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www.mpix.eu/2012/11/efke-ir820.html
Sinar Alpina, Efke IR820 + R72.
Rated ISO 1,5. Measured 16s, exposed 45sec.
Developed in Rodinal 1+25 - 12:30min cont. agitation.
Postprocessed
This is what the house looked like, when I came back to see it in 1992.
The front yard now seems overgrown with bushes and clumps of grass ... but that may be because it was essentially abandoned for a while. When I stopped in to see it, unannounced, it was being cleaned and renovated in preparation for new owners...
********************************
Most of the photos in this album were taken nearly 40 years after we first moved to Riverside, CA, as part of some research that I was doing for a novel called Do-Overs, the beginning of which can be found here on my website
www.yourdon.com/personal/fiction/doovers/index.html
and the relevant chapter (concerning Riverside) can be found here:
www.yourdon.com/personal/fiction/doovers/chapters/ch8.html
Before I get into the details, let me make a strong request — if you’re looking at these photos, and if you are getting any enjoyment at all of this brief look at some mundane Americana from 60+ years ago: find a similar episode in your own life, and write it down. Gather the pictures, clean them up, and upload them somewhere on the Internet where they can be found. Trust me: there will come a day when the only person on the planet who actually experienced those events is you. Your own memories may be fuzzy and incomplete; but they will be invaluable to your friends and family members, and to many generations of your descendants.
So, what do I remember about the year that I spent in Riverside? Not much at the moment, though I’m sure more details will occur to me in the days to come — and I’ll add them to these notes, along with additional photos that I’m tweaking and editing now (including some of the drive from Riverside to Omaha, where our family moved next), as well as some “real” contemporaneous photos I’ve found in family scrapbooks.
For now, here is a random list of things I remember:
1. I attended one school, somewhere in downtown Riverside, when my parents were looking for a house; and when they finally found a house out at the edge of town (at the base of the San Bernardino foothills), I was switched to a different school. This was typical; I usually attended two different schools in every city we lived in, and I attended a total of 17 schools before heading off to college.
2. While I eventually rode my bike to and from the second house to my school, I started off riding a school bus. A bunch of us kids would wait on a corner for the bus to arrive; and it was at the edge of a huge orange grove that seemed to stretch on forever. There were always a few rotten oranges lying on the ground, thoroughly rotten, and these substituted nicely for snowballs. There is nothing like the experience of being smacked in the stomach, of your fresh clean shirt, with a rotten orange.
3. Like most other suburban kids in the 1950s, I was allowed to do all sorts of things alone — as long as I returned home by dinner time. I could ride my bike anywhere I wanted, alone; I could hike way up into the hills alone (as long as I had a pocket-knife, which my father insisted I carry in case I was bitten by a rattlesnake). And I was allowed to sleep outside in the back yard, in a sleeping bag, virtually whenever I wanted to. The weather was always quite mild, the skies were clear (Los Angeles smog had not reached us in those days), and the stars were utterly amazing. There were shooting stars to watch, an experience I have never forgotten.
4. I discovered that marbles were excellent projectiles to shoot with one’s slingshot, and that they would actually travel in a more-or-less straight line. I became pretty good at shooting lizards with my slingshot; all I needed was an endless supply of marbles (because you could only shoot them once, at which point they would generally disappear somewhere). So I began practicing quite hard, played competitive games of marbles every day at school, and eventually amassed great quantities of the little round things.
5. Even better than lizards were spiders; they were everywhere, and they were relatively easy to catch. I don’t think any of them were dangerous, and in any case, none of them bit me. I sometimes put them in my pants pocket for the day, and I often brought them home. And I would put them in the dresser drawer with my socks and underwear; it seemed like a good place for them to relax. My mother discovered a couple of them one day, and was not impressed.
6. We had relatives in the city of Los Angeles, and made the 50-mile drive to visit them once or twice a year. We also made a 50-mile drive once or twice to visit San Juan Capistrano, which my parents thought was the most wonderful place in the world — mostly, they told me, because of the famous swallows that migrate each year from someplace in Argentina. In fact, I think they were impressed because they were old enough to like a 1940 hit song, “When the Swallows Come Back to Capistrano,” which I couldn’t stand. If they had told me the place was the locale of the first Zorro novella (“The Curse of Capistrano,” published in 1919), I would have been much more impressed.
7. Riverside is where I got my first dog—a mutt named Blackie, that was part of a litter produced by the next-door neighbor’s dog. It provided an open invitation for me to visit the next-door neighbors whenever I wanted, and swim in their pool (a rarity in those days). At the end of our year in Riverside, Blackie moved with us to our next location — traveling all the way in a little house/bed that had been made for him in the World War II Jeep that Dad hitched to his Chevrolet.
8. Riverside is also where I had my first exposure, at school, to kids of other ethnic backgrounds. There were Asian kids, and black kids, and Latino kids (whom, sadly, my father referred to generically as “Mexicans,” but whom he also held in high respect because he remembered watching their comrades working harder and longer than any of the “white boys” in the rough mining and ranching camps on the Utah/Colorado border, where he had grown up). All of us were thrown together in the same classroom, all of us traveled to each other’s houses and neighborhoods after school, and nobody seemed to think it was unusual in any way.
9. I learned, to my enormous delight, that I *was* different in one special way: I was left-handed. During the pickup baseball games that we played constantly during recess, lunch, and after school, there were never enough baseball gloves for everyone, so everyone simply shared with everyone else (after all, if your team is at bat, you don’t need your baseball glove). But I was the only left-handed kid around, apparently the only one in the whole school; so nobody ever wanted to share my glove.
by Alan Parker Photos
Paris by night
#
I wish I was there
j'aimerais être là
ich wünschte ich wäre dort
Хотел бы я быть там
Vorrei essere lì
Me gustaría estar allí
#
Suzuki Ignis 2020 1.2 Smart Hybrid Technische Daten
(2020 - ) - Jahre 2020, 2021, 2022...
Leistungsgewicht : 10.1 kg/hp
Fuel System :
Multipoint Injection *
16V
Verbrauch - Verbrauch nach WLTP sehr schnell:
6 L/100km
#
Verbrauch - Verbrauch nach WLTP langsam:
5.1 L/100km
Verbrauch - Verbrauch nach WLTP
kombiniert:
5.1 L/100km
Bauart : 16 Ventile
Turbo : Nein
Verdichtung : 13.0 zu 1
de.wikipedia.org/wiki/Verdichtungsverh%C3%A4ltnis
Das Verdichtungsverhältnis wurde im Laufe der Entwicklung von Verbrennungsmotoren immer weiter gesteigert.
Die allmähliche Steigerung der Verdichtung lag lange vor allem an der Kraftstoffrezeptur.
Heute sind Oktanzahlen bis 102 ROZ an der Tankstelle verfügbar.
Ältere Motoren haben tendenziell niedrigere Anforderungen an die Kraftstoffqualität, da die Kraftstoffqualität noch nicht so hoch war, als sie entwickelt wurden.
Auch die Gestalt des Brennraums und des Ansaugtrakts trägt zum Oktanzahlbedarf bei.
#
Multipoint Injection *
16V :
*Eine Bedingung für heutige hohe Verdichtungsverhältnisse ist die Direkteinspritzung und die Verwendung von Klopfsensoren.
Der Zeitpunkt und die Menge der Treibstoffzugabe wird hier exakt gesteuert, womit eine vorzeitige Zündung – und somit ein Klopfen – verhindert werden kann.
Moderne Motoren haben Klopfsensoren, die aufkommendes Klopfen erkennen. Sie können den Zündzeitpunkt an die Benzinqualität und an die Motoreigenschaften anpassen.
Bei höherem Verdichtungsverhältnis (genauer: Expansionsverhältnis) ist auch der thermische Wirkungsgrad höher.
ROZ 91 Normal Benzin
ROZ 95 - ROZ 100 - ROZ 102
de.wikipedia.org/wiki/Oktanzahl#ROZ
wirkt sich erst bei Vollgas (Volllast) positiv aus!
Beispiel würde eine Oktanzahl von ROZ = 95 (umgangssprachlich: 95 Oktan) eines Benzins bedeuten, dass dessen Klopffestigkeit einem Gemisch aus 95 Vol.-% Iso-oktan und 5 Vol.-% n-Heptan entspricht.
Iso-oktan ist klopffest und kann stark verdichtet werden, ohne dass es zur Selbstzündung kommt.
Beispielsweise kann der Oktanzahlbedarf eines Motors
bei Vollgas um 10 Oktanzahlen höher
liegen als im Leerlauf.
Man kann hier auch von einem Volllastbereich sprechen, vergleichbar mit einer sehr schnellen Autobahnfahrt.
Die Verwendung von oberhalb der Motorspezifikation liegenden Oktanzahlen bringt im Regelfall keine Vorteile.
Moderne Motoren mit elektronischer Kennfeldzündung
in Kombination mit Klopfsensoren können mit verschiedenen Oktanzahlen bei reduzierter Leistung gefahren werden.
#
SUZUKI Motorleistung : Powertrain optimiert by Toyota
Ergibt:
Moderne Motoren mit elektronischer Kennfeldzündung
83 PS or 82 bhp or 61 kW @ 6000 rpm
Drehmoment :
107 Nm or 78 lb.ft @ 2800 rpm
Höherwertiges Benzin erhöht das Drehmoment signifikant.
SYSTEM LEISTUNG
Im kurzzeitigen E-Boost-Modus leistet das Suziki Ignis Topmodell 85 PS bei 142 Nm.
2020-er Modelle:
53 mpg: 5,33 l Verbrauch.
10 % better.
But much more expensive.
Leistungssteigerung durch Mild Hybrid
leistungsfähigerer Akku (Lithium Batterie), 3-fach stärker
plus verbesserter E-Boost: Fahrpedal-Kickdown
um mehr Leistung zu fordern.
"Performance"
Das Hybrid-System von Suzuki besteht aus zwei Komponenten: dem integrierten Startgenerator (ISG) und einer extrem effizienten 12-Volt Lithium-Ionen-Batterie. Beim Anfahren und Beschleunigen versorgt der ISG den Benzinmotor mit Energie aus der angeschlossenen Batterie.
Fazit Hybrid:
nichts vom Fahrspaß geht verloren, ist aber sparsamer geworden.
E-Boost wirkt nur zwischen etwa 2000 bis 3.900 Umdrehungen !!
Beim Mild-Hybrid unterstützt der Elektromotor in nahezu allen Fahrsituationen die Verbrennungsmaschine, so z.B. beim Starten, Anfahren, Beschleunigen.
10 Ah - hilft 3 bis 4 km bergauf
der Verbrauch bleibt fast auf Niveau wie zuvor
(plus 0,2 l / 100km mehr)
entspricht 3.2 hp
35 Nm
peak at
50 Nm
Lithium Batterie rekuperiert sehr schnell.
Drivetrain Architecture
The Internal combustion engine (ICE) and electric motor drive the front wheels of the car with the ability to work only in mixed mode.
2020 Suzuki Ignis II (facelift 2020) 1.2 Dualjet (83 Hp)
MHEV | Technical specs, data, fuel consumption, Dimensions: www.auto-data.net/en/suzuki-ignis-ii-facelift-2020-1.2-du...
Bergab geht es sehr schnell.
Der Ladestrom ist
sicher sehr hoch.
Mild-Hybrid-System
Electric motor Torque 50 Nm @ 100 rpm.
36.88 lb.-ft. @ 100 rpm.
Weight-to-power ratio 9.8 kg/Hp, 102.2 Hp/tonne
Weight-to-torque ratio 7.5 kg/Nm, 132.6 Nm/tonne
2020 Suzuki Ignis II (facelift 2020) 1.2 (91 Hp) MHEV 4WD CVT | Technical specs, data, fuel consumption, Dimensions: www.auto-data.net/en/suzuki-ignis-ii-facelift-2020-1.2-91...
Mehrpreis: 1.160 Euro - 1.500 € beim Vorgänger Modell
für eine weitaus schwächere Leistung (30%)
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2002,2020, 2021, 2022,
Film chrześcijański 2019 | „Przepiękny głos” Ukazanie się i wypowiedź Boga (Zwiastun)
Dong Jingxin jest nauczycielką ewangelii w kościele domowym w Chinach. Od trzydziestu lat wierzy w Pana, kocha prawdę, często czyta słowa Pana, z których czerpie swą siłę. Z entuzjazm poświęcała się dla Pana. Za głoszenie ewangelii została aresztowana, a następnie uwięziona przez chiński rząd komunistyczny. W tym czasie znosiła okropne tortury i cierpienia, ale słowa Pana stale ją wspierały i pomogły przetrwać siedem lat spędzonych w nieludzkich warunkach. Po wyjściu na wolność odwiedza ją Chenguang, współpracowniczka, która czyta jej słowa Boga Wszechmogącego, składając świadectwo, że Bóg już się pojawił i realizuje swoje dzieło w dniach ostatecznych. Daje jej także egzemplarz książki pt. „Słowo ukazuje się w ciele”. Po zapoznaniu się ze słowami Boga Wszechmogącego Dong Jingxin czuje, że wyrażają autorytet i że pochodzą od Boga. Pragnie więc dowiedzieć się więcej. Dong Jingxin wraz z mężem pochłania słowa Boga Wszechmogącego i odkrywa, że są one prawdą i głosem Boga. Uznają, że Bóg Wszechmogący jest Panem Jezusem, który powrócił i którego oczekiwali od wielu lat. Kiedy wypełnia ich radość powitania powracającego Pana, odwiedza ich naczelnik i zakazuje brania udziału w spotkaniach i głoszenia swoich poglądów. Nakazuje im, by składali raport o kimkolwiek, kto naucza, a w szczególności na temat Błyskawicy ze Wschodu, wzbudzając tym samym w Dong Jingxin obawy. Następnie ich dotychczasowy pastor dowiaduje się, że Dong Jingxin zachęca braci i siostry do poznawania dzieła Boga w dniach ostatecznych i on także się temu sprzeciwia. W obliczu zamętu spowodowanego przez moce szatana Dong Jingxin, dzięki modlitwie, poszukiwaniom i słowom wyjaśnienia, może dostrzec prawdziwe oblicze pastorów i starszych członków wspólnot religijnych. Nie ustępuje i nie przestaje zachęcać braci i sióstr do poznawania prawdziwej drogi, zaprasza nawet członków kościoła Boga Wszechmogącego, by nauczali i złożyli świadectwo dzieła Boga Wszechmogącego w dniach ostatecznych. W końcu każdy przyznaje, że słowa wypowiedziane przez Boga Wszechmogącego są prawdziwym głosem Boga, a on sam jest Bogiem, który się pojawił. Każdy jest głęboko poruszony: jakim pięknym głosem są słowa Boga Wszechmogącego!
Zalecenie: Prawdziwa wiara
el.kingdomsalvation.org/videos/significance-of-the-appear...
Χριστιανικά τραγούδια | Η Σημασία της Εμφάνισης του Θεού | Ο Χριστός των εσχάτων ημερών εμφανίστηκε Chi Χορός
Ύμνος των λόγων του Θεού
Η εμφάνιση του Θεού αφορά την προσωπική Του άφιξη επί γης για να πραγματοποιήσει το έργο Του.
Με την δική Του ταυτότητα και διάθεση και με την δική Του μέθοδο,
Κατέρχεται μεταξύ των ανθρώπων για να εκκινήσει μια εποχή και να κλείσει μια άλλη.
Μια τέτοια εμφάνιση δεν είναι οιωνός ή εικόνα.
Δεν είναι είδος τελετής.
Δεν είναι θαύμα. Δεν είναι μέγα όραμα.
Ακόμα λιγότερο ένα είδος θρησκευτικής διαδικασίας.
Είναι αληθινό και υπαρκτό γεγονός, απτό και παρατηρήσιμο,
ένα γεγονός απτό και παρατηρήσιμο.
