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SP 2873 working in the yard at the Western Pacific Railroad Museum, 700 Western Pacific Way ~ [Malfunction Junction] Portola, CA
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In the 1980s, the Atchison, Topeka & Santa Fe Railway [SF] and Southern Pacific Transportation Company [SP] attempted a merger. It began with the merger of holding companies Santa Fe Industries and Southern Pacific Company on December 23, 1983 to form the Santa Fe Southern Pacific Corporation [SFSP], which held the SP shares in a voting trust. After the Interstate Commerce Commission denied the merger, SFSP sold the SP to Rio Grande Industries on October 13, 1988, and was renamed Santa Fe Pacific Corporation on April 25, 1989.
The holding company controlled all the rail and non-rail assets of the former Santa Fe Industries and Southern Pacific Company, and it was intended that the two railroads would be merged. They were confident enough that this would be approved that they began repainting locomotives into a new unified paint scheme, including the letters SP or SF and an adjacent empty space for the other two [as SPSF, the reverse order of the holding company].
The merger was opposed by the Justice Department in 1985 and denied in a 4–1 vote by the Interstate Commerce Commission [ICC] on July 24, 1986, who ruled that such a merger included too many duplicate routes and was therefore monopolistic. The Commission denied SFSP's appeal [again in a 4–1 vote] on June 30, 1987.
The holding company, ordered to operate the Southern Pacific at arm's length until it sold it, disposed of it on October 13, 1988 to Rio Grande Industries for $1.02 billion and the assumption of SP's debt, which consolidated the SP with its Denver and Rio Grande Western railroad under the Southern Pacific name. The holding company retained all the non-rail interests of both predecessors and shortened its name to Santa Fe Pacific Corporation [though all of the California real estate holdings were consolidated in a new company, Catellus Development Corporation, becoming the State's largest private land owner. Catellus subsequently purchased the Union Pacific Railroad's interest in the Los Angeles Union Passenger Terminal].
In 1995, the Santa Fe railroad merged with the Burlington Northern Railroad to form the Burlington Northern & Santa Fe Railway [BNSF], and the SP merged with the Union Pacific Railroad the following year.
The locomotive livery featured the Santa Fe's Yellowbonnet with a red stripe on the locomotive's nose; the remainder of the locomotive body was painted in Southern Pacific's scarlet red [from their Bloody Nose scheme] with a black roof and black extending down to the lower part of the locomotive's radiator grills. The numberboards were red with white numbers. In large block letters within the red portion of the sides was either "SP" [for Southern Pacific-owned locomotives] or "SF" [for Santa Fe-owned locomotives]. The lettering was positioned on the locomotive sides so that the other half of the lettering could be added after the merger became official. One locomotive was painted with the full SPSF lettering to show what the unified paint scheme would look like after the merger was complete. One Santa Fe caboose was in a similar situation.
This paint scheme, combining yellow, red and black, has come to be called the Kodachrome paint scheme due to the colors resemblance to those on the boxes that Kodak used to package its Kodachrome slide film [which was heavily used by railfans of the time]. After the ICC's denial, railfans joked that SPSF really stood for "Shouldn't Paint So Fast".
At the time of merger denial, approximately 306 ATSF locomotives, 4 ATSF cabooses, 10 ATSF slugs, 96 SP locomotives, and 1 SP caboose had been painted in this fashion. The two railroads made an effort to repaint locomotives in their standard paint schemes after the merger was denied. Santa Fe repainted all Kodachromes still on roster by 1990, though some engines were sold in this scheme. Southern Pacific's less numerous Kodachromes were repainted much more slowly; some remained active on the Union Pacific after the SP buyout; a few Kodachrome painted locomotives still operate in lease service today. One GP9 locomotive is operated by the Western Pacific Railroad Museum in Portola, CA. Another Kodachrome that exists is an SD40R still in service with the Trona Railway.
Source: Wikipedia
Postmarked October 21, 1908.
From www.oocities.org/unionparkdbq/history.html
Like many parks of the time, Union Park began as a trolley park -- a way for electric companies to encourage people to use their services. It officially opened as Stewart Park in April 1891 in a 75-foot-deep valley northwest of Dubuque known as Horseshoe Hollow. "Stewart" was the last name of the man whose farmland was purchased to create the park. It was quite simple that first spring, with hills, streams, and old miners' huts being the highlights, but improvements were scheduled to begin immediately. Such improvements included a dance pavilion, refreshment booth, bowling alleys, employee housing, and a smaller pavilion for private parties. Despite these additions, the first nine years were rather shaky as the park changed hands several times.
It was in 1900 that Stewart Park changed ownership yet again and was renamed Union Park by L. D. Mathes, the man chosen as the new Park Manager. Mathes dedicated his time to creating a new image for the park, and improvements abounded: newer trolley tracks were laid, modern lighting was installed, dirt paths became paved, a new dance hall (The Pavilion) was constructed, and the once simple platform where riders would step on and off the trollies became an elaborate waiting station/depot. This entrance area became known as The Loop, as the single track would split (the trolley would go to the right), form a circle whose far end was the waiting station, and then re-join itself. The Loop was at the east end of the park -- the lower end of the valley.
A rustic bandstand was built in 1905, and two years later a more elaborate one was constructed farther up the valley. The new bandstand (henceforth known as the Rustic Bandstand) was complete with a plaza and semi-circle of benches. In 1908, additional land was purchased to the west end of the park and a children's playground was erected. Mathes tried to make this area extra special with slides, swings, a carousel (the small kind you climb on at playgounds), sandboxes, and other fun amusements. A pavilion for picnics and parties was also constructed near the playground. It was this pavilion that would later adopt a somewhat macabre moniker for its involvement in the sad events surrounding the flood in 1919.
