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—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

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Juuichimen Kannon　十一面観音

Sk: Ekadasamukha. Eleven-headed Kannon; a form of *Kannon 観音 with eleven miniature faces around the top of his head. One of the Six Kannon *Roku Kannon 六観音 and responsible for the human realm. In painting and sculpture, Juuichimen Kannon may be shown seated or standing, but standing images are more common, especially in sculpture. The deity usually is shown with two arms, although sometimes with four. When two armed, he usually carries a water jar with a lotus in his left hand which makes a mudra of the absence of fear *semui-in 施無畏印, and with his right hand makes the mudra of the granting of wishes *yogan-in 与願印. The number of faces is usually eleven, though this number may or may not include the main face of the image (thus making the total number eleven or twelve). A form with nine faces, Kumen Kannon 九面観音 also exists (ex. 8c *danzou 檀像 in Houryuuji 法隆寺). The placement of the heads varies. Bodhisattva heads bosatsumen 菩薩面 are situated in either one or two tiers with the head of a Buddha butsumen 仏面 at the top. The faces of the bodhisattvas usually include three benign faces jihimen 慈悲面, three angry faces shinnumen 瞋怒面, three plain faces with fangs kugejoushutsumen 狗牙上出面; also known as gejoushutsumen 牙上出面 and, at the back, a laughing face daishoumen 大笑面; also known as bouaku daishoumen 暴悪大笑面, daibakushoumen 大爆笑面. A small standing image of *Amida 阿弥陀, referred to as a *kebutsu 化仏, may be added in front of his crown as well.

There are different theories to account for the meaning of Juuichimen's multiple heads. On a folk level, there is a story that his head split into many because of his worry over sentient beings. On a higher level, he removes the eleven impediments of sentient beings. The positioning of the heads clearly indicates, that the elevated head of the Buddha rises above the others and iconography evokes the ten stages of the bodhisattva path, with the Buddha as the final result. The encapsulation of these processes into one image shows the presence of all within the bodhisattva, and suggests the fully enlightened bodhisattva as the ideal.

The origin of the iconography is unclear, but in India, multi-headed, multi-armed figures were used by the 7c to express the complex religious truths and practices of Buddhism. Although few examples are extant in India, a sculpted 7-8c image of Juuichimen Kannon with four arms in the cave #41 at Kanheri is well-known. In China, Juuichimen was commonly portrayed from the early Tang dynasty (early 7c), and the extant examples are found in paintings in Dunhuang 敦煌 (Jp: Tonkou caves #321 and #334) as well as in bronze and stone sculptures. In Japan, belief in the power of Juuichimen Kannon is recorded from the mid 7c, and the deity was propitiated especially for aid in convalescense from illnesses. Sculptural and painted images were common in the Nara period (8c) and became extremely popular in the Heian period (9-12c). There are numerous extant examples, many of fine quality, such as a painted image on the walls of the *Kondou 金堂 (late 7c) in Houryuuji 法隆寺, Nara (burnt down in 1949). Devotion centered upon the practice of group confessions before an image of the deity, the most famous of which was the shuni-e 修二会 ceremony of the *Nigatsudou 二月堂 in Toudaiji 東大寺, Nara (commonly known as omizutori お水取り), which began in 752 and continues to the present day. In Esoteric Buddhism ｍikkyou 密教, Juuichimen appears in the *Taizoukai mandara 胎蔵界曼荼羅. In Shinto art *Shintou bijutsu 神道美術, Juuichimen　Kannon is a common choice as the *honjibutsu 本地仏 (Buddhist counterpart) of female Shinto deities *kami 神 and is one of the two most common choices as honjibutsu of the Sun Goddess Amaterasu Oomikami 天照大神 (the other being *Dainichi 大日). Juuichimen Kannon may be painted; 1) alone, as in the large Kamakura period (14c) painting held by Shidoji 志度寺 in Kagawa prefecture; 2) in his paradise *Fudaraku 補陀洛 (on a rock in the ocean) often accompained by Zenzai Douji 善財童子; or 3) in a setting like that of the large panel painting in Kaijuusenji 海住山寺, Kyoto, in which the deity descends from his paradise across the sea to welcome the deceased, *raigou 来迎, accompanied by the 25 bodhisattvas. In addition, the fame of distinct sculptural images of Juuichimen Kannon also lead their being the subject of paintings. One such example is the principal image of Hasedera 長谷寺 in Nara, which as a special feature holds a pewter staff *shakujou 錫杖 in its right hand and a lotus in a vase in its left. This very large image stands on a smooth, flat stone uncovered in a landslide, (instead of the lotus pedestal *rengeza 蓮華座, on which the deity first appeared). The story of the making of the image appears in the illustrated history of the temple *shaji engi-e 社寺縁起絵.

hoodlem - tachinni by Pтιтɴoυrѕ Alтer

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Tachinni - Inna lace set

Hoodlem - Yosemite Tattoo

NEW ATTITUDE

invisiblepainting-brush-PaulJaisini-homage-art-series-2014-yellow-blue by Ellen Yustas Kotz-Gottlieb

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bestpauljaisini.blogspot.com/2015/01/muse-gif-1.html The art conundrum; the disconnect between society and art establishment

Celebrity art dealers artists and art collectors have become superstars of such caliber F. Scott Fitzgerald would’t imagine in a wildest Great Gatsby's wet dream.

The breathtaking fables of high-flying multi-million art deals inspire the sensational and entertaining articles to be written by the writers who could barely earn a living nowadays. How many people, however, actually become the art lovers learning about the adventures of the glitzy art stars? None.

The art world is a lonely Narcissus that admires the own reflection. But desperately wants the public affection and attention unwilling to admit the need of new source for awe. Or how many art critics made a serious attempt to explain in written word the post post-modern art scene?

What about the artists… is next thought that comes to mind. Maybe this whole problem of art turning into a very sexy fast-money exchange business is due the bad quality artists?

Even television tried to popularize art in the attempt to create a show who wants to be the next American top model I mean artist. But the public only grow less interested, more so, the public wants to take over the art franchise after the so-called digital revolution. Masses of people who could never touch a camera for variety of reasons now turn to photography. For instance, 300 million photographs are uploaded every minute to Facebook, The numbers have power the sheer grandiosity. And yet the art world tries to keep its cool. And more so, continues to be disconnected.

Which could be good or bad depending how one looks at it. Good in a sense of art preservation, not good for survival of the franchise. In most recent global social phenomenon there’s a new traits of human behavior that present a real threat to what is known as highly developed Western culture.

VelvetVue - SG - ASTRAL ESSENCE by Pтιтɴoυrѕ Alтer

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✰ Credit ✰

Skin : [ VelvetVue ] - Sammy Skin :: Fatpack (LeL EvoX) - Gothcore

ASTRAL ESSENCE - Nyxara Eyes - Gothcore

[SG] - Wabbit Gauge - Gothcore

NEW ATTITUDE

www.oxfam.org.uk/oxfam_in_action/where_we_work/russia.html

St. John the Evangelist Anglican Church, 36 Henderson Street, Elora, ON by Snuffy

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Excerpt from centrewellington.maps.arcgis.com/apps/Shortlist/index.htm...:

36 Henderson Street

The Parish of St. John the Evangelist was formed in 1830. The present church was opened in 1875. Besides being a place of worship for over 125 years, St. John’s has evolved into a community centre, and has been an incubator for many organizations. It has been a community meeting place for such diverse groups as the Girl Guides, Canada World Youth, the Elora-Salem Horticultural Society and Alcoholics Anonymous. St. John’s-Kilmarnock School, the amalgamation of St. John’s College and St. Margaret’s Schools, which were founded in Elora, still have close ties with the church. Well known for its music, St. John’s was the birthplace of the Elora Festival in 1979. The Festival and its Singers hold concerts in the church throughout the year. In recent years a strong bond has developed with Portage, an organization offering a drug free therapeutic rehabilitation program for juveniles. Students at Portage serve at church services and a number of members of the parish do volunteer work at Portage. St. John’s is the home of the famous communion set reportedly donated by Florence Nightingale to her cousin and reputed lover, John Smithurst, Rector of the church from 1852-1857. The building is an excellent example of Victorian Gothic Revival architecture. Hallmarks of the Gothic Revival style in St. John’s include buttresses, vaulted arches, steeply pitched gable roofs, elaborate cast iron ornaments such as rooftop cresting and pointed arch windows. The polychrome colour scheme of red and yellow brick buttresses and external woodwork are all features of Gothic Revival architecture. The church was designed by Henry Langley (1836-1907) an architect with extensive experience in church design. Langley was responsible for the design of the Metropolitan Methodist, Jarvis Street Baptist, and St. Andrew’s Presbyterian (now United) churches in Toronto. Year Built: 1875

GIVES ME A SMILE ! - by mario dsn 45

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JOSE' LUIS PERALES - QUE CANTEN LOS NINOS

youtu.be/p-3cwO4BbGA

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LA LOTTA DELLE MADRI DEL CORNO D'AFRICA .

