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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

 

www.frontiersreimagined.org

   

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

   

Credit

 

Cazimi - Cascade Heart Earrings

 

Maktub Store - Uri Eyes 1 - Miix Event

 

Dalila - Daisy Shadow Kit - Miix Event

 

Dalila - Daisy Lip Kit - Miix Event

 

NEW ATTITUDE

New Attitude Blog

Twitter

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Pinterest

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Flickr

Facebook

Deviants Art

 

Credit

 

ALL ITEMS ARE AVIAILABLE AT

THE ARCADE EVENT

 

Lilleth

TROPIC - C1 Stripes

Lilleth. TROPIC C1B - ADD SunHat

Lilleth. TROPIC Suit C1A

Lilleth. TROPIC Wrap C1A

  

SEmotion Mainstore

SEmotion Libellune Pom Puppy Holdable RARE 03

 

[ R U V A ]

[ R U V A ] Dae Handbag

 

NEW ATTITUDE

New Attitude Blog

Twitter

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Pinterest

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Deviants Art

  

第二份tickets入手!交換吧!用Ticket和照片換都可以阿~~如果這裡沒有你喜歡的照片,沒關係在我的相簿選一張再告訴我吧,我會再做一份的 XD (簡直是無底深淵呀!選照片時在迴避街拍照,選得頭都痛了)

快點選張你喜歡的!(放大看)

 

Let's exchange!!!! Feel free to choose one and exchange with your tickets or photos :D

View Large Here

 

Print your own tickets in hypol!

The Itinerant Locals are modern day traveling minstrels, parents, real estate developers and all around fine folks. Their latest album, Songs We Play, has hit Earl's Top 100 in Manigotapi Mississippi. Listen to their rendition of Chicken Dance at the end of this video. Folk polka slam grass punk pop chamber music. A truely unique duo, and two of my favorite musicians to work with. Take a look at Cheryl and Zac's website. Polka Your Eye Out. Their children, Eureka and Zephyr joined us for a Facedown Tuesday shot.

 

Strobist: AB1600 with gridded 60X30 softbox camera left. AB800 with Softlighter II camera right. Triggered by Cybersync.

 

View Large and on Black

Credit

 

For Her

Meva - Fumi Blazer 2 Edition

 

For Him

[Mazzaro] - Dio Set

 

Backdrop :

Blaink. - The Jail

 

NEW ATTITUDE

New Attitude Blog

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Deviants Art

Primfeed

 

•The truth about Yosemite: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in...

 

I took the dive and bought a Nikon D600. While waiting for it to arrive; I received an email from a friend of mine, that sent this letter to the US Post Master General. This friend is also a Targeted Individual and a US Army Veteran. I continued to wait for my camera, I kept checking the tracking number for updates, but there were no updates for a whole week. Six days after being shipped and no updated tracking info. Once my camera arrived I took a few of my older lenses, an m42 adapter to the Post Office and this is one that symbolizes many things. When I do have a package or mail to be picked up from my PO Box; one of the local simpletons involved in Community Bases Stalking will be inside waiting, or enter and slam one of the trash containers. These trash containers are heavy metal, bear proof, have very heavy lids on hinges and make a loud slamming noise if someone lets them fall close (this happened again today). The Post Office has a very high ceiling that enhances this. Also, when I have a pickup slip in my box; I will have perps in line stalling. Incidents like these are everyday occurrences for Targeted Individuals. I asked my friend if I could attach his email to this picture and have included it:

My name is Todd Sterling. I live in Lima, Ohio and have been a prior service member. Over the past two years I have become aware of a criminal organization known as organized stalking. Organized stalking is a organized group of citizens empowered by government surveillance technology whose main purpose is to attack a target psychologically and physically. A target is a chosen member of society for any number of socio economic reasons. In some cases a target is placed on the list simply because someone paid to have them placed on the list. This tactic is not new it was discovered that our government was using this weapon against our own people in the 60's. It was dubbed the cointelpro movement and was outlawed by congress. Sadly however it was not dismantled but hidden and redesigned with the progression of technology and cointelpro has now become a domestic terror operation the likes of which have not been seen since Adolf Hitler which is exactly where the program was stolen from. You can learn more about organized stalking at trackastalker.com, trackastalker.net and trackastalker.org and OSI on You Tube. The tactics vary from psychological manipulative attacks to physical home intrusions and property damage that is designed to be carried out over the course of years until the target breaks. One such tactic that we are increasingly becoming aware of is the tampering and interference of a targets mail. We have countless complaints of mail never arriving or arriving days or weeks later. I myself have been a victim of this several times. Although hard to prove, recently we started selling products on line to assist targets families in defense of this hellish nightmare on earth. We sell video cameras, cameras specifically designed to operate inside a targets moving car to gather evidence of organized vehicular stalking while the target is in transit. We went to great pains to video tape the testing and packing and operation of a dual lens car camera to a customer in N Carolina. We paid for priority mail and tracked the package. Something that only should have taken two business days took 6 days to arrive. This is typical of a planned intrusion attempt by infiltrators of the postal system. The package or envelope is rerouted on a delayed route allowing persons unknown to access the package at a variety of locations throughout the US no matter where the target is located so that the item can physically be damaged. I have incidents where utility bills are opened and photocopied we suspect so that the attackers can gain access to the utility holders account information. This is just one example of mail arriving with evidence of it being opened. We suspect that these activities are known to many in the Postal service due to the Patriot Act and permits tampering under terrorism suspicions. Americans are getting tired of being accused of terrorism and having their lives invaded illegally by false allegations permitting people to interfere with our personal lives on a scale not seen since the rise of Adolf Hitler. For this reason, my foundation is conducting an investigation into this complaint and if the camera arrives back in our hands and we investigate it and it is inoperable we will be filing a sf-95 against the US Postal service and suing you in federal court. The number of victims that complain about this act is in the thousands and were tired of being ignored because people in positions of authority simply do not believe us. Something MUST be done to protect our rights and we are going to do everything in our power legally to see this begins to happen. I deeply apologize for the tone of this letter but this foundation was started to begin to defend the rights of these victims and to get our leaders to stand up for us. Simply because a scenario is hard to believe is no reason for it not to be believed. We are giving you a chance to investigate and apprehend those involved in this scenario. Please contact me with any questions.