In addition to the children's playground, a roller coaster was also built in 1908. It appears from the picture in Boge's book that this ride was a side-friction coaster in the classic figure-eight design. During the same year, work was done on a cave ("Wonder Cave") that had been discovered on the land some years back. Hardened walkways (including steps and small bridges) and lights were installed inside the cave.
A year later, in 1909, the plaza in front of the the Rustic Bandstand was taken down and the largest theater in Iowa was built. Known as Mammoth Theatre, this huge structure stretched from one side of the valley to the other side, dividing the park in two. There were 1,500 opera-style seats inside, followed by benches, plus room for thousands more to see the show for free on the hill outside. You see, the back wall (on the north side of the valley) was open, so those passing by on the hill could see right in.
From www.skytourszipline.com/union-park/
Union Park: Historical Overview.
The idea of Union Park began more than 120 years ago in the mind’s eye of Dubuque citizen William G. Stewart. Stewart’s generosity and vision for the land were essential for the concept to become reality. In the years following his initial land gift to the city, other individuals and companies would become part of the production and play large and varying roles.
A timeline of the major actions and events relating to Union Park follows:
1890. William G. Stewart donated several acres of farmland to the city with hopes of creating a place where Dubuque families could have outings.
March 6, 1891. The Dubuque Electric Railway Light and Power Company, known locally as the Allen and Swiney Motor Line Company, purchased an additional forty acres of land from Stewart’s farm. The company’s goal was to publicize the use of electricity through a means of transportation they used around the city: trolleys. They hoped their idea of a park at the end of their trolley line would give them the needed publicity. For purposes of their ultimate goal, it met with limited success.
April 26, 1891. The park officially opened. A fee of 10¢ delivered the first visitors by trolley to the then-named Stewart Park, snuggled in Horseshoe Hollow. [The return trip cost 15¢.]
May 11, 1893. Money soon became an impossible obstacle for the park's owners. Unable to operate a trolley line and a park, Allen and Swiney sold out to the Old Colony Trust Company.
July 7, 1899. As a result of a series of legal actions, the ownership of the property became part of the General Electric Company. General Electric reorganized the local firm into the Home Electric Company that sold out to Union Electric Company. A park manager was hired. The park was renamed Union Park, after the new company owner.
1900. A cave was discovered. In years to come, a casual walk through the cave offered some momentary respite from steamy August days. The cave was modernized in 1908 with the addition of a walkway and electric lights.
1904. Dirt trails and paths were replaced with cement sidewalks (image at left) that ran from the loading platform to all the buildings. The construction of a new dance hall, known as The Pavilion, was a major event. Visitors to the park were also impressed when the loading platform, little more than a dock, was replaced by an elaborate shelter (image at lower right) that protected visitors from inclement weather.
1905. A unique bandstand made of gnarled tree branches was constructed.
1907. A second bandstand of the same design was built farther into the valley with hundreds of benches nearby. Grand concerts from this bandstand were held on a regular basis each week. [Newspaper accounts from the time tell of the bands and orchestras being paid from $2,500 to $5,000 weekly. The bandstand was also the setting for many high school and college graduations.]
1908. More land was purchased; a children's playground was developed that offered a variety of equipment including slides, swings and carousels. A wooden roller coaster was constructed.
1909. The Mammoth Theater (image at left), advertised as the largest in the West, was built. Costing Union Electric $30,000 to construct, the Mammoth Theater stretched from one hillside to the other dividing the park into two parts. Anticipating large crowds, 1,500 opera chairs were installed. The theater, designed carefully for excellent acoustics, was open at one end, allowing an additional 5,000 people to see and hear (at no charge) the musical programs. [Seating inside the theater: Depending on the program and time of day, sitting in the opera seats cost audience members ten to fifteen cents; benches set up behind the opera seats cost five to ten cents.]
1910. A children's wading pool was added. (See image at right.) [It was modeled after, and constructed as a miniature of, the internationally known wading pool in Chicago's Ogdon Park.]
1911 to 1919. Park use flourished. In 1916 Union Electric Company assets were sold to the Dubuque Electric Company, but continued attention to beautifying the area led the park to remain one of eastern Iowa's most popular and enchanting settings.
July 9, 1919. Weather predictions called for possible thunderstorms on this Wednesday afternoon, but usual summer activities were continued as planned. The first drops of rain in the afternoon quickly turned into a downpour. Picnickers, still feeling secure, ran for nearby shelter, unaware that the cloudburst had created a wall of water that soon tore into the park. The Mammoth Theater, which stretched across the valley, inadvertently served as a dam, blocking the water’s dispersion and making the flood worse. Concrete sidewalks were ripped up by the fury of the torrent. The massive wall of water demolished the merry-go-round and backed up behind the theater to a height estimated to be twenty feet before pushing on downhill. According to the National Weather Bureau, 3.87 inches of rain fell that afternoon, most in less than a two-hour period. Five people died that day at Union Park, and an estimated $15,000 in damage was done.
July 13, 1919. Although none of the debris had yet been removed, Union Park reopened to the public. Visitors were given the opportunity to view the massive damage done by the floodwaters. Plans were developed and rebuilding efforts began immediately.
July 26, 1923. A dance pavilion was rebuilt using the floor from the Mammoth Theater. This ballroom was advertised as the largest in Iowa.
Later in 1923. A 50-foot-by-150-foot Olympic-sized swimming pool, said to be able to hold 2,000 bathers, was constructed to attract residents back to the park. The popular Pavilion was converted into a roller-rink.
