View allAll Photos Tagged Forms
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 cranes usually form themselves into horizontal lines when in flight. This group seems to be bucking that trend. While not actually vertically stacked, this perspective suggests that they are minimally spread horizontally. If this is a long-range flight, they'll soon correct this for increased flight efficiency (V-formations enhance energy conservation).
IMG_4787; Sandhill Cranes
In Explore: #18 (best position )
Handleturer på Ikea er ikke akkurat forbundet med glede. Heller ikke denne gangen. Jeg hadde derfor tatt med fotosekken for å gjøre turen mer hyggelig. På vei til Oslo regnet det så ille at jeg ikke stoppet. På vei tilbake regnet det fortsatt i bøtter og spann, men jeg stoppet på ren trass. Planen var å ta bilder langs elvepromenaden i Drammen. Jeg dro innom en butikk for å få pose rundt kamera og var nok ikke særlig optimistisk i forhold til mulighetene. Tok noen bilder i trappen ned mot elva, men manglet en menneskeskikkelse. Da kom det en mann gående mot meg. Han kunne ikke norsk og dårlig engelsk, men han lot til å forstå at jeg ønsket at han skulle fortsette opp trappen. Jeg rakk tre-fire skudd hvorav ett satt som det skulle.
Dette er et bilde med stor grad av symmetri. Det er bare rekkverket og stolpen til venstre som gir en viss asymmetri. Dybdeskarpheten er bra til tross for en stor blender. Bildet gikk inn på topp 20 på Explore den 17. september 2013 og er mitt mest sette på Flickr noensinne, med nær 25.000.
-------------------------------------------------------------------------------------------------------------------------------
For me, shopping at Ikea is not associated with pleasure. Nor this time. I took my photobag with me to make the trip more enjoyable. On the way to Oslo it rained so bad that I did`nt stop. On the way back the rain still poured down, but I stopped of pure spite. I wanted to take pictures along the riverwalk in Drammen. Went to a store to get the plastic bag around the camera and was probably not very optimistic about the prospects. In the stairs down to the river I took some pictures. I lacked, however, a human form. Then a man came walking towards me. He could not Norwegian and talked bad English, but he seemed to understand that I wanted him to continue up the stairs. I managed three to four shots.
This is an image with a high degree of symmetry. The depth is good despite a large aperture. The picture went into the top 20 on Explore, and is my most viewed shot at Flickr.
The Alaskan Range as seen form Denali State Park. WOW!!! Some of the craziest, most dramatic peaks I have seen.....
We almost didn't sleep for two weeks working for a shot with only a little luck, so when the fog rolled in to this awesome area and the sky lit up it was a great feeling!!
I was lucky enough to go on the trip with past students turned friends Joe Roybal and Andrew Vernon
Nikon D800E, Alaska, photography, photos, images, gallery, pro, grand tokosha, private workshops
They performed three forms of Santali dance - Baha, Sohorai and Dong.
SNTALS
The Santhal (also spelled as Santal) are one of the Tribal peoples who live mainly in the states of Jharkhand, West Bengal, Bihar, Odisha, and Assam. They are one of the largest tribal community and one of the most studied tribal religions in India.The insurrection of the Santhals was mainly against the British and their supporters. On 30 June 1855 the Santhal rebel leaders Sidhu Murmu and Kanu Murmu mobilized 30 thousand Santhals and declared a rebellion against the British Raj.
The Santhals are an agricultural tribe, from time immemorial they have cleared forests, toiled the land, and produced food for subsistence. Beside agriculture they also domesticate animals. Apart from these the Santhals also are well versed in the art of hunting, where their exceptional skills with bow and arrows is noticeable.
SANTALI CULTURE
The Santhali culture has attracted many scholars and anthropologists for decades. Unlike many other tribal groups of the Indian subcontinent, the Santhals have preserved their native language despite waves of migrations and invasions such as Aryan, Hun, Mughals, Europeans, and others.
