverains in the Colonnade Wing, an ideological project aimed at buttressing his personal legitimacy. In 1861, he bought 11,835 artworks including 641 paintings, Greek gold and other antiquities of the Campana collection. For its display, he created another new section within the Louvre named Musée Napoléon III, occupying a number of rooms in various parts of the building. Between 1852 and 1870, the museum added 20,000 new artefacts to its collections.
The main change of that period was to the building itself. In the 1850s architects Louis Visconti and Hector Lefuel created massive new spaces around what is now called the Cour Napoléon, some of which (in the South Wing, now Aile Denon) went to the museum. In the 1860s, Lefuel also led the creation of the pavillon des Sessions with a new Salle des Etats closer to Napoleon III's residence in the Tuileries Palace, with the effect of shortening the Grande Galerie by about a third of its previous length. A smaller but significant Second Empire project was the decoration of the salle des Empereurs below the Salon carré.
The Louvre narrowly escaped serious damage during the suppression of the Paris Commune. On 23 May 1871, as the French Army advanced into Paris, a force of Communards led by Jules Bergeret set fire to the adjoining Tuileries Palace. The fire burned for forty-eight hours, entirely destroying the interior of the Tuileries and spreading to the north west wing of the museum next to it. The emperor's Louvre library (Bibliothèque du Louvre) and some of the adjoining halls, in what is now the Richelieu Wing, were separately destroyed. But the museum was saved by the efforts of Paris firemen and museum employees led by curator Henry Barbet de Jouy
Following the end of the monarchy, several spaces in the Louvre's South Wing went to the museum. The Salle du Manège was transferred to the museum in 1879, and in 1928 became its main entrance lobby. The large Salle des Etats that had been created by Lefuel between the Grande Galerie and Pavillon Denon was redecorated in 1886 by Edmond Guillaume, Lefuel's successor as architect of the Louvre, and opened as a spacious exhibition room. Edomond Guillaume also decorated the first-floor room at the northwest corner of the Cour Carrée, on the ceiling of which he placed in 1890 a monumental painting by Carolus-Duran, The Triumph of Marie de' Medici originally created in 1879 for the Luxembourg Palace.
Meanwhile, during the Third Republic (1870–1940) the Louvre acquired new artefacts mainly via donations, gifts, and sharing arrangements on excavations abroad. The 583-item Collection La Caze, donated in 1869 by Louis La Caze, included works by Chardin; Fragonard, Rembrandt and Watteau. In 1883, the Winged Victory of Samothrace, which had been found in the Aegean Sea in 1863, was prominently displayed as the focal point of the Escalier Daru. Major artifacts excavated at Susa in Iran, including the massive Apadana capital and glazed brick decoration from the Palace of Darius there, accrued to the Oriental (Near Eastern) Antiquities Department in the 1880s. The Société des amis du Louvre was established in 1897 and donated prominent works, such as the Pietà of Villeneuve-lès-Avignon. The expansion of the museum and its collections slowed after World War I, however, despite some prominent acquisitions such as Georges de La Tour's Saint Thomas and Baron Edmond de Rothschild's 1935 donation of 4,000 prints, 3,000 drawings, and 500 illustrated books.
From the late 19th century, the Louvre gradually veered away from its mid-century ambition of universality to become a more focused museum of French, Western and Near Eastern art, covering a space ranging from Iran to the Atlantic. The collections of the Louvre's musée mexicain were transferred to the Musée d'Ethnographie du Trocadéro in 1887. As the Musée de Marine was increasingly constrained to display its core naval-themed collections in the limited space it had in the second-floor attic of the northern half of the Cour Carrée, many of its significant holdings of non-Western artefacts were transferred in 1905 to the Trocadéro ethnography museum, the National Antiquities Museum in Saint-Germain-en-Laye, and the Chinese Museum in the Palace of Fontainebleau. The Musée de Marine itself was relocated to the Palais de Chaillot in 1943. The Louvre's extensive collections of Asian art were moved to the Guimet Museum in 1945. Nevertheless, the Louvre's first gallery of Islamic art opened in 1922.