Despite best attempts to rekindle interest in Union Park, those efforts failed as attendance remained low. Of concern to Dubuque Electric Company, the park owners at the time, was the appearance of automobiles in Dubuque. Vehicles permitted Dubuque residents, once confined to Dubuque and its attractions, to travel outside the city. Union Park also suffered from the opening, in 1907, of Eagle Point Park, a 133-acre public park and recreation area overlooking the Zebulon Pike Lock and Dam (Lock and Dam No. 11) on the Mississippi River.
April 27, 1927. Dubuque Electric Company sold out to Interstate Power Company.
1934. Interstate Power Company announced that Union Park would close.
1935. Park buildings were dismantled. Union Park's dance hall was reassembled (as the popular Melody Mill) on Sageville Road near the intersection of Highway 52/Northwest Arterial/John F. Kennedy Road. For safety, the cave entrance was blasted shut. Wood from the roller coaster was made into a barn.
September 5, 1946. The YMCA and the Boy Scouts purchased the land; cabins were constructed on the hillsides, along with a mess hall, swimming pool, stables, and bathrooms. [Soon after the completion of the project, the Scouts chose to erect their own campgrounds, leaving the YMCA with the 100-acre Union Park property.]
Early 2010. The Dubuque Community Y began discussing the possibility of expanding the land use of Union Park with a zipline tour.
May 2011. Construction of the Sky Tours Zipline was completed; guides were trained and certified; and the zipline was opened to the public for business.
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
be sure to view the comparison chart on Full Screen
OK. At first glimpse, this comparison might sound unfair. The D300, featuring a 12 MP sensor was released in 2007, while the D7100, featuring a 24 MP sensor was released almost 6 years later in 2013. Six years. That is a long time in the digital world.
PREFACE
But let's start from the beginning. I am, or at least was most of the time very happy with my D300 for more than 5 years now. The camera travelled from the darkest basements to far asian cities and islands. And I never considered it an option to give away my cam as it never failed, never let me in the dark, never disappointed me. After having the D40 for a year before going to the D300 I was learning to appreciate the straight and clean layout of the control elements on the D300. It is truly straightforward. Shooting modes (P,M,S,A), ISO, WB, Exposure, Aperture and many more important settings can be very easily accessed without ever going into the menu. Hold the specific settings button while clicking the exposure dial thru the option value range. Release the button and it is set. Thats it. This straight UX approach was another strong reason I was soo happy with that camera. Also with the quality of the camera, especially its built quality – full metal (magnesium alloy) body - and the haptic feeling I was always more than satisfied over those years. For the image quality I was also quite pleased. Except, that sometimes I felt a bit more resolution for cropping could have been in those situations where you once again had to hurry snapping a shot without fine adjusting of the frame. On other occasions I was feeling like wanting more High ISO with less noise to shoot in the dark by hand. But as both of those requests seemed like only having one answer, namely going to full-frame (FX-Format) I dismissed the idea of upgrading . I was more than often on a holiday in a situation were I was tired to carry around my bulky and heavy bag. Going to full frame would not have meant to spend much more money on lenses but also to carry around an even bulkier and more heavier bag than the one I am sick of right now. So on holiday you will see me often just with the camera hanging from my shoulder, having the 35mm f/1.8 on and thats it. I highly appreciate the ability to move virtuously. Without moving, there is not much different scenes you are going to take in a day. And if you don't have a car with you or someone who is happy to carry your equipment (tripod, bag, umbrellas … what else do you need?) you really don’t feel like moving that much while taking all that material with you.
I remember also one of my close friends wanting me to convert to Canon, but this was also never an option for me. Not only having to switch a whole system of lenses, flashes and accessories, but I was and I am appreciating the nature of Nikon products in all ways a lot. Canon cameras often come out with newer features (Full-Frame-Sensors, Video, ...) or higher image quality more soon than Nikon ones. But to me they never felt that solid holding them in my hands as the Nikon cameras. I had Canon Cameras in my hand which cost more than double of the D300, but they always feel like cheap plastic to me. They never feel that solid as I would spend that much money on them. I also have some recent models of premium cars in my mind where manufacturers really failed in interior materials for +100k USD cars. I never would going to buy those – even I had the money - as they have cheap plastic buttons on the command panel, despite of being highly awarded by the so called independent specialized press.
COMMON FEATURES
OK. Lets first take a look, not at the differences of those both cameras. Let's take a look of what they have in common. Both are Nikon F-Mount DSLRs with a DX-Sensor (crop factor 1.3x). Both have the four basic important shooting modes – P, M, S, A. Both have an HDMI output on the left and a LCD on top. And the D7100 has at least a body which is partially made of magnesium alloy. Both have a 100 % viewfinder (0.94x). Both can shoot 14-bit NEF's, and both are featuring a 51-point AF sensor and an AF-motor, so non AF-S lenses will have AF function on both cams as well. Both can be equipped with a battery grip, and if you take a look at the menus you'll also find both cameras having extensive settings options which is almost the same huge feature list once more. And interestingly the D300s (the video enabled succeeder of the D300) is available at almost the same price right now as the D7100 is.
VIDEO
Let's just assume for a second that the only feature I am missing on my D300 is the video. Especially on holiday there is always something funny happening you want to take a video of, but often that is not in ideal light conditions. Smartphones just miss up taking videos in dim light and they don't have any optical zoom. So for taking just a little bit serious video it might be a good feature to have on the camera. But for buying a new camera with new money the step from to the D300s is just not far enough for me. It does not feature 1080p or 30fps video recording. And compared to the D300 there is just not more in the box finally than the video.