Santhali culture is depicted in the paintings and artworks in the walls of their houses. The Santhals mainly prefer group performance than solo, which is an important feature of tribal art form in India. Group dancing and singing is the most important medium to express their joy and happiness. The Santhali dance and music is tuned with the nature of occasion whether it is social or ceremonial. The three most quintessential instruments in Santhali music are two kinds of drums one Tumdak and the other Tamak, and Tiriao or flute. The Tumdak is a double headed drum having the shape of a frustum, the drum skins at left and right are made of animal skins. The one at the left has bigger circumference than the right. The Tamak has a hemispherical shape, with a wider circumference and played by two drum sticks. Tiriao or basically a bansuri is a bamboo made musical instrument with five holes.
The most well known dance form of the Santhals is a group of women with interlocked hands forming a semicircle, encircling a relatively smaller group of male percussionists at the centre. The dance steps and movements are in accordance with the beats which is relatively simple. The dance forms, countenance, and beats differ from region to region. The Santhali Dance have a wide variety and types and is tuned with ceremony and social celebrations. The Dasai dance is performed only by males of the community on festive occasions. Langre, Guluri, and Humti is danced all round the year, whereas Baha and Sohorai are only for festive seasons. In social ceremonies like marriage Dong is danced. Along with these popular dances some other rare forms like Rinjha and Jhika also exist and performed only in few regions.
The Santhal songs also have a variety similar to their dance, the Santali word for song is "Sereng". Generally singing is accompanied with dancing but there are some songs which do not include dancing. There is also a kind of song sung during the sowing of paddy. The "Gam Sereng" is another type of song which is sung in hot summer evening. Courtesy : (en.wikipedia.org/wiki/Santhal_people)
Spring watch at Baroghutu
Spring all over the World is a season of colors, and celebration of lives. Holi, a festival of colours, is a festival of Spring celebrated by the Hindus allover India. On the eve of Holi, in the last week of February this year, I couldn’t miss the opportunity to join the celebration of lives at Baroghutu with all its elements including the tribal dance performed by the Santals.
Mukutmanipur's undulating forested landscape marked by the vibrant colors of Palash (Butea monosperma) is refreshing and invigorating for the body and mind. It is marked by the prominent hillock about 200 metres high, locally named "Baroghutu" (Baro- twelve, ghutu-/stones/hill). The tribal (mostly santals) hamlets of Baroghutu, Jambeda, Kumorbahal, Dhagora and Mukutmanipur encircle this hillock. With a landscape that seems naturally designed for adventure, Mukutmanipur offers opportunities in rock climbing, trekking and a variety of water sports.
The local tribal festivals, Tusu, Bhadu, Sahrai and Badna are symbolized by fascinating music and dance, and strengthen the Mukutmanipur experience, laden with the relaxed air of nature in the heartland. The Bankura district has a tribal population famous for its music, art and culture. Mukutmanipur is one such quaint village. The community will provide the tourist with a life that is stress free.
Welcome to the cabbage patch, kid! Your future: the Fourth Industrial Revolution, the Forth Industrial Evolution. The Nano World Order! The Graphene Matrix! It’s a new era of profound degeneration, where organisms become algorithms. Human hacks: biochemical processes, electronic signals, store, analyze, no escape. Reengineering human life—666 half human half Beast.
Psychotronics: hacking the mind, brain, and consciousness. They will get inside your head: seeing through your eyes, hearing through your ears, reading your thoughts, inducing thoughts. They will hack you through the Mark of the Beast. They will plug you into the Hive Mind Beast System. Then you will be a brainless zombie of the Antichrist System. Your mind will be controlled with different frequencies and wave forms—controlling your psyche, modifying your consciousness. The New World Order Military Industrial Intelligence Complex, researching and developing highly sophisticated state of the art technology to harness the computing power of the human brain.
Bioenergetics, bio-photonics, biophysics, psionics, psycho-energetics, psychoneuroimmunology, quantum biology, radionics, scalar electromagnetic, bioelectromagnetism, biophotons, biopotentials, morphogenetic fields, non-hertzian waves, quantum fields, scalar waves, zero-point energy, 666 hacks, the path to transhumanism.
AI-powered analytic disclaimer:
“Public digital conversations provide unique insights on social trends shaping society’s opinion. We analyze key influencers and evolving themes as it is critical to understand how controversies and the public reaction unfold in real-time. We quickly identify any coordinated or unauthentic behavior aimed at fueling social unrest, polarization or pollution of the public debate.”