Τέτοια εμφάνιση δεν είναι για χάρη της ακολουθίας μιας διαδικασίας
ή για χάρη βραχυπρόθεσμου εγχειρήματος,
είναι μάλλον για χάρη ενός σταδίου του έργου του σχεδίου διαχείρισης του Θεού.
Η εμφάνιση του Θεού είναι πάντα ουσιαστική
και πάντα συνδεδεμένη με το σχέδιο διαχείρισης Του,
συνδεδεμένη με το σχέδιο διαχείρισης Του.
Η "εμφάνιση" είναι εντελώς ανόμοια
με την "εμφάνιση" όπου ο Θεός καθοδηγεί τον άνθρωπο,
τον οδηγεί ή τον διαφωτίζει, τον οδηγεί ή τον διαφωτίζει.
Ο Θεός επιτελεί ένα μέρος μεγαλειώδους έργου κάθε φορά που αποκαλύπτεται.
Το έργο αυτό διαφέρει από το έργο κάθε άλλης εποχής,
αφάνταστο για τον άνθρωπο, ποτέ βιωμένο από τον άνθρωπο, ποτέ βιωμένο από τον άνθρωπο.
Είναι το έργο που αρχίζει τη νέα εποχή και ολοκληρώνει την παλαιά,
νέο και βελτιωμένο έργο για την Σωτηρία της ανθρωπότητας,
και έργο που φέρνει την ανθρωπότητα στη νέα εποχή.
Είναι η σημασία της εμφάνισης του Θεού.
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
σύσταση： Ύμνοι
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
www.cedarwave.com/fleet/MV-Lotus.php
LOTUS is listed on the National Register of Historic Places. She is 92 feet long with a beam 18 feet and a draft 5.5 feet. She displaces 102 tons. She was designed by naval architects Lee and Brinton, and built in the Sloan Yard, Seattle , Washington. LOTUS was launched in May, 1909.
Built to cruise the Inside Passage of the Pacific Northwest, LOTUS was built for Maurice McMicken, attorney, legal counsel to the legislature of the State of Washington, publisher of the Seattle Post Intelligencer Newspaper, sportsman and civil leader. He cruised her extensively in the waters of the Inland Passage between Olympia WA, through British Columbia and as far north as Alaska.
en.wikipedia.org/wiki/Lotus_(motor_vessel)
www.olsonengr.com/download/globios/mcmickenmauricebio.pdf
"LOTUS features a strongly Edwardian design ethic, with the chandeliers, claw-foot tubs, mahogany inlays, and exposed beams of the same sort found in homes built in that era. Her interior has been remarkably preserved, with nearly all the original wood and fixtures from the main cabin forward. The galley has been modified to enclose the once-open engine room space, and to accommodate modern appliances and fixtures. Above, in the pilothouse and on the upper deck, wonderful 360-degree views are afforded from beneath an awning extending the length of the deck."
St. Hilda’s By The Sea is a small Anglican church in Sechelt. Set among the verdant green trees of the temperate rainforest, it is an eclectic mix of old and new: retired British pensioners polish the altar crystal and set out flowers for Sunday services, presided over by a gay Chinese-Canadian priest. Tai chi mixes with Celtic mysticism in a melange that is somehow stronger than its parts. And isn’t that what community is all about?
From the official website:
Walking the labyrinth is an ancient spiritual act that is being rediscovered during our time.
Usually constructed from circular patterns, labyrinths are based on principles of sacred geometry. Sometimes called “divine imprints”, they are found around the world as sacred patterns that have been passed down through the ages for at least 4,000 years. When a pattern of a certain size is constructed or placed on the ground, it can be used for walking meditations and rituals.
Labyrinths and their geometric cousins (spirals and mandalas) can be found in almost every religious tradition. For example, the Kabbala, or Tree of Life, is found in the Jewish mystical tradition. The Hopi Medicine Wheel, and the Man in the Maze are two forms from the Native American labyrinth traditions. The Cretan labyrinth, the remains of which can be found on the island of Crete, has seven path rings and is the oldest known labyrinth (4,000 or 5.000 years old).
In Europe, the Celts and later the early Christian Celtic Church revered labyrinths and frequently built them in natural settings. Sacred dances would be performed in them to celebrate solar and religious festivals. During the Middle Ages, labyrinths were created in churches and cathedrals throughout France and Northern Italy. These characteristically flat church or pavement labyrinths were inlaid into the floor of the nave of the church.
The Chartres Labyrinth
The labyrinth constructed at St. Hilda’s is an 11-circuit labyrinth. It is a replica of the one embedded in the floor of Chartres Cathedral in France. The design of this labyrinth, and many of the other church labyrinths in Europe, is a reworking of the ancient labyrinth design in which an equal-armed cross is emphasized and surrounded by a web of concentric circles. As with many Christian symbols, this was an adaptation of a symbol; that is known to have predated the Christian faith. This medieval variation is considered a breakthrough in design because it is less linear than the preceding, more formal, Roman design that developed from quadrant to quadrant. The medieval design made one path as long as possible, starting at the outer circumference and leading to the centre. Fraught with twists and turns, the path’s meanderings were considered symbolic representations of the Christian pilgrim’s journey to the Holy City of Jerusalem and of one’s own journey through life. This classical design is sometimes referred to as “the Chartres Labyrinth” due to the location of its best known example. The labyrinth was built at Chartres in the early 13th century (~ 1215 A.D.). No one knows the source of this classical 11-circuit labyrinth design, and much of its spiritual meaning and use has been lost.
The Chartres Labyrinth is located in the west end of the nave, the central body of the cathedral. When you walk in the main doors and look towards the high altar, you see the center of the labyrinth on the floor about 50 feet in front of you. It is approximately 42 feet in diameter and the path is 16 inches wide. At Chartres, the center of the Rose Window mirrors the center of the labyrinth. The cathedral is perfectly proportioned, so that if we put the west wall of the cathedral on hinges and folded it down on the labyrinth, the Rose Window would fit almost perfectly over the labyrinth.
Labyrinth or Maze?
The difference between a labyrinth used for meditation and mazes can be confusing. Mazes often have many entrances, dead-ends and cul-de-sacs that frequently confound the human mind. In contrast, meditation labyrinths offer only one path. By following the one path to the center, the seeker can use the labyrinth to quiet his or her mind and find peace and illumination at the center of his or her being. “As soon as one enters the labyrinth, one realizes that the path of the labyrinth serves as a metaphor for one’s spiritual journey. The walk, and all that happens on it, can be grasped through the intuitive, pattern-discerning faculty of the person walking it. The genius of this tool is that it reflects back to the seeker whatever he or she needs to discover from the perspective of a new level of conscious awareness.”
The Labyrinth is a Universal Meditation Tool
Anyone from any tradition or spiritual path can walk into the labyrinth and, through reflecting in the present moment, can benefit from it. A meditation labyrinth is one of many tools that can be used for spiritual practice. Like any tool, it is best used with a proper, good, intention. A church or temple can be used simply as a refuge from a rainstorm, but it can be so much more with a different intention. The same is true of the labyrinth. The seeker is only asked to put one foot in front of the other. By stepping into the labyrinth, we are choosing once again to walk the contemplative spiritual path. We are agreeing to let ourselves be open to see, to be free to hear, and to becoming real enough to respond. The labyrinth is a prayer path, a crucible of change, a meditation tool, a blueprint where psyche meets soul.
The best way to learn about the labyrinth is to walk a well-constructed one a few times, with an open heart and an open mind. Then allow your experience to guide you as to whether this will be a useful spiritual tool for you.
The Chartres Labyrinth and the Pilgrim’s Journey
Pilgrims are persons in motion – passing through territories not their own – seeking something we might call completion, or perhaps the word clarity will do as well, a goal to which only the spirit’s compass points the way.
Richard R. Niebuhr in Pilgrims and Pioneers
“The tradition of pilgrimage is as old as religion itself. Worshippers on pilgrimage traveled to holy festivals whether to solstice celebrations, to Mecca to gather around the Ka’aba for the high holy days of Islam, or to Easter festivals in the Holy City of Jerusalem. Pilgrimages were a mixture of religious duty and holiday relaxation for the peasant, the commoner and rich land owner alike. The journey was often embarked on in groups with designated places to stay at night. The pilgrims were restless to explore the mystical holy places, and many were in search of physical or spiritual healing.
The Christian story, which emphasized the humanity of Christ, fascinated the pilgrims. In the Middle Ages, most people did not read. As a result, they were much more oriented to the senses than we are today. They learned the story by traveling to Jerusalem to walk where Jesus walked, to pray where he prayed, and to experience, in a solemn moment, where he died. Unlike today, Pilgrims encountered the truth of the Christian mystery through an ongoing intimacy with all their senses.
When a person committed his or her life to Christ in the early Middle Ages, they sometimes made a vow to make a pilgrimage to the Holy City of Jerusalem. However, by the 12th century when the Crusades swept across Europe and the ownership of Jerusalem was in tumultuous flux, travel became dangerous and expensive. In response to this situation, the Roman Church appointed seven pilgrimage cathedrals to become “Jerusalem” for pilgrims. Consequently, in the pilgrimage tradition, the path within the labyrinth was called the Chemin de Jerusalem and the center of the labyrinth was called “New Jerusalem”.
The walk into the labyrinth marked the end of the physical journey across the countryside and served as a symbolic entry-way into the spiritual realms of the Celestial City. The image of the Celestial City – taken straight out of the Book of Revelation to John – captivated the religious imagination of many during the Middle Ages. The wondrous Gothic cathedrals, with painted walls either in bright, even gaudy colours, or else white-washed, were designed to represent the Celestial City. The stained glass windows – when illuminated by the sun – created the sense of colourful, dancing jewels, allowing the pilgrim to experience the awesome mystery of the City of God.”
The Journey of Life
A fundamental approach to the labyrinth is to see it as a metaphor for life’s journey. The labyrinth reminds us that all of life, with its joys, sorrows, twists and turns, is a journey that comes from God (birth) and goes to God (death). It is a physical metaphor for the journey of healing, spiritual and emotional growth and transformation. Following the path is like any journey. Sometimes you feel you are at or nearing your destination, and at other times you may feel distant or even lost. Only by faithfully keeping to the path will you arrive at the physical center of the labyrinth, which signifies God, the center of our lives and souls.
Applying the Three Fold Mystical Tradition to the Labyrinth
In the Christian mystical tradition, the journey to God was articulated in the three stages. These stages have become recognized as being universal to meditation: to release and quiet; to open and receive; and to take what was gained back out into the world.
The Three Stages
The first part of the Three- Fold Mystical Path is Purgation. This archaic word is from the root word “to purge”, meaning to cleanse, to let go. Shedding is another way of describing the experience. The mystical word is empting or releasing. It is believed that monks journeyed the first part of the labyrinth Purgation on their knees as a penitential act. This was not done for reasons of punishment as we might think, but as a way to humble oneself before God.
The second stage of the Three-Fold Path, Illumination, is found in the center of the labyrinth. Usually it is a surprise to reach the center because the long winding path seems “illogical” and cannot be figured out by the linear mind. After quieting the mind in the first part of the walk, the center presents a new experience: a place of meditation and prayer. Often people at this stage in the walk find insight into their situation in life, or clarity about a certain problem, hence the label “illumination”. As one enters the
center, the instruction is simple: enter with an open heart and mind; receive what there is for you.
The third stage, Union, begins when you leave the center of the labyrinth and continues as you retrace the path that brought you in. In this stage the meditation takes on a grounded, energized feeling. Many people who have had an important experience in the center feel that this third stage of the labyrinth gives them a way of integrating the insights they received. Others feel that this stage stokes the creative fires within. It energizes insight. It empowers, invites, and even pushes us to be more authentic and confident and to take risks with our gifts in the world. Union means communing with God.
The Monastic Orders experienced a union with God through their community life by creating a fulfilling balance between the work that was assigned, sleep and the many hours of worship attended daily. Our times present a similar challenge: we struggle to find balance between work, sleep, family and friends, leisure and spiritual life. The lack of structured communities in which people share work responsibilities and the “every person for himself or herself” mentality (or every family for itself) prevalent in our highly individualistic society makes the task of finding balance even more difficult.
Monastic communities offered a mystical spirituality that spoke to highly intuitive and intensely introverted people and (paradoxically to some) at the same time provided an economic structure throughout Europe. Monasteries during the Middle Ages provided schools and hospitals managed by monks; yet, at the same time, cloistered life helped the monks stay inwardly directed. Today, without any reliable structure directing us, the way of union needs to be re-thought. Our times call for most of us to be outer-directed. We are called to action in every aspect of our society in order to meet the spiritual challenges that confront us in the 21st century. Gratefully, there are still people in religious orders holding the candle for deep contemplation, but the majority of people involved in the spiritual transformation are searching for a path that guides them to service in the world in an active, extroverted, compassionate way. The third stage of the labyrinth empowers the seeker to move back into the world replenished and directed – which makes the labyrinth a particularly powerful tool for transformation.
Walking the Labyrinth: The Process
The purpose of all spiritual disciplines – prayer, fasting, meditation – is to help create an open attentiveness that enables us to receive and renew our awareness of our grounding and wholeness in God.
The Experience of Walking Meditation
Many of us have trouble quieting our minds. The Buddhists call the distracted state of mind the “monkey mind”, which is an apt image of what the mind is frequently like: thoughts swinging like monkeys from branch to branch, chattering away without any rhyme or conscious reason. When the mind is quiet, we feel peaceful and open, aware of a silence that embraces the universe.
Complete quiet in the mind is not a realistic goal for most of us. Instead, the task is to dis-identify with the thoughts going through our minds. Don’t get hooked by the thoughts, let them go. Thomas Keating, a Cistercian monk who teaches Centering Prayer (meditation) in the Christian tradition, described the mind as a still lake. A thought is like a fish that swims through it. If you get involved with the fish (“Gee what an unusual fish, I wonder what it is called?”), then you are hooked. Many of us have discovered through learning meditation how difficult it is to quiet the mind; yet, the rewards are great.
In the labyrinth, the sheer act of walking a complicated, attention demanding path begins to focus the mind. Thoughts of daily tasks and experiences become less intrusive. A quiet mind does not happen automatically. You must gently guide the mind with the intention of letting go of extraneous thoughts. This is much easier to do when your whole body is moving – when you are walking. Movement takes away the excess charge of psychic energy that disturbs our efforts to quiet our thought processes.
Two Basic Approaches to the Walk
One way to walk the labyrinth is to choose to let all thought go and simply open yourself to your experience with gracious attention. Usually – though not always – quieting happens in the first stage of the walk. After the mind is quiet, you can choose to remain in the quiet. Or use the labyrinth as a prayer path. Simply begin to talk to God. This is an indication that you are ready to receive what is there for you, or you allow a sincere part of your being to find its voice.
A second approach to a labyrinth walk is to consider a question. Concentrate on the question as you walk in. Amplify your thoughts about it; let all else go but your question. When you walk into the center with an open heart and an open mind, you are opening yourself to receiving new information, new insights about yourself.
Guidelines for the Walk
Find your pace. In our chaotic world we are often pushed beyond a comfortable rhythm. In this state we lose the sense of our own needs. To make matters worse, we are often rushed and then forced to wait. Anyone who has hurried to the bank only to stand in line knows the feeling. Ironically, the same thing can happen with the labyrinth, but there is a difference. The labyrinth helps us find what our natural pace would be and draws our attention to it when we are not honouring it.
Along with finding your pace, support your movement through the labyrinth by becoming conscious of your breath. Let your breath flow smoothly in and out of your body. It can be coordinated with each step – as is done in the Buddhist walking meditation – if you choose. Let your experience be your guide.