When spending money on a new camera you want to have more than just one feature. I never thought before that I am going to leave this super straight and solid prosumer Nikon line – not in favour for a less-pro product line. But as it turns out, the D7100 has much more image detail and quality offering in a package which is even lighter and more easy to carry than my old D300 and it is giving me 1080p video, while spending even a little less than for the D300s without missing all those detailed menu settings and major features. That's it. Said like this, it sounds very simple.
DIFFERENCES
Finally, I want to point out, which features you might be missing in case you are going for that same “upgrade” as me, or which features you might gain.
D300 havs, D7100 don't havs - flash sync plug (the old round one) - round 10 pin cable socket for remote cable shutter release and the older style GPS modules - display cover (protects your display from scratches) - straightforward controls - CF card slot (big cards, easy to grab, but be careful with the pins) - manual pop up flash (it never fires unless you release it first, no matter which program – that makes you look more smart than those people who are taking photos in the night of far objects (like skylines) or shooting thru windows with accidently firing the flash ;) - more solid body - bigger top LCD - bigger body more easy to grab (but also more heavy) - high shooting rate of up to 6/8 shots per second (8 only with battery grip or sw tweak***) - big buffer space (will enable you continues shooting of up to 18 RAWs (12-bit) at 6 FPS with fast cards) - LCD screen features more realistic tones and colors - in camera preview is of higher quality
D7100 havs, D300 don't havs - 24 MP sensor - Video recording - SD cards (hell are these small!) - DUAL SD card slots (second one can be set to JPG, backup or overflow) - IR sensor (for triggering the shutter) - many shooting scene modes (your friends who are not into photography might be able to take photos as well) - flash pop up is controlled by software now (to disable the flash, be sure to choose the right settings first) - shooting rate at 6 shots per second also for 14-bit NEFs (3 on the D300), but as of the - limited buffer space the burst rate drops dramatically (under 3 fps depending on your card) after 5 or 6 takes. - support for newer style GPS receivers and the Wifi-Adapter - LCD screen features adjustable backlight - HDMI-C socket (HDMI-A-Cables need an adapter)
That is not a comprehensive list, but the biggest differences I have encountered so far.
LOW PASS FILTER
Finally one last stop at the so called “low-pass-filter”. I have read on many sources on the web that there is “no significant difference” in picture detail by removing the low-pass-filter. I can confirm now while comparing both cameras that this is not true. The D7100 100% crops show definitely higher sharpness on the pixel level than the shots from my D300. Sure, that effect can only be observed while having a lens which is able to deliver that high detail. Just look at the photos I took here. Despite that DX prime lens' super low price tag, its able to deliver this. And there are probably more pricy prime lenses available which can even surpass this performance.
DISPLAY
The back display of both cams are different, but I cannot see any benefit in case of the D7100 LCDs in having another W-subpixel. If you place the cameras side by side you will easily notice that the colors and tones on the display of the D300 are much more natural. The D7100 has an adjustable backlight now and a little bit more true black. That is both a plus. But the photos on the D7100 seem oversharped on playback. But luckily this effects can only be observed on the screen. The photos itself on your memory card are of highest quality on both cams.
Image playback on the D7100 over HDMI shows black bars on left and right side - even if you zoom in into the photo - this is something nobody likes to see, especially as the D300 was able to do that better back then in 2007 already. But despite Nikon knowing from customer complains about this problem they never went to fix it and so this sticks out as a deliberate attempt to cancel this as a pro-camera and keep a distance to the higher priced 3-digit and one-digit product line.
VERDICT
As for the overall picture quality there is not much big difference between both cams. They perform almost equal in terms of dynamic range and white balance. But when you have the right lens mounted, the D7100 is the clear winner in resolution and detail. Also in Low-Light situations the D7100 tends to preserve more details than the D300.
I read on many sites on the web that people recommend the D300(s) as a more solid working body for professional photographers who take their 3000 images a week, but finally I believe that professional photographers can afford more recent and more pricey equipment as the D4 for example. So we are really not talking about professional photography here I guess.
I really liked the super solid body and the straightforward controls on the D300. But at the same time I don't want to miss that resolution and detail plus on the D7100 anymore. If you are used to the controls on any prosumer Nikon it might need a little time to get used to the layout of the controls on the D7100, but that is nothing to worry about if you have that time. Also the smaller image buffer on the D7100 might be something to consider, as the burst rate just drops much more early than on the D300. As a fashion show photographer this drop in burst rate, is unacceptable. The D300 image buffer allowed taking 3 times the number of RAW pictures slowing down, as long as you agree on the fact that 12 bit raw is enough and you wont need 14 bit.
Finally, I believe, that if you don't care about using CF or SD cards, and if you don't care about having a camera body fully made of metal alloy or half synthetics, the D7100 will give you much more than just more image detail. It will give you a more advanced focussing system, a lighter body, a second memory card slot and of course Video. And all that for a very decent price tag. So for me it is really an option while not going to FX (more weight, more pricey lenses) but still having major image detail improvement and a few relevant features.
And as my friend Ivo says. It is a new toy to play with as well for sure. :)
Reference: Photo 24/(124)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 25 Jul 1915
See also:
- View this at the British Library's site
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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
www.angelfire.com/journal2/port/1.html
Here's the link to all four parts of The History of Port Aransas.
There's only this one illustration for Part 3, so I've pasted the entire Part 3 here:
French explorers traversed St. Joseph island in both 1712 and 1718.
1718 famous map made in 1718 by Guillaume Delisle."