In the late 1920s, Louvre Director Henri Verne devised a master plan for the rationalization of the museum's exhibitions, which was partly implemented in the following decade. In 1932–1934, Louvre architects Camille Lefèvre and Albert Ferran redesigned the Escalier Daru to its current appearance. The Cour du Sphinx in the South Wing was covered by a glass roof in 1934. Decorative arts exhibits were expanded in the first floor of the North Wing of the Cour Carrée, including some of France's first Period Room displays. In the late 1930s, The La Caze donation was moved to a remodeled Salle La Caze above the salle des Caryatides, with reduced height to create more rooms on the second floor and a sober interior design by Albert Ferran.
During World War II, the Louvre conducted an elaborate plan of evacuation of its art collection. When Germany occupied the Sudetenland, many important artworks such as the Mona Lisa were temporarily moved to the Château de Chambord. When war was formally declared a year later, most of the museum's paintings were sent there as well. Select sculptures such as Winged Victory of Samothrace and the Venus de Milo were sent to the Château de Valençay. On 27 August 1939, after two days of packing, truck convoys began to leave Paris. By 28 December, the museum was cleared of most works, except those that were too heavy and "unimportant paintings [that] were left in the basement". In early 1945, after the liberation of France, art began returning to the Louvre.
New arrangements after the war revealed the further evolution of taste away from the lavish decorative practices of the late 19th century. In 1947, Edmond Guillaume's ceiling ornaments were removed from the Salle des Etats, where the Mona Lisa was first displayed in 1966. Around 1950, Louvre architect Jean-Jacques Haffner streamlined the interior decoration of the Grande Galerie. In 1953, a new ceiling by Georges Braque was inaugurated in the Salle Henri II, next to the Salle La Caze. In the late 1960s, seats designed by Pierre Paulin were installed in the Grande Galerie. In 1972, the Salon Carré's museography was remade with lighting from a hung tubular case, designed by Louvre architect Marc Saltet with assistance from designers André Monpoix, Joseph-André Motte and Paulin.
In 1961, the Finance Ministry accepted to leave the Pavillon de Flore at the southwestern end of the Louvre building, as Verne had recommended in his 1920s plan. New exhibition spaces of sculptures (ground floor) and paintings (first floor) opened there later in the 1960s, on a design by government architect Olivier Lahalle.
In 1981, French President François Mitterrand proposed, as one of his Grands Projets, the Grand Louvre plan to relocate the Finance Ministry, until then housed in the North Wing of the Louvre, and thus devote almost the entire Louvre building (except its northwestern tip, which houses the separate Musée des Arts Décoratifs) to the museum which would be correspondingly restructured. In 1984 I. M. Pei, the architect personally selected by Mitterrand, proposed a master plan including an underground entrance space accessed through a glass pyramid in the Louvre's central Cour Napoléon.
The open spaces surrounding the pyramid were inaugurated on 15 October 1988, and its underground lobby was opened on 30 March 1989. New galleries of early modern French paintings on the 2nd floor of the Cour Carrée, for which the planning had started before the Grand Louvre, also opened in 1989. Further rooms in the same sequence, designed by Italo Rota, opened on 15 December 1992.
On 18 November 1993, Mitterrand inaugurated the next major phase of the Grand Louvre plan: the renovated North (Richelieu) Wing in the former Finance Ministry site, the museum's largest single expansion in its entire history, designed by Pei, his French associate Michel Macary, and Jean-Michel Wilmotte. Further underground spaces known as the Carrousel du Louvre, centered on the Inverted Pyramid and designed by Pei and Macary, had opened in October 1993. Other refurbished galleries, of Italian sculptures and Egyptian antiquities, opened in 1994. The third and last main phase of the plan unfolded mainly in 1997, with new renovated rooms in the Sully and Denon wings. A new entrance at the porte des Lions opened in 1998, leading on the first floor to new rooms of Spanish paintings.
As of 2002, the Louvre's visitor count had doubled from its pre-Grand-Louvre levels.