 

Warm Regards

 

R. Todd Sterling CEO/FOUNDER TAPS Foundation

 

Please take the time to sign these petition links; to help us expose and put a stop to Gang Stalking, Community Based Stalking and Workplace Mobbing:

www.change.org/petitions/attorney-general-kamala-d-harris...

www.change.org/petitions/taps-petition-to-investigate-org...

www.change.org/petitions/u-s-congress-outlaw-organized-ga...

   

.

.

7th visit to Raigad on Shivarajyabhishek din (Coranation anniversary of King Shivaji)

 

रायगड, तिथला राजमहाल, दफ्तर-कचेर्‍यांच्या इमारती, राज्याभिषेक ज्या राजदरबाराने अनुभवला ती जागा, नगारखाना, होळीचा माळ, सिंहासनाधीश पुतळा, तिथून दिसणारा सुर्यास्त, गंगासागर-कुशावर्त तलाव, सातमजली मनोरे, जगदीश्वर मंदिर, शिवसमाधी आणि खाली पाचाडला राजमाता आऊसाहेबांची समाधी यांचे आम्हां दुर्गभटक्यांच्या मनात एक चित्र कायम कोरलेले असते. अखंड महाराष्ट्राने नव्हे मानवजातीने नतमस्तक व्हावे अशी ही जाणत्या राजाचा पदस्पर्श लाभलेली पावन भूमी. मराठी इतिहासाच्या कलशारोहणाचा सुवर्ण साक्षीदार. नाव घेताच आता जाऊन भेटून यावे की काय अशी मनाची अवस्था....

Read more...

el.kingdomsalvation.org/gospel.html

 

Ευαγγέλιο

Ο Θεός λέει: «Πού θα πας κάθε μέρα, τι θα κάνεις, ποιον ή τι θα συναντήσεις, τι θα πεις, τι θα σου συμβεί — μπορεί να προβλεφθεί τίποτε απ’ αυτά; Οι άνθρωποι δεν μπορούν να προβλέψουν όλα αυτά τα περιστατικά, πόσο μάλλον να ελέγξουν πώς θα εξελιχθούν. Στη ζωή, τα απρόβλεπτα αυτά γεγονότα συμβαίνουν όλη την ώρα και αποτελούν καθημερινό φαινόμενο. Τα καθημερινά αυτά σκαμπανεβάσματα και οι τρόποι που ξεδιπλώνονται ή τα μοτίβα σύμφωνα με τα οποία διαδραματίζονται, αποτελούν, για την ανθρωπότητα, συνεχείς υπενθυμίσεις πως τίποτα δεν συμβαίνει τυχαία και πως η εξελικτική πορεία που παίρνουν αυτά τα πράγματα και το αναπόφευκτο των πραγμάτων αυτών δεν μπορούν να μεταβληθούν από την ανθρώπινη θέληση. Κάθε συμβάν μεταφέρει μια νουθεσία από τον Δημιουργό στην ανθρωπότητα, ενώ στέλνει επίσης το μήνυμα πως τα ανθρώπινα όντα δεν μπορούν να ελέγξουν την ίδια τους τη μοίρα· την ίδια ώρα, κάθε γεγονός αποτελεί ανταπάντηση στην τρελή και άκαρπη φιλοδοξία και επιθυμία της ανθρωπότητας να πάρει τη μοίρα της στα ίδια της τα χέρια. Είναι σαν ισχυρά, επαναλαμβανόμενα ραπίσματα στην ανθρωπότητα, που αναγκάζουν τους ανθρώπους να επανεξετάσουν το ποιος είναι, εν τέλει, αυτός που κυβερνά και ελέγχει τη μοίρα τους. Επιπλέον, καθώς οι φιλοδοξίες και οι επιθυμίες τους καταπνίγονται και γκρεμίζονται ξανά και ξανά, οι άνθρωποι φτάνουν ανεπιτήδευτα σε μια ασυναίσθητη αποδοχή αυτού που τους επιφυλάσσει η μοίρα, μια αποδοχή της πραγματικότητας, του θελήματος του Ουρανού και της κυριαρχίας του Δημιουργού. Από τα καθημερινά αυτά σκαμπανεβάσματα έως τη μοίρα ολόκληρων ανθρωπίνων ζωών, δεν υπάρχει τίποτα που να μην αποκαλύπτει τα σχέδια και την κυριαρχία του Δημιουργού· δεν υπάρχει τίποτα που να μη στέλνει το μήνυμα πως “η εξουσία του Δημιουργού είναι κάτι που δεν υπερβαίνεται”, που δεν μεταφέρει την αιώνια αλήθεια πως “η εξουσία του Δημιουργού είναι υπέρτατη”. ...»

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

σύσταση:

Ευαγγέλιο βιβλία

 

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

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

Tracey Clark's Picture Fall Day 25: Fall Colors (Day 24 is missing -- will get to that eventually, I hope)

 

* * * * *

 

This summer I went through some kind of hell that I am still unable to be open about, and everyone here was so understanding. I want to thank you all. Things are not back to normal, but we are our of crisis mode. Taking photos and sharing them with my friends on Flickr is one of the things that's helped keep my head above water.

 

Four of you wrote me really lovely Flickr testimonials during this time, and I was so overwhelmed, I didn't even notice at first and once I did notice, although each testimonial brought me some much-appreciated sunshine, I never gave proper thank you's.

 

So I am sorry this took me so long, but on Saturday, when I saw this heart, I immediately thought of the love I wanted to show Anya, Gudrun, Aia, and Holly for their testimonials. I encourage everyone to visit their streams. They live in four different countries, but they all share an expressiveness in their photography that never fails to touch me. They all have many facets to their creativity. I will limit myself here to writing just a few of the things I love about each of them.

 

Anya's self-portraits are what drew me into her stream. There are so many things I love about them, but one is her use of space, using herself as part of a landscape. Anya is a woman of few words, but she doesn't need them -- her photos tell stories. There is calmness and love in Anya's photos that always soothes me.