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It was on August 14, 1719 that François Simars de Bellisle (1695-1763) was sailing on a French West Indies Company ship 'Maréchal d'Estrée'. Destination Louisiana. After sailing the Gulf waters they found themselves lost in the expansions and sailed right past the Mississippi River. They would soon find land though, running into a bar close to Galveston. Four crewmen and Bellisle 'an officer' were set ashore to try their best to get a fix on their location and perhaps find help. While on their trek of discovery, the Maréchal d'Estrée broke free of the bar, perhaps by high tide, and after a short search for the landing party, sailed wayward.
The five men, now marooned and desuetude were at the mercy of the elements. They would walked east first and find no one. Bellisle alone would explore toward the west, going to the Brazos River. A harsh Texas winter would set in and slowly four would languish and succumb to malnutrition and then starvation. Bellisle would survive on oysters, wild roots and grub worms until at last he would meet some Indians on an Island out in the bay. The Indians would feed him, however they would stripe him naked and beat him as well. It was the Atákapan band Bellisle would stay with during the summer of 1720. Treated as a slave he would endure beatings and servitude until he was befriended by a window Indian and her two children who would lead him to the French post at Natchitoches on February 10, 1721 (Fort Saint-Jean-Baptiste Natchitoches, Louisiana)
Bellisle would later return to the Texas coast with Jean de Béranger and Jean Baptiste Bénard de La Harpe.
Excerpt: By 1714, the governor of French Louisiana began looking for the site of La Salle's fort, which was presumed to be on a bay called by the Spanish "San Bernard." The French, of course, considered it theirs by La Salle's occupation (Cadillac, 1714).
Maps of the period were poor, and Galveston Bay looked like it might be the obscure Bahia de San Bernardo. The first French ship to stop in Galveston Bay did so by accident. The Marechal d'Estree sailed from France in August 1719 and reached the Louisiana coast by October with soldiers assigned to the area. The inept captain sailed past the entrances to the Mississippi River and reached Galveston Bay. Needing fresh water, the vessel anchored offshore and sent a boat to sound for a channel. Finding only seven or eight feet of water, the captain sent in small boats with casks to be filled, but the water proved brackish. Leaving the bay and continuing west, the navigator finally convinced the captain that he was heading for Veracruz and trouble. Returning eastward, the captain decided to enter the unnamed bay and the vessel immediately ran aground. The ship was saved by having the crew run back and forth across the deck while hoisting all sails to catch the offshore wind (Folmer, 1940:205-09).
Not knowing where they were and desperate for supplies, five military officers, including twenty-four-year-old Simars de Bellisle, volunteered to go ashore thinking that they would reach a French settlement in a few days and send a relief ship. The next day the five discovered that their ship had abandoned them. For several weeks they roamed the area living off the land by shooting deer and birds and gathering oysters until they ran out of ammunition. All died except Bellisle. He survived by eating anything, including grass and worms from rotting trees (Folmer, 1940:209-215).
Finally he saw three natives searching for bird eggs on an island in the bay and he rowed out to meet them in the small boat he had found washed up on the shore. They took his possessions but in return gave him eggs and fish that they had caught. They took him to their camp on the mainland [below Anahuac] where their families were and fed him boiled "potatoes," perhaps the same roots mentioned by De Vaca. He spent the entire summer [1720] with this band of Indians that he called the Caux. They had no "cabins or fields" and continually searched for food. The men killed deer and buffalo and the women harvested the roots (Folmer, 1940:215-216).
Professor Herbert E. Bolton identified these Indians as 18th century Attacapas, a family that not only included the Louisiana Attacapas but the Texas Bidai, Orcoquiza, and Deadose (Bolton, 1915:3, 36).
At the end of summer, the Indians packed their belongings into "pirogues" and headed to "the end of the bay," a trip of a week, where they joined others. Bellisle was a slave and gathered wood, carried water, and dug potatoes. Learning that there was a white man [St. Denis at Natchitoches] with whom they occasionally traded, Bellisle wrote a letter on a scrap of paper and begged them to give it to the Frenchman. In the interim, Bellisle accompanied the hunters to the prairies to kill buffalo and also engage in warfare. The natives mounted their horses [this is the first mention of horses in the Galveston Bay area] while Bellisle had to trot along behind carrying some of the baggage. They came upon a herd of 80-100 bison and killed 15-16 animals by shooting arrows from horseback. A war party returned with a dead enemy whom they butchered and ceremonially ate portions of the body. When they returned to their camp, two Indian emissaries from St. Denis arrived to escort Bellisle to Natchitoches where he arrived February 10, 1721 and reached the French governor in Biloxi soon afterward (Folmer, 1940:219-225).
While Bellisle was still a prisoner in 1720, Capt. Jean Beranger was sent from Biloxi in August to occupy "St. Bernard Bay." He was unable to enter Galveston Bay because of high water and adverse winds but found another bay [Matagorda] to the southwest and sailed in. He planted a French plaque and left five men on the shore before returning to Biloxi (Folmer, 1940:226-227).
Meanwhile, Jean Baptiste Benard de la Harpe was named commander of St. Bernard Bay in November, 1720, in Paris and reached Biloxi in the spring. He sailed for Galveston Bay in August 1721 on board the Subtile with Beranger as ship captain and Bellisle as interpreter. Bellisle met the same Indians on the shore who had enslaved him two years earlier. La Harpe wanted to establish a trading post in the vicinity, but the Indians were adamantly against it (Folmer, 1940:227-230).