Now a commercial sponsored by the World Economic Forum:
Klaus Schwab- “Pay insufficient attention to the frightening scenario of a comprehensive cyber attack which will bring to a complete halt to the power supply, transportation, hospital services, our society as a whole. The covid-19 crisis would be seen in this respect as a small disturbance in comparison to a major cyber attack.”
Matthew 24:21 “For at that time there will be a great tribulation (pressure, distress, oppression), such as has not occurred since the beginning of the world until now, nor ever will [again].”
Take the jab, insert the microchip, become a better you…bahahahaha!!! I mean: it’s for your health, for your safety, for your own good, and for the good of society! #666
A BRCW built lass 110 dmu, forming a Leeds to Manchester Victoria service heads away from Todmorden. Rochdale canal in the foreground.
9/7/1981
A lenticular cloud with amazing structure takes form at sunrise just east of the Continental Divide. These clouds form when strong jets of wind encounter obstacles such as mountains, and are forced upward, forming cloud bands, or in this case isolated lenticular clouds (grossly oversimplifying). Alternatively this is actually a giant UFO come to take samples of Earthlings back to its home planet. Or if you prefer, this is actually a giant cell cleaved off of Gaia (note the organelles and cilia), floating above the rest of its corporeal self.
Another hypothesis, promoted by many insightful comments, is that this is a whale... perhaps the very whale from Hitchhiker's guide to the Galaxy??
www.youtube.com/watch?time_continue=15&v=h02a2HSB58M
The details in this cloud were amazing and very transient. The features would form and disappear in just a few minutes. The shutter speed is slow enough that there is movement in these features. (i)
I simply love the lines on her body and how she carries herself in this photo. A true goddess of fitness.
Se recomienda ampliar. It is recommended to expand.
Formas. Pintadas por el Sol y el mar sobre las piedras de la playa, al atardecer.
... At The North End Of Kyle Field...
The Fightin' Texas Aggie Band marching in the Battle of Flowers Parade during Fiesta San Antonio in 2012
Este díptico forma parte de unos de los planos de una secuencia que he hecho para un trabajo de medios audiovisuales.
Os dejo aqui el enlace del video: www.youtube.com/watch?v=2GPDNJ316WE
Es un montaje rítmico con un total de 1337 planos.
Sus cascadas se forman gracias a los afluentes del río Otulún, Shumuljá y Tulijá, formando cañones no muy profundos con acantilados verticales que dan origen a sus cascadas blanquiazules. Se encuentran al norte del Estado de Chiapas, en el municipio de Tumbalá; Las aguas tiene ese hermoso color azul por las sales de carbonatos que llevan disueltas. La vegetación es de tipo selva de montaña, exuberante, en algunas partes cubre el río, es común ver troncos de árboles caídos petrificados.
Common Merganser female
Her 'sawtooth' bill is perfect for catching fish; her 'haircut' is perfect for shedding water when she surfaces from a dive; her feathers are perfect for repelling water; and her large, webbed feet are perfect for helping her swim quickly away from people with cameras.
I start working on finding the forms and their opposition. This is my first shot.
I was on the couch when I look up to see this. I just photographed!
Fotosöndag: tema Form
Dekoration
Filter pålagt efteråt för bättre effekt
Theme: shape
Decoration
Filter applied afterwards for better effect
The San Francisco cable car system is the world's last manually operated cable car system and an icon of the city of San Francisco. The system forms part of the intermodal urban transport network operated by the San Francisco Municipal Railway, which also includes the separate E Embarcadero and F Market & Wharves heritage streetcar lines, and the Muni Metro modern light rail system. Of the 23 cable car lines established between 1873 and 1890, only three remain (one of which combines parts of two earlier lines): two routes from downtown near Union Square to Fisherman's Wharf, and a third route along California Street. While the cable cars are used to a certain extent by commuters, the vast majority of the millions of passengers who use the system every year are tourists, and as a result, the wait to get on can often reach two hours or more. They are among the most significant tourist attractions in the city, along with Alcatraz Island, the Golden Gate Bridge, and Fisherman's Wharf. San Francisco's cable cars are listed on the National Register of Historic Places and are designated as a National Historic Landmark.