Namanakwee Ngamor

Ho sempre creduto che sotterrare un figlio o una figlia sia la più traumatica esperienza che possa accadere a una madre, in quanto è una violazione dell’ordine naturale della vita. Ma se, nel peggiore dei casi, tuo figlio muore perché non sei in grado di fornirgli il cibo, il tuo dolore è aggravato per non essere in grado di rispondere all’istinto materno basilare: nutrirlo.

Ecco perché, quando Namanakwee Ngamor mi confida che meno di un mese fa suo figlio è morto di fame, nei suoi occhi affranti ho letto molto più che semplice dolore. “Mio figlio aveva cinque anni. Non abbiamo mangiato per intere settimane, ma lui non ce l’ha fatta a sopravvivere”, spiega la donna, mentre tiene in mano un sacco vuoto che utilizzerà per raccogliere la propria porzione di cibo distribuita oggi da Oxfam a Kanukurdio.

Questo piccolo villaggio nel nord del Kenya, è solo uno dei tanti colpiti dalla grave crisi alimentare del Corno d’Africa che minaccia più di 12 milioni di persone nella regione.

La fame non perdona, sta addosso ai più deboli, uccidendo soprattutto vecchi e bambini, ma è talmente devastante che colpisce anche gli adulti.

Le madri, dopo anni di avversità, hanno i corpi fragili e sono sempre più deboli: potrebbero soccombere da un momento all’altro.

Mary Nsaniana ha da poco seppellito sua figlia, madre dei suoi nipoti, morta a seguito di una malattia che, secondo la sua saggezza di donna cinquantenne, era dovuta al perdurare costante di fame e sete. La fame e la sete, infatti, sono due fattori che violano il naturale ordine della vita.

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La popolazione locale non può comprendere le ragioni di questa siccità, il perché non piova da oltre cinque anni e nemmeno dove possano trovare la forza per andare avanti dopo aver perduto circa il 60% del loro bestiame. Le loro capre, le pecore, il bestiame, e anche i loro cammelli stanno morendo. E con la loro scomparsa sta venendo meno la loro unica fonte di reddito. “Nel momento in cui gli animali muoiono, capiamo che le persone seguiranno lo stesso destino ”, afferma Mary con un’espressione che tradisce un sentimento di rabbia e disperazione.

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Un sentimento di disperazione, ma anche una determinazione a cercare un’alternativa alla morte. “Abbiamo bisogno di grano, così possiamo preparare le pappe per i nostri bambini prima che sia troppo tardi”, esclama Aite Eknba mentre tenta di sorreggere le sue bimbe, Apùa e Evei, i cui piccoli corpi stanno cedendo al tremendo peso della fame.

Dopo tre settimane in cui l’unico alimento a disposizione dei bambini è stato l’ edapal, uno dei frutti selvatici che cresce nella regione, i piccoli sono talmente deboli che per molto tempo non potranno digerire cibo solido. Nel caso in cui le madri non trovino al più presto del cibo appropriato per nutrirli, un’altra violazione dell’ordine naturale della vita minaccerà anche il villaggio di Nakimnet, dove più di 4.400 persone dipendono totalmente dagli aiuti umanitari.

In questo villaggio già sono stati seppelliti quattro bambini, vittime della fame e altri 626 stanno soffrendo a causa della malnutrizione. È impossibile misurare il sentimento di impotenza di queste madri, che sono obbligate ad aspettare per giorni gli aiuti umanitari per poter sfamare i propri figli.

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Aite, Mary e Namanakwee sono solo tre delle migliaia di madri della regione che non hanno niente da mangiare e tantomeno hanno cibo da dare ai propri figli. I loro mariti, che una volta erano fieri pastori nomadi, oggi possono solo aspettare che cada finalmente la pioggia di cui hanno disperato bisogno.

La carenza di pascoli e i conflitti etnici che hanno colpito alcune aree al confine della regione un tempo fertili, sottopone i villaggi ad un virtuale stato di assedio, obbligando le persone a restare in questa drammatica attesa.

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Tuttavia, per molte di queste donne, la sosta obbligata è stata l’occasione per prendere delle iniziative. Nel villaggio di Mila Matatu, ho parlato con Alice Atabo, l’agente designata da Oxfam per favorire la distribuzione del cibo. Questa donna intraprendente si è occupata di metter su un piccolo negozio di alimentari e può così aiutare la comunità a rifornirsi di cibo.

“Tutto cominciò quando decisi di investire una piccola somma, che Oxfam mi aveva donato, perché partecipai a un progetto che prevedeva dei finanziamenti per avviare attività. Io comprai prodotti come latte, farina e zucchero. Non appena le persone vennero a sapere del mio negozio, iniziarono a comprare gli alimenti basilari da me. Nel corso del tempo”, spiega Alice, “sono stata in grado di rientrare economicamente con le spese e anche di fare richiesta di un ulteriore credito per espandere la mia attività. Inoltre, mi venne data una parte di cibo da distribuire gratuitamente alle famiglie più bisognose che venivano a prenderlo nel mio negozio”.

“Oggi il cibo arriva dal centro di distribuzione e le persone, che possiedono dei buoni d’acquisto, sono impazienti di comprarlo, perché scarseggia e sta per finire”, afferma la donna mentre tiene in braccio il più piccolo dei suoi otto figli, un bimbo sorridente che, mentre la madre parla, gioca con la sua collana.

Alice è consapevole di essere una madre fortunata, perché ha abbastanza cibo per nutrire i suoi bambini.

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Con i fondi raccolti, Oxfam Italia porterà alle popolazioni del sud dell’Etiopia cibo, acqua e servizi igienici, e creerà posti di lavoro retribuiti (programma cash for work) per far ripartire l’economia locale. L’Etiopia è uno dei paesi più colpiti dalla crisi. Con il suo intervento Oxfam assisterà circa 15mila persone e 750 famiglie.

“In questo momento il Corno d’Africa è la priorità assoluta. Basti pensare che con tutta probabilità le Nazioni Unite dichiareranno lo stato di carestia in tutta la Somalia.

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ESPANOL

La lucha de una madre en el Cuerno de África

10 Agosto, 2011| Blog channel: Conflicto y Desastres

Siempre he pensado que enterrar a un hijo es la experiencia más traumática que puede ocurrirle a una madre, una alteración del orden natural de la vida. Pero si además, tu hijo muere porque no has podido alimentarle, a ese dolor se añade la impotencia de no haber podido responder al más básico de los instintos maternales: nutrir a los hijos.

Por ello, cuando Namanakwee Ngamor, me cuenta que hace menos de un mes el hambre mató a su hijo, sus ojos abatidos expresan más que dolor. “Mi hijo tenía 5 años. Estaba cada vez más débil y yo no tenía nada más para darle qué frutos silvestres. Llevábamos semanas sin comer y mi hijo no pudo aguantar”, explica la mujer mientras sostiene entres sus manos un saco vacío, que utilizará para recoger la parte que le corresponde de la distribución de alimentos que hoy está realizando Oxfam en Kanukurdio. Esta aldea del norte de Kenia, es una más de las afectada por la grave crisis alimentaria en el Cuerno de África, que amenaza a más de 15 millones de personas en la región.