Each experience in the labyrinth is different, even if you walk it often in a short period of time. The pace usually differs each time as well. It can change dramatically within the different stages of the walk. When the labyrinth has more than a comfortable number of seekers on it, you can “pass” people if you want to continue to honour the intuitive pace your inner process has set. If you are moving at a slower pace, you can allow people to pass you. At first people are uncomfortable with the idea of “passing” someone on the labyrinth. It looks competitive, especially since the walk is a spiritual exercise. Again, these kinds of thoughts and feelings, we hope, are greeted from a spacious place inside that smiles knowingly about the machinations of the human ego. On the spiritual path we meet every and all things. To find our pace, to allow spaciousness within, to be receptive to all experience, and to be aware of the habitual thoughts and issues that hamper our spiritual development is a road to self-knowledge.
Summary of How to Walk the Labyrinth
Pause at the entry way to allow yourself to be fully conscious of the act of stepping into the labyrinth. Allow about a minute, or several turns on the path, to create some space between yourself and the person in front of you. Some ritual act, such as a bow, may feel appropriate during the labyrinth walk. Do what comes naturally.
Follow your pace. Allow your body to determine the pace. If you allow a rapid pace and the person in front of you is moving slower, feel free to move around this person. This is easiest to do at the turns by turning earlier. If you are moving slowly, you can step onto the labyrs (wide spaces at the turns) to allow others to pass.
The narrow path is a two-way street. If you are going in and another person is going out, you will meet on the path. If you want to keep in an inward meditative state, simply do not make eye contact. If you meet someone you know, a touch of the hand or a hug may be an important acknowledgement of being on the path together.
Symbolism and Meanings Found in the Chartres Labyrinth
Circles and Spirals
The circle is the symbol of unity or union and it is the primary shape of all labyrinths. The circle in sacred geometry represents the incessant movement of the universe (uncomprehensible) as opposed to the square which represents comprehensible order. The labyrinth is a close cousin to the spiral and it, too, reflects the cyclical element of nature and is regarded as the symbol of eternal life.
The labyrinth functions like a spiral, creating a vortex in its center. Upon entering, the path winds in a clockwise pattern. Energy is being drawn out. Upon leaving the center the walker goes in a counter clockwise direction. The unwinding path integrates and empowers us on our walk back out. We are literally ushered back out into the world in a strengthened condition.
The Path
The path lies in 11 concentric circles with the 12th being the labyrinth center. The path meanders throughout the whole circle. There are 34 turns on the path going into the center. Six are semi-right turns and 28 are 180° turns. So the 12 rings that form the 11 pathways may symbolically represent, the 12 apostles, 12 tribes of Israel or 12 months of the year. Twelve is a mystical number in Christianity. In sacred geometry three represents heaven and four represents earth. Twelve is the product of 3 x 4 and, therefore, the path which flows through the whole is then representative of all creation.
The obvious metaphor for the path is the difficult path to salvation, with its many twists and turns. Since we cannot see a straight path to our destination, the labyrinth can be viewed as a metaphor for our lives. We learn to surrender to the path (Christ) and trust that he will lead us on our journey.
The path can also be viewed as grace or the Church guiding us through chaos.
The Cruciform and Labyrs
The labyrinth is divided equally into four quadrants that make an equal-armed cross or cruciform. The four arms represent in symbol what is thought to be the essential
structure of the universe for example, the four spatial directions, the four elements (earth, wind, water and fire), the four seasons and, most important, salvation through the cross. The four arms of the cross emerging from the center seem to give order to the would-be chaos of the meandering path around it.
The Chartres labyrinth cross or cruciform is delineated by the 10 labyrs (labyr means to turn and this is the root of the word labyrinth). The labyrs are double-ax shaped and visible at the turns and between turns. They are traditionally seen as a symbol of women’s power and creativity.
The Centre Rosette
In the Middle Ages, the rose was regarded as a symbol for the Virgin Mary. Because of its association with the myths of Percival and the Holy Grail at that time, it also was seen as a sign of beauty and love. The rose becomes symbolic of both human and divine love, of passionate love, but also love beyond passion. The single rose became a symbol of a simple acceptance of God’s love for the world.
Unlike a normal rose (which has five petals) the rosette has six petals and is steeped in mysticism. Although associated with the Rose of Sharon, which refers to Mary, it may also represent the Holy Spirit (wisdom and enlightenment). The six petals may have corresponded to the story of the six days of creation. In other mystical traditions, the petals can be viewed as the levels of evolution (mineral, plant, animal, humankind, angelic and divine).
The Lunations
The lunations are the outer ring of partial circles that complete the outside circle of the labyrinth. They are unique to the Chartres design.
Celtic Symbols on the St. Hilda’s Labyrinth
The Celtic peoples have given us seven enduring spiritual principles:
1. A deep respect of nature, regarding creation as the fifth Gospel.
2. Quiet care for all living things.
3. The love of learning.
4. A wonder-lust or migratory nature.
5. Love of silence and solitude.
6. Understanding of time as a sacred reality and an appreciation of ordinary life, worshipping God through everyday life, and with great joy.
7. The value of family and clan affiliation, and especially spiritual ties of soul friends.
To show our respect for such wisdom, two Celtic designs adorn the St. Hilda’s labyrinth.
To mark the entrance to the labyrinth is a Celtic zoomorphic design painted in red. Traditionally, Celtic monks used intricate knotwork and zoomorphic designs (odd animals intertwined in uncomfortable ways) as mere filler for their illuminated gospel texts. They had no discernible meaning.
However, because of their unique design components, zoomorphs are now associated with transformations.
Transformation, change, action, and passion are also associated with red, the colour of fire. Therefore, this entrance symbol may well be an appropriate sign for the journey ahead.
At the labyrinth’s centre is a Celtic triquetra. This interlocked knotwork design of three stylized fish (whales) is often interpreted as the Trinity knot. It is a perfect representation of the concept of "three in one" in Christian trinity beliefs. Having the design enclosed within the centre circle further emphasizes the unity theme.
The triquetra can also be considered to represent the triplicities of mind, body, and soul, as well as the three domains of earth- earth, sea, and sky.
Final Reflection: The Labyrinth as a “Thinning Place”
In Celtic Christianity, places where people felt most strongly connected with God’s presence were referred to as thin places. It was these places in nature (forest groves, hilltops and deep wells) that the seen and unseen worlds were most closely connected, and the inhabitants of both worlds could momentarily touch the other. Today our churches, temples and sacred sites are the new thin places to meet the Divine. Here, at St Hilda’s, we have opportunities to encounter many thinning places – whether it be during Eucharistic or Taize services, while singing or praying, or through the love of a welcoming inclusive community. The labyrinth is a welcome addition; and with the right intent can also become a new thinning place for the modern pilgrim/spiritual seeker.This outward journey is an archetype with which we can have a direct experience. We can walk it. It can serve to frame the inward journey – a journey of repentance, forgiveness and rebirth, a journey that seeks a deeper faith, and greater holiness, a journey in search of God.
This High Dynamic Range panorama was stitched from 84 bracketed images with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.
Original size: 18160 × 9080 (164.9 MP; 194 MB).
Location: St. Hilda’s By The Sea Anglican Church, Sechelt, British Columbia, Canada
Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
• Pressurized lubrication system with thermostatically controlled cooling.
Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.
• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.
• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).
• Downshift Rev Matching (DRM).
• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.
Wheels and Tires
• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.
• Tire Pressure Monitoring System (TPMS).
• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).
Brakes
• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.
• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.
• 6-piston front/4-piston rear monoblock calipers.
Steering
• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
• 2.6 steering-wheel turns lock-to-lock.
Suspension
• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.
• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.
• Hollow front and rear stabilizer bars.
Body/Chassis
• Exclusive Premium Midship platform with jig-welded hybrid unibody.
• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.
• Carbon-reinforced front crossmember/radiator support.
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Standard Features
Exterior
• Wide-beam headlights with High Intensity Discharge (HID) low beams.
• LED taillights and brake lights.
• Dual heated power mirrors.
• Flush-mounted aluminum door handles.
• Body-color rear spoiler with integrated center high-mounted stop light.
• UV-reducing tinted glass.
Audio/Navigation/Performance Monitor
• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.
• HDD Music Box system, including hard drive with 9.4 GB for audio storage.
• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.
• HDD-based GPS navigation with touch screen.
• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.
• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.
Interior
• Automatic Temperature Control (ATC).
• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.
• Power front windows with one-touch auto-up/down feature.
• Intelligent Key system with pushbutton start. Power door locks.
• Cruise control.
• Tilt/telescoping steering column.
• Bluetooth® Hands-free phone system with voice recognition.
Seating/Appointments
• Leather upholstered front seats with perforated Alcantara inserts.
• 8-way power front seats with entry/exit switch for rear-seat passengers.
• Driver-shaped bucket seat.
• Dual individual rear seats.
• Heated front seats.
• Leather-wrapped steering wheel and shift knob.
• Drilled aluminum pedals.
Safety/Security
• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.
• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
Predica cristiana sobre la fe - ¿Que es la fe en Dios?
Como hay tanta gente que se dice ser cristiano, nos es familiar el creer en Dios. Aunque mucha gente dice creer en Dios, la mayoría no entiende qué significa tener una verdadera fé en Dios. Quizás muchos de estos creyentes no están de acuerdo y opinan: ¿realmente piensas que somos menos? Hemos creído en Dios durante muchos años, ¿es posible que realmente no entendamos lo que la verdadera Fé en Dios significa? Algunos dicen: “Creer en Dios es admitir que hay un Dios, y creo que Dios creó los cielos y la tierra y todas las cosas, y que Dios existe realmente. ¿No es esto creer en Dios?”. Algunos dicen así: “Leo la Biblia a menudo, oro, asisto a las reuniones, y predico el Evangelio. ¿Eso no cuenta como verdadera Fé en Dios?”. Algunos otros dicen: “Puedo recitar los más famosos capítulos y versículos de la Biblia, así que, ¿quién se atreve a decir que no yo soy un verdadero creyente en Dios?”. Otros dicen: “Hago sacrificios para el Señor, he estado trabajando, predicando y compartiendo el evangelio por muchos años y siempre intento ayudar y mantener a los hermanos y hermanas, ¿realmente no creo en Dios?”. La gente utiliza muchas de estos argumentos para probar que realmente son creyentes en Dios. Sin embargo, ¿nos hemos detenidos a pensar si estos argumentos son realmente ciertos?
…
Fuente del artículo:https:// www.biblia-es.org/que-es-tener-fe-verdadera-en-Dios.html
Lori Deiter and I made it to RGSP just after 8am...
We hiked from the Lake Rose parking lot down the Highland Trail, onto Glen Leigh, stopped at Waters Meet, continued on Ganoga Glen and back to the Lake Rose parking lot. Made it back to her vehicle around 1pm
Glen Leigh water flow is quite low, but Ganoga Glen seems to have a little bit more.
Check out my blog post about this adventure, here:
rickettsglen.wordpress.com/2014/09/09/august-22nd-2014/
Ricketts Glen State Park
Fairmount Township, Pennsylvania
Friday, August 22nd, 2014
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Viajar desde antes de ayer entre Vigo y Ourense u Ourense y Puebla de Sanabra para los usuarios habituales pudo ser bastante complicado, ya que Renfe no dio explicaciones de qué servicios se suprimirían y cuales no, ni de los cambios de horario.
Es más, todo puede llegar a un nivel mayor de confusión ya que si miras los horarios para hoy o mañana en la web, aparecen los nuevos servicios y los que a partir de antes de ayer dejaron de realizarse. Estos son los efectos de realizar modificaciones y comunicarlas tarde, mal y arrastro...
Lo peor de todo, es que dejan algunas líneas en paños menores, suprimiendo servicios, que es lo más fácil. Se me vienen ideas a la cabeza para las líneas deficitarias así como cambiar horarios, cambiar el tamaño de los trenes o los precios de los billetes, antes de suprimirlos... Me gustaría saber como es posible que retiren 14 frecuencias semanales entre Vigo y Ourense, cuando esos trenes llevan 200.000 pasajeros al año, datos oficiales,no entre Ourense y Vigo, pero si entre todas las estaciones dando servicio a ese numero de personas que viven en pueblos o ciudades y que se comunicaban con las ciudades o con otros pueblos.
Ahora los dos trenes que se salvan en esa misma línea tienen unos horarios pésimos, el Intercity Madrid-Vigo se adelanta 3 horas. Imagino que esto es para cubrir la demanda del tren anterior, el suprimido, que aun así pasaría por las mismas estaciones 2 horas antes de lo que pasa el tren nuevo ahora. Con lo cual la gente que antes cogía el tren a las 8 y ahora quiera irse a algún pueblo desde Ourense (por poner un ejemplo), ya no puede, tiene que ser antes o coger otro medio de transporte.
Eso si, nos han metido segundas frecuencias con Madrid, pero primero habría que empezar por comunicarnos mejor con nosotros mismos.
Y yo me pregunto, así pretenden mejorar la línea entre Vigo y Ourense? Que trenes de LD son los que van a hacer las paradas del Regional suprimido? Que no nos hagan la 13 14 que por ahí no pasamos. El Arco, por ejemplo solo mantiene dos paradas entre Ourense y Vigo, las mismas que tenía antes del cambio de horario, ningún tren de LD ha cambiado sus paradas para beneficiar algunas de las que hacía el Regional antes. Y luego pretenden que utilicemos más el ferrocarril... Me parto con los chistes que cuenta la ministra.
(Se que la foto no es la mejor, pero prefiero guardarme las buenas para momentos posteriores)
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
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------------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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
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
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------------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
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other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,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
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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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
Biennalist @ Venice Biennale
during the Venice Biennale 2019 Biennalist format will express the Biennale concept with art work
Biennalist / Venice Biennale
www.emergencyrooms.org/biennalist.html
#ThierryGeoffroy
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2019
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
WARM UP for COPENHAGEN ULTRACONTEMPORARY BIENNALE
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The COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done in 3 platforms
the parliament is platform 2
Artist have to express closer to decision makers . in time , in the NOW
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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile during Venice Biennale contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
other Biennale :(Biennials ) :
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
Information From: www.city.cleveland.oh.us/around_town/city_highlights/land...
One of the most controversial works of art displayed in the City of Cleveland is Oldenburg and van Bruggen’s Free Stamp. Located in Willard Park to the East of City Hall, this massive aluminum and planted steel sculpture is difficult to miss with its large red handle sprawling across the lawn and metal base sinking into the ground displaying the word “FREE” in backwards letters to passersby on Lakeside Avenue. Some people see the Free Stamp as an inspiring work of Pop Art that represents our liberty as American citizens and reflects our City’s industrial progress. Others view it as an eyesore that is inappropriate for a location at the heart of the City’s Civic Center. This debate has been going on since the piece was first commissioned in 1982 and still echoes throughout the City today.
Artists Claes Oldenburg and Coosje van Bruggen designed the Free Stamp at the request of Standard Oil and admit that it was one of the most difficult works of art they have ever created. The controversy began soon after Standard Oil was awarded permission to tear down the old Standard Oil of Ohio (SOHIO) building located on Public Square. As construction of the new building began, SOHIO decided that it wanted a fresh work of art to display outside its doors, directly across from one of the City’s historical landmarks, the Soldiers and Sailors Monument. After seeing the “pad” of land with which they had to work, Oldenburg and van Bruggen, who are famous for making large replicas of common objects such as spoons, ice cream cones, and bowling pins, proposed the idea of creating an enormous stamp.
The original design for the sculpture was an upright, self-inking stamp, with a red handle which looked like a giant exclamation point. The first design allowed access so that people could actually walk around inside the stamp, but management at SOHIO soon agreed that such a structure would require a lot of maintenance. The design was then restructured to look like a hand stamp on an ink pad. The question was then raised as to what word would be placed on the stamp. The artists wanted a word that would serve as a statement, like a one-word poem, but could also be found on a real office stamp. The physical dimension of the work was also a consideration as the diameters of the Free Stamp left room for only 4 letters. Van Bruggen suggested the word “Free” to represent liberty and independence and to make a positive statement in the heart of the City.