In 1869, Andrew Smith Hallidie had the idea for a cable car system in San Francisco, reportedly after witnessing an accident in which a streetcar drawn by horses over wet cobblestones slid backwards, killing the horses. Hallidie solicited financial support in 1871 and 1872, and his primary backers were Henry L. Davis, Joseph Britton, and James Moffit.
The first successful cable-operated street running train was the Clay Street Hill Railroad, which had its inaugural run on August 2, 1873. The promoter of the line was Hallidie, and the engineer was William Eppelsheimer; both Hallidie and Eppelsheimer obtained several patents for their work on the Clay Street line. The line involved the use of grip cars, which carried the grip that engaged with the cable, towing trailer cars; the design was the first to use grips. The term "grip" became synonymous with the operator.
The line started regular service on September 1, 1873, and its success led it to become the template for other cable car transit systems. It was a financial success, and Hallidie's patents were enforced on other cable car promoters, making him wealthy.
Accounts differ as to the precise degree of Hallidie's involvement in the inception of the line, and to the exact date on which it first ran. According to the franchise granted by the city, operations were required to begin by August 1, 1873. Retrospective published in 1895 stated that a single car was run over the line at 4 AM on the morning of August 1 with few witnesses to ensure the franchise would not expire. Eppelsheimer would later bring a suit against Hallidie and the Clay Street Hill RR in June 1877 over patents, but dismissed it voluntarily the following March.
The next cable car line to open was the Sutter Street Railway, which converted from horse operation in January 1877. This line introduced the side grip, and lever operation, both designed by Henry Casebolt and his assistant Asa Hovey, and patented by Casebolt. This idea came about because Casebolt did not want to pay Hallidie royalties of $50,000 a year for the use of his patent. The side grip allowed cable cars to cross at intersections.
In 1878, Leland Stanford opened his California Street Cable Railroad (Cal Cable). This company's first line was on California Street, and is the oldest cable car line still in operation. In 1880, the Geary Street, Park & Ocean Railway began operation. The Presidio and Ferries Railway followed two years later, and was the first cable company to include curves on its routes. The curves were "let-go" curves, in which the car drops the cable and coasts around the curve on its own momentum.
In 1883, the Market Street Cable Railway opened its first line. This company was controlled by the Southern Pacific Railroad and would grow to become San Francisco's largest cable car operator. At its peak, it operated five lines, all of which converged on Market Street to a common terminus at the Ferry Building. During rush hours, cars left that terminus every 15 seconds.
In 1888, the Ferries and Cliff House Railway opened its initial two-line system. The Powell–Mason line is still operated on the same route today; their other route was the Powell–Washington–Jackson line, stretches of which are used by today's Powell–Hyde line. The Ferries & Cliff House Railway was also responsible for the building of a car barn and powerhouse at Washington and Mason, and this site is still in use today. In the same year, it also purchased the original Clay Street Hill Railway, which it incorporated into a new Sacramento–Clay line in 1892.
In 1889, the Omnibus Railroad and Cable Company became the last new cable car operator in San Francisco. The following year the California Street Cable Railroad opened two new lines, these being the last entirely new cable car lines built in the city. One of them was the O'Farrell–Jones–Hyde line, the Hyde section of which still remains in operation as part of the current Powell–Hyde line.
In all, twenty-three lines were established between 1873 and 1890.
Originally, the cables were powered by stationary steam engines. For the initial three cables, the Ferries & Cliff House Railway constructed a three-story structure to house two 450-horsepower coal-burning steam engines. The building was complete with a 185-foot-tall smokestack to vent away the heavy black smoke created by the Welsh anthracite coal that the company burned. Expansion of service required two additional 500-horsepower coal-fired steam engines in 1890, and the number and type of engines continued to vary over time. Coal consumption in 1893 was about 10 tons per day. The system was converted to oil in 1901, and the lessened amount of smoke allowed the smokestack to be shortened to 60’; this shortened smokestack still exists at Washington-Mason today.