Namanakwee Ngamor, instalada en Kanukurdio, en el norte de Kenia, ha perdido a su hijo de 5 años. Foto: Irina Fuhrmann /Oxfam

El hambre se mece lentamente sobre los más débiles, adormeciendo primero a los niños y a los ancianos, pero sus estragos empiezan a alcanzar también a los adultos. Las madres, con sus cuerpos ya frágiles por años de penuria, se están debilitando cada vez más y en cualquier momento ellas también pueden caer. Mary Nsaniana enterró hace poco a su hija, la madre de sus dos nietos, tras una enfermedad que según la experiencia de esta mujer de 50 años, fue una acumulación de hambre y sed. Hambre y sed que alteran el orden natural de la vida.

Tampoco los habitantes de la zona comprenden por qué hay sequia, por qué ya hace más de cinco años que no llueve ni cómo van a poder seguir adelante cuando han perdido cerca del 60% de su ganado. Las cabras, ovejas, vacas, e incluso ahora los camellos, se están desvaneciendo y con ellos su única fuente de ingresos. “Cuando mueren los animales sabemos que los siguientes somos nosotros, los humanos”, explica Mary, con ademanes que muestran el enojo de su desesperanza.

Desesperanza y urgencia para que no mueran más personas. “Necesitamos cereales para poder darles papilla a los niños, antes de que sea demasiado tarde” clama Aite Eknoba, tratando de sostener erguidos a sus dos hijos, Apúa y Evei, cuyos cuerpecitos se doblegan ante la fuerza del hambre. Tras haber pasado tres semanas comiendo edapal, uno de los frutos silvestres que se encuentra en la zona, los niños están tan débiles que ya no retienen ningún alimento sólido. Si su madre no encuentra algo adecuado para alimentarles rápidamente, otra nueva alteración del orden natural de la vida se cernirá sobre Nakinomet, una aldea dónde más de 4.400 personas dependen totalmente de la ayuda humanitaria.

Esta comunidad ya ha enterrado a cuatro niños víctimas del hambre y otros 626 sufren desnutrición. Según las recientes evaluaciones que se han llevado a cabo en la región de Turkana, 37 niños de cada 100 muestran signos de desnutrición. Lo que no podemos medir todavía es el grado de impotencia de sus madres, obligadas a esperar que llegue la ayuda humanitaria para poder alimentar a sus hijos unos días más.

Aite, Mary y Namanakwee son sólo tres madres entre miles de mujeres afectadas en la región, que no tienen nada con qué alimentarse, ni ellas ni sus hijos. Sus maridos, antes orgullosos pastores trashumantes, sólo esperan que llegue la tan ansiada lluvia. La falta de pasto y el conflicto interétnico que afecta ciertas zonas de pastoreo fronterizas han sitiado a estas comunidades, obligándolas a permanecer en esta dramática espera.

Alice Atabo abrió una pequeña tienda de comestibles de su comunidad, Mila Matatu, en el norte de Kenia. Foto: Irina Fuhrmann /Oxfam

Sin embargo, para algunas de estas madres, la espera no carece de iniciativa. En Mila Matatu, otra aldea de la zona, me encuentro con Alice Atabo, la agente de intercambio designada por Oxfam para apoyar la distribución de alimentos. Esta emprendedora mujer ha hecho crecer una pequeña tienda de alimentación que provee a la comunidad. “Todo empezó cuando decidí invertir una pequeña cantidad, que me había dado Oxfam al participar en un proyecto al cash x work, en comprar productos como leche, harina, azúcar. Tan pronto supieron que en mi tienda podían abastecerse de lo básico, empezaron a venir de todos lados. Y con el tiempo, pude volver a pedir otro crédito y ampliar mi aprovisionamiento. Ahora además, recepciono los alimentos de la distribución gratuita y las familias más necesitadas vienen a recogerlos a mi tienda” explica Alice.

“Hoy han llegado los alimentos de la distribución y la gente ya está impaciente con sus tarjetas de intercambio preparadas, pues ya no les queda nada para comer”, nos explica mientras sostiene en sus brazos al último de sus ocho hijos, un bebé sonriente que juega con los collares de su madre. Alice sabe que es una madre afortunada pues tiene con qué nutrir a sus hijos.

Oxfam interviene en la región del norte de Kenia, distribuyendo alimentos a más de 200.000 personas. La organización trabaja desde hace años con las comunidades de pastores, apoyando la habilitación de puntos de agua, interviniendo con programas de dinero a cambio de trabajo y acompañando en el desarrollo de nuevos medios de vida alternativos para las comunidades de pastoralistas.

Más información

Crisis alimentaria en el Cuerno de África

Apoya el trabajo de Oxfam: Haz un donativo

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FRANCAIS

Le combat quotidien des mères dans la Corne de l'Afrique

15 Août, 2011| Blog channel: Conflits et Urgences

Devoir enterrer son enfant m'a toujours semblé être l'expérience la plus traumatisante que pouvait vivre une mère, une sorte de bouleversement de l'ordre naturel de la vie. Mais si en plus, cet enfant meurt car vous n'avez pas été en mesure de le nourrir, alors vient s'ajouter à la douleur de la perte d'un enfant celle de ne pas avoir pu répondre à un des instincts maternels primaires : celui de nourrir ses enfants.

Namanakwee Ngamor, installée à Kanukurdio, au nord du Kenya, a perdu son fils, âgé de 5 ans. Photo : Irina Fuhrmann /Oxfam

Quand Namanakwee Ngamor m'explique comment, il y a moins d'un mois, elle a perdu son fils, mort de faim, ses yeux trahissent bien plus que de la douleur. "Mon fils avait 5 ans. Il était de plus en plus faible, et je n'avais rien d'autre à lui donner que des baies. Nous sommes restés des semaines sans manger et il n'avait plus assez d'énergie pour se tenir debout", m'explique-t-elle, en tenant dans ses mains le sac vide qui lui servira à garder la ration distribuée plus tard par Oxfam à Kanukurdio. Cette zone du nord du Kenya est une des plus gravement touchées par la crise dans la Corne de l'Afrique, qui menace à terme plus de 15 millions de personnes.

La faim s'installe lentement parmi les populations les plus faibles, frappant en priorité les enfants et les personnes âgées, mais ses effets sont également de plus en plus visibles chez les adultes. Les mères, dont les corps ont déjà été éprouvés par des années de pénuries, sont très affaiblies et peuvent succomber à tout moment. Mary Nsaniana a enterré il y a peu sa fille, la mère de ses deux petits-enfants, morte de complications qui, selon cette femme de 50 ans, sont consécutives à la faim et la soif persistantes. Cette faim et cette soif qui bouleverse l'ordre naturel de la vie.

Les habitants de ces régions ne savent pas non plus d'où vient cette sécheresse, pourquoi il n'a pas plu suffisamment depuis cinq ans, ni comment ils vont pourvoir continuer à vivre en ayant perdu presque 60% de leurs réserves de grain. Chèvres, moutons, vaches et maintenant également les chameaux périssent lentement, et avec eux l'unique source de revenus des populations. "Quand les animaux commencent à mourir, nous savons que nous, les humains, sommes les suivants", explique Mary, désespérée.

Il est urgent d'intervenir, pour éviter que davantage de personnes ne perdent la vie. "Nous avons besoin de céréales, pour préparer des bouillies pour les enfants, avant qu'il ne soit trop tard", demande Aite Eknoba, tout en essayant de maintenir debout ses deux enfants, Apúa et Evei, dont les petits corps sont meurtris par la faim. Après avoir mangé de l'edapal, une baie locale, pendant trois semaines, les enfants étaient tellement faibles qu'ils n'arrivaient plus à digérer des aliments solides. Si leur mère ne trouve pas rapidement de quoi les nourrir, l'ordre naturel de la vie sera une nouvelle fois bouleversé à Nakinomet, où 4 400 personnes dépendent entièrement de l'aide humanitaire.