President Jacques Chirac, who had succeeded Mitterrand in 1995, insisted on the return of non-Western art to the Louvre, upon a recommendation from his friend the art collector and dealer Jacques Kerchache [fr]. On his initiative, a selection of highlights from the collections of what would become the Musée du Quai Branly – Jacques Chirac was installed on the ground floor of the Pavillon des Sessions and opened in 2000, six years ahead of the Musée du Quai Branly itself.
The main other initiative in the aftermath of the Grand Louvre project was Chirac's decision to create a new department of Islamic Art, by executive order of 1 August 2003, and to move the corresponding collections from their prior underground location in the Richelieu Wing to a more prominent site in the Denon Wing. That new section opened on 22 September 2012, together with collections from the Roman-era Eastern Mediterranean, with financial support from the Al Waleed bin Talal Foundation and on a design by Mario Bellini and Rudy Ricciotti.
In 2010, American painter Cy Twombly completed a new ceiling for the Salle des Bronzes (the former Salle La Caze), a counterpoint to that of Braque installed in 1953 in the adjacent Salle Henri II. The room's floor and walls were redesigned in 2021 by Louvre architect Michel Goutal to revert the changes made by his predecessor Albert Ferran in the late 1930s, triggering protests from the Cy Twombly Foundation on grounds that the then-deceased painter's work had been created to fit with the room's prior decoration
On 6 June 2014, the Decorative Arts section on the first floor of the Cour Carrée's northern wing opened after comprehensive refurbishment.
The Louvre, like many other museums and galleries, felt the impact of the COVID-19 pandemic on the arts and cultural heritage. It was closed for six months during French coronavirus lockdowns and saw visitor numbers plunge to 2.7 million in 2020, from 9.6 million in 2019 and 10.2 million in 2018, which was a record year.
[Whippingham Church, Isle of Wight, England]
[between ca. 1890 and ca. 1900].
1 photomechanical print : photochrom, color.
Notes:
Title from the Detroit Publishing Co., Catalogue J--foreign section, Detroit, Mich. : Detroit Publishing Company, 1905.
Print no. "10699".
Forms part of: Views of the British Isles, in the Photochrom print collection.
Subjects:
England--Isle of Wight.
Format: Photochrom prints--Color--1890-1900.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Views of the British Isles (DLC) 2002696059
More information about the Photochrom Print Collection is available at hdl.loc.gov/loc.pnp/pp.pgz
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsc.09010
Call Number: LOT 13415, no. 1023 [item]
Alien art
Science fiction
If a life form arrived at our planet millions of years ago, it would have found the proper environment to develop. Cells contain genetic information that allows life to thrive on Earth. The "tree of life" shows how life developed from simple forms to humans. As life evolved, many species emerged, and some got extinct.
The cells of life forms have survived by going from spices to species. On the way of the development, there were some hurdles like species have killed and ate other species. It looks like the development went in the wrong direction, but the cells have survived with the killers and survivals. Important is cells and hosts. Species are created to be just hosts, just to carry the cells. The species' blueprint was always kept in cells to make sure that dominant species go on, live.
Sperms, made of cells, travel to other host during love making so that the life of the cell continues, with the latest genetic information. Our bodies comprise interconnected cells. When we watch TV, cells watch too. Aliens may have spread their cells throughout the universe to ensure survival. They might have created suitable environments for cell survival in asteroids.
Humans are not perfect and have flaws. Our sufferings are not imported as we are just hosts, acting in that way too. We prioritize humanity over individuals. Humans have a lot of cells to compare to a human. Many people die in wars, traffics accidents, etc. Who cares? There are already more hosts on earth, billions of them. A couple dies, no problem!
If we would not be just hosts, we would act differently, would care for the death of a fellow human being, and would adopt the mindset that one death is too many.
Deux fontaines symétriques représentant Neptune et Amphitrite sont disposées dans les angles qui relient les basses faces aux pavillons latéraux. Elles sont dans un style rococo qui rompt avec l'architecture classique de la place.