 

Gudrun, is a designer, and it shows in her photography. Her composition, colors, crisp white backgrounds, and creative use of a wide angle lens and interesting perspectives are what jump out at me. She is a wonderful photographer, but I also get the sense that everything she touches takes on her beautiful sense of design. Her son, Torfi, is one of the most adorable children you will ever see -- he makes a great model.

 

I have known Aia for a long time now -- on another photography forum before I started taking flickr seriously (and that was nearly a year ago), and I feel like we've grown together. I've watched her progress in her gear and her skills, and I've always loved the way she shows quiet emotion in all her photos. Nowadays, she shoots almost entirely with film, and it's a joy to see what comes out of that camera.

 

Following Holly's stream is like reading the ongoing autobiography of a fascinating woman. Whether she's in the wilderness of South Africa or cruising her own neighborhood in Philadelphia, she takes photos with a journalistic flair. It is as fun to read what she writes about her photos as to see the photos themselves. She writes about the world around her and about her inner soul and always inspires me.

 

Thank you all for your testimonials and your ongoing friendship and support.

 

EDIT: I had Gudrun and Aia's links mixed up. They're fixed now.

 

www.youtube.com/watch?v=Vx8uim3xnf4

 

gabbyjaws.blogspot.com/2024/12/santa-can-you-hear-me.html

 

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We welcome all truth seekers to contact us

 

en.easternlightning.org/refuting-rumors/persecuted-for-ri...

 

(Eastern Lightning) Blessed Are They Which Are Persecuted For Righteousness’ Sake

 

......

 

We must talk about this issue from the Lord Jesus first.

 

We all know that the Lord Jesus has taken the bloody road of all kinds of persecution in order to fulfill God the Father’s commission and save people from their sins. From Jesus’ birth, He was hunted down by Herod the King and forced to flee to Egypt. Herod the Great was consumed with hatred for the arrival of God and laid murderous hands on Jesus. In order to keep his throne he had baby boys killed who were under two years of age in Bethlehem and its vicinity…. The Lord Jesus said: “Blessed are they which are persecuted for righteousness’ sake: for theirs is the kingdom of heaven. Blessed are you, when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake. Rejoice, and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you” (Mat 5:10-12). From this passage of the words of the Lord Jesus, we can see that suffering abuse or persecution because of our faith in God is a blessing. If other people concoct all kinds of bad words to slander us, we should not be distressed or doubt God’s way and work because we are persecuted. Instead we should rejoice in being slandered and persecuted because we are blessed and God’s reward is great. Our persecution proves even more so that we believe in the true God and that what we uphold is the true way. Almighty God says: “Among you, there is not one man who receives the protection of the law; rather, you are penalized by the law, and the greater difficulty is that no man understands you, be it your relatives, your parents, your friends, or your colleagues. None understand you. When God rejects you, there is no way for you to continue living on earth. However, even so, people cannot bear to leave God; this is the significance of God’s conquest of people, and this is God’s glory.” “This is just as in the stage of Jesus’ work; He could only be glorified among those Pharisees who persecuted Him. If not for such persecution and the betrayal of Judas, Jesus would not have been ridiculed or slandered, much less crucified, and thus could never have gained glory” (“Is the Work of God So Simple as Man Imagines?” in The Word Appears in the Flesh). God’s work and words tells us that God’s wisdom is exercised based on Satan’s plots. In people’s eyes, the Lord Jesus suffered all kinds of persecution and adversity and finally He was crucified on the cross. Seemingly, the work failed. But it is through the Lord Jesus’ crucifixion that God’s work of redeeming mankind was accomplished and we sinners were redeemed. Today, God’s work of conquering the whole of mankind in the last days has similarly been rejected and persecuted, but in the same way, God will gain a group of people who obey His work, will cleanse a group of people who have been deeply corrupted by Satan and will accomplish His final stage of work of separating the sheep from goats, wheat from weeds through the rejection of the religious community and the persecution of the kings of the world.

 

......

  

Terms of se : en.easternlightning.org/disclaimer.html

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/formats.html

 

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

 

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Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.

 

Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

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 .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

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

 

Credit

 

For Her

[ Ayo ] - Misaki Set dress + stocking - Neo Japan Event

Pose : ARPELS POSE - Halloween Baseball Bat Female - Posevent

 

For Him

Pose : ARPELS POSE - Halloween Baseball Bat Male - Posevent

 

NEW ATTITUDE

New Attitude Blog

Twitter

Tumblr

Pinterest

Instagram

Flickr

Facebook

 

por Eduardo Galeano - RIP

 

¿Cristóbal Colón descubrió América en 1492? ¿O antes que él la descubrieron los vikingos? ¿Y antes que los vikingos? Los que allí vivían, ¿no existían?

 

Cuenta la historia oficial que Vasco Núñez de Balboa fue el primer hombre que vio, desde una cumbre de Panamá, los dos océanos. Los que allí vivían, ¿eran ciegos?

 

¿Quiénes pusieron sus primeros nombres al maíz y a la papa y al tomate y al chocolate y a las montañas y a los ríos de América? ¿Hernán Cortés, Francisco Pizarro? Los que allí vivían, ¿eran mudos?

 

Nos han dicho, y nos siguen diciendo, que los peregrinos del Mayflower fueron a poblar América. ¿América estaba vacía?

 

Como Colón no entendía lo que decían, creyó que no sabían hablar.

 

Como andaban desnudos, eran mansos y daban todo a cambio de nada, creyó que no eran gentes de razón.

 

Y como estaba seguro de haber entrado al Oriente por la puerta de atrás, creyó que eran indios de la India.

 

Después, durante su segundo viaje, el almirante dictó un acta estableciendo que Cuba era parte del Asia.

 

El documento del 14 de junio de 1494 dejó constancia de que los tripulantes de sus tres naves lo reconocían así; y a quien dijera lo contrario se le darían cien azotes, se le cobraría una pena de diez mil maravedíes y se le cortaría la lengua.

 

El notario, Hernán Pérez de Luna, dio fe.