Cette communauté a déjà dû enterrer quatre enfants des suites de la famine, et 626 autres souffrent de malnutrition. Selon des évaluations récentes effectuées dans la région de Turkana, 37% des enfants sont sous-alimentés. Il est à l'heure actuelle encore impossible d'évaluer ce taux chez les mères, obligées d'attendre l'arrivée de l'aide humanitaire pour pouvoir nourrir leurs enfants un jour de plus.

Alice Atabo a ouvert un petit magasin d'alimentation pour sa communauté, à Mila Matatu, au nord du Kenya. Photo : Irina Fuhrmann /Oxfam

Aite, Mary et Namanakwee ne sont que trois des milliers de femmes touchées par la crise et qui ne trouvent plus de quoi s'alimenter, ni pour elles, ni pour leurs enfants. Leurs maris, de fiers bergers itinérants, en sont réduits à attendre l'arrivée tant espérée de la pluie. Le manque de pâturages et le conflit ethnique qui touche certaines zones de la région ont coincé ici ces communautés, les obligeant à poursuivre cette attente dramatique.

Cependant, pour certaines de ces mères, l'attente n'exclut pas la prise d'initiatives. À Mila Matatu, une autre zone de la région affectée, j'ai rencontré Alice Atabo, désignée par Oxfam comme agente de liaison pour aider à la distribution de nourriture. Cette femme entreprenante a mis en place un petit magasin d'alimentation pour la communauté. "Tout a commencé quand j'ai décidé d'investir une petite partie de l'argent reçu par Oxfam dans le cadre d'un projet 'argent-contre-travail' pour acheter des produits comme du lait, du sucre et de la farine. Dès que le bruit s'est répandu qu'on pouvait trouver des produits dans mon échoppe, les gens ont commencé à affluer. Peu de temps après, j'ai pu demander un autre crédit et ainsi remplir mon magasin. Je reçois également les rations alimentaires des familles les plus faibles, qui peuvent ensuite venir les retirer chez moi", explique Alice.

"La distribution de nourriture a eu lieu aujourd'hui, et les gens attendent avec impatience, leur carte d'approvisionnement à la main, car il ne leur reste plus rien à manger,", nous raconte-t-elle en tenant à la main le dernier de ses huit enfants, un bébé souriant qui joue avec les colliers de sa mère. Alice sait qu'elle a de la chance, car elle possède de quoi nourrir ses enfants.

Oxfam intervient dans la région du nord du Kenya en distribuant des produits alimentaires pour 200 000 personnes. L'organisation travaille depuis des années avec les communautés pastorales, en appuyant l'installation de points d'eau, en mettant en place des programmes "argent-contre-travail" et en les accompagnant dans le développement de moyens de subsistance alternatifs.

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MEDJUGORIE -

WEB MULTILINGUAL SITE - www.medjugorje.ws/

L'ULTIMO MESSAGGIO DEL 25 SETTEMBRE 2011

Quote of the day ( 25 settembre 2011 )

"Cari figli, Oggi, figlioli, vi invito, ad essere con Gesù attraverso la preghiera, per poter scoprire la bellezza delle creature di Dio tramite l'esperienza personale nella preghiera. Non potete parlare né testimoniare della preghiera se non pregate, perciò, figlioli, nel silenzio del cuore rimanete con Gesù, perché Lui vi cambi e vi trasformi con il Suo Amore."

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IL SANTO DEL GIORNO

OGGI MARTEDI' 26 SETTEMBRE - .S. VINCENZO DE PAOLI .

Cosma e Damiano, medici anàrgiri (gratuiti), secondo un'antica tradizione subirono il martirio a Ciro in Siria e il loro culto fu assai diffuso in tutta la Chiesa fin dal sec. IV. Il 26 settembre è la probabile data della dedicazione della basilica che a Roma porta il loro nome, edificata da Felice IV (525-530). Di loro si fa memoria nel Canone romano

youtu.be/VZOssXaTt4w

LITURGIA DEL GIORNO

www.chiesacattolica.it/cci2009/chiesa_cattolica_italiana/...

Littlepaw by Pтιтɴoυrѕ Alтer

253 6

Littlepaws - Tory Jumper

NEW ATTITUDE

Dead Dolls - Midori's - VelvetVue by Pтιтɴoυrѕ Alтer

184 9

✰ Credit ✰

Skin : Midori's - Laisa Skin - EVOX - Gothcore

[ VelvetVue ] - Sanguinia Eyes - Gothcore

Dead Dolls - Dark Reflections EvoX 4KHD - Gothcore

NEW ATTITUDE

# #cozy #decor #art #fashion #style #portrait #homedecor #aesthetic #creative #lifestyle #photography #model #fashionphotography #design #mood #vibrant #people #Event #DeadDolls #Midori's #Gothcore #Skin #Tattoo #VelevetVue

ADD - MV Tattoo by Pтιтɴoυrѕ Alтer

242 9

MV TATTOO - Guise (Dark) Tattoo

[ADD] - Arisa Set - Cosmopolitain (June 23/ 2024)

NEW ATTITUDE

Gaset by Pтιтɴoυrѕ Alтer

205 7

For Her

GASET & "CATARSIS" - Chihiro Set - Level Event

For Him

GASET - Nil Set - TMD

NEW ATTITUDE

'Pâquerette' Large On Black

Pâquerette by Christine Lebrasseur

36 68

à Ludivine...

"Tandis qu'à leurs oeuvres perverses

Les hommes courent haletants,

Mars qui rit, malgré les averses,

Prépare en secret le printemps.

Pour les petites pâquerettes,

Sournoisement lorsque tout dort,

Il repasse des collerettes

Et cisèle des boutons d'or."

[Théophile GAUTIER] - Premier sourire du printemps

La petite

Marguerite

Est tombée

Singulière

Du bréviaire

De l'abbé

Trois pétales
De scandale
Sur l'autel
Indiscrète
Pâquerette
D'où vient-ell'

Dans l'enceinte
Sacro-sainte
Quel émoi
Quelle affaire
Oui, ma chère
Croyez-moi

La frivole
Fleur qui vole
Arrive en
Contrebande
Des plat's-bandes
Du couvent

Notre Père
Qui, j'espère
Etes aux cieux
N'ayez cure
Des murmures
Malicieux

La légère
Fleur, peuchère
Ne vient pas
De nonnettes
De cornettes
En sabbat

Sachez, diantre
Qu'un jour, entre
Deux ave
Sur la pierre
D'un calvaire
Il l'a trouvée

Et l'a mise
Chose admise
Par le ciel
Sans ambages
Dans les pages
Du missel

Que ces messes
Basses cessent
Je vous en prie
Non, le prêtre
N'est pas traître
A Marie

Que personne
Ne soupçonne
Puis jamais
La petite
Marguerite
Ah ! ça mais...

Georges Brassens

Friendly gifted by Colombes...

Silver and Black... by Assay Rez

a-world-in-a-grain-of-sand-sl.blogspot.com/2015/01/silver...