Just as construction on a revised design began, SOHIO underwent a change in management. The new managers did not like the idea of placing a massive piece of pop art on Public Square, especially a 50-foot stamp. Several opponents of the Free Stamp feared that the message conveyed by the work would invite jokes about the condition of Downtown Cleveland, which during the 1980s was in need of revitalization. SOHIO gave Oldenburg and van Bruggen the opportunity to relocate the stamp, but the artists did not want to move it. The location at Public Square added to the artistic expression of the work in a way other locations could not.
Production of the Stamp was halted for several years and pieces of it were placed in storage in Indiana. As BP America assumed management of SOHIO, executives wondered why the company was paying so much to house a huge stamp. Interest was renewed in the work of art and Mayor George Voinovich invited Oldenburg and van Bruggen to Cleveland in hopes of selecting another site to display their work. Although the Cleveland Museum of Art was considered, the artists wanted their work to be seen in the heart of Downtown and set their sights on Willard Park for its proximity to Public Square and because of its location to Cleveland’s government offices.
Placing the Free Stamp in Willard Park immediately drew opposition from Council President, George Forbes, who did not support the idea of the City of Cleveland accepting a rejected work of art and displaying it right outside of City Hall. Once again, the artists had chosen their location as part of their artistic statement and were unwilling to compromise their artistic integrity. This time, they threatened to destroy the work entirely if the City did not want to display it.
Before the artists could act on their threat, Election Day 1989 had passed and newly elected Mayor, Michael R. White, and Council President, Jay Westbrook, expressed their interest in this unique work. BP America finally decided that it would donate the Free Stamp as a gift to the City and offered to maintain it in its new location. City Council accepted this generous gift and the Free Stamp was brought out of storage and redesigned to accommodate its new space.
The lawn at Willard Park inspired Oldenburg and van Bruggen to alter the position of the Free Stamp so that it would lie on its side, as if it had toppled over on someone’s desk. Van Bruggen felt that the new design reflected the Free Stamp’s history as it was “flung” from Public Square only to “land” in Willard Park. Production on the Free Stamp resumed and it was brought to Cleveland in pieces to be assembled in its current spot.
The Free Stamp was officially inaugurated on November 15, 1991. The Dedication reads:
Free Stamp
Claes Oldenburg and Coosje Van Bruggen
1991- Planted Steel and Aluminum
Gift of BP America
To the City of Cleveland
Michael R. White- Mayor
Jay Westbrook- City Council President
Dedicated 11-15-1991
New blog post - 'Made by gravity'
dungenessstudios.blogspot.co.uk/2015/06/gravity-construct...
Crookid Stiks 'n' $tones | P. H.
el.kingdomsalvation.org/gospel.html
Δευτέρα Παρουσία
Ο Θεός λέει:« ...Όταν η φωτιά που έστειλε ο Θεός από τον ουρανό είχε μετατρέψει τα Σόδομα σε τίποτα περισσότερο από στάχτες, τούτο σήμαινε ότι η πόλη με το όνομα Σόδομα θα έπαυε να υπάρχει, όπως και τα πάντα μέσα στην ίδια την πόλη. Καταστράφηκε από τον θυμό του Θεού· εξαφανίστηκε κάτω από την οργή και τη μεγαλοπρέπεια του Θεού. Χάρη στη δίκαιη διάθεση του Θεού, τα Σόδομα έλαβαν τη δίκαιη τιμωρία τους· χάρη στη δίκαιη διάθεση του Θεού, έλαβαν το δίκαιο τέλος τους. Το τέλος της ύπαρξης των Σοδόμων οφειλόταν στο κακό τους, και οφειλόταν επίσης στην επιθυμία του Θεού να μην κοιτάξει ποτέ ξανά αυτήν την πόλη, ούτε και κανέναν από τους ανθρώπους που είχαν ζήσει σε αυτήν ή και οποιαδήποτε ζωή που είχε ανατραφεί μέσα στην πόλη. Η «επιθυμία του Θεού να μην κοιτάξει ποτέ ξανά την πόλη» είναι η οργή Του, καθώς και η μεγαλοπρέπειά Του. Ο Θεός έκαψε την πόλη, επειδή η ανομία και η αμαρτία της Τον έκαναν να νοιώθει θυμό, αηδία και απέχθεια προς αυτήν, και να επιθυμεί να μην την κοιτάξει ποτέ ξανά, ούτε και κανέναν από τους ανθρώπους και τα έμβια όντα μέσα σε αυτήν. Μόλις η πόλη σταμάτησε πια να καίγεται, αφήνοντας μόνο στάχτες πίσω της, έπαψε και να υπάρχει στα μάτια του Θεού· ακόμη και οι αναμνήσεις Του από αυτήν είχαν χαθεί, σβηστεί. Τούτο σημαίνει ότι η φωτιά που εστάλη από τον ουρανό, δεν κατέστρεψε μονάχα ολόκληρη την πόλη των Σοδόμων και τους γεμάτους ανομία ανθρώπους μέσα σε αυτήν, ούτε κατέστρεψε απλώς ό,τι είχε κηλιδωθεί από την αμαρτία μέσα στην πόλη· περισσότερο ακόμα, η φωτιά αυτή κατέστρεψε τις αναμνήσεις του κακού και της αντίστασης της ανθρωπότητας ενάντια στον Θεό. Τούτο ήταν ο σκοπός του Θεού, όταν κατέκαψε την πόλη.... »
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
ο Υιός του Θεού
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
Música cristiana de adoración | Unidos por el amor
I
Venimos de lejos para reunirnos en la casa de Dios,
donde comemos y bebemos Sus palabras y vivimos la vida de iglesia a diario.
Practicamos y experimentamos las palabras de Dios
mientras disfrutamos realmente de la comprensión de la verdad.
El vacío, el dolor y la confusión son cosas del pasado.
Las palabras de Dios nos han congregado;
qué bonito es disfrutar de estas palabras en nuestro corazón.
¡Amándonos unos a otros, rebosando de gozo y risas,
comprendiendo la verdad y alabando a Dios se libera nuestro corazón!
II
Nos reunimos ante Dios; todos y cada uno lo amamos de corazón.
Al leer las palabras de Dios, tenemos luz en el corazón
y una senda de práctica para todas las cosas.
Al ayudarnos y apoyarnos unos a otros, vivimos en el amor de Dios.
Despojándonos de la falsedad y la mentira nos preparamos para ser honestos.
Las palabras de Dios nos unen,
nuestros corazones se conectan y nos amamos estrechamente los unos a los otros.
Al comprobar lo hermoso que es Dios, se exaltan nuestros corazones;
amamos y alabamos a Dios, ¡qué bendecidos estamos!
III
Al recordar los momentos juntos, tenemos una sensación agridulce,
se han convertido en recuerdos inolvidables.
Dios nos ha traído hasta hoy y hemos experimentado mucho de Su amor.
Tras experimentar las pruebas y el refinamiento, se transforma nuestro carácter de vida.
Al emprender la misión de dar testimonio de Dios, vamos por caminos distintos.
Las palabras de Dios nos guían siempre hacia delante, difundimos Su buena nueva en la tierra.
Hermanos y hermanas, levantaos con un solo corazón y una sola alma;
amar a Dios implica tener presente Su voluntad.
Por muy grande que sea el sufrimiento, jamás retrocederemos;
siempre amaremos a Dios y daremos testimonio de Él, ¡le seremos fieles hasta el fin!
Hermanos y hermanas, levantaos con un solo corazón y una sola alma;
difundid el evangelio del reino y seguid la voluntad de Dios.
Anhelamos el día de la gloria de Dios, cuando podamos volver a reunirnos,
en compañía de Dios, ¡nunca separados!
De “Seguir al Cordero y cantar nuevos cánticos”
Fuente de la imagen: Iglesia de Dios Todopoderoso
Términos de uso: es.godfootsteps.org/disclaimer.html
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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
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
“Si tienes una posición alta, una reputación honorable, posees un conocimiento abundante, tienes muchas propiedades, y muchas personas te apoyan, pero estas cosas no evitan que vengas delante de Dios para aceptar Su llamamiento y Su comisión, que hagas lo que Él pide de ti, entonces todo lo que haces será lo más significativo sobre la tierra y lo más justo de la humanidad.Si rechazas la llamada de Dios por causa de tu estatus o tus propios objetivos, todo lo que hagas será maldito e incluso detestado por Dios. Quizás seas un presidente, o un científico, un pastor, o un anciano, no importa cuán elevado sea tu oficio, si te apoyas en tu conocimiento y capacidad en tus empresas, entonces siempre serás un fracaso, y serás un hombre sin las bendiciones de Dios, porque Él no acepta nada de lo que haces, ni admite que tu carrera sea justa, ni acepta que estés trabajando para el beneficio de la humanidad. …”
Ver más：https:// www.kingdomsalvation.org/es/attached-piece-2-god-presides...
Recomendación: Promesas de Dios
Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
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Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
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• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
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• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
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• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
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• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
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• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
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• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
This memorial has been researched by the Roll of Honour team, and where information has been used from that site it is identified as (RoH).
www.roll-of-honour.com/Norfolk/NorwichStSaviour.html
W H Ager
William Henry AGER (RoH)
Private 328231, 1st Battalion, Cambridgeshire Regiment. Killed in action 28th August 1918. Aged 19. Born and enlisted Norwich. Son of Mr. and Mrs. C. Ager, of 15, Golden Dog Lane, St. George's, Norwich. Buried in PERONNE ROAD CEMETERY, MARICOURT, Somme, France. Plot III. Row I. Grave 3.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=310602
There is a picture of William Henry on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read
Ager, Private William Henry, 3/4 Norfolk Regiment
Resident at 15 Golden Dog Lane, Norwich; enlisted 7 November 1915; killed in action in France, 26 August 1918.
The 2 year William , born Norwich, can be found on the 1901 Census at 15 Golden Dog Lane in the parish of St Saviour, This is the household of his parents, Charles, (aged 42 and a Carpenter from Norwich) and Caroline, (also aged 42 and from Norwich). Their other children are:-
Annie…….aged 18.….born Norwich…..Yarn Picker
Edith………aged 15.…born Norwich…..Yarn Twister
Sidney……aged 12.….born Norwich
Charles…..aged 8.……born Norwich
Alice…….aged 4.……born Norwich
However, while Charles senior still appears to be in Norwich for the 1911 census, his wife, William, Charles and Alice appear to be completely absent.
The Battalion would have been involved in the general advance following the Third Battle of Albert, which is one of the divisional Battle Honours.
Battle of Albert (1918) (August 21 - 22, 1918) was the third battle by that name fought during World War I, following the First Battle of Albert, and the Second Battle of Albert, with each of the series of three being fought roughly two years apart. This smaller third battle was significant in that it was the opening push that would lead to the Second Battle of the Somme, and heavily involved the New Zealand Division, formed after the disastrous Gallipoli campaign. This attack opened the advance, with the main attack being launched by the British Third Army, with the United States II Corps attached.
The attacks developed into an advance, which pushed the German 2nd Army back along a 50-mile (80 km) front line. On August 22, the New Zealand Division took Albert, with the British and Americans advancing on Arras. On August 29, Bapaume fell into British and American hands, which resulted in an advance by the Australian Corps, who crossed the Somme River on August 31 and broke the German lines during the Battle of Mont St. Quentin. Ultimately, the overall battle resulted in the German Army being pushed back to the Hindenburg Line, from which they had launched their spring offensive.
en.wikipedia.org/wiki/Battle_of_Albert_(1918)
www.cwgc.org/victory1918/content.asp?menuid=35&submen...
A Barber
Arthur BARBER (RoH)
Private 267239, 13th (Service) Battalion (Forest of Dean)(Pioneers), Gloucestershire Regiment. Died 26th April 1918. Born St Saviour, Norwich, enlisted Norwich. No known grave. Commemorated on TYNE COT MEMORIAL, Zonnebeke, West-Vlaanderen, Belgium. Panel 72 to 75.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=847003
(No personal details on CWGC).
We have a 2 year old Arthur A, born Norwich, and living at Tarrells Yard, which appears to be in the Cowgate \ Bull Close area in the neighbouring parish of St Pauls, as well as a 4 year old Arthur and his 26 year old father of the same name living in nearby St Augustines. There are then a further 5 Arthur \ Alfred’s of the right sort of age to have fought in WW1 in the ranks, i.e. born after 1875 and with a Norwich connection.
The division of which Arthur’s unit was part lists amongst its battle honours for 1918
Second Battle of Kemmel. 25-26 Apr.
As part of the German assault there was a heavy bombardment of the Artillery and rear areas with both conventional shell and gas.
www.webmatters.net/belgium/ww1_lys_4.htm
W Barber
William BARBER (RoH)
Private 6692, Depot, Norfolk Regiment. Died 9th July 1917. Aged 33. Husband of Ellen Barber, of 2, Mischief Yard, Peacock St., Norwich. Buried in NORWICH CEMETERY, Norfolk. Plot/Row/Section V. Grave 547.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=2803041
No match on Norlink
The 17 year old William,(born Norwich and employed as a Shoe Finisher), can be found on the 1901 census at 176 St George Street, in the parish of St Augustines. This is the household of his widower father, James, (aged 59 and a Publican from Norwich), Also resident is William’s brother, Walter, aged 19 and a shoe finisher from Norwich.
Wm A. Bassett
William A BASSETT (RoH)
Private 250620, 1st/6th Battalion, Durham Light Infantry. Killed in action 28th July 1918. Aged 23. Born and enlisted Norwich. Son of Mrs. L. E. Bassett, of 2, Ling's Court, Stump Goss, Magdalen St., Norwich. Formerly 5565, Norfolk Regiment. Buried in THELUS MILITARY CEMETERY, Pas de Calais, France. Plot V. Row C. Section 1.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=296709
CWGC only lists this soldier as W Bassett.
Brother of Walter Albert listed below.
No match on Norlink
The 1901 Census has the 4 year old Willie, born Norwich, recorded at 18, Gildencroft in the Parish of St Augustines. This is the household of his parents, George, (aged 45 and a sweep, no place of birth recorded), and Lottie, (aged 39 and from Norwich). The rest of their children are:-
Richard…………..aged 16.……born Norwich……Printers apprentice
Ethel………………aged 15.…..born Norwich
George……………aged 11.…..born Norwich
Walter…………….aged 10.….born Norwich
Lillian…………….aged 6.……born Norwich
Hilda…………..aged 2.……….born Norwich
The 1st/6th had been reduced to a cadre by the end of June, with surplus men being released to other units. As the Thelus Military Cemetery was used for battlefield casualties, I suspect Private Bassett was one of those surplus men, and he died while serving with another unit.
Wr.A.Bassett
Walter Albert BASSETT (RoH)
Private 12784, 7th Battalion, Norfolk Regiment. Died 13th October 1915. Aged 24. Born St Saviour, Norwich, enlisted Norwich. Son of Mrs. L. Bassett, of 2, Ling's Court, Magdalen St., Norwich; husband of Laura V. Watling (formerly Bassett), of 2, St. Saviour's Alley, Magdalen St., Norwich. Commemorated on LOOS MEMORIAL, Pas de Calais, France. Panel 30 and 31.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=727290
Brother of William above.
No match on Norlink
See William above for 1901 Census details.