 

Y al pie firmaron los marinos que sabían firmar.

 

Los conquistadores exigían que América fuera lo que no era. No veían lo que veían, sino lo que querían ver: la fuente de la juventud, la ciudad del oro, el reino de las esmeraldas, el país de la canela. Y retrataron a los americanos tal como antes habían imaginado a los paganos de Oriente.

 

Cristóbal Colón vio en las costas de Cuba sirenas con caras de hombre y plumas de gallo, y supo que no lejos de allí los hombres y las mujeres tenían rabos.

 

En la Guayana, según sir Walter Raleigh, había gente con los ojos en los hombros y la boca en el pecho.

 

En Venezuela, según fray Pedro Simón, había indios de orejas tan grandes que las arrastraban por los suelos.

 

En el río Amazonas, según Cristóbal de Acuña, los nativos tenían los pies al revés, con los talones adelante y los dedos atrás, y según Pedro Martín de Anglería las mujeres se mutilaban un seno para el mejor disparo de sus flechas.

 

Anglería, que escribió la primera historia de América pero nunca estuvo allí, afirmó también que en el Nuevo Mundo había gente con rabos, como había contado Colón, y sus rabos eran tan largos que sólo podían sentarse en asientos con agujeros.

 

El Código Negro prohibía la tortura de los esclavos en las colonias francesas. Pero no era por torturar, sino por educar, que los amos azotaban a sus negros y cuando huían les cortaban los tendones.

 

Eran conmovedoras las leyes de Indias, que protegían a los indios en las colonias españolas. Pero más conmovedoras eran la picota y la horca clavadas en el centro de cada Plaza Mayor.

 

Muy convincente resultaba la lectura del Requerimiento, que en vísperas del asalto a cada aldea explicaba a los indios que Dios había venido al mundo y que había dejado en su lugar a San Pedro y que San Pedro tenía por sucesor al Santo Padre y que el Santo Padre había hecho merced a la reina de Castilla de toda esta tierra y que por eso debían irse de aquí o pagar tributo en oro y que en caso de negativa o demora se les haría la guerra y ellos serían convertidos en esclavos y también sus mujeres y sus hijos. Pero este Requerimiento de obediencia se leía en el monte, en plena noche, en lengua castellana y sin intérprete, en presencia del notario y de ningún indio, porque los indios dormían, a algunas leguas de distancia, y no tenían la menor idea de lo que se les venía encima.

 

Hasta no hace mucho, el 12 de octubre era el Día de la Raza.

 

Pero, ¿acaso existe semejante cosa? ¿Qué es la raza, además de una mentira útil para exprimir y exterminar al prójimo?

 

En el año 1942, cuando Estados Unidos entró en la guerra mundial, la Cruz Roja de ese país decidió que la sangre negra no sería admitida en sus bancos de plasma. Así se evitaba que la mezcla de razas, prohibida en la cama, se hiciera por inyección.

¿Alguien ha visto, alguna vez, sangre negra?

 

Después, el Día de la Raza pasó a ser el Día del Encuentro.

 

¿Son encuentros las invasiones coloniales? ¿Las de ayer, y las de hoy, encuentros? ¿No habría que llamarlas, más bien, violaciones?

 

Quizás el episodio más revelador de la historia de América ocurrió en el año 1563, en Chile. El fortín de Arauco estaba sitiado por los indios, sin agua ni comida, pero el capitán Lorenzo Bernal se negó a rendirse. Desde la empalizada, gritó

 

¡Nosotros seremos cada vez más!

 

¿Con qué mujeres? –preguntó el jefe indio.

 

Con las vuestras. Nosotros les haremos hijos que serán vuestros amos.

 

Los invasores llamaron caníbales a los antiguos americanos, pero más caníbal era el Cerro Rico de Potosí, cuyas bocas comían carne de indios para alimentar el desarrollo capitalista de Europa.

 

Y los llamaron idólatras, porque creían que la naturaleza es sagrada y que somos hermanos de todo lo que tiene piernas, patas, alas o raíces.

 

Y los llamaron salvajes. En eso, al menos, no se equivocaron. Tan brutos eran los indios que ignoraban que debían exigir visa, certificado de buena conducta y permiso de trabajo a Colón, Cabral, Cortés, Alvarado, Pizarro y los peregrinos del Mayflower

 

title.

No incoming call.

  

Manhattan . New york city 2017. shot..... …       3 / 6

Day of departure from Japan, August 16, 2017.

The day I came back to Japan, 21 August 2017.

(4 nights 6 days.)

(Today's picture. That's unannounced.)

  

( ( Lumix G3 shot ) )

  

image.

10cc - I'm not in love

youtu.be/Ki78MK9JywE

  

_________________________________

_________________________________

Profile.

In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.

stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html

 

youpic.com/photographer/mitsushironakagawa/

_________________________________

_________________________________

  

iBooks. Electronic Publishing. It is free now.

 

0.about the iBooks.

stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...

 

1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...

For Japanese only.

 

2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...

 

3. Streamlined trajectory.

itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11

 

_________________________________

_________________________________

  

_________________________________

_________________________________

 

instagram.

www.instagram.com/mitsushiro_nakagawa/

_________________________________

_________________________________

 

Pinterest.

www.pinterest.jp/mitsushiro/

_________________________________

_________________________________

 

YouPic

youpic.com/photographer/mitsushironakagawa/

_________________________________

_________________________________

 

fotolog

www.fotolog.com/stealaway/

 

_________________________________

_________________________________

  

twitter.

twitter.com/mitsushiro

 

_________________________________

_________________________________

 

Japanese is the following.

stealaway.cocolog-nifty.com/

_________________________________

_________________________________

_________________________________

flickr . ( XL size )

_________________________________

www.flickr.com/photos/stealaway/

_________________________________

_________________________________

  

My Novel >> Unforgettable'

 

(This book is Dedicated to the future artist.)

  

Mitsushiro Nakagawa

All Translated by Yumi Ikeda .

www.fotolog.net/yuming/

  

images.

U2 - No Line On The Horizon Live in Dublin

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

  

There are two reasons why a person faces the sea.