Addams - Fashiowl poses by Pтιтɴoυrѕ Alтer

267 10

✰ Credit ✰

Pose : Addams - Maria Outfit

Pose : Fashiowl - Halloween Night Pose

NEW ATTITUDE

Meva by Pтιтɴoυrѕ Alтer

204 4

Meva - Brandy set

NEW ATTITUDE

Cazimi - Petrichor by Pтιтɴoυrѕ Alтer

257 8

✰ Credit ✰

Cazimi - Verge Eyeshadow

Petrichor - Kheris Set - Fantasy Faire 2024

NEW ATTITUDE

Wassup... by sonya chanel

credits: gridstunner.blogspot.com.au/2014/03/wassup.html

JXL - Niawi by Pтιтɴoυrѕ Alтer

197 3

Niawi - Cheeky Papernote - Fetish Fair

JXL - OUTFIT 20 - Fetish Fair

NEW ATTITUDE

Elementtare - Kaithleen's - Hoodlhem by Pтιтɴoυrѕ Alтer

252 16

✰ Credit ✰

For Her

Kaithleen's - Beach Bar Outfit

Hoodlem - Vlone Tattoo

For Him

[Elementtare] - BCalif T-Shirt

[Elementtare] - BCalif Shorts

NEW ATTITUDE

Loa - Codex - Aura de la luna - by Pтιтɴoυrѕ Alтer

234 12

✰ Credit ✰

::Loa:: - April Brows ~LeLutka EVO X~ [BOM]

Aura De La Luna - Eyeshadow #14 - DollHolic Event

Aura De La Luna - Animation Cross Earring - Gothcore

CODEX - Marzia necklace - Kinky Event

NEW ATTITUDE

Research at the Danish Parliament Christiansborg for COPENHAGEN ULTRACONTEMPORARY BIENNALE with the ART DELEGATION by Thierry Geoffroy / Colonel : Artist

researches for COPENHAGEN ULTRACONTEMPORARY BIENNALE

copenhagenbiennale.org/

-------

a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---

check date and place here www.facebook.com/CopenhagenBiennale

COPENHAGEN ULTRACONTEMPORARY BIENNALE

main : copenhagenbiennale.org/

www.facebook.com/CopenhagenBiennale

www.frontiersreimagined.org

www.emergencyrooms.org/

meanwhile during Venice Biennale contemporary art will be shown by

ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe

ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane

AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo

AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo

ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto

BALOJI, Sammy BARBA, Rosa

BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra

BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian

BONVICINI, Monica BOYCE, Sonia

BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania

BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei

CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany

COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT

DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene

E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun

EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily

FRIEDL, Peter FUSCO, Coco FUSINATO, Marco

GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora

GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina

GULF LABOR GURSKY, Andreas HAACKE, Hans

HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay

HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert

IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya

JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung

KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David

LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim

MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris

MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve

MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar

MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf

OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian

PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE

(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili

RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa

SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi

SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael

SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW

TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala

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

www.vitraria.com

www.inversomundus.com

Catalonia in Venice: Singularity

Cantieri Navali, Castello, 40 (Calle Quintavalle)

May 9th - November 22nd

Organization: Institut Ramon Llull

www.llull.cat

venezia2015.llull.cat

Conversion. Recycle Group

Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)

May 6th - October 31st

Organization: Moscow Museum of Modern Art

www.mmoma.ru/

Dansaekhwa

Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)

May 7th – August 15th

Organization: The Boghossian Foundation

www.villaempain.com

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

www.em15venice.co.uk

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

www.bioarchitettura.it

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

www.hermitagemuseum.org

Graham Fagen: Scotland + Venice 2015

Palazzo Fontana, Cannaregio, 3829 (Strada Nova)

May 9th - November 22nd

Organization: Scotland + Venice

www.scotlandandvenice.com

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

www.unive.it/csar

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

www.walesinvenice.org.uk

Highway to Hell

Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)

May 9th - November 22nd

Organization: Hubei Museum of Art

www.hbmoa.com

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

www.himalayasmuseum.org

In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia

Dorsoduro, 417 (Zattere)

May 6th - November 15th

Organization: ArsCulture

www.arsculture.org/

www.eyeofthunderstorm.com

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.i-amfoundation.org

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

www.praglia.it

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

www.writtenartfoundation.com

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

www.gujralfoundation.org

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

www.iacm.gov.mo

www.mam.gov.mo

www.icm.gov.mo

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

www.prohelvetia.ch

www.biennials.ch

Sean Scully: Land Sea

Palazzo Falier, San Marco, 2906

May 9th – November 22nd

Organization: Fondazione Volume!

www.fondazionevolume.com

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

www.sepphorisproject.org

Tesla Revisited

Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 18th

Organization: VITRARIA Glass + A Museum

www.vitraria.com/

The Bridges of Graffiti

Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)

May 9th - November 22nd

Organization: Associazione Culturale Inossidabile

www.inossidabileac.com

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

www.fundacio-artigas.com/

www.arsculture.org/

www.dialogueoffire.org

The Question of Beings

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)

www.mocataipei.org.tw

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)

www.vub.ac.be/

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

www.kunstmuseum.li

www.silverlining.li

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

www.arsculture.org/

The Union of Fire and Water

Palazzo Barbaro, San Marco, 2840

May 9th - November 22nd

Organization: YARAT Contemporary Art Organisation

www.yarat.az

www.bakuvenice2015.com

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

www.globalartcenter.org

www.gdmoa.org

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

www.westkowloon.hk/en/mplus

www.hkadc.org.hk

www.venicebiennale.hk

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

www.ysp.co.uk

We Must Risk Delight: Twenty Artists from Los Angeles

Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)

May 7th - November 22nd

Organization: bardoLA

www.bardoLA.org

Wu Tien-Chang: Never Say Goodbye

Palazzo delle Prigioni, Castello, 4209 (San Marco)

May 9th - November 22nd

Organization: Taipei Fine Arts Museum of Taiwan

www.tfam.museum

Xanadu

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Dream Amsterdam Foundation

www.dreamamsterdam.nl

www.nikunja.org/xanadu

Universities and Associations that have joined the project

Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna

Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena

Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale

Bice Curiger Massimiliano Gioni

A Parliament for a Biennale

Paolo Baratta, President of la Biennale di Venezia

Okwui Enwezor the ARENA Karl Marx’s Das Kapital

Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara

Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial

other Biennale :(Biennials ) :

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

Porcelain Prisons by Sarah Allegra

38 5

This image from my Glass Walls series has been a hard photo for me to get online because I have so, so much that I want to say about it. Not just say. Scream. Pound my fists against the wall (or on a deserving subject). The inspiration behind it enrages me so much, it makes it difficult to remain rational in my description.

That said, this image was inspired by the documentary Blackfish. You probably know what it's about, but for those who don't, it exposes the horrific abuse that goes on in SeaWorld and many, many other marine parks of the kind. Certainly, some may not be as bad as SeaWorld, but when it comes down to it, none of these animals should be in captivity. Especially the orcas.

Kidnapped from their mothers' sides as young calves. Forced to perform in order to eat. Kept in cramped tiny cages where orca-on-orca violence is rampant. Physically and psychologically tortured every single day. Artificially inseminated at very young ages, only to have their young ripped from them and sent to other parks. SeaWorld claims to be a place to celebrate these animals. The truth is, their tanks may as well be filled with the orcas' tears.

It's no wonder that after being kept in such conditions for years and years, many of them become psychotic. They snap and attack their trainers. They may kill their trainers or members of the public who get too close. Frequently, this destructive, hopelessness is turned inward. They bash their heads against the walls of their tanks and chew their teeth to nubs, driven mad in their tiny tanks. Some will have their teeth drilled out of their head - all of their teeth - without any anesthetic at all. Having been to the dentist for far less serious procedures, I can hardly imagine the excruciating pain.

Captive whales typically live about 8-20 years. In the wild, males usually live to about 50-70 and females can reach 80-100. We are essentially looking at human lifespans for these incredibly intelligent, sentient creatures. I suspect they welcome their extremely early deaths.

The size of the tanks they live in has been likened to a human living his whole life in a cage the size of a bathtub. Imagine it: at two, you're kidnapped by a different species, made to perform or you won't be fed, and every minute you're not performing, you're locked back into a cell which makes solitary confinement housing look spacious. How well adjusted would you be? Never mind the malnutrition, being forced to constantly pop out babies, the lack of any positive or natural stimuli. Even with the best of intentions, a marine park would never be able to replicate life in the wild for an orca. And SeaWorld has no intentions for anything other than increasing its bottom line.

To help address this atrocity which continues every day, I asked Travis to shove himself into a bathtub for me and photographed him on a ladder. Now imagine that that tub is virtually his entire world. He's spent years in there. Would you want to watch a show where he was forced to perform? If he started lashing out against his captors, would you blame him? If he tried to end his own life, would you be surprised?

I addressed SeaWorld a bit more directly in a blog post that you can read here. There's also a great article here to get you started on learning the truth behind the lies SeaWorld tells.