La Harpe and Bellisle explored the bay in a canoe along with a surveyor and ten soldiers. Some of the Indians followed them in pirogues while others skirted the shore on horseback. The Frenchmen entered the Trinity River and noted the fine prairie and forests on the high banks. The natives entertained the French in their camp offering grain, roots, and smoked meat. La Harpe described the 150 villagers as "well-formed" with "regular features." Six pirogues with ten men each visited the Subtile where the French demonstrated the cannon and other firearms. After giving them a dog and some chickens (and instructions for their care), the French put them ashore except for nine men. They took one elderly chief and eight young men to Biloxi in October in order to convince them of French power. In some manner, the nine escaped and made their way back home (La Harpe, 1971:176-182).
Two months later La Harpe abandoned his project on Galveston Bay leaving the Indian trade in eastern Texas a monopoly of St. Denis at Natchitoches (Bienville, 1721 & 1722).
One result of La Harpe's voyage was maps. One is the "Carte de la Coste de la Louisiane" showing the Baye de St. Bernard and another is the "Plan due Port decourvert dans le Golfe du Mexique le 21. d'Aoust 1721...," the earliest known map of Galveston Bay. One cartographic expert considers the latter more accurate than the Spanish maps published after 1799 (Taliaferro, 1988:70-71).
(Source: cited website - gbic.tamug.edu/gbeppubs/39/gbnep_39_03-15.pdf)
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In 1720 the French explorer Jean de Béranger was commissioned to explore St. Bernard Bay 'Matagorda Bay' to establish a colony for the France along it's shores. Jean took an old Spanish ship that had been captured in Florida during the war with Spain, christened it St. Joseph, and his travels resulted in the rediscovery of the Aransas Pass. His accounts of St. Joseph and Mustang islands, Live Oak Point Peninsula, the vocabulary, practices, characteristics and features of the Karankawa Indians is believed by many to still be the best of them all.
It is now believed Béranger found the Aransas Pass and landed on what is now known as Harbor Island and place a metal marker on it. Béranger went on to explore the Bay of St. Bernard and look for a suitable site for colonization.
Colonel Jose de Escandon was authorized to colonize what was then called Seno Mejicano in 1746. This region included the Gulf coastal strip 200 miles deep, spanning from the San Antonio River to Tampico, consist of most of South Texas and Taumaulipas. Capt. Joaquin Basterra y Orobio was ordered by Escandon to march south, keeping close to the coast. He was to precede to the mouth of the Rio Grande.
On Jan. 29, 1747,Joaquin Basterra y Orobio and about 50 soldiers started out. He described Corpus Christi Bay, and called it San Miguel Arcangel. His account contained the original and most thorough portrayal of Corpus Christi Bay and the mouth of the Nueces River to date. In fact until Basterra's describe it, it was thought the Nueces flowed into the Rio Grande south of it.
Reports of yet another foreign incursion (this time by the British) pushed Spain to advance another expedition to seek out and destroy the invaders. In 1766 under the command of Diego Ortiz Parrilla (ca. 1715-ca. 1775), the expedition left, following De Leon's old trail and founded a camp at the Santa Petronilla ranch. He sent one party to investigate Padre Island (he called it Isla de la Malaguitas), looking for the English. His men excavated in the sand to get drinking water. Parilla called the bay Corpus Christi Bay. After exploring Padre Island, he drew a map of the coast as far as Galveston Bay, on the basis of his own exploration and interviews with persons who knew the coast.
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In 1766 Diego Ortiz Parrilla conducted an exploration of the Gulf Coast and gave the names Santo Domingo to Copano Bay and Culebra Island to what is now St. Joseph Island.
By the late colonial period, the Spaniards founded a fort on what is now Live Oak Point, by present day Rockport, which they titled Fort Aránzazu, after a palace in Spain.
But the pass wouldn't be proclaimed Aránzazu pass till much later, by Governor Prudencio de Orobio y Basterra on his map of 1739, because it served the Aránzazu fort. The name was altered to Aransas on the map of a Captain Monroe of the ship Amos Wright (1833). Powers and Hewetson colonists came into Copano Bay across the Aransas bar in 1830-34, when the water depth was variously reported to be seven to eighteen feet.
The fused islands of St. Joseph and Matagorda, separated by a very shallow sometimes totally dry pass were also known as Culebra. The first account of the United States flag having been flown in Texas is believed to have been on St. Joseph Island by U. S. Troops in 1845. Forts were erected at various times on the south end of the island. The town known as Aransas flourished close to the same spot up until and a little pass the U.S. Civil War
Excerpt: (1791: A hurricane struck the Lower Coast. Padre Island and mainland nearby were submerged. A herd of 50,000 cattle belonging to a Spanish cattle baron drowned in the storm surge (Ellis 21).
National Weather Service)
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Capt. Jean LaFitte and his hearty band of buccaneers spent lots of time on the Texas coast. Galveston would owe it's start to him, St. Joseph and Mustang Islands were some of his favorite haunts as well as the bluff in Corpus Christi. The era is 1818- to early 1820's, the sea's full of men and ships searching for fame and riches and some had no issues when it came to living a bit aside of the law. Local lore tells of a Spanish silver dagger marking the spot of a hidden treasure chest, it's believed the dagger is laid on it's side, then a long silver spike was drove through the hilt, securing the location.
It was after the Battle of New Orleans Lafitte felt much betrayed by the people of New Orleans that had proclaimed him a hero. In 1817, Jean would sail from New Orleans for the very last time. The eight ship fleet departed in April of 1817 with a course set for Santo Domingo, after being asked to leave because of past high seas crimes they has committed on Spanish Ships. They would settle on the deserted island of what is now known as Galveston Island. He would call it Campeche. "Campeche Island" was still owned by the Spanish government, but Mexico was in revolt against Spain, fighting for their independence and claimed the island as well.