One, to enjoy a slice of shine in the sea like children bubbling over in the beach.

The other, to brush the dust of memory like an old man who misses old days, staring at the shine

quietly.

Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.

I face myself to change tomorrow, a vague day into something certain.

That is the meaning of a rebirth.

I had a very sweet girlfriend when I was 18.

After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After

she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies

until I realized it is love?

I wonder whether a nobody like me could have given something to her who was struggling in the

daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.

I had been thinking about such a thing.

However, I guess what she saw in me was because I had nothing. That‘s why she tried to see

something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable

tomorrow. But I wasted days depending too much on her gentleness.

Now I finally can convey how I felt in those days when we met.

  

1/9

www.flickr.com/photos/stealaway/24577016535/in/dateposted...

2/9

www.flickr.com/photos/stealaway/24209330259/in/dateposted...

3/9

www.flickr.com/photos/stealaway/23975215274/in/dateposted...

4/9

www.flickr.com/photos/stealaway/24515964952/in/dateposted...

5/9

www.flickr.com/photos/stealaway/24276473749/in/dateposted...

6/9

www.flickr.com/photos/stealaway/24548895082/in/dateposted...

7/9

www.flickr.com/photos/stealaway/24594603711/in/dateposted...

8/9

www.flickr.com/photos/stealaway/24588215562/in/dateposted...

9/9

www.flickr.com/photos/stealaway/24100804163/in/dateposted...

  

Fin.

  

images.

  

U2 - No Line On The Horizon

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

  

_________________________________

_________________________________

 

Title of my book > unforgettable'

Author : Mitsushiro Nakagawa

Out Now.

ISBN978-4-86264-866-2

in Amazon.

www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...

_________________________________

_________________________________

Schedule of the next novel.

Still would stand all time.(unforgettable'2)

2018. Spring. It's expected to open it. That's Japanese.

_________________________________

_________________________________

 

2018. spring.

 

theme.

This must be the place I waited years to leave.

  

place. Tokyo Big Site.

www.bigsight.jp/

Sponsoring. Design festa.

designfesta.com/

  

2019.

Date unknown.

  

DIC Kawamura Memorial Art Museum attached gallery.

kawamura-museum.dic.co.jp/

 

place. Sakura City, Chiba Prefecture.

 

theme.

From that day, forever ...

  

_________________________________

_________________________________

 

instagram.

www.instagram.com/mitsushiro_nakagawa/

_________________________________

_________________________________

 

Pinterest.

www.pinterest.jp/mitsushiro/

_________________________________

_________________________________

 

YouPic

youpic.com/photographer/mitsushironakagawa/

_________________________________

_________________________________

 

fotolog

www.fotolog.com/stealaway/

 

_________________________________

_________________________________

 

twitter.

twitter.com/mitsushiro

 

_________________________________

_________________________________

 

Japanese is the following.

stealaway.cocolog-nifty.com/

_________________________________

_________________________________

  

タイトル。

着信なし。

  

次の小説のイメージ。

Still would stand all time.(unforgettable'2)

(いつまでもなくならないだろう)

  

Manhattan . New york city 2007. shot …    3 / 6

(日本を出発した日。2017年8月16日。)

(日本へ帰ってきた日。2017年8月21日。)

(4泊6日。)

(今日の写真。それは未発表です。)

  

(( Lumix G3 shot ))

  

image.

10cc - I'm not in love

youtu.be/Ki78MK9JywE

  

_________________________________

_________________________________

プロフィール。

2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。

stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html

 

youpic.com/photographer/mitsushironakagawa/

_________________________________

_________________________________

 

iBooks.電子出版。(現在は無料)

  

0.about the iBooks.

stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...

 

1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...

For Japanese only.

  

2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)

itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...

  

3.流線形の軌跡。

itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...

_________________________________

_________________________________

  

_________________________________

_________________________________

 

instagram.

www.instagram.com/mitsushiro_nakagawa/

_________________________________

_________________________________

 

Pinterest.

www.pinterest.jp/mitsushiro/

_________________________________

_________________________________

 

YouPic

youpic.com/photographer/mitsushironakagawa/

_________________________________

_________________________________

 

twitter.

twitter.com/mitsushiro

 

_________________________________

_________________________________

 

Japanese is the following.

stealaway.cocolog-nifty.com/

_________________________________

_________________________________

 

僕の小説。英語版 

My Novel Unforgettable' (This book is Dedicated to the future artist.)

  

Mitsushiro Nakagawa

All Translated by Yumi Ikeda .

www.fotolog.net/yuming/

  

1/9

www.flickr.com/photos/stealaway/24577016535/in/dateposted...

2/9

www.flickr.com/photos/stealaway/24209330259/in/dateposted...

3/9

www.flickr.com/photos/stealaway/23975215274/in/dateposted...

4/9

www.flickr.com/photos/stealaway/24515964952/in/dateposted...

5/9

www.flickr.com/photos/stealaway/24276473749/in/dateposted...

6/9

www.flickr.com/photos/stealaway/24548895082/in/dateposted...

7/9

www.flickr.com/photos/stealaway/24594603711/in/dateposted...

8/9

www.flickr.com/photos/stealaway/24588215562/in/dateposted...

9/9

www.flickr.com/photos/stealaway/24100804163/in/dateposted...

Fin.

  

images.

U2 - No Line On The Horizon Live in Dublin

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

  

_________________________________

_________________________________

 

Title of my book > unforgettable'

Author : Mitsushiro Nakagawa

Out Now.

 

ISBN978-4-86264-866-2

in Amazon.

www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...

  

_________________________________

_________________________________

次の小説の予定。

Still would stand all time.(unforgettable'2)

(いつまでもなくならないだろう)

2018年。春。公開予定。それは日本語です。

_________________________________

_________________________________

 

2018年。春。

 

テーマ。

This must be the place I waited years to leave .