I often feel helpless about this problem. I can't physically break into a park and carry the whales out to sea by myself, one by one. And even if I could, the ones born into captivity usually can't make it in the wild anymore. But we can do something. Boycott them. Spread the word. Counter their lies with truth. SeaWorld's only care is profit, and if that dries up, they'll eventually do the right thing. They'll stop kidnapping whales. They'll stop their horribly incestuous breeding program. They'll let the poor whales who are left live out their days in a large, protected enclosure in the sea. It's not freedom, but they've taken that option away from these innocent beasts. It's their best chance at a good life.

Blackfish is widely available for viewing, including streaming on Netflix. I urge you to watch it if you have not yet seen it. But more than that, I ask, no, implore you; do not support SeaWorld or any other marine park with your money. When the money goes, so will they, and one incredible injustice in the world will finally stop.

Please feel free to share this image around online! The more people who know about the issues, the better for all!

Model: Travis Weinand

On a happier note, if you're in or near the LA area, please come by the Creative Arts Group Gallery in Sierra Madre (which is right next door to Pasadena)! They are showing eight of my prints, all from my DreamWorld series, including my latest piece for DreamWorld, A Poisoned Sleep Of Kissless Dreams, which crosses over into my Enchanted Sleep series on life with M.E.. In addition to the prints, they are displaying a number of costume pieces and props which I hand-made for the images being shown. This is how I've always envisioned DreamWorld being shown, with physical pieces of it alongside the final product. Very exciting!

There will be an opening reception on June 20th from 12-2 and I would LOVE it if you stopped by! It's always so nice to put faces to people you've only known online, and it will also help distract me from being nervous ;) If you can't make it to the reception, please do feel free to visit the gallery any other time the show is running! And if you're so inclined, telling the gallery staff that you're there to see my work would also be appreciated :)

Thanks, and I hope to see you there!!

*Prints and more prints

*Red Bubble

*Sarah Allegra Artistry

La canción cristiana más hermosa | Todos los hombres, venid a alabar a Dios by Conocer la Iglesia de Dios Todopoderoso

5 2

La canción cristiana más hermosa | Todos los hombres, venid a alabar a Dios

Un relámpago de Este a Oeste,

el Cristo de los últimos días, ha aparecido trabajando en China.

Su luz verdadera brilla más, la gente va a buscarlo.

Oh, ¡Dios Todopoderoso! Lleno de poder y de gloria.

Sus elegidos acuden a Su trono.

Dios aparece en el mundo para realizar Su obra.

Toda la humanidad, venid a alabarlo, oh reverenciarlo.

Escuchad Su voz, ved Su glorioso rostro, presenciad Sus actos.

Venid y adorad a Dios.

La palabra de Dios lo conquista y purifica todo.

Todo el mundo se inclina ante Dios Todopoderoso.

Sus elegidos acuden a Su trono.

Dios aparece en el mundo para realizar Su obra.

Toda la humanidad, venid a alabarlo, oh reverenciarlo.

Reverenciadlo. En toda Su gloria.

Enaltecedlo, porque Él lo merece.

Reverenciadlo. Siempre está para nosotros. Glorificadlo ahora.

III

Sed testigos de Sus obras. Su poder lo domina todo.

Alabad Su justicia, Su santidad y Su amor.

Nadie desea apartarse de la palabra de Dios.

La palabra de Dios difícil es de comprender,

pero trae alegría y luz.

Sus elegidos acuden a Su trono.

Dios aparece en el mundo para realizar Su obra.

Toda la humanidad, venid a alabarlo, oh, y a revernciarlo.

Dios aparece en el mundo para realizar Su obra.

Toda la humanidad, venid a alabarlo, oh, y a revernciarlo.

¡Venid a adorar a Dios! ¡Venid a adorar a Dios!

¡Aleluya!

De “Seguir al Cordero y cantar nuevos cánticos”

Ύμνος των λόγων του Θεού | Αληθινή προσευχή | Μάθετε πώς να προσευχόμαστε στον Θεό by Enxin Li

el.godfootsteps.org/videos/true-prayer-hymn.html

Εισαγωγή

Εκκλησιαστικοί ύμνοι

Ύμνος των λόγων του Θεού | Αληθινή προσευχή | Μάθετε πώς να προσευχόμαστε στον Θεό

Προσευχή αληθινή είναι να Του μιλάς από καρδιάς,

βασίζεται στην βούληση, στον λόγο Του.

Είναι να νιώθεις τόσο κοντά στον Θεό,

σαν να είναι μπροστά σου.

Σημαίνει πως έχεις τόσα να Του πεις,

η καρδιά σου σαν τον ήλιο λάμπει,

Νιώθεις έμπνευση απ’ το κάλλος του Θεού,

όσοι ακούν νιώθουν χαρά.

Η προσευχή η αληθινή θα φέρει ειρήνη, χαρά,

δύναμη να Τον αγαπήσεις,

και νιώθεις την αξία αυτού.

Κι όλα αυτά δηλώνουν προσευχή αληθινή.

Προσευχή αληθινή δεν είν’ οι τυπικότητες,

ούτε είναι απαγγελία απλή.

Δεν είναι το να αντιγράφεις τους άλλους.

Μίλα από καρδιάς, αγγίξου απ’ τον Θεό.

Οι προσευχές σου για να πιάσουν τόπο,

διάβασε τα λόγια του Θεού.

Και μόνο αν προσεύχεσαι με τα λόγια Του,

θα δεις τη φώτιση.

Ω ... ω ...

III

Η προσευχή δείχνεται με καρδιά

που λαχταρά ό,τι απαιτεί γι’ αυτήν ο Θεός.

Τη θέληση για να την εκπληρώσεις,

και το μίσος για τα μίση του Θεού.

Και σύμφωνα μ’ αυτά που ήδη ξέρεις,

όλες οι αλήθειες που λέει είναι σαφείς,

με πίστη ισχυρή, και δρόμο να ασκήσεις.

Μόνο αυτή η προσευχή είν’ αληθινή.

Ναι. Μόνο αυτή η προσευχή είν’ αληθινή.

Η προσευχή η αληθινή θα φέρει ειρήνη, χαρά,

δύναμη να Τον αγαπήσεις,

και νιώθεις την αξία αυτού.

Και όλα αυτά δηλώνουν προσευχή αληθινή,

αληθινή. Αληθινή.

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

Νοερά προσευχή

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

Όροι Χρήσης： el.godfootsteps.org/disclaimer.html

樓上的大金剛｜TOKYO by 里卡豆 Ricardo

18 1

SHIBUYA SKY拍攝地點

FaceBook｜Blogger ｜Instagram ｜500PX

You can licence images through My Getty image

All of My Reviews｜心得文：

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

Panasonic LEICA DG 8-18mm f/2.8-4 Review

A Five-Year Photographic Journey with the M4/3 Series.

Kaithleen's - Justice - RVN - Hoodlem by Pтιтɴoυrѕ Alтer

254 11

✰ Credit ✰

Kaithleen's - Golda Latex Top - Fameshed Event

Justice - Meadow Shorts

RVN - Take a note

Hoodlem - Bliss Tattoo

NEW ATTITUDE

Chewingum - Vixen - Knife Party - Mercurial by Pтιтɴoυrѕ Alтer

237 15

✰ Credit ✰

Chewingum - Joel Eyebrows Bom EvoX

Knife Party - Evening Eye Makeup // Evo X - TOKYO ZERO Event

: mercurial : - Muffet Piercings - TOKYO ZERO Event

Vixen - Holly Swallow Gauged S / XL - TOKYO ZERO Event

NEW ATTITUDE

maps.secondlife.com/secondlife/TWELVE/65/109/29

stick n poke dragon! html flowers is my new blog - follow it if yr down with me. by cougar flashy

36 4

ok so i basically have been posting like wild on my blog, but almost never here anymore, so if you like my shit follow my tumblr. i am posting up entire zines that are out of print now for you to view, free little ones i make to give away, all of my tattoos, free music, sometimes diary stuff, sometimes drunk or silly fashion and my life living with a chronic illness, cystic fibrosis. xo grant

htmlflowers.tumblr.com

II .347. || ⚜️ by Elijah J.Q.