On 12th October 1915 the Battalion moved from billets to a line in front of the St Elie Quarries, taking over from the Coldstream Guards. The attack was planned to go ahead the following day under a smoke cloud with the Norfolks closing on the German trenches from both ends of their position thus straightening their line, their own trenches being in a semi-circle. The left side of the Battalion was also tasked with bombing a German communications trench. A bright sunny day with an ideal wind for moving the smoke towards the enemy positions, the artillery bombardment began at 12:00 and was intensive by 13:45. 54 heavy and 86 field howitzers and 286 field guns fired on enemy trenches in the area of the Hohenzollern Redoubt, Fosse 8, the Quarries, Gun Trench and the positions south to Chalk Pit Wood. It failed to cause sufficient damage to the enemy positions. The smoke barrage went wrong and ceased by 13:40, twenty minutes before the attack was launched at 14:00 and was thus very thin. German machine gun fire from in front and from the direction of Slag Alley, opposite the Norfolks right flank, enfiladed their attack. Whilst they gained a foothold in the Quarries and consolidated the position they were unable to advance further. In the battalions first serious engagement they lost 5 Officers killed or died of wounds and 6 wounded, and 66 other ranks killed, 196 wounded and 160 missing.
Source: 1914-1918.invisionzone.com/forums/index.php?showtopic=42270
W G Brown
William George BROWN (RoH)
Driver T/326178, Royal Army Service Corps. Died in India 6th October 1918. Born, resident and enlisted Norwich. Buried in Bangalore (Hosur Road) Cemetery and commemorated on MADRAS 1914-1918 WAR MEMORIAL, CHENNAI, India. Face 26.
Note: The MADRAS 1914-1918 MEMORIAL is situated at the rear of the Madras War Cemetery. It bears the names of more than 1,000 servicemen who died during the First World War who lie in many civil and cantonment cemeteries in various parts of India where it is not possible to maintain their graves in perpetuity.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1465419
No match on Norlink.
The 1911 Census high level search contains two individuals with the first names William George with a Norwich, (although there are also two George Williams). There are of course many William Browns who may be the man we are looking for. The details available are:
Circa 1901 born Norwich resident Norwich
Circa 1880 born Norwich resident Norwich
On the 1901 census the 1901 born individual doesn’t even appear, and therefore as its likely he was born after March 1901 its very unlikely he was serving overseas in the British Army in 1918.
There are two William Brown’s that match the 1880 individual and neither are listed with any middle names. Therefore any further information I add here would simply be mis-leading.
E D Brundish
Edgar Donald BRUNDISH (RoH)
Private 3/8042, 1st Battalion, Norfolk Regiment. Died 7th October 1915. Aged 39. Son of Edgar John and Ruth Brundish, of Norwich. Buried in POINT 110 OLD MILITARY CEMETERY, FRICOURT, Somme, France. Plot/Row/Section G. Grave 8.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=571013
There is a picture of Private Brundish on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read
Born at St. James's, Norwich on 22nd December 1879, Private Brundish was educated at Silver Road School. He enlisted 25th August 1914 and was killed in action in France on 7th November 1915
(NB, the Norlink date is different to the CWGC\Roll of Honour Date.)
The 21 year old Edgar, (born Norwich and a Boot and Shoe Maker by trade), is recorded at 12 Mousehold Street in the Parish of St James with Pockthorpe on the 1901 census. He is married to Edith , aged 21 and a Boot Machinist, also from Norwich. Edgar is the head of household.
On the 1891 Census the 11 year old Edgar D. is recorded at The Paddocks, Silver Road in the Parish of St James. He is already employed as a Domestic Servant - a House Boy. Unfortunately, Edgar’s name is at the top of the page, with his parents, (and any elder siblings) on the previous page. He has 5 younger siblings:-
Ronald N………..aged 9.…..born Norwich
Patricia R……….aged 7.…..born Norwich….recorded as deaf and dumb
Rupert Jn……….aged 5.…..born Norwich
Maud M………..aged 3.……born Norwich
Percy Ed……….aged 1.……born Norwich.
Fortunately Edgar is just old enough to make the 1881 census. There his parents are listed as John, (aged 34?, and possibly a Brewers Serv.?, from Horning) and Ruth, aged 24 and also from Horning. There are no older siblings listed.
Interestingly, a family history web-site gives some slightly difference information. Edgar’s father John married Ruth Thompson in Norwich in 1879. Their children are listed as
Beatrice R. Brundish, b. 1884, Norwich, England, d. 1896, Aged 12 London.
Edgar Donald Brundish, b. 1880, Norwich, England, d. 07 Oct 1915, World War 1 France.
Percy Edward Brundish, b. 1890, Norwich, England, d. 1937, Wisbech.
Reginald Victor Brundish, b. 1882, Norwich, England, d. 1916, World War 1.
Rupert John Brundish, b. 1886, Norwich, England, d. date unknown, Australia. +Maud Maria Brundish, b. 04 Oct 1887, Norwich, England, d. 1981, Norwich, England.
Hilda R. Brundish, b. 1897, Norwich, England, d. date unknown.
familytreemaker.genealogy.com/users/t/h/o/Donald-J-Thorpe...
Name: BRUNDISH, REGINALD V.
Rank: Bombardier Regiment/Service: Royal Field Artillery Unit Text: 35th Div. Ammunition Col. Age: 35 Date of Death: 17/07/1916 Service No: 6942
Grave/Memorial Reference: 27. 242. Cemetery: NORWICH CEMETERY, Norfolk
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2803070
The 1st Battalion were on rotation in and out of the front-line trenches at Fricourt at this time, in what was then a comparatively quiet sector. Sniping and the occasional artillery \ mortar barrage would take their toll. For a glimpse of this, take a look at the War Diary of the 1st Battalion Bedfordshire Regiment who were in the same Brigade as the 1st Norfolks and frequently fought together.
www.bedfordregiment.org.uk/1stbn/1stbtn1915diary.html
F B Edwards
Benjamin Frederick EDWARDS (RoH)
[Listed as F B on memorial and CWGC] Private 3673, 1st/4th Battalion, Norfolk Regiment. Killed in action 4th October 1915. Enlisted Norwich. Buried in 7th FIELD AMBULANCE CEMETERY, Turkey. Special Memorial Plot/Row/Section A. Grave 64.
Note: There are now 640 Commonwealth servicemen of the First World War buried or commemorated in this cemetery. 276 of the burials are unidentified but special memorials commemorate 207 casualties known or believed to be buried among them.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=605477
No match on Norlink
There is no Frederick Benjamin or Benjamin Frederick with a Norfolk connection listed on the 1911 Census. There are numerous Frederick Edwards on the 1901 Census including one aged 6, born Norwich and currently resident at 30 Silver Road, Norwich in the neighbouring parish of St.Pauls, while there is also a 19 year old Benjamin Edwards, a Boot and Shoe Operator from Norwich who was currently residing at 43 Barracks Street, in the neighbouring parish of St James.
Fortunately the baptism records for some of these parish’s are on line. There is a Frederick Benjamin listed who was born 12th January 1895 and baptised the 24th September 1896 at the church of St.James, Pockthorpe. His parents are listed as Ellis William and Ellen Elizabeth. His fathers occupation is given as drayman. Going back to the census, this ties in with the 6 year old at Silver Road.
At the time of the 1901 census, Ellis was aged 34 and a Drayman from Long Stratton. Ellen was 36 and probably also from Long Stratton. As well as Frederick, their other children are:-
Alfred…….aged 14.…born Norwich……occupation undecipherable
Charles……aged 13.…born Norwich
Gertie…….aged 10.…born Norwich
Florence….aged 4.….born Norwich
After the fighting in the middle of August, the struggle was more against disease and hardship than against Turkish guns and rifles. Dysentery caused havoc in all ranks, and in the middle of October there remained of the 1/4th Battalion only sixteen officers and 242 men fit for duty.
user.online.be/~snelders/sand.htm
H E Fitt
Frank Herbert FITT (RoH) - but see my notes.
[Listed as H F on memorial and CWGC] Private 235096, 1st/5th Battalion, The King's (Liverpool Regiment). Killed in action 31st July 1917. Aged 27. Born Norwich, enlisted and resident Lowestoft. Son of Harry and Sally Fitt, of Eden Villa, 2, Eden St., Lowestoft; husband of Hilda Pearl Fitt, of 146, Raglan St., Lowestoft. No known grave. Commemorated on YPRES (MENIN GATE) MEMORIAL, Ieper, West-Vlaanderen, Belgium. Panel 4 and 6.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=1612459
I’ve looked at all the shots I took and its definitely an E, not an F. There is no H E Fitt listed on CWGC but there is a possible H Fitt.
Name: FITT Initials: H
Rank: Lance Corporal Regiment/Service: Norfolk Regiment Unit Text: 1st Bn.
Date of Death: 25/04/1917 Service No: 9672
Grave/Memorial Reference: VI. H. 22. Cemetery: CABARET-ROUGE BRITISH CEMETERY, SOUCHEZ
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=585647
However, the 1901 Census throws up a new possibility - the 3 year old Harrold Fitt, born Norwich and living at 2, Cat & Fiddle Yard in the parish of St,Saviour. This is the household of his parents, Walter, (aged 40 and a Shoemaker from Norwich), and Emma, (aged 36 and from Norwich). Their other children are:-
Alice…………..aged 14.……………born Norwich
Walter…………aged 11.……………born Norwich
Sidney…………aged 9.…………….born Norwich
Maude…………aged 8.…………….born Norwich
May……………aged 5.……………born Norwich
Hilda…………..aged 1.……………born Norwich
As the 1st Battalion man is the only one of the four H. Fitt listed on the CWGC database who doesn’t have parents shown, and as the other three have parents who are not a Walter and Emma, the guesswork for now is that he is our man.
And indeed Lance Corporal H Fitt,9672, is down on the Great War Roll of Honour as a “Harold” Fitt.
Lance Corporal Fitt probably died as a result of wounds received in the attack of the 23/24th April.
From the War Diary of the 1st Bedfords
Report on action at La Coulotte.. Lt. Colonel P.B. Worrall M.C. Commanding 1st Battalion, Bedfordshire Regiment.
Sir, I have the honour to report that I received orders to attack LA COULOTTE from T.1.d.1/9 to T.1.a.3/9. and attach a copy of my Operation Orders which I personally explained in detail to all Officers and NCO’s. Briefly, I had to make:
(a) a frontal attack to the N.
(b) a flank attack East on WATER TOWER TRENCH.
AND (c) attack on triangle south of WATER TRENCH from the south, including a large part of CYRIL TRENCH held by the Germans.
The whole undertaking seemed to be most hazardous.
I considered the WATER TOWER TRENCH to be key to the situation and so attacked it frontally and in enfilade. Had I not got this footing, my Battalion must haave been wiped out by WATER TOWER TRENCH if we were held up by wire.
NARRATIVE.
4.40am. For half an hour previous to this I heard no M.G. fire and this proved a successful deployment.
5.15am. Two wounded reported that left company had reached 1st line German trench. It proved afterwards to be correct but with regard to extreme left only.
6.15am. 24 prisoners marched in from DEVONS and BEDFORDS captured at the junction of these two Battalions. 6.5am O.C. right assault company reported wounded but right company going through gaps. This Officer in charge and many others afterwards reported that it took at least five minutes to get through the wire, that there were few gaps, and a double belt (the first one 15 yards thick) in front of the first line.
7.05am. Touch with NORFOLKS reported.
7.55amj. Right 2nd wave (“C” Coy.) report they had passed through first objective (second German line) met with strong resistance, machine gun fire from houses and minerwerfer, but captured 9 prisoners (sent back), and 2 machine guns which they later smashed, and parties actually reached buildings T.1.b.5/9 and made a great attempt to rush LA COULOTTE from there, patrols were also sent out from there to try and get touch with the NORFOLKS , and companies on the left.
9.50am. NCO’s from “B” and “D” (left companies) reported that their right was held up, they had been surrounded and several prisoners had been taken. I have satisfied myself that these men were between two belts of wire with wire and a communication trench on the right from which they were enfiladed, and the gaps through which they had advanced were covered, and that they were bombed from the front and like rats in a trap.
Lt. Hunter from the right and who was on the other side of the road witnessed it and stated they were absolutely powerless.
10.00am. I sent orders to “A” and “C” to hang on and throw a defensive flank from junction of LENS-ARRAS ROAD and 1st German line and make strenuous efforts to get in touch with “B” and “D” .
11.05am. Lt. Woodford wounded, reported that “B” and “D” took the German 2nd line and were at once driven out of it with the exception of extreme left (communication trench T.1.a.30/95). Capt. C.A.S. Morris O.C. B Company was killed in rallying his men to make a gallant attack on machine guns, holding up their advance from 2nd line. At the same time I received a message that the remnants of A and C Companies were under 100 in WATER TOWER TRENCH and TRIANGLE, and that there were some NORFOLKS fighting with them and that they could not hold out much longer. They asked for reinforcements and bombs.
1.30pm. I applied at once for permission to conduct retirement in person but on this being refused I despatched Lt.H.J.EVERERTT MC with all available men from headquarters with 700 bombs and detailed orders for retirement if forced back, and I considered it imperative:
1. To hold the strong point in CYRIL TRENCH and not save the OUTPOST LINE
2. To evacuate my wounded (some 30) in the TUNNEL before evacuation.
My orders were more than carried out, the bombs were taken up under heavy fire, though some sent up by another Regiment failed to arrive, a splendid attack was led by a Sergeant of the NORFOLKS before the withdrawal, all the wounded were got away, and barricade strengthened before withdrawal.
[Cannot read time]. Verbal message received that A and C Companies had withdrawn to our original OUTPOST LINE and that Lt. H.J.EVERETT MC again sent up with a further supply of ammunition and bombs for strong point in CYRIL TRENCH.
[Cannot read time]. My position at the time of this withdrawal was:
1. About 60 men of “A” and “C”, all me effective rifles and some NORFOLKS from about T.1.a.6/7 to T.1.a.9/0 (German Front Line).
2. On my left from T.1.a.5/6 to T.1.a.1/8 the remnants of “B” and “D” lying out in front of German Wire till dusk, being continually bombed, grenaded and minenwerfened.
[Cannot read time]. A proportion of “B” and “D” Companies withdrew under the smoke of a protective barrage on German 2nd Line trench, to left of OLD OUTPOST LINE.
Copy of orders of my forced retirement attached.
I consider that my Officers, NCO’s and men showed great devotion to duty against untold odds, particularly wire and machine guns and I am forwarding under separate cover a list of recommendations.
I have the honour to be, Sir, your obedient servant
P.R.WORRALL, Lt.Colonel commanding 1st Battalion, Bedfordshire Regiment www.bedfordregiment.org.uk/1stbtn/1stbtn1917appendices.html
F Futter
F FUTTER (RoH) - but see my notes
Either Frank Charles FUTTER, Private 10554, 3rd Battalion, Coldstream Guards. Killed in action 11th May 1915. Aged 20. Born Burnham Thorpe, enlisted Norwich, resident Wells, Norfolk. Son of Charles and Elizabeth Futter, of Graver's Cottage, Burnham Thorpe, King's Lynn. Buried in CUINCHY COMMUNAL CEMETERY, Pas de Calais, France. Plot II. Row A. Grave 1.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=594134
Or Frederick FUTTER, Private G/10190. 1st Battalion, Duke of Cambridge's Own (Middlesex Regiment). Killed in action 25th September 1915. Born St Bartholomew's. Norfolk, enlisted Norwich. Formerly 13023, Norfolk Regiment. Buried in CAMBRIN CHURCHYARD EXTENSION, Pas de Calais, France. Plot/Row/Section H. Grave 25.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=170678
The 1911 census has a Frederick Futter, born Norwich circa 1896 and still recorded in the district. There are no Futters recorded living in Norwich on the 1901 census, and no Norwich baptisms on the transcribed records available for the period 1881 to 1901. Frank is up at Burnham Thorpe, along with his nephew Walter Frederick who also died in the Great War.
The register of births doesn’t appear to have anything for 1896, but in 1895 in the April June quarter there is a Frederick John H recorded at Yarmouth.