Electric energy was introduced in 1912, when a 600-horsepower General Electric motor came on-line. By 1926, all steam operation of the cable ended when a second complete electrical drive was installed, a 750-horsepower General Electric product. With reduction in the number of cable car lines, the single 750-horsepower electric motor took over the job of running all of the lines. The problem with that configuration was that if one cable car on one line broke down, all lines had to be stopped. After the 1984 reconstruction, each of the four cables for the three lines (California, Hyde, Mason and Powell) is separately powered by its own 510-hp electric motor.
The first electric streetcars in San Francisco began operation in 1892 under the auspices of the San Francisco and San Mateo Electric Railway.
By the beginning of 1906 many of San Francisco's remaining cable cars were under the control of the United Railroads of San Francisco (URR), although Cal Cable and the Geary Street Company remained independent. URR was pressing to convert many of its cable lines to overhead electric traction, but this was met with resistance from opponents who objected to what they saw as ugly overhead lines on the major thoroughfares of the city center.
Those objections disappeared after the 1906 San Francisco earthquake. The quake and resulting fire destroyed the power houses and car barns of both the Cal Cable and the URR's Powell Street lines, together with the 117 cable cars stored within them. The subsequent race to rebuild the city allowed the URR to replace most of its cable car lines with electric streetcar lines. By 1912, only eight cable car lines remained, all with steep grades impassable to electric streetcars. In the 1920s and 1930s, these remaining lines came under pressure from the much improved motor buses of the era, which could now climb steeper hills than the electric streetcar. By 1944, five of those cable car lines had survived: the two Powell Street lines – by then under municipal ownership, as part of Muni – and the three lines owned by the still-independent Cal Cable.
In 1947, Mayor Roger Lapham proposed the closure of the two municipally owned lines. In response, a joint meeting of 27 women's civic groups, led by Friedel Klussmann, formed the Citizens' Committee to Save the Cable Cars. In a famous battle of wills, the citizens' committee eventually forced a referendum on an amendment to the city charter, compelling the city to continue operating the Powell Street lines. This passed overwhelmingly, by 166,989 votes to 51,457. Klussman led another campaign in 1948 to have the city acquire Cal Cable, but the referendum fell short of the required 2⁄3 majority, with 58% in favor of acquisition; a second referendum in 1949, requiring a simple majority, passed and the city began negotiations with Cal Cable.
In August 1951, the three Cal Cable lines were shut down when the company was unable to afford insurance. The city purchased and reopened the lines in January 1952, but another referendum that would have funded maintenance for the California Street tracks and the powerhouse and car barn at Hyde and California failed in November 1953. The amendment to the city charter did not protect the newly acquired Cal Cable lines, and the city proceeded with plans to replace them with buses; in addition, businesses in Union Square and downtown began advancing plans to convert O'Farrell to automobile traffic, which would remove service through the Tenderloin district via the inner section of the O'Farrell Jones & Hyde line. The result was a compromise that formed the current system: a protected system made up of the California Street line from Cal Cable, the Powell–Mason line already in municipal ownership, and a third hybrid line formed by grafting the Hyde Street section of Cal Cable's O'Farrell-Jones-Hyde line onto a truncated Powell–Washington–Jackson line, now known as the Powell–Hyde line.
This solution required some rebuilding to convert the Hyde Street trackage and terminus to operation by the single-ended cars of the Powell line, and also to allow the whole system to be operated from a single car barn and power house. Much of the infrastructure remained unchanged from the time of the earthquake.
By 1979, the cable car system had become unsafe; it needed to be closed for seven months for urgently-needed repairs. A subsequent engineering evaluation concluded that it needed comprehensive rebuilding at a cost of $60 million. Mayor Dianne Feinstein, who took charge of the effort, helped win federal funding for the bulk of the rebuilding job. In 1982 the cable car system was closed again for a complete rebuild. This involved the complete replacement of 69 city blocks' worth of tracks and cable channels, the complete rebuilding of the car barn and powerhouse within the original outer brick walls, new propulsion equipment, and the repair or rebuild of 37 cable cars. The system reopened on June 21, 1984, in time to benefit from the publicity that accompanied San Francisco's hosting of that year's Democratic National Convention.
Since 1984, Muni has continued to upgrade the system. Work has included rebuilding of another historical car, the building of nine brand new replacement cars, the building of a new terminal and turntable at the Hyde and Beach terminus, and a new turntable at the Powell and Market terminus.