43 3

FULL CREDITS

II . Featured Items. II

●TWELVE - Seren Outdoor Set - Megapack NOW @ their Mainstore

Pool house perfect for hosting the hottest and most chic gatherings this summer! ☀️🍸

✨ What’s included:

• Pool – 76LI (PBR & Legacy Textures)

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All items available individually or grab the full experience with the Megapack!

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TWELVE Mainstore:

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(4 Color Variations)(Black Version Shown in Picture)

CANARUN Mainstore: maps.secondlife.com/secondlife/Canarun/241/130/24

CANARUN Website: www.canarunsl.com/

●[Erfe Design] ROUND FOUNTAIN FATPACK 3 COLORS PACK NOW @ their Mainstore

(Black & White Round Fountain Shown in Picture)

Each Fountain is 25 LI

Fountain Water Sound

Realistic particle system

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Suitable for Non-PBR Viewers

Copy & modify

ERFE Design Marketplace:

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Erfe Design's socials:

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[Erfe Design] Mainstore: maps.secondlife.com/secondlife/ERFE/143/144/24

Aleutia - Masoom - Lush by Pтιтɴoυrѕ Alтer

185 8

LUSH - Kima Tattoo Bom - MP

[[Masoom]] - Denim Delight - Uber

Compatible with: Peach, Lara, Lara X, Waifu (Reborn), Waifu+Rolls, Juicy Rolls, Mounds (Reborn), Ebody Reborn, Kupra, Legacy, Legacy Perky

[Aleutia] - Boho Room Divider

NEW ATTITUDE

ru.godfootsteps.org/testimonies/what-is-the-rapture.html?...

Истина о восхищении by Анна Клепикова

Как и многие другие братья и сестры-христиане, я с нетерпением жду второго пришествия Господа Иисуса. Мы руководствуемся следующим отрывком из Библии: «Потом мы, оставшиеся в живых, вместе с ними восхищены будем на облаках в сретение Господу на воздухе, и так всегда с Господом будем» (1-е Фесс.). По этой причине мы неразумно смотрим на небеса в ожидании того дня, когда Иисус вернется и заберет нас на облака, чтобы мы могли быть с Господом. Однако, после стольких лет, уже появились четыре кровавые луны; землетрясения, голод, язвы и войны и всевозможные другие бедствия становятся все сильнее. Пророчества о втором пришествии Господа в основном сбылись. Однако мы до сих пор не увидели ни одного христианина восхищенным на небеса. Я не могу не думать: «Почему Господь не приходит, чтобы принять нас? Господь заслуживает доверия. Господь обещал, что Он приведет нас в Небесное Царство в последние дни. Обетование Господа, безусловно, совершится и исполнится. Я в этом ничуть не сомневаюсь. Однако, почему до сих пор мы так и не восхищены Господом на небеса? Может быть, что-то не так с нашим страстным желанием?»

…….

Подробнее:

Хороший христианский фильм | Послушайте голос Божий «СТОЮ У ДВЕРИ И СТУЧУ» Русская озвучка

Image Source: Церковь Всемогущего Бога

Solo i vincitori restano saldi nella tribolazione by Guando Andelei

Fonte dell'immagine: La Chiesa di Dio Onnipotente

Condizioni d'Uso: www.kingdomsalvation.org/it/disclaimer.html

Nell'Età del Regno, gli uomini saran resi completi, pienamente completi nell'Età del Regno. Quando l'opera di conquista sarà compiuta, essi saran sottoposti a raffinamento e tribolazione, quando la conquista sarà compiuta. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.

Durante questa tribolazione, l'uomo deve esser raffinato. l'ultima istanza dell'opera di Dio, l'ultima volta che l'uomo è raffinato prima che il lavoro di gestione di Dio venga chiuso. Chi Lo segue deve accettar questa prova. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.

III

Chi affronta la tribolazione non avrà la guida di Dio o l'opera dello Spirito. Ma il conquistato, cercando Dio, resterà in piedi. Non importa cosa Dio faccia, essi non perderan le loro visioni, ma praticheran la verità, portando testimonianza. Questi ce la faranno. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.

Oh, essi son coloro, coloro in possesso dell'umanità, che amano davvero Dio. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.

da "La Parola appare nella carne"

Fonte: www.kingdomsalvation.org/it/only-the-overcomers-stand-fir...

#817 by Orange Paradise

181 4

✿My BLOG ✿ orangeparadisemm.blogspot.com/2025/05/817.html

✿Primfeed✿ www.primfeed.com/orangeparadise.resident/posts/68f60462-b...

✿My Facebook✿

www.facebook.com/share/p/1AUbb3zmB4/

✿My Instagram✿ www.instagram.com/p/DKLBTV3IcPb/?igsh=MXVmaHZkZ2FwdnhtbA

✿My VK ✿ vk.com/id756646471?z=photo756646471_457241498%2F1e09265d8...

IMAGE:

Body: eBODY - REBORN

Head: LeLUTKA

_______________________________________

🍒OUTFIT:

ERROR Shop #error - miko set - The Warehouse Sale

🍒STOCKINGS:

-LP- Stockings ^ Melisa ^ -BOM V -LP- MP

🍒SHOES:

: CULT : Charley Access

🍒ACCESSORIES🍒

🍒CAP:

ERROR Shop #ERROR & [TYN] - Peggy Cap event "Anthology"

🍒BAT:

Bad Unicorn Carott Bat (includes hitting animation) Bad Unicorn MP

Apricot Chocolate cake by HyperBob

49 26

Food for thought

Vanilla Bae - Laconic - Loa by Pтιтɴoυrѕ Alтer

270 9

✰ Credit ✰

::Loa:: - Emma Skin

LACONIC - Both Baby Tattoo

Vanilla Bae - Camilia Top Blogger

NEW ATTITUDE

2022_14FebTHE AWARENESS MUSCLE HAS TO BE TRAINED EVERYDAY" CARTON by Thierry Geoffroy / Colonel : Artist

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

is the critical run

and other emergency art format

CRITICAL RUN / Debate Format

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

debate while running .

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

www.emergencyroomscanvas todo .org/criticalrun.html

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

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

a debate was necessary here and now.

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

----

Interesting publication for researches on running and art

www.emergencyrooms.org/criticalrun.html

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.

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Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:

Continuum, 2002.

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Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.

Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.

Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.

de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.

de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.

de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.

Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.

Descartes, René. Méditations metaphysiques. 1641.

Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.

Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.

Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.

Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.

Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.

Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.

Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.

James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.

Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.

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Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.

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Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.

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MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.

Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.

Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and

Company, 1895.

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Schuster, Inc., 1926, 1954.

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Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.

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University Press, 2013.

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Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.

Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig

Dworkin. Cambridge: MIT Press, 2006.

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Gegenwart. Bonn: Kunstmuseum Bonn, 2007.

Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André

Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.

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Writings. Cambridge: MIT Press, 2009.

Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,

Issue 2 (Fall 2013).

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spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

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Modernity. University Park, PA: The Pennsylvania State University, 2009.