The Great War Roll of Honour has Frederick down as Fred., and Frank Charles down as Charles F.
Therefore the balance is looking more like Frederick rather than Frank.
25th September-30th September 1915.
When dawn broke on the morning of 25th it seemed as if the elements had again conspired to make the attack abortive, for heavy rain fell and the wind, what there was of it, shifted almost continually; it was a bad day for the projection of gas. Indeed, one Brigade of the 2nd Division (6th) notified Divisional Headquarters that the wind was unfavourable, but was ordered to proceed with the projection. So, at 5.50 a.m., the cylinders were opened and great clouds of asphyxiating gas were projected into the air, whilst the smoke candles were lighted. But instead of the gas floating across No Man's Land and settling down over the German trenches, it hung lifeless in the air or blew back upon the British trenches from which it had been projected, in many places with disastrous effects.
The left Battalion (the Highlanders) of the 19th Brigade fared worse than the right-the Middlesex-for the ground in front of the former was much cut up by craters, and in these the gas hung about with exasperating stillness.
Across No Man's Land the Germans could be seen donning gas masks and using sprays-in order to dispel the gas-whilst all along their parapets, at intervals of about 20-30 yards, they lighted fires for the same purpose, and by their activities they appeared quite unaffected by the noxious fumes. For forty minutes the gas projection lasted and then, at 6.30 a.m., the signal was given for the assault.
"A", "B" and "C" Companies of the 1st Middlesex, awaiting the order to go forward, at once began their advance; "D" Company was in reserve. But the men had not gone more than a few yards ere a storm of rifle and machine-gun bullets tore their ranks to shreds and No Man's Land was soon littered with killed and wounded. Undeterred by the gas fumes the Germans stood up in their trenches, in many places upon the parapets, and poured a deadly accurate fire upon the advancing British troops. For not alone from in front of the gallant Die-Hards did fierce resistance take place, but all up and down the line. Unable to make further progress, the Middlesex men laid down. By this time the German trenches, which when the advance began had been lightly held, were packed with men and the volume of fire increased. With orders to reinforce the three forward companies, "D" Company now "went over the top," only to share a similar fate, and survivors lay close to the ground with a rain of bullets pouring overhead. The Battalion Diary records the action in the following and all too brief words: "At 5.50 a.m. a gas attack was opened on the German trenches for 40 minutes. This was not, however, very successful, and did not have much effect. At 6.30 the Battalion attacked with three Companies in the front line and one Company ("D") in reserve. The Battalion was all flung into the line, but failed to get further forward than 100 yards and were then hung up. Gunners again shelled the hostile line, but no further advance was made. At 12 noon the Battalion was ordered to withdraw into Brigade Reserve, having lost very heavily in both officers and men. A large proportion of N.C.Os. were casualties."
The 19th Brigade Diary throws but little further light on the action, though the position of the Brigade at 7.30 a.m. is given thus: "1st Middlesex about 100 yards in front of our front-line trenches; 2nd A. and S. Highlanders being under cover of the German parapet by the wire " (a terrible position). Then a little later the narrative states: "2nd A. and S. Highlanders withdrawn to their original trenches, leaving many men behind, including two complete platoons who reached the German front trenches. 1st Middlesex, trying to get on, are a hundred yards in front. Artillery shell the German front line very heavily. A bombardment under 2nd Divisional orders was arranged to start at 9a.m., after which infantry were to advance. 2nd Royal Welch Fusiliers now put out two companies to support the Middlesex, but they were met with fierce opposition and lose heavily. Bombers of 1st Middlesex reach the craters at "D," but are heavily fired on by our own artillery." At 9.45a.m. orders were received at Brigade Headquarters stating that as the attack on the right of the 2nd Division was progressing favourably, no further attack was to be made for the present by the 19th Brigade and the 6th Brigade ( the latter was on the left of the former).
Amongst the appendices to the Diary of the 19th Infantry Brigade, however, are several field messages of special interest to the Middlesex Regiment, and although there are gaps in the story it is possible to follow the course of the Battle from a battalion point of view.
The first message, timed 6.57 a.m., is from Brigade Headquarters to Battalion Headquarters Middlesex and reads: "Any news aaa How far have you advanced aaa Is gas returning you aaa Keep me well informed so that artillery barrage may be altered to suit if you want it." In reply to this message there follow several, one after the other, from the O.C. Middlesex, and they are given in their correct order, though the first was evidently despatched while the Brigade message was on its way to Battalion Headquarters: (i) "6.50 a.m. Much opposition to our front. Please ask guns to shell Les Briques trench." (ii) "7 a.m. Reserve company has got on, but we are being very heavily fired at." (iii) "7.16 a.m. Line held up. Very heavy fire aaa Have " (here the message is overwritten and is unreadable. (iv) "7.20 a.m. Ask guns to shell German front-line trench aaa Railway trench I mean." (v) "7.26 a.m. Don't think gas is affecting us or Germans. They are holding their front-line trench aaa Our Battalion is all out in area between their front trench and ours aaa 2nd Royal Welch Fusiliers are now up aaa It is essential to now shell hostile front trench." (vi) "7.30 a.m. Reported casualties probably 400, but impossible to tell aaa Have observed an enormous number fall." ( vii) "7.55 a.m. Must shell German first line aaa Our men are all out in front aaa Almost all must be killed or wounded aaa Please shell first line aaa Welch Fusiliers are now advancing." And, at 8 a.m. the Commanding Officer asks for men for the attack on his left: "Is there any news re Argylls and Sutherlands ?"
It is apparent from the last message that no news had reached the Commanding Officer of the Middlesex from his own front line of the situation on his left flank. About 8 a.m., however, Colonel Rowley received the following message from Lieut. A. D. Hill ( commanding "C" Company): "Enemy very strong in front with machine-guns and rifles. "C" Company strength only about 30 or 35 men. Impossible to advance on account of machine guns. Mr. Henry and 3 men alone remain out of two platoons. Can we have reinforcements ? We are in Square 27B in crater S.E. of road and about 60 yards south Point 79." To which, at 8.12 a.m., Colonel Rowley replied: "Hang on where you are until reinforced." The next message is written on a small muddy and blood-stained piece of paper: "8.30 a.m. "B" Company attack held up 100 yards out of own trench. Major Swainson wounded. "B" Company knocked out, few men stand fast." It is signed "P. Choate, 2nd Lieutenant."
The only other information received by Colonel Rowley from No Man's Land was a second message from Lieut. Choate, timed 10.50 a.m.: "So far as can ascertain "B" Company nearly wiped out. A few men are lying near me 100 yards in front of our front trench to left of wrecked aeroplane and facing Les Briques Farm. I have not enough men to advance further. Can you reinforce or give orders ?" There is no reply in the Diaries to this message.
The one bright spot in the attack was an assault from the left flank carried out by the Grenade Reserve platoon, assisted by a platoon of the Reserve Company ("D"). These gallant fellows attacked a large crater (at D) and actually captured it.
There is little more to tell ! At 1.15 p.m. the Battalion- all that was left of it-was ordered into reserve at Siding No. 3 and Braddell Trench. When this movement had been carried out, but a handful of men-84 other ranks-were mustered, though when darkness had fallen over the battlefield on the night of 25th other men, who had been lying out all day in No 2 Man's Land, were able to withdraw. The little party of "D" Company who had hung on to the crater they had captured were also withdrawn. During the day they had actually pushed beyond the crater, but were held up by very thick hostile wire entanglements, and the grenade officer was killed whilst trying to force a way through. A machine gun had also been pushed forward into the crater and did great execution, but the machinegun officer being wounded, the gun had to be withdrawn. Throughout the morning the Battalion stretcher-bearers performed many gallant deeds and worked heroically
Ten officers killed (Captains N. Y. L. Welman, F. V. A. Dyer, L. G. Coward and R. J. Deighton; 2nd Lieuts. C. A. J. Mackinnon, C. Pery, B. U. Hare, A. L. Hill, R. C. Mellish, J. H. Linsell; Lieut. A. W. R. Carless died of wounds on 27th September.) and 7 wounded; 73 other ranks killed, 285 wounded, 66 missing, 7 gassed and 2 suffering from shell concussion-a total of 455-were the casualties suffered by the 1st Middlesex throughout the day. Well indeed might the Brigadier-General (P. R. Robertson) commanding 28th Brigade write in a letter to Colonel Rowley, dated 26th September: "Please convey to all ranks my very high appreciation of the splendid behaviour of all ranks in yesterday's action. They did all that it was possible to do under such circumstances; their conduct was most gallant and fully upheld the fine reputation of the Die-Hards."
Source freespace.virgin.net/howard.anderson/loos.htm
S Guyett
Sidney GUYETT (RoH)
Private 241797, 1st/5th Battalion, Northumberland Fusiliers. Died 14th November 1916. Born Norwich, enlisted Norwich. Formerly 3165, Norfolk Regiment. Buried in THIEPVAL MEMORIAL, Somme, France. Pier and Face 10 B 11 B and 12 B.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=788145
No match on Norlink
No match on either the 1911 or 1901 Census, although there are plenty of Guyett’s in Norfolk,
The attack on Hook Sap 14th November 1916
Captain Francis Buckley wrote, in Q6a and Other Places:
The position in front was now as follows. The 1st Division had pushed the enemy back to a line running along the top of a ridge running from the Butte of Warlencourt practically due east. This ridge prevented our seeing the enemy's approaches and support positions in Le Barque. On the other hand from Loupart Wood the whole of our approaches and support trenches were in full view of the enemy, as far back as High Wood. Across those two miles no one could move in daylight without being seen by the enemy, and there was practically no position to put our field guns forward of High Wood. The enemy's front line consisted of two trenches - Gird Line and Gird support - with a forward trench on the top of the ridge, called on the left 'Butte Trench' and on the right 'Hook Sap.' Our front line Snag Trench and Maxwell Trench lay this side of the ridge and about two hundred yards away from the German forward trench.
The Butte of Warlencourt, an old Gallic burial place, was a round chalk hill, rising about 100 feet above ground level; and had been mined with deep dugouts and made into a formidable strong point. From the Butte, machine guns defended the approaches to Hook Sap, and from Hook Sap and the Gird Line, machine guns defended the approaches to the Butte. The ground between and around the opposing trenches had been ploughed up with innumerable shells, some of huge calibre, and it was now a spongy morass, difficult to cross at a walk and impossible at a run. As events proved, unless both the Butte and the Gird Line could be taken at the same time, the one would render the other impossible to hold. This then was the problem that faced the 50th Division, a problem that would have been difficult enough in the driest of weather, but rendered four times more so by the rain which fell in deluges on three days out of four during the whole of October and November.
I have dealt with these details rather fully, because this phase of the Somme battle has been passed over as a thing of no account. The eyes of the public have been directed to the successful operations at Beaumont Hamel and Beaucourt. They have not been directed to the misery and horror that we endured heroically but unavailingly on the slopes between Eaucourt L'Abbaye and Le Barque. Never have the soldiers of the 50th Division deserved more and won less praise than they did during the operations between October 25 and November 15. I have no pen to describe the conditions that were faced by the brave men, who after labouring unceasingly in the slimy horrors and rain for three weeks without rest or relief, stormed and took Hook Sap, only to be cut off and killed to the last man by successive counter- attacks. It is a sorrowful page in the history of the 7th N.F., but for stark grim courage and devotion to duty it cannot be surpassed by anything in the history of the battalion.
At dawn on November 14 the 149th Brigade attacked the Hook Sap and Gird Line, the 5th N.F. on the right, the 7th N.F. on the left opposite the sap At the same time the Australian Corps attacked farther to the right, but no attack was made on the Butte itself. An officer, who was in the trenches south-west of the Butte and saw the Northumberlands go forward, told me that he had never seen such a strange sight. The men staggered forward a few yards, tumbled into shell-holes or stopped to pull out less fortunate comrades, forward a few more yards, and the same again and again. All the while the machine guns from the German trenches poured a pitiless hail into the slowly advancing line; and the German guns opened out a heavy barrage on the trenches and on the ground outside. In spite of mud, in spite of heavy casualties, the survivors of two companies of the 7th N.F. struggled across that spongy swamp and gained the German line. What happened after that can only be conjectured, for they never kept in touch with the 5th N.F., who reached and took the Gird Line. But it is known that the 7th N.F. got a footing both in Hook Sap and in the Gird Line behind.
The Germans barraged the captured trenches twice or three times during the day, and are thought to have attacked them in force, with fresh reserves each time. Owing to the heavy and continuous barrage across No Man's Land no news could be got back, and no supports could be sent forward. Finally, at night, the remnants of the shattered brigade were collected, and another attempt were made to reach the trenches; but the Germans had evidently now got back to their old position and in the mud and darkness the fresh attack had little chance of success. Nothing more has been seen or heard of the two companies that reached Hook Sap. It is believed that they perished to the last man, over whelmed by successive German counter-attacks. Second-Lieut. E. G. Lawson fell at Hook Sap, also 2nd-Lieut. R.H.F.Woods, both Bombing Officers of the 7th N.F.; also Bombing Sergts. J.R. Richardson and J. Piercy.
The 5th N.F. did well indeed, for they succeeded in holding their ground in the Gird Line, and handed it over next day to the troops that relieved them. But that also had to be abandoned at last owing to its isolated position.
The only consolation that can be drawn from this heroic but tragic affair is that it may have created a diversion to our successful operation at Beaucourt. As an isolated operation it was doomed from the start owing to the state of the ground and the exhaustion of the men who took part in it.
www.fairmile.fsbusiness.co.uk/hooksap.htm
A Lake
A LAKE (RoH)
Either LAKE, Arthur Norman, Sapper 85613, 207th Field Company, Royal Engineers. Died 19th January 1917. Aged 34. Born Colegate, Norfolk, enlisted Norwich. Awarded the Military Medal (M.M.). Son of Mr. and Mrs. Fred W. Lake, of 36, Pitt St., Norwich; husband of Eliza Alice Lake, of 7, Rosebery Rd., Norwich. Buried in BREWERY ORCHARD CEMETERY, BOIS-GRENIER, Nord, France. Plot IV. F. 13.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=59108
There is a picture of Arthur Norman on Norlink. Accompanying notes read Sapper Lake was killed on 19th January 1917
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Arthur Norman was baptised at St George’s Colegate on the 12th October 1884. His actual date of birth isn’t noted. His parents are listed as Frederick William and Sarah, and their address is given as Pitt Street, Norwich.
Or LAKE, Arthur, Private 3921, 2nd Battalion, Northumberland Fusiliers. Killed in action 12th March 1915. Aged 19. Born and enlisted Norwich. Son of Mr. and Mrs. Lake. No known grave. Commemorated on PLOEGSTEERT MEMORIAL, Comines-Warneton, Hainaut, Belgium. Panel 2.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=869348
Norlink also has
Lake, Lance Corporal Arthur Walter, 101st Winnipeg Light Infantry (Overseas) Battalion
Lance Corporal Lake was born at Norwich, 31st December 1883, the son of W. Walter and Lottie Lake of 83 Crown Road, Great Yarmouth. He enlisted in early 1916 and was killed 9th April 1917 at Vimy Ridge, France.
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=2954741
His enlistment papers can be seen here
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
To add to our plethora of choices, the 1901 census has an 8 year old Arthur, born Norwich and recorded at 15 Priory Yard in the Parish of St James with Pockthorpe. His parents are Walter and Eliza. There is also a 11 year old Arthur recorded at 117 Oak Street, who lives with parents Robert and Mary.
While Arthur Norman from Pitt Street is there, and Arthur Walter, who by the time of the 1901 census has moved to 83 Crown Road, Great Yarmouth, there is no trace of the youngest Arthur on either the 1901 or the 1911 census. The only Arthurs of the right age and with a Norfolk connection on the 1901 census were born at Stalham and Attleborough.