Between 2017 and 2019, the system received a second, but less extensive rebuild. Over the two year project, Muni rehabilitated the cable car system's gearboxes, which had been in service since the last rebuild in 1984.
The system was shut down in March 2020 to protect operators during the COVID-19 pandemic, as cable cars do not offer a compartment separating them from passengers (unlike Muni buses, which kept running). Limited service on all three lines resumed on August 2, 2021. Full revenue service began on September 4. On September 9, a valve failure caused the fire suppression system in the carbarn to activate, shutting down electric power to the powerhouse. Service resumed on September 18.
The cable cars are an iconic part of San Francisco and are protected National Historic Landmarks, but they are not without their critics. Most complaints center around the high cost of operating a system that mostly serves tourists, and the large number of accidents involving the cable cars.
The cable car lines serve around seven million passengers per year, but the vast majority are tourists, rather than commuters. The area where the cable cars operate is well-served by a large number of buses and trolleybuses that often give residents better options for their trips. Also, during busy times, the wait to board a cable car can often reach two hours or more.
While Muni does allow monthly passholders to ride the cable cars at no additional charge, single ride fares are more than triple the fares charged on other Muni routes. The high fares led the San Francisco Chronicle to describe the cable cars in 2017 as a "cash cow" for Muni, yielding a yearly revenue of around $30 million. Still, according to Mission Local, the cable car system had a $46 million operating deficit in 2019. In 2006, then-Mayor Gavin Newsom reported that he had observed several conductors pocketing cash fares from riders without receipt. The following year, the San Francisco auditor's office reported that the city was not receiving the expected revenue from cable cars, with an estimated 40% of cable car riders riding for free. Muni's management disputed this figure and pointed out that safe operation, rather than revenue collection, is the primary duty of conductors. In 2017, after an audit showing that some conductors were "consistently turn[ing] in low amounts of cash", as well as a sting operation, one conductor was arrested on charges of felony embezzlement.
Among U.S. mass transportation systems the cable cars have the most accidents per year and per vehicle mile, with 126 accidents and 151 injuries reported in the 10 years ending 2013. In the three years ending 2013 the city paid some $8 million to settle four dozen cable car accident claims.
A man was looking at me with a weird face, thinking: what the heck is this guy finding nice enough to photograph there??
Un homme me regardait en grimaçant: mais qu'est-ce qu'il peut bien trouver d'intéressant à photographier là??
Des physiciens britanniques ont récemment accouché d’une nouvelle théorie sur les interactions entre la matière et la lumière au niveau quantique, et ces travaux ont aussi fait émerger une très intéressante : pour la première fois, ces chercheurs ont réussi à définir la forme précise d’un photon isolé.
Les photons, ce sont les particules qui servent de vecteur à la force électromagnétique, et par extension, à la lumière visible grâce à laquelle nous sommes capables de visualiser notre environnement. Mais même s’ils sont incroyablement abondants, ce sont des objets qui, paradoxalement, sont encore loin d’être parfaitement compris par les physiciens.
La façon dont ils interagissent avec la matière, en particulier, est extrêmement complexe. Pour en appréhender toutes les nuances, il faut d’abord réussir à conceptualiser puis à associer une myriade de phénomènes souvent très difficiles à manipuler, notamment parce qu’une grande partie d’entre eux se déroulent dans le domaine quantique.
« La nature de ces interactions ouvre des possibilités infinies par rapport à l’existence et à la propagation de la lumière à travers son environnement. Ces possibilités illimitées rendent les interactions exceptionnellement difficiles à modéliser, et c’est un défi que les physiciens quantiques cherchent à relever depuis plusieurs décennies », expliquent les auteurs de l’étude dans un communiqué de l’Université de Birmingham.
Un nouveau cadre théorique sur le comportement des photons
Pour simplifier l’équation, ces chercheurs ont donc décidé de regrouper toutes ces possibilités dans quelques ensembles bien définis. Grâce à cette approche, ils ont réussi à établir un modèle certes simplifié par rapport à la réalité, mais tout de même cohérent et très complet : il décrit non seulement la relation entre le photon et l’objet qui l’émet, mais aussi le comportement de l’énergie qui résulte de ces interactions.