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Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

----

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

----------

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

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

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

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

#biennalevenice

Institutional Critique

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

Culture, Collective History, Group of Portraits, Photographic Source

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

Personal Histories, Alter Egos and Avatars

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

—-

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

www.colonel.dk/

-----

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

,now art,copenhagen,denmark

Tachinni - Revienne by Pтιтɴoυrѕ Alтer

262 11

✰ Credit ✰

Tachinni - Molly set

Revienne - The Genevieve Handbag

NEW ATTITUDE

flowplayer.org/tools/release-notes/index.html

63 18

Explore #439 06/16/08

Linked by:

www.freelanceadvisor.co.uk/legal-advice/web-wednesday-hav...

pawst.com/post/285883-copyright-is-for-losers-on-flickr-p...

www.boothlucking.co.uk/social-media-intellectual-property...

bip.tumblr.com/post/47713473/oszo-copyright-is-for-losers...

www.slideshare.net/mweller/blogging-and-academic-identity

www.jiscdigitalmedia.ac.uk/blog/entry/new-copyright-and-d...

untrue.thomd.net/post/556733258/copyright-is-for-losers-b...

en.wikinoticia.com/Technology/general-technology/75916-mp...

meejalaw.com/2010/09/17/online-law-survey-mixed-feelings-...

www.bhagwad.com/blog/2009/technology/how-patents-stifle-g...

wissen.dradio.de/netzkommentar-die-folgen-des-perlentauch...

www.robblatt.com/random/owns-blog-comments/

owni.fr/2010/08/25/itw-soundcloud-et-les-creative-commons/

www.fechadevencimiento.com/2008/10/16/ley-de-propiedad-in...

www.nacionred.com/neutralidad-de-la-red/granadinos-por-el...

alt1040.com/2011/02/mpeg-la-anuncia-que-va-a-la-caza-de-s...

www.com3.es/2011/02/mpeg-la-anuncia-que-va-a-la-caza-de-s...

alt1040.com/2011/04/proveedores-internet-britanicos-pierd...

suravisos.com/mpeg-la-anuncia-que-va-a-la-caza-de-sus-pat...

www.noalcierredewebs.com/2010/04/granadinos-por-el-conoci...

vkontakte.ru/away.php?to=http://www.flickr.com/photos/917...

francoisguite.posterous.com/copyright-is-for-losers

mrtopp.tumblr.com/post/4891251606/copyright-is-for-losers...

www.torstenbeeck.com/post/5416972074/foto-copyright-is-fo...

mrjamie.cc/2011/05/31/nytimes-social-media/

www.snaphow.com/5600/find-royalty-free-stock-images-to-us...

sicrono.com/internet/cuando-los-derechos-de-autor-van-mal/

www.dipity.com/tickr/Flickr_copyrighted/

www.jetlaw.org/?p=6958&preview=true

tabaka.blogspot.com/2011/07/projet-de-loi-consommation-ii...

www.torstenbeeck.com/post/5416972074/foto-copyright-is-fo...

www.infoclio.ch/de/node/25506

www.le-pave.com/

artursikorski.natemat.pl/9025,panie-jobs-pan-tu-nie-stal

www.elephantjournal.com/2010/11/banksy-vs-tagging/

www.infoclio.ch/de/node/25506

www.mindoverflow.fr/injuste-propriete-intellectuelle/

www.frescodesayuno.com/2012/07/licencias.html

www.actualitte.com/international/un-auteur-virulent-pour-...

www.sender-fn.de/2013/01/creative-commons-freie-kultur-vo...

tambienespolitica.wordpress.com/2013/01/23/tambien-el-arte/

student.fiit.stuba.sk/~scepka08/copyright

Letis Tattoo - Vanilla Bae by Pтιтɴoυrѕ Alтer

282 5

✰ Credit ✰

Vanilla Bae - Presley Dress - Tres Chic Event

Letis Tattoo - :: Yalitza :: FULL19001 ::

NEW ATTITUDE

Ascent - Leven ink Tattoo - VelvetVue - Aura De La Luna - SickBoy by Pтιтɴoυrѕ Alтer

192 4

Unorthodox - Scalpz UNITS v2.4

Unorthodox - Brown Ponytail

ASCENT - Rim Eyebrow Piercings

[ VelvetVue ] - Unholy Scars :: Cross - Gothcore

[ VelvetVue ] - Holy Eyes - Gothcore

~SickBoy~ - Swallow XL03 Piercings - Gothcore

Aura De La Luna - Eyeshadow #24 - Gothcore

Leven Ink - Tenebrus Tattoo

NEW ATTITUDE

www.brainyquote.com/quotes/authors/m/mark_twain.html

Children of Abraham listen to your heart!_9642 by jaciii (off&on)

27 60

Night Blooming Cactus bloomed last night but is permanently closing up after sunrise

Mark Twain , USA Philosophizing Writer Quotes

Born November 30, 1835; Died April 21, 1910

It's no wonder that truth is stranger than fiction. Fiction has to make sense.

It's not the size of the dog in the fight, it's the size of the fight in the dog.

Kindness is the language which the deaf can hear and the blind can see.

Laws control the lesser man... Right conduct controls the greater one.

Let us live so that when we come to die even the undertaker will be sorry.

__________________________

Responding to an admirer today, I shared these secrets:

Appreciation much for your fine words.

With my two Point and Shot cameras (about $240 each), I am having a ball.

Having taken over 120,000 fotos, I have deleted many not so good.

I try to upload only the best in my eyes. Sometimes others agree.

My secrets::

1. take lots of same subject if you can from many different angles; and

2. use Google's free Picasa2 when you need to edit or crop, etc.

Be sure to maintain LIFE in good balance, for this Flickring can take up your whole day and night each 24 hours if you are not careful. GET BALANCE!

_____________________

On Her Detours CD (2008 AM Records)

Sheryl Crow sings of World Peace

Out of our Heads

Lyrics: Bill Bottrell/CrowMusic: Bottrell

If you feel you wanna fight me

There’s a chain around your mind

When something is holding you tightly

What is real is so hard to find

Losing babies to genocide

Oh where’s the meaning in that plight

Can’t you see that we’ve really bought into

Every word they proclaimed and every lie, oh

If we could only get out of our heads, out of our heads

And into our hearts

If we could only get out of our heads, out of our heads

And into our hearts

Someone’s feeding on your anger

Someone’s been whispering in your ear

You’ve seen his face before

We’ve bee played before

These aren’t the words you need to hear

Through the dawn of darkness blindly

You have blood upon your hands

All the words will treat you kindly

But only the heart can understand, oh understand

If we could only get out of our heads, out of our heads

And into our hearts

Children of Abraham lay down your fears, swallow your

tears and look to your heart

If we could only get out of our heads, out of our heads

And into our hearts

Children of Abraham lay down your fears, swallow your

tears and look to your heart

Every man is his own prophet

Oh every prophet just a man

I say all the women stand up, say yes to themselves

Teach your children best you can

Let every man bow to the best in himself

We’re not killing any more

We’re the wisest ones, everybody listen

‘Cause you can’t fight this feeling any more, oh anymore

If we could only get out of our heads, out of our heads

And into our hearts

Children of Abraham lay down your fears, swallow your

tears and look to your heart

If we could only get out of our heads, out of our heads

And into our hearts

Children of Abraham lay down your fears, swallow your

tears and look to your heart

________________________

EXPLORE # 265 on Sunday, June 29, 2008; # 460 on 06-28-2008

En cirés jaunes à la Préfecture de Melun by pascal en bottes

Wearing yellow PVC raingear in Melun downtown.

bottescaoutchouc.free.fr/galeries2_fr/gal_cires/gal_cires...

Stranger 60/100 | Adam by Michael Tapp

21 23

I met Adam inside the Park Avenue Voice Tunnel during Summer Streets. This beautiful shaft of daylight was popping though a ventilation opening and I knew that I had to snap a portrait. I approached a girl before Adam, but she shut me down. <-Probably because I approached her from the darkness! Adam didn't flinch to help me out and I am really thankful for it. It turns out that Adam Petherbridge is a really talented producer. You can check out some of his short films on his website. I am sure that a lot of other people have helped him out over the years as well. This experience was just another reminder that I need to keep supporting and encouraging others. A lot of people have helped me out!

Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page

MichaelTappPhotography.com

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Camera Specs

ISO:100 Shutter: 1/800 fStop3.5 Focal Length: 70mm

I put my gorilla pod against my chest for this shot. My 24-70 is a tank and the gorilla pod helped me shoot at a slower shutter speed. I'm also surprised at how sharp this came out at a 2.8. Must be the daylight!

ADD - Justice by Pтιтɴoυrѕ Alтer

240 12

✰ Credit ✰

[ADD] - Antis Sweater - Dubai Event

Justice - Tate Skirt - Fameshed Event

NEW ATTITUDE