On Campeche, Lafitte erected a splendid, two-story brick retreat called Maison Rouge (Red House) after painting it red. Part fort, part home, it contained wonderful living accommodates, quarter barracks for his men, and rooms for guests. Cannon barrels projected out its upper portholes overlooking the Gulf. Around it sprang up the warehouses for cargo, taverns, slave quarters, cattle pens, and cottages.
Lyle Saxon gave a description of the village. "More buccaneers arrived, bringing their women with them; an ever-increasing number of traders came to the settlement; and there was a constant infusion of men of all nations -- gamblers, thieves, murderers and other criminals who joined Lafitte's colony in order to escape punishment for crimes committed within the borders of the United States. Numerous rich prizes were brought in, including several captured slavers loaded with Africans. 'Doubloons,' says one writer, 'were as plentiful as biscuits.'"
Lafitte brokered a deal. A "privateering commission" from the Mexican revolutionaries to assault Spanish ships. The booty, bounty and loot would be his for the taking and the island as well, as long as he kept the harassment up.
During this time his ships spread out, seeking save passes and bays to lurk and hid in after the raids on the Spaniards. Mustang and St. Joseph's Island would make ideal haunts.
In late 1818, a enormous hurricane slammed the island, killing hundreds of men, leveling the little settlement, sinking the most of his fleet, sending smuggled loot and goods into the crashing surf and causing much trouble as did the Karankawa Indians. They had lived on the island long before any white man, and would view this band of men as supplement. They would loot the looters, and kill many of his men. In one battle alone 60 warrior braves were killed as well as many of Lafitte's men.
New problems would arise. President Madison was trying to secure peace with Spain and one great obstacle in the way was Lafitte. In late 1820, the USS Enterprise dropped anchor in the near by bay. Aboard , Lieutenant Larry Kearney, carrying orders from President Madison. He instructed Lafitte to leave Galveston Island. For months, Lafitte did nothing. Kearney returned, this time backed up by a fleet of war ships. It was in May of 1821, the proclamation; Get off Galveston island or be blown off.
Excerpt: ("That night Lafitte set fire to Campeche. Men aboard the USS Enterprise saw it burst into flames... When they went to shore at dawn they found only ashes and rubble. The ships of Lafitte were gone..." Account of Robert Tallant.)
Lafitte's travels and whereabouts after this become very obscure. He seems to have faded off into time. Some believe he returned for a time to the Aransas pass to try and make and upstart father down the coast, others believe he set sailed for Charleston, South Carolina. Some history scholars believe he fought with Bolivar's rebels in South American. Others say he died of a plague at age 47 on the Isle de Las Mujeres near Yucatan, while more contend he headed of a band of pirates in Santo Domingo.
Where he and his resting place are many never be known, one thing is for sure, he opened the lead the way for many seafarers after him.
Quote: ( "Some considered him a rapacious rogue, a man of unmitigated violence. Others, many of whom were young women, regarded him as a charming person. He was seductive, perhaps deceptive, but always elegantly gracious." Prince of Pirates, Jack C. Ramsay, Jr. )
Map of Texas (1820-1836)
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Some time around 1832 James Power established Aransas City on the Live Oak Point near the site of the Aránzazu fort (Rockport today) A customhouse, a post office, and several stores were established in the town, which by April 1840 served as the seat of government for Refugio County. Until the creation of Corpus Christi, "Aransas City" was the western most port in Texas, host several hundred people. The settlement was invaded by Karankawa and Comanche Indians on more then five attacks, and in 1838, 1839, and 1841, by marauding bandits from Mexico, who plundered the tiny port city.
As the still natural pass located at 27°50' north latitude and 97°03' west longitude attracted more and more commerce and updated charts were needed, there appeared an 1833 map which noted the location of what would become Port Aransas, but was then called Sand Point. As stated before pass was given the name Aranzazu, which later became Aransas.
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The Aransas pass and the Mexican War.
The Alabama entered the Aransas pass on the morning of July the 26, 1845 to secure a landing to guide the pass and the back bays, and one Lt. Chandler jumped into the shallows, waded ashore and planted the American flag on the highest dune around, making it the first American Stars and Stripes "though with much fewer stars" over the Texas Territories. AS small garrison would soon be built to protect the pass by the Third Infantry.
Gen. Taylor had picked Corpus Christi, as the staging point for the invasion of Mexico and was hasten to break morning and make the bluff. The delivery of troops to Corpus Christi was difficult. The channel between Mustang and San Jose was sounded at three feet during the high tide, as often was the case because of silting. Numerous times the transfer ship ran aground, until finally sticking in the sand for two days. Using fishing and small cargo vessels and locals that knew the bay bottoms, the troops were slowly ferried from the ship to the Corpus Christi bluff. One, Lt. Ulysses Simpson Grant fall over board during the maneuver. Upon landing in Corpus Christi, Grant noted a small village, a trading post where goods were sold to Mexican smugglers, and less then one hundred people.