C G Marshall
Cecil George MARSHALL (RoH)
probably Private M/33836, "N" Forage Company (Cambridge), Royal Army Service Corps. Died in United Kingdom 4th November 1918. Aged 22. Born Eccles, Kent, enlisted Chatham, resident Maidstone. Husband of Mabel Sophia Marshall, of 9, Howletts Court, Botolph St., Norwich. Buried in NORWICH CEMETERY, Norfolk. Plot/Row/Section 47. Grave 803.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2803224
No match on Norlink
There is also a Claude at 67 Magpie Road Aged 8 Parents Thomas and Mary on the 1901 census who is still around in Norwich in 1911, but the only match on CWGC for a Claude Marshall is a Temporary Lieutenant in the 7th Battalion South Staffs Regiment, who died in 1917.
Unfortunately no next of kin details shown on CWGC
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=159629
Private Marshall’s headstone:-
www.flickr.com/photos/43688219@N00/3085037887/
G H Marshall
George Henry MARSHALL (RoH)
Private 772766, 2nd Battalion, Canadian Infantry (Eastern Ontario Regiment). Died 29th September 1918. Aged 30. Born 12th September 1888 in Norwich. Son of Robert and Sarah Marshall, of 26, Stacey Road, Norwich; husband of Ellen Mary Marshall, of King's Head Yard, Magdalen St., Norwich. Machinist by trade,. Unmarried. Enlisted 5th February 1916 at Brantford, Ontario, Canada, passed fit 7th February 1916. Height 5 feet 5½ inches, girth 35½ inches, complexion fair, eyes brown, hair light brown, religion Church of England. Buried in BUCQUOY ROAD CEMETERY, FICHEUX, Pas de Calais, France. Plot II. Row K. Grave 23. National Archives of Canada Accession Reference: RG 150, Accession 1992-93/166, Box 5952 - 17
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=179082
There is a picture of George on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Accompanying notes read Private Marshall was born in Norwich on 21st September 1888, and educated at Angel Road School. He enlisted on 30th July 1916, and died of wounds received at the Battle of Cambrai on 29th September 1918
Interestingly the photo was taken at Bonds of Magdalen Street, Norwich.
The 12 year old George appears on the 1901 Census at 51 Esdelle Street in the parish of St Augustines. This is the household of his parents, Robert, (aged 43 and a Fruiterers Porter from Norwich), and Sarah, (aged 43 and also from Norwich). Their other children are:-
Robert……..aged 21.…..Born Norwich…..Printers Compositor
Edward……aged 20.…..Born Norwich…..Shoemakers Pressman
Walter……..aged 17.….Born Norwich…..Printers Porter
Albert……..aged 16.…..Born Norwich…..Errand Boy - Drapers
Sarah………aged 14.….Born Norwich
Rosa……….aged 11.….Born Norwich
Susan………aged 10.…Born Norwich
Eliza……….aged 8.…..Born Norwich
Arthur………aged 4.….Born Norwich
The enlistment papers for George Henry Marshall, born 12th September 1888 can be seen on-line in the Canadian Archive.
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
He gives his next of kin as his father, Robert Marshall, of 26, Stacey Road, Norwich
27th September 1918
On the Corps left the 1st Division’s success paid tribute to careful planning and well-directed and determined execution. Two guns of the 1st Battery C.F.A. gave the 1st Brigade a good start by moving in front of Inchy-en-Artois and firing point-blank into enemy positions along the canal. Thus aided, the 4th Battalion, having crossed the dry bed with little difficulty, was able to jump ahead to the north-east and capture its assigned portion of the Marquion Line. Here the 1st Battalion pushed through as planned and secured the Green Line in short order. The 2nd and 3rd Battalions now assumed the lead, only to be stopped by heavy fire from the embanked railway which curved north from Bourlon. With the aid of a timely flanking attack by the 72nd Battalion they overcame this resistance and swept on to the Blue Line.
On the whole the day had gone very well. That night (General) Currie wrote in his diary: “Today’s success jeopardizes the hold of the enemy on the Quéant- Drocourt system north of the Scarpe, and he may be expected to fall back to Douai.” With the obstacle of the Canal du Nord overcome there was hope that Cambrai might soon be captured, and that the fall of Douai would follow. But gains had been limited on the Corps right, where the 4th Canadian Division, suffering from an open flank because of the slow progress of the British formations farther south, had been unable to start the second phase of the operation. During the night of 27-28 September, however, the Germans fell back. With his divisions ejected from their lines and lying unprotected in the open fields from Epinoy to Ribécourt, General von Below gave orders for a withdrawal to the far side of the Sensée between Arleux and Aubigny, and to the “Hagen” position running southward from Aubigny through Marcoing.108
On the evening of the 27th General Currie issued orders for the advance to continue throughout the night and following day in an effort to work around the north side of Cambrai and keep the enemy from setting up a defensive line west of the city.
The 2nd Battalion seems to have been engaged in holding the line on the 28th and 29th, as the various Canadian Reserve units were brought forward to keep the momentum going.
See Chapter 14, Matrix Nicholson Transcriptions.
Source: cefresearch.com/matrix/Nicholson/Transcription/
W H Mason
William Henry MASON (RoH)
Private Norfolk Regiment 1st/4th Battalion, Aged 21 Died 19/04/1917 200086 Son of Henry and Mary A. Mason, of 24, Rose Yard, St. Augustines, Norwich. Plot Panels 12 to 15. Buried in JERUSALEM MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1646317
No match on Norlink
The five year old William H. is recorded on the 1901 Census at 11 Thompsons Yard in the Parish of St Edmunds. This is the household of his parents, Henry, (aged 46 and a Crepe Finisher from Morwich), and Mary.A., (aged 38 and from Norwich). Their other children are:-
May……….,,,,,,,,,,,,,,aged 10.…….born Norwich
Alice M……………..aged 9.……..born Norwich
Ethel………………aged 3.………born Norwich
Making up the household is a 1 year old boarder, Ernest Camplin
19th April 1917 During the 2nd Battle of Gaza,
Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.
The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.
The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.
To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.
Source: en.wikipedia.org/wiki/Second_Battle_of_Gaza
E S Plumstead
Ernest Sidney PLUMSTEAD (RoH)
Gunner 875273, "A" Battery, 173rd Brigade (Territorial Force), Royal Field Artillery Killed in action 15th October 1918. Born and enlisted Norwich. Buried in DADIZEELE NEW BRITISH CEMETERY, Moorslede, West-Vlaanderen, Belgium. Plot I. Row C. Grave 35.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=163254
No match on Norlink
The 3 year old Ernest is recorded on the 1901 census at 55 Peacock Street in the Parish of St Pauls. This is the household of his parents, Samuel, (aged 41 and a Painter from Norwich), and Alice, (aged 31 and from Norwich). Their other children are:-
Percy……………….aged 8.………born Norwich
Alice……………….aged 6.………born Norwich
Arthur………………aged 5.……..born Norwich
Also living with them is Samuel’s Sister-in-Law, (and therefore probably Alice’s sister), Susan Saddleton, aged 19 and a Silk Weaver in a Crape Factory. Susan was also from Norwich.
CLXXIII (East Ham) Brigade: War Raised Unit; Formed at East Ham in 1915 and consisted of A, B, C and D Batteries; 36th (Ulster) Division. The Division moved to France 3-6 Oct 1915; Divisional Artillery remained in England until November 1915.
Forum Post,
14th - 15th October 1918
During the liberation of my village (Gulleghem, incl hamlets such as Salines, Steenbeek, Drie Masten...), 43 soldiers were killed and burried on the spot, the graves scattered all over the village. A document in the village archive lists their names, numbers and regiments. Most of the killed men were from the 29th Division (a few from the 35th and 36 division) serving with the South Wales Borderers, the Royal Scots, the Hampshire regiment, the Border Regiment, King's Own Scottish Borderers, Machine Gun Corps, Royal Inniskilling Fusiliers and Royal Field Engineers
(Gunner Plumstead is in the attached list)
1914-1918.invisionzone.com/forums/index.php?showtopic=104003
J W Scottow
John 'Jack' William SCOTTOW (RoH)
Gunner 101885, 355th Siege Battery, Royal Garrison Artillery. Died of wounds 21st August 1918. Born Heigham, enlisted Norwich. Buried in DAOURS COMMUNAL CEMETERY EXTENSION, Somme, France. Plot V. Row B. Grave 27.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=77657
There is a picture of Gunner Scottow on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read Gunner Scottow was born in Norwich in March 1887. He enlisted in August 1916, and was killed in action on 21st August 1918
On the 1911 census, a John Scottow, born Norwich circa 1887, is recorded in the district of Dartford. Other possibly related Scottow’s are a Mary, (born circa 1883, Norwich - possibly John’s wife?), and a Richard, (born circa 1909 Norwich - possibly John’s son?).
There isn’t a match on the 1901 census. On the 1891 census, the 3 year old John W is recorded at 29 Orchard Street in the parish of St Bartholomews. This is the household of his parents, John, (aged 39 and a Carpenter & Joiner from Alby, Norfolk), and Elizabeth, (aged 36 and from Hanworth). Their other children are:-
Mary……..,,,,,,,,,aged 17.….born Norwich…….Teacher:Elementary
George……,,,,,,,,aged 15.…born Norwich…….Labourer as a Packer
Elizabeth……….aged 13....born Norwich
Havvield(? Daughter)…..aged 1.…born Norwich
G Snelling
Gordon SNELLING (RoH)
Private 30316, 8th Battalion, Norfolk Regiment. Killed in action 11th May 1917. Born St Saviour, Norwich, enlisted Norwich. No known grave. Commemorated on ARRAS MEMORIAL, Pas de Calais, France. Bay 3.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1653957
No match on Norlink
On the 1901 census the 8 year old Gordon is recorded at 8, Little White Horse Yard, Botolph Street, in the Parish of St Saviour. This is the household of his parents, George, (age 39 and a Shoemaker from Norwich), and Emma, (also aged 39 and from Norwich). Their other children are:-
George………aged 13.……..born Norwich
Emma……….aged 10.……..born Norwich
William……..aged 4.……….born Norwich
Walter………aged 1.……….born Norwich
The 18th Division, of which the 8th Battalion were part, lists amongst its battle honours the third battle of the Scarpe, (3rd May-5th May 1917), part of the wider Battle of Arras. However, while fatalities amongst the 8th continued through-out May, its difficult to establish there whereabouts during this period.
gabbyjaws.blogspot.com/2024/09/rockin-in-pink.html
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RAMA Jessie
LaraX
STUN Aurora, Alexa 1 Curve
Thank you very much, again, my friend Rasmus Boegh, to give me the correct identification of this beautiful bird.
Um macho do Periquito Tuim - A female of Blue-winged Parrotlet (Forpus xanthopterygius).
A text, in english, from www.arthurgrosset.com/sabirds/blue-wingedparrotlet.html :
Brazil
The Blue-winged Parrotlet is the smallest Brazilian parrot weighing in at 26 g compared to the largest, the Hyacinth Macaw at 1500 g.
Male of Blue-winged Parrotlet, Brasília-DF, Brazil, april 2007. It is found from eastern Ecuador to Brazil south of the river Amazon and into Paraguay and northern Argentina. There is also a disjunct population near Santa Marta, Colombia. It likes a variety of habitats ranging from gallery forest and riverine thickets to savannah and semi-arid scrub.
The Forpus genus is one of the few groups of parrots where females differ markedly from males. The male Blue-winged Parrotlet shows blue along the edge of the wing and on the rump while the female is all green apart from a yellowish tinge on the head and flanks.
They nest in holes in trees and fence posts as well as using Rufous Hornero nests.
Food consists of fruit and seeds including grass seeds and they are particularly fond of Cecropia catkins.
There are illustrations in HBW, Volume 4, Page 449; Sick, Plate 17 ; Hilty & Brown, Plate 10; and Ridgely & Greenfield, Plate 31.
Um texto em português:
Um dos menores representantes da família dos psitacídeos, que inclui as araras, papagaios, maritacas e periquitos. Difícil de serem vistos quando no meio da vegetação, por sua cor toda verde. Gostam de aproveitar os ninhos desocupados de joão-de-barro para fazerem seus seus próprios ninhos.
É um dos menores periquitos do mundo. O corpo apresenta uma coloração que varia do verde ao amarelo. A cauda é muito curta, o que o faz lembrar um Agapornis africano. O macho apresenta uma mancha azul na asa, enquanto a fêmea é totalmente verde. O nome tuim é uma alusão à sua vocalização, que quando emitida pelo bando todo, que pode ter dezenas de indivíduos produz um som bem típico destes pequenos periquitos. Tais bandos são geralmente encontrados próximos a árvores com pequenos frutos como as embaúbas e figueiras, que são algumas de suas frutas favoritas. Geralmente os grupos são constituídos por vários casais, que constroem seus ninhos separadamente. Usam ocos de árvores, ninhos de joão-de- barro abandonados e até mesmos ninhos artificiais de madeira para nidificar. A fêmea bota e incuba de 3 a 7 ovos e os pais se revezam na alimentação dos filhotes.
No estado selvagem estas aves alimentam-se das sementes disponíveis, bagas e frutos. Gostam também de mastigar erva como complemento vegetal. Na natureza, estas aves aproveitam muitas cavidades naturais para ninhos. As posturas podem ir de 3 a 8 ovos e são incubados pela fêmea, apesar de o macho também ficar longos períodos dentro do ninho. No habitat natural o período de incubação ronda os 17 dias. As crias têm um desenvolvimento muito rápido. Com 20 dias estão cobertos de penas e deixam o ninho pela quarta ou quinta semana de vida.
by Alan Parker Photos
Paris by night
#
I wish I was there
j'aimerais être là
ich wünschte ich wäre dort
Хотел бы я быть там
Vorrei essere lì
Me gustaría estar allí
#
Suzuki Ignis 2020 1.2 Smart Hybrid Technische Daten
(2020 - ) - Jahre 2020, 2021, 2022...
Leistungsgewicht : 10.1 kg/hp
Fuel System :
Multipoint Injection *
16V
●
Tempo 80: 3,2 Liter Verbrauch
Tempo 100: 4.3 Liter Verbrauch
TEMPO 120: 5,8 Liter Verbrauch
TEMPO 140: 7,2 LITER VERBRAUCH
TEMPO 160: 9,4 LITER VERBRAUCH
●
Verbrauch - Verbrauch nach WLTP sehr schnell:
6 L/100km
#
Verbrauch - Verbrauch nach WLTP langsam:
5.1 L/100km
Verbrauch - Verbrauch nach WLTP
kombiniert:
5.1 L/100km
Bauart : 16 Ventile
Turbo : Nein
Verdichtung : 13.0 zu 1
de.wikipedia.org/wiki/Verdichtungsverh%C3%A4ltnis
Das Verdichtungsverhältnis wurde im Laufe der Entwicklung von Verbrennungsmotoren immer weiter gesteigert.
Die allmähliche Steigerung der Verdichtung lag lange vor allem an der Kraftstoffrezeptur.
Heute sind Oktanzahlen bis 102 ROZ an der Tankstelle verfügbar.
Ältere Motoren haben tendenziell niedrigere Anforderungen an die Kraftstoffqualität, da die Kraftstoffqualität noch nicht so hoch war, als sie entwickelt wurden.
Auch die Gestalt des Brennraums und des Ansaugtrakts trägt zum Oktanzahlbedarf bei.
#
Multipoint Injection *
16V :
*Eine Bedingung für heutige hohe Verdichtungsverhältnisse ist die Direkteinspritzung und die Verwendung von Klopfsensoren.
Der Zeitpunkt und die Menge der Treibstoffzugabe wird hier exakt gesteuert, womit eine vorzeitige Zündung – und somit ein Klopfen – verhindert werden kann.