  

場所。東京ビッグサイト。

www.bigsight.jp/

Sponsoring. Design festa.

designfesta.com/

  

2019年。

日時未定。

DIC川村記念美術館付属ギャラリー。

kawamura-museum.dic.co.jp/

場所。千葉県佐倉市。

テーマ。

あの日から、ずっと…

  

_________________________________

_________________________________

 

instagram.

www.instagram.com/mitsushiro_nakagawa/

_________________________________

_________________________________

 

Pinterest.

www.pinterest.jp/mitsushiro/

_________________________________

_________________________________

 

YouPic

youpic.com/photographer/mitsushironakagawa/

_________________________________

_________________________________

 

fotolog

www.fotolog.com/stealaway/

 

_________________________________

_________________________________

 

twitter.

twitter.com/mitsushiro

 

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Japanese is the following.

stealaway.cocolog-nifty.com/

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Folded by me from 2 color textured Duo Thai paper 40*40 cm,available now at Origami Shop: www.origami-shop.com/en/pack-thai-25x25-feuilles-xml-207_...

 

Diagrams from an older tanteidan magazine.

I reshaped the head a little bit.

George C. Reifel

Migratory Bird Sanctuary , Ladner BC.

 

www.reifelbirdsanctuary.com/index.html

Credit

 

Violetility - Devilish Tunnels - Gothcore

 

[ VelvetVue ] - Versatile #3 Eyeliner - Gothcore

 

.::DEATH INK::. - MACABRE Evox Neck Unisex Tattoo - Gothcore

 

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I took this from the Gatwick Express train on our way back home. It was interesting to learn about the redevelopment of Battersea. See below for a description of the project.

 

From New York Magazine

Written by: Justin Davidson

 

nymag.com/intelligencer/2019/10/review-of-the-redeveloped...

 

“If you were going to anoint a single great temple to the deity of fossil fuel, you might choose the Battersea Power Station, just across the Thames from some of the costliest real estate in London. From the 1930s through the ’70s, it sucked up coal and pumped out electricity. Now it’s burning through £9 billion ($11.5 billion) in the hope of generating much, much more, and that process of transformation is an awesome, troubling thing to behold. Bristling with cranes, it hulks over the river like some rough beast, slouching toward Westminster. Londoners know it from a distance — the quartet of chimneys jabbing at clouds, its mountainous brick bulk — but few have been inside. That will soon change, along with everything else about it.

 

I recently toured the construction site with Sebastien Ricard, an architect at the firm Wilkinson Eyre who is in charge of disemboweling, shoring up, and rebuilding the structure for use as a zone of white-collar lifestyle and work. Even when I stand inside the shell, the great fluted columns of the turbine hall rising toward a distant ceiling, the scale of the place is hard to fathom. One of the two boiler houses is filled with an impenetrable thicket of scaffolding. In the other, fresh armatures of concrete and steel have grown up beneath a new roof. Not long ago, Battersea Power Station was a ruin, left exposed by a developer who went bankrupt before he made good on a plan for an open-air amusement park. For years, only the rain and the odd nocturnal creature penetrated the decaying interiors.

 

Now, money is flowing again, thanks to a consortium of the Malaysian development group Setia, Sime Darby Property, and Employees Provident Fund. Ricard points out a vast slab of raw concrete that one day will host cocktail parties, with expansive views onto the Thames. Beyond, an undergrowth of apartment blocks is already growing around the outer walls, supplemented by an esplanade, a riverboat stop, and a couple of still-quiet cafés. Leisure is on the move.

 

There’s something simultaneously exciting, a little sad, and bracingly preposterous about the rehabilitation: exciting because the project brings fresh life to a central city tract that has been forlorn for a couple of generations; sad because that life consists of a narrow and familiar set of ways to make and spend money. Preposterous because the task of converting a huge machine for the postindustrial era means treating it as a precious relic. To satisfy Historic England, the body that oversees “listed” buildings, the developers had to demolish and rebuild four of those graceful but useless smokestacks, match thousands of damaged tiles, and order a million hand-made bricks from the same workshops that furnished the originals. It’s a multibillion-dollar fixer-upper.

 

The largest brick building in Europe, it inspired awe in the kingdom of energy. The architect was Giles Gilbert Scott, who brought a classicizing finesse to tough utilitarian structures like the Bankside Power Station that later became Tate Modern, and the U.K.’s famous red telephone booth. (The booth has an exquisite architectural pedigree: It’s based on the 19th-century architect Sir John Soane’s mausoleum, which in turn got its characteristic shallow dome from the breakfast room in Soane’s own house.) As if to guard against inevitable obsolescence, Scott encrusted the Battersea colossus with Art Deco flourishes, including the opulent control room with coffered ceilings. (In the next incarnation, that will become an event space.)

 

The power station burned a million tons of coal a year, hewn from the ground under Northumberland and Wales, hauled by train or loaded on barges, and transferred from a jetty on the Thames. When the facility was first proposed, Londoners objected to the idea of spitting so much coal smoke into the air of their city center. Not to worry, the journal Nature chirped in 1932: Recent technological advances had “proved conclusively that the emission of sulphur fumes can be reduced to a negligible quantity.” That was partly true: An innovative process scrubbed the gases of their most noxious ingredients by “washing” them with water — which was then dumped into the Thames. Keeping the lights on amounted to a choice between visibly poisoning the air and invisibly poisoning the river. Eventually, though, coal did both. In 1952, a thick cloud laden with toxins settled over London, and by the time it dissipated five days later, it had killed 12,000 people. Battersea’s B section was still under construction.

 

It was the album cover of Pink Floyd’s 1977 album Animals that gave the almost-retired plant a global profile and a reputation for mayhem that continued through rock concerts, festivals, and raves. (Algie, the inflatable pink pig tethered to one of the chimneys for the photo shoot, broke free and soared into the Heathrow Airport flight path; police helicopters chased it for miles until it alighted in a field in Kent.) The powerhouse glowered over the banks of the Thames, but it loomed even more impressively in the lives of commuters, who passed its great brick cliffs on the train just before pulling into Victoria Station. “It looked like a gate, or a castle,” says the aptly named Peter Watts in his book Up in Smoke: the Failed Dreams of Battersea Power Station. “When it came into view, that was the moment you were entering the city, which was always so much more exciting than whatever town in Surrey you were coming from. It looked primal and permanent. I fantasize that at the end of days, everything else will be gone and the power station will remain.”