Excerpt: ( This island (St. Joseph's) is a curiosity, in many respects. If you dig a well four feet deep any where, even on the sea-shore, you obtain fresh water. Into these wells a barrel is usually sunk, to prevent their caving in. My company was encamped near a fresh-water pond; within a few paces there was another pond, of precisely similar appearance, but salt as brine. . . . The fresh water, at best, has a most unpleasant taste. There are three or four families residing upon this island, who depend upon this water for their drinking. The fishing here can not be surpassed; sheep-head, drum, mullet, red-fish, and many others too numerous to mention, abound; the water is literally alive with them. The red-fish are most prized; the men caught great quantities of them; they bait with fiddlers, wade out into the surf, and as fast as they throw in their lines are sure to have a bite; not so sure, however, to catch the fish, for they often strike such large ones they snap their hooks like pipe-stems. As soon as you have fastened one, you throw the line over your shoulder and put for the shore "double quick;" often, by this means, landing the largest fish without any difficulty; for they swim along with you, and find themselves caught before they know it. A sergeant of my company hooked such a monster that he could not budge him; the fish darted between him and a comrade standing by his side; as he passed they laid violent hands upon him, unhooked him, and started for shore. They had not proceeded ten paces, when he flapped his tail and threw them both on their backs, and escaped.
The hunting here is unsurpassed. Deer abound. If you are in want of meat, you have but to station yourself behind some of the innumerable sand-hills, near ponds of fresh water. Here may be seen the deer for half a mile, when feeding or coming to water. There you can quietly sit, and the deer will walk within thirty yards of you; or, if you prefer it, mount your horse, dash over the island, and you can have the excitement of shooting them under full run. An officer of our regiment jumped on a horse, rode to the shooting-grounds, and in twenty minutes from the time of dismounting killed three fine, fat fellows. Teal and mallard duck were found in the ponds with their young; also jack-snipe. This is somewhat astonishing, as it is the general impression they migrate to the north to breed.
The soil of the island is peculiarly adapted to the cultivation of sea-island cotton. Potatoes and melons flourish luxuriantly. It is a light soil, quite sandy, mixed with a great deal of shell; and no matter how much time elapses between rains, the moisture from the soil (water being found so near the surface), combined with the heavy dews, affords sufficient nourishment for the plant. . . . On the 20th, two companies of the 3d, one of which was mine, embarked on the seamer Undine for Corpus Christi. Aransas and Corpus Christi Bays are separated by a long flat of land. It was discovered that the Undine drew too much water to pass over it. We were forced to leave the steamboat, and cross the bay, a very rough one, in small boats. We landed on the main shore on the 31st of July. . . . General Taylor arrived from St. Joseph's Island on the 15th of August. The 7th Infantry is ordered to join us. . . . Henry, William Seaton. Campaign Sketches of the War with Mexico. New York: Harper & Brothers, 1847.)
Excerpt: (On Sep. 13 1845 a steamer used to ferry men from St.Joseph's Island blew a boiler near McGloin's Bluff ( Ingleside on the Bay) killing 7 men. "A report reached this place on Monday from Victoria, that the steamer Dayton was blown up on the 12th inst., and that several persons were killed. We regret to say that this shocking news is confirmed by Captain Tichener, who arrived from Galveston on Monday evening. He was present when the explosion occurred. He states that the Dayton was within nine miles of Corpus Christi, when from some cause wholly unknown, the boilers suddenly exploded: nine person were instantly killed, and several others severely scalded. Among the killed were Lieuts.Berry and Higgins, Sergt. Edwards and a private of the U. S. army; the watchman and four unknown. The Telegraph, Houston, Wednesday, September 24, 1845, p. 3, col. 1")
Excerpt: (We have two different accounts with regard to the health of the troops at Corpus Christi. The Galveston papers mention on the authority of persons who have recently arrived from Aransas that the troops at Corpus Christi enjoy excellent health. We learn however from persons who have arrived from Victoria that a number of the soldiers are sick and that three or four have died daily for several successive days. As there are now almost 3000 troops at that point and many of them have been necessarily subjected to great hardships in their long journeys from. . . The Telegraph, Houston, Wednesday, Oct. 8, 1845, p. 4, col. 3)
Exceprt: (Latest from Corpus Christi and Galveston. --- The steamer Cincinnati, Capt. J. Smith, arrived at this port yesterday, having left the Bay of Aransas on the evening of the 28th ult., whither she had taken troops and munitions of war from Charleston, S. C. On her return she touched at Galveston, from which city she brings us dates to last Saturday, the 4th inst. – a fortnight later than our previous advices. The Cincinnati carried two companies of the 3d Artillery to Corpus Christi: Company A, Capt. Burk, Lieuts. Kilbourne and Churchill; and Company I, Capt. Geo. Taylor, Lieuts. Gilham and Ayres, Surgeon Hawkins, Capt. Perkins, Sutler. . . .
The Cincinnati carried two companies of the 3d Artillery to Corpus Christi: Company A, Capt. Burk, Lieuts. Kilbourne and Churchill; and Company I, Capt. Geo. Taylor, Lieuts. Gilham and Ayres, Surgeon Hawkins, Capt. Perkins, Sutler.
Through Galveston papers we learn by this arrival that Capt. West, wounded by the explosion on board the steamer Dayton, of which he was acting as clerk, has died of his wounds, as also some two or three other persons, from the same cause – one a cabin boy and another a United States soldier.
On the 26th ult., the barque Phoenix, of Richmond, arrived at Aransas in 24 days from Fortress Monroe, Va., with two companies (D and E) of the 4th Regiment of Artillery, under command of Brevet Major Morris, 4th Artillery. The following is a list of the officers: Brevet Maj. W. W. Morris; 1st Lieuts. R. C. Smead and E. Deas; 2d Lieuts. R. S. Garnett and C. Benjamin; Brevet 2d Lieut. S. Gill.
Gen. Worth arrived at Aransas by the Cincinnati, having gone on board at Tampa Bay, at which place the steamer touched.
The barque Pacific arrived on the 20th ult. at Aransas from New York, with flying artillery and horses on board. Thirteen horses