Moderne Motoren haben Klopfsensoren, die aufkommendes Klopfen erkennen. Sie können den Zündzeitpunkt an die Benzinqualität und an die Motoreigenschaften anpassen.
Bei höherem Verdichtungsverhältnis (genauer: Expansionsverhältnis) ist auch der thermische Wirkungsgrad höher.
ROZ 91 Normal Benzin
ROZ 95 - ROZ 100 - ROZ 102
de.wikipedia.org/wiki/Oktanzahl#ROZ
wirkt sich erst bei Vollgas (Volllast) positiv aus!
Beispiel würde eine Oktanzahl von ROZ = 95 (umgangssprachlich: 95 Oktan) eines Benzins bedeuten, dass dessen Klopffestigkeit einem Gemisch aus 95 Vol.-% Iso-oktan und 5 Vol.-% n-Heptan entspricht.
Iso-oktan ist klopffest und kann stark verdichtet werden, ohne dass es zur Selbstzündung kommt.
Beispielsweise kann der Oktanzahlbedarf eines Motors
bei Vollgas um 10 Oktanzahlen höher
liegen als im Leerlauf.
Man kann hier auch von einem Volllastbereich sprechen, vergleichbar mit einer sehr schnellen Autobahnfahrt.
Die Verwendung von oberhalb der Motorspezifikation liegenden Oktanzahlen bringt im Regelfall keine Vorteile.
Moderne Motoren mit elektronischer Kennfeldzündung
in Kombination mit Klopfsensoren können mit verschiedenen Oktanzahlen bei reduzierter Leistung gefahren werden.
#
SUZUKI Motorleistung : Powertrain optimiert by Toyota
Moderner Motore mit elektronischer Kennfeldzündung
83 PS or 82 bhp or 61 kW @ 6000 rpm
Drehmoment :
107 Nm or 78 lb.ft @ 2800 rpm
35 Nm Hybrid Antrieb: E-Boost
Verbrenner plus Hybrid E-Boost
Im kurzzeitigen E-Boost-Modus leistet das Suziki Ignis Topmodell 85 PS Systemleistung bei 142 Nm.
2020-er Modelle:
53 mpg: 5,33 l Verbrauch.
10 % better.
But much more expensive.
Leistungssteigerung durch Mild Hybrid
leistungsfähigerer Akku (Lithium Batterie), 3-fach stärker
plus verbesserter E-Boost: Fahrpedal-Kickdown
um mehr Leistung zu fordern.
"Performance"
Das Hybrid-System von Suzuki besteht aus zwei Komponenten: dem integrierten Startgenerator (ISG) und einer extrem effizienten 12-Volt Lithium-Ionen-Batterie. Beim Anfahren und Beschleunigen versorgt der ISG den Benzinmotor mit Energie aus der angeschlossenen Batterie.
Fazit Hybrid:
nichts vom Fahrspaß geht verloren, ist aber sparsamer geworden.
E-Boost wirkt nur zwischen etwa 2000 bis 3.900 Umdrehungen !!
Beim Mild-Hybrid unterstützt der Elektromotor in nahezu allen Fahrsituationen die Verbrennungsmaschine, so z.B. beim Starten, Anfahren, Beschleunigen.
10 Ah - hilft 3 bis 4 km bergauf
der Verbrauch bleibt fast auf Niveau wie zuvor
(plus 0,2 l / 100km mehr)
entspricht 3.2 hp
35 Nm
peak at
50 Nm
Lithium Batterie rekuperiert sehr schnell.
Drivetrain Architecture
The Internal combustion engine (ICE) and electric motor drive the front wheels of the car with the ability to work only in mixed mode.
2020 Suzuki Ignis II (facelift 2020) 1.2 Dualjet (83 Hp)
MHEV | Technical specs, data, fuel consumption, Dimensions: www.auto-data.net/en/suzuki-ignis-ii-facelift-2020-1.2-du...
Bergab geht es sehr schnell.
etwa 2 km bis Batterie voll ist!
Der Ladestrom ist
sicher sehr hoch.
Mild-Hybrid-System
Electric motor Torque 50 Nm @ 1000 rpm.
36.88 lb.-ft. @ 1000 rpm.
Weight-to-power ratio 9.8 kg/Hp, 102.2 Hp/tonne
Weight-to-torque ratio 7.5 kg/Nm, 132.6 Nm/tonne
2020 Suzuki Ignis II (facelift 2020) 1.2 (91 Hp) MHEV 4WD CVT | Technical specs, data, fuel consumption, Dimensions: www.auto-data.net/en/suzuki-ignis-ii-facelift-2020-1.2-91...
Mehrpreis: 1.160 Euro - 1.500 € beim Vorgänger Modell
für eine weitaus schwächere Leistung (30%)
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Blog:.:: TASLIN AT A GLANCE ::.
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D'Austerlitz à La Chapelle, l'errance des migrants à Paris. Juin-Novembre 2015.
Ce soir, sur le campement dit La Chapelle - Pajol, projection du court-métrage « Escale à Pajol » que Mahamoud Ibrahim, cinéaste comoréen, a tourné les jours précédents sur le campement.
De fin juin à fin juillet, jusqu'à plus de trois cents personnes sont installées sur l'esplanade de la halle Pajol dans la plus grande précarité.
Paris, 24 juillet 2015.
Si les opérations dites de « mise à l'abri » se succèdent depuis juin 2015 en région parisienne, force est de constater qu'aucun dispositif d'accueil digne de ce nom n'est mis en place pour faire face à l'afflux de nouveaux arrivants à Paris et plus généralement en France.
Suite au démantèlement du campement de La Chapelle par les autorités le 2 juin 2015, les migrants non pris en compte pour les hébergements, harcelés par la police, errent plusieurs jours dans le XVIIIe arrondissement jusqu'à l'esplanade de la halle Pajol, où, le lundi 8 juin, une très violente rafle est menée par les forces de l'ordre.
Réfugiés pendant quelques jours au Bois Dormoy, un jardin collectif, les migrants et leurs soutiens le quittent le 11 juin pour partir occuper pour un soir la caserne désaffectée de sapeurs-pompiers du Xe. Ils obtiennent alors 110 places d'hébergement d'urgence.
Le soir même, un campement réapparait au parc Éole, avec ceux une nouvelle fois non pris en charge. Soit une soixantaine de personnes et plus encore les jours suivants, jusqu'à l'évacuation du 19 juin, avec la proposition de 220 places supplémentaires de la mairie, venue sur le campement accompagnée de l'OFPRA et de l'association Emmaüs. Les CRS suivront après le départ des migrants... Des dizaines de personnes sont laissées à la rue. Les migrants absents du camp ce matin-là, par exemple occupés à des démarches auprès d'une association ou de la préfecture, n'ont pas été pris en compte. Certains ont pris peur en arrivant sur les lieux d'hébergement et reviennent dans le quartier. D'autres encore ont refusé la proposition, doutant des promesses qui leur ont été faites sans garantie.
Le 20 juin, faute d'alternative, le campement se reforme sur l'esplanade de la halle Pajol avec quelques dizaines de personnes. Il atteint à nouveau plus de 200 personnes lorsque la mairie, toujours accompagnée de l'OFPRA et d'Emmaüs, mais sans la police, revient et procède à l'évacuation le 9 juillet de près de 200 personnes vers des centres d'hébergement d'urgence ou à l'hôtel. Des migrants ne sont pas pris en charge et le camp se reconstitue le soir même. Plus de 300 personnes y vivent dans la plus grande précarité lorsque la mairie, l'OFPRA, Emmaüs et le cabinet du ministère de l'Intérieur procèdent le 29 juillet à une nouvelle évacuation qui sera, elle, définitive.
Le lendemain, les migrants restés sur la carreau et leur soutiens partent alors occuper pacifiquement les locaux de l'association Ni putes ni soumises. Après une nuit sur place, ils s'installent le 31 juillet dans l'ancien lycée Jean Quarré, désaffecté depuis plusieurs années. Deux mois plus tard, ce sont plus de 600 personnes qui ont trouvé refuge au lycée occupé, dit désormais « Maison des Réfugiés ».
Pendant ce temps-là, les campements dits d'Austerlitz attendent tout l'été, dans l'incertitude, leur évacuation régulièrement annoncée par la rumeur depuis le démantèlement de La Chapelle le 2 juin... Apparus à l'hiver 2012-13 sur les quais le long de la Seine, aux alentours et sous la Cité de la mode et du design, ces camps passent de près de 200 à plus de 400 personnes entre juin et septembre 2015.
Le démantèlement des camps du quai d'Austerlitz a finalement lieu le 17 septembre.
Ce même 17 septembre, de façon simultanée est évacué le camp apparu devant la mairie du XVIIIe le 4 septembre avec les personnes laissées sur le carreau après le démantèlement du camp du square Jessaint de La Chapelle. En quinze jours, le camp de la mairie du XVIIIe était passé de 30 à plus de 200 personnes.
Au cours de cette double opération, le lycée Jean Quarré, déjà surpeuplé, est bouclé par les forces de l'ordre pour empêcher ses occupants de rallier les points d'évacuation.
Avec la fermeture des camps d'Austerlitz et de la mairie du XVIIIe, le lycée offre désormais la seule alternative à la rue.
Le 25 septembre le tribunal administratif, saisi par la mairie de Paris, propriétaire de l'ancien lycée Jean Quarré, en ordonne l'expulsion. Le nombre d'occupants continue dangereusement d'augmenter de semaine en semaine jusqu'à l'évacuation et la fermeture du lieu le 23 octobre 2015. Près de 1300 personnes sont alors évacuées vers des hébergements d'urgence.
Une nouvelle fois des laissés pour compte restent à la rue après l'opération. Un rassemblement le jour même devant l'Hôtel de ville de Paris permet d'obtenir 80 hébergements supplémentaires. Dès le lendemain un campement extrêmement précaire se reforme place de la République, régulièrement dispersé de force par la police au petit matin. Une première évacuation avec 88 hébergements a lieu le 30 octobre, puis une seconde, avec environ 350 hébergements, le 13 novembre.
Quelques heures plus tard, la place de la République devient l'épicentre des attentats qui frappent Paris. L'état d'urgence est décrété, les rassemblements et manifestations interdits.
C'est la dispersion...
Jusqu'aux prochains campements qui ne manquent pas de réapparaître dans les semaines suivantes...
Huffingtonpost Blog about Jan Bishop
The translation of the text that appears in the blog (which you can read below) is the work of Mark Donnelly . A great thank you to Mark for always looking for the best translation and to Jan Bishop for the great work, patience and collaboration.
A Borrowed View
Jan Bishop is one of those photographers who possesses the ability to convert everything she sees into shadows, with an innate sensitivity to freeze the mysterious and dark side of the human being. Just like many other creative photographers, she has broken technical barriers and has put to one side prejudice. There is only one thing she asks of her camera: that the batteries are charged. Often slaves to technique, photographers are now laying aside limiting and old purisms to pursue what really matters: the moment, the light, the composition…the subject.
If you were to take a quick look at her gallery you’d come across sullen gazes, tense faces, and eyes that look like they’re dancing alone in a dark sea with shadow puppets. However, if we stop for a moment and take a real look at each portrait we’d see a series of exposed naked souls, men and women who do what they can to survive. There is little room for escape; there is no happiness.
Even though soft colours are present in some of her work, black and white is her territory, with her ability for drama, the abstract, polarization and lack of colour. Sometimes, pain and anger appear and the image is turned into a bite for the observer, an antidote for indifference. Just like this boy who looks at us with rage, he appears to shout and bite his way through the lens. Her work appeals directly to the spectator, trapping their eyes and drawing them into the photo.
We don’t know anything about the boy, why he is angry or why he has such an expression…Jan prefers to suggest, to open doors through which we can see the dark side of man. Nothing underlined, no explanations, all of that is left to our imagination. Jan prefers to insinuate rather than tell us the ending. Although this time she has made an exception and spilled the beans. A friend’s son had just had a fight with his brother and cried uncontrollably. You can’t always win…
Jan Bishop (London)
Shy buy nature, she hides behind her camera and lets it do all the talking. She looks for inspiration on the streets of London. It is there where she finds people who are engrossed, worried and confused. Perfect light is not abundant in London but Jan takes that as a challenge. Nor, does it bother her if her portraits are a little blurred. That is how she captures the rhythm of the street, the hustle and bustle, the pulse of the city. A master at capturing fleeting gazes, she provides each photo with an aura of mystery, drama and emotion.
Jan, a model in the 1980’s who lived between Milan, Paris, New York and her hometown London, decided to place herself behind the lens and observe every detail of the world instead of being the one observed. The street is her studio. Although she still confesses to miss the smell of fixer (a common trait of nostalgia of someone who grew up in a dark room) she admits to having been seduced by digital. What is lost in magic is gained in immediacy and malleability.
She likes to take the subject away from the situation and put them into a story of her own. It is what she calls “a borrowed view”.
he.easternlightning.org/videos/seventeen-the-hell-you-are...
טריילר רשמי חדש – 'רק בן 17? חכה ותראה!'
"בחור, אתה יודע שהמפלגה הקומוניסטית היא אתאיסטית ומתנגדת לאמונה באלוהים? באיזה אלוהים אפשר להאמין בסין? איפה האלוהים הזה שלך?" "אל תחשוב שבגלל גילך הצעיר נרחם עליך! אם תמשיך להאמין באלוהים, אתה תמות!" צועקים השוטרים הסיניים החמושים בשוקר חשמלי לנער המוכה והחבול.
שמו של הנער הוא גאו ליאנג, ובאותה שנה מלאו לו שבע-עשרה. הוא היה בדרכו הביתה עם אח מבוגר יותר מפגישה שבה הפיצו את הבשורה, כאשר נעצר על ידי המשטרה הקומוניסטית. השוטרים מנעו ממנו מזון ושינה במשך שלושה ימים שלמים. הם חקרו אותו, ניסו להוציא ממנו הודאה בכוח ועינו אותו באכזריות. הם אפילו עשו שימוש בשוקר חשמלי על סנטרו, שתי ידיו ובאזור חלציו. הם ניסו לגרום לו לבגוד באלוהים ולמסור להם מידע על מנהיגי הכנסייה ועל משאביה הכספיים באמצעות סחיטה. הם גם איימו לעצור את הוריו ולגרום לסילוקו מבית הספר. משלא הצליחה להשיג את מבוקשה, הממשלה הקומוניסטית הסינית דנה אותו לשנה של חינוך מחדש באמצעות עבודת כפייה. בכלא, בנוסף לעבודה המפרכת, גאו ליאנג גם עבר עינויים והשפלות. את מה שעבר עליו לא ניתן לכנות בשם אחר מלבד "גיהינום עלי אדמות". בזמן תהליך הזיכוך הקשה, גאו ליאנג התפלל לאלוהים ובטח בו. דברי האל הכול יכול האירו את עיניו ועזרו לו להבין את כוונות האל. הם נתנו לו אמונה וכוח, והדריכו אותו כיצד לשרוד את השנה בכלא. המעצר והרדיפות של הממשלה הקומוניסטית נחקקו לעד בלבו של גאו ליאנג. הוא חווה על בשרו וראה במו עיניו את המהות המרושעת של הממשל הקומוניסטי בסין ואת שנאתו לאלוהים. בעולם הזה שנשלט בידי כוחות השטן, רק אלוהים אוהב את האדם יותר מכול. רק אלוהים יכול להושיע את האדם. אמונתו של גאו ליאנג ורצונו לעבוד את אלוהים התחזקו אפילו יותר. לדברי גאו ליאנג, הניסיונות והתלאות שעבר הם אוצר רב-ערך שעזר לו לצמוח ולהתפתח בחייו, מתנה מיוחדת שאלוהים העניק לו ליום הולדתו ה-17…
צפה בסרט השלם： 17? חכה ותראה!
Image Source:ברק ממזרח
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