 

And yet the apparently eternal hulk was supremely fragile. In 2004, it cropped up on the World Monuments Fund’s endangered list. Dozens of schemes, each more grandly harebrained than the last, were rolled out, threatening various combinations of rescue and destruction. The New York–based architect Rafael Viñoly contributed several idas: A decade ago, a group of Irish developers hired him to design a new ostensibly “clean” power plant tucked below ground and topped with a new 1,000-foot chimney, next to an office park that would have been covered by a plastic “eco-dome.” That dream went the way of so many others in the 2008 financial crisis. Later, the Chelsea Football Club recruited Viñoly to design a soccer stadium there, though what he really wanted was a concert hall. The architect Terry Farrell suggested stripping the carcass down to four chimneys and two walls and enshrining it in parkland as an immense, evocative ruin. That proposal addressed the central conundrum of its redevelopment. Preserving the structure’s mysterious isolation, its sheer brooding strangeness, meant leaving the land around it vacant or, at most, scattering it with low-rise buildings the way a medieval village huddles around its cathedral. But builders don’t make money by not building, and the quantities of cash needed to preserve the thing, never mind reinvigorate the area, were inconceivably enormous. By 2014, the station was back on the WMF’s watch list again.

 

When Setia and its partners landed the site, Viñoly returned, this time with a plan that wrapped the brick monolith in glass apartment complexes (one designed by Frank Gehry, another by Norman Foster), close-cropped lawns, and fountains with the usual dancing jets of water. A year and a half from now, a new Northern Line Underground stop will stitch a long-inaccessible area back into Central London.

 

The power station itself will contain an immense indoor shopping center and rentable party spaces, topped by crow’s-nest penthouses. Apple has scooped up most of the offices that will crown the structure. Wilkinson Eyre’s design reclaims the site’s history and smooths it over at the same time, inserting an elegantly generic lattice of black steel, glass walls, and airy voids. Where once generators roared, now milk will be foamed, code written, and brand identities polished.

 

One detail captures the ethos of spectacular silliness that pervades almost every huge development project these days: a sightseeing elevator that glides up through one of the pristine chimneys and pops out the top, giving passengers a quick 360-degree vista, before dropping back inside. Let’s hope that a metamorphosis on this imperial scale yields something more solid and meaningful than a soap bubble with a view. Still, if this all seems more like a default option than a thrilling destiny, consider the imaginative alternatives that failed because of the site’s sheer scale and the possible squandered fortunes. The current future isn’t ideal, but it’s probably the least bad solution — far better than just letting the whole thing collapse into a disconsolate pile of rubble.”

Source: New York Magazine

🌸Credit : My Blog

   

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Islands have a powerful collective image, of a sanctuary, an escape and of freedom. Yet this island isn’t a peaceful haven. It’s minute, jammed at the end of the human world before the rule of wilderness takes complete control; teetering here it is impenetrable and mysterious. Blasted by the feral mountain weather; shrill winds through pining trees, running fingers of disturbed water varnish the lake, swaying branches and a cloud scudded sky. There is never stillness; but there is the prospect of shelter amongst the trees on the wall-topped isle.

 

This is a paradoxical wilderness, the reservoir and even I suspect the island itself is man made, set here to hide it’s human origins in this wildest of settings. It is somehow outside the human world, more than simple geography would dictate. Maybe that’s where that stab of uncertainty comes from; spirits seem to haunt this place. I can’t seem to comprehend the essential mixture of what I see and what I know There are no roads in sight, no traffic, no lights and no voices, save the faint whistles of a farmer rounding sheep, a soft white question mark on a distant yellow hill. It’s lonely and at dusk the solitude thickens with the light.

 

I wonder if serenity could be found on a summer night sleeping in the enclosure while the shimmering stars press down, if the universe would infiltrate my sacred retreat. One day, one rare warm summer night, if bravery allows, I might sample that delight, but with the possibility of a sleepless, jittery night. What ghosts might emerge from the drowned valley, hanging vaguely against the sky, like a faint, fleet-footed cloud, a dark-shrouded branch, the moan of wind in a creaking tree.

 

Classical references for light and dark abound, they are often unsophisticated, but universal metaphors for good and evil. But here, at night, universal is turned on its head as uncountable stars spike the sky; it is a colander to a different world.

 

When we reach the totality of night, the circle of experience narrows like bands around the chest. The circle is so limited; pale and indistinct even within, beyond a few feet - black, missing, lays an unknown, only guessed world. Moonless just the faintest glimmering from southern sodium lights, away past the dam, through twisted narrow valleys, the light creeps incestuously with her black, mad cousin.

 

Then I can only but question my rational mind, the world of understanding, of knowledge, of sight and matter. As my senses adapt sounds unexpectedly seem to take on a new life - the volume switch gets turned up, noises become alive and swift like the wind. Now I am the wild creature, alert, listening, smelling, feeling the cold wind and the wet, the brush of the trees and the ground beneath my feet, but seeing very little.

 

This is where the journey really starts. Not the drive out of the city, through the old industrial valleys. Not the walk past one reservoir and through the storm ravaged line of pine trees encircling this place. This journey forces me inside, inside my circle and inside my mind. This is the journey of an island of light into an encircling dark.

Eisbären-Mama Giovanna auf der anderen Seite des Gitters im Münchner Tierpark Hellabrunn

LOVE these things! love the magnetic closure and cd button!

 

www.dreamalbum.yellowhale.com/da_register.html

el.godfootsteps.org/videos/praise-to-Almighty-God-mv.html

 

I

Ύμνοι

Βρεθήκαμε μπροστά στον Θεό. Ο λόγος Του μας ξεδιψά.

 

Το Άγιο Πνεύμα μας δείχνει την αλήθεια του Θεού.

 

Θρησκείας τελετουργικά, διώχνουμε όλα τα δεσμά.

 

Μακριά από κανόνες, οι καρδιές μας ελεύθερες.