Il s’agit donc de travaux importants, car ils permettent de définir précisément comment ces particules exceptionnellement importantes interagissent avec les différents éléments de leur environnement.
« Ces travaux nous aident à approfondir notre compréhension de l’échange d’énergie entre la lumière et la matière », explique Benjamin Yuen, co-auteur de l’étude. « Il y a de nombreux signaux que l’on considérait auparavant comme du simple “bruit”, mais qui contiennent en fait énormément d’informations auxquelles nous pouvons désormais donner du sens », se réjouit-il.
Par extension, cette étude défriche donc de nouvelles pistes que les physiciens pourront emprunter pour faire progresser des disciplines comme la physique quantique ou la science des matériaux. Les auteurs citent notamment des « nouvelles technologies nanophotoniques » qui pourraient « changer notre manière de communiquer, de détecter des pathogènes, ou encore de contrôler des réactions chimiques à l’échelle moléculaire ».
Le premier portrait-robot d’un photon
En parallèle, ces travaux ont aussi fait émerger une autre nouveauté relativement anecdotique dans le contexte de ces travaux, mais néanmoins fascinante : pour la première fois, les auteurs ont réussi à modéliser la “forme” d’un photon. Dans leur papier de recherche, ils présentent en effet une forme vaguement circulaire qui fait un peu penser à une cellule vue au microscope, entourée d’un étrange halo en forme d’étoile.
Ce concept de “forme” d’un photon est assez perturbant au premier abord. À l’inverse des neutrons et des protons qui constituent les atomes, les photons ne sont typiquement pas décrits comme des objets physiques. Contrairement à ces derniers, il faut passer par plusieurs couches d’abstraction pas toujours très intuitives pour les étudier.
En effet, on considère généralement que les photons n’existent qu’à travers leurs interactions ; ils sont régulièrement décrits comme des ondes plutôt que comme des particules tangibles (voir la notion de dualité onde-corpuscule). Par extension, la plupart des modèles physiques leur attribuent une masse nulle, et considèrent qu’ils n’ont pas de taille ou de forme bien définie.
Physique : l’étau se resserre autour de la masse de la lumière
Comment les auteurs ont-ils donc réussi à visualiser une forme qui, selon ces interprétations, n’existe tout simplement pas ? Pour le comprendre, il faut reconsidérer la définition même de la forme. Car ici, nous ne parlons pas des frontières d’un objet matériel comme une sphère ou un cube ; il s’agit plutôt d’une question de répartition d’énergie.
Pour visualiser cette notion, on peut l’aborder en faisant un détour par le monde de la musique. Chaque note (Do, Ré, Mii…) est construite autour d’une fréquence fondamentale qui détermine sa hauteur. Mais elle est rarement seule : la fréquence fondamentale est presque toujours accompagnée d’autres fréquences plus discrètes que l’on appelle les partiels, et ce sont eux qui déterminent les autres paramètres d’un son — comme son timbre. C’est précisément à cause de ces partiels qu’un do joué par un piano est beaucoup plus riche que celui qui sort d’un diapason, par exemple ; la répartition de ces fréquences change la manière dont l’onde sonore interagit avec nos tympans.
De la même façon, l’énergie des photons est distribuée sur plusieurs modes de fréquences différents. Comme avec une note de musique, cette répartition joue un rôle crucial dans la manière dont le photon interagit avec son environnement, et notamment avec les champs électriques.
En d’autres termes, cette image ne représente pas une forme physique que l’on pourrait toucher ou observer au microscope. La « forme » en question est en fait une carte de la distribution de l’énergie véhiculée par le photon sur différentes fréquences du spectre électromagnétique ; c’est une manière de représenter visuellement le résultat des interactions entre le photon et la matière qui sont décrites dans le modèle des chercheurs (voir plus haut).
Quoi qu’il en soit, il s’agit tout de même du premier portrait d’un photon. Et même s’il ne s’agit que d’une représentation abstraite, il sera très intéressant de garder un œil sur les travaux ultérieurs qui se serviront de ce nouveau cadre théorique pour faire avancer des disciplines fascinantes telles que la physique quantique.