 

Κι είμαστε ευτυχισμένοι όσο μπορούμε, ζώντας στο φως του Θεού,

 

ευτυχισμένοι όσο μπορούμε, ζώντας στο φως του Θεού.

 

Ευχαριστώ και δοξάζω τον Παντοδύναμο Θεό,

 

που εκφράζει την αλήθεια στην ανθρωπότητα.

 

Ευχαριστώ και δοξάζω τον Παντοδύναμο Θεό,

 

έχουμε τρόπο ν' αλλάξουμε

 

κι η ασαφής πίστη μας υποχωρεί.

 

Τραγουδάμε δοξασίες, ω.

 

ΙΙ

 

Ακολουθούμε πιστά τον Θεό, για τη βασιλεία μαθαίνουμε.

 

Η κρίση Του είναι σαν σπαθί,

 

αποκαλύπτοντας τις σκέψεις μας.

 

Αλαζονεία, εγωισμός κι υποκρισία δεν κρύβονται.

 

Τότε βλέπω την αλήθεια. Ντροπιασμένος πέφτω στον Θεό.

 

Ευχαριστώ και δοξάζω τον Παντοδύναμο Θεό,

 

που εκφράζει την αλήθεια στην ανθρωπότητα.

 

Ευχαριστώ και δοξάζω τον Παντοδύναμο Θεό,

 

είμαστε ενώπιον του Θεού,

 

στη χαρά Του χαιρόμαστε.

 

Ευχαριστώ και δοξάζω τον Παντοδύναμο Θεό.

 

Είσαι Άγιος, Είσαι δίκαιος, ω.

 

Η επιθυμία μου είναι να πράξω την αλήθεια,

 

ν' απαρνηθώ τη σάρκα, να ξαναγεννηθώ,

 

ν' ανακουφίσω την καρδιά Σου.

 

Ευχαριστώ και δοξάζω τον Παντοδύναμο Θεό,

 

η κρίση Σου με έσωσε.

 

Ευχαριστώ και δοξάζω τον Παντοδύναμο Θεό,

 

η διάθεσή μου άλλαξε.

 

Χάρη σε Εσένα, είμαι ευλογημένη, ευλογημένη.

 

από το βιβλίο «Ακολουθήστε τον Αμνό και τραγουδήστε νέα τραγούδια»

σύσταση: Τραγούδια Χριστιανικά

 

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

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

Palabra de Dios:“Entre las personas, los eventos y las cosas de nuestro entorno que podemos ver y con los que entramos en contacto, ¿qué otras cosas corrompe Satanás mediante el uso de la ciencia? (El entorno natural.) Tenéis razón. Parece que se os ha dañado profundamente con esto, y que también estáis afectados por ello en lo más hondo. Aparte de usar la ciencia para engañar al hombre, usando los diversos descubrimientos y las conclusiones de esta, Satanás también se sirve de ella para llevar a cabo una destrucción y una explotación desenfrenada del entorno vital que Dios le concedió al ser humano. Lo realiza bajo el pretexto de que, si el hombre lleva a cabo una investigación científica, su entorno vital mejorará cada vez más, sus estándares de vida seguirán siendo mejores y, además, que ese desarrollo científico se realiza para atender las necesidades materiales diariamente en aumento y la necesidad continua de elevar su calidad de vida. Si no es por estas razones, entonces hay que preguntarse qué estás haciendo con desarrollar del todo la ciencia. Esta es la base teórica del desarrollo de la ciencia por parte de Satanás. ¿Qué consecuencias tiene, sin embargo, la ciencia para la humanidad? ¿En qué consiste nuestro entorno inmediato? ¿Acaso no ha sido contaminado el aire que respira la humanidad? ¿Sigue siendo verdaderamente pura el agua que bebemos? (No.) Y qué de la comida que comemos, ¿es natural en su mayoría? (No.) ¿Qué es, pues? Se cultiva con fertilizantes, modificación genética, y también se producen mutaciones mediante el uso de métodos científicos, de modo que hasta los vegetales y la fruta que consumimos ya no son naturales. No es fácil ahora que las personas encuentren productos alimenticios no modificados para comer. Ni los huevos saben ya como solían, ya que han sido procesados por la pretendida ciencia de Satanás. Contemplando la imagen panorámica, toda la atmósfera ha sido destruida y contaminada; los montes, los lagos, los bosques, los ríos, los océanos y todo, encima o debajo de la tierra, se ha estropeado con los supuestos logros científicos.”

De "La Palabra Manifestada en carne"(Continuación)-Dios mismo, el único VI"

 

Recomendación : Reflexiones cristianas

Source: www.autoworldmuseum.com/about.html

 

Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.

 

William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.

 

Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.

 

After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.

 

The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.

 

Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.

NGC 2170 is one of those nebulas which, in visible light, is difficult to forget. So striking are these tendrils of dust once they are fully revealed, one cannot help associating some kind of emotion with it. I personally find it to be dark and brooding.

 

These dusty star-forming regions tend to also be interesting in infrared, so I decided to see what kind of data was available in the archives. Lo and behold, Spitzer had observed the region in my favorite bands and so I set forth to compose this.

 

Unfortunately, it was a very troubled procedure. The most important channel—the 8μm one that I use to sharpen the whole image by applying it as a luminosity layer—was terrible. It was full of these blocky edges with some of the tiles having a bunch of extra light stuck in them, presumably from the zodiacal glow. Whatever it all went through (they call it a pipeline) didn't remove all that extra light, so I had to do it myself. I was moderately successful, but there are still things that aren't quite right with it.

 

Anyway, the bright spot in the center was also so bright that it easily saturated the detectors from both the Spitzer and the WISE telescopes. That does happen all the time, but it seemed extra annoying somehow. What this means simply is that there is a load of star formation going on in there. When looking at these particular infrared bands I find it's easier to think in terms of dust rather than stars, though. Sure, there are points of light that are stars, but it seems to me that without the dust component they'd all be oddly invisible.

 

Red: Spitzer/MIPS1 (24μm)

Green: WISE/W3 (12μm)

Blue: Spitzer/IRAC4 (8μm)

 

North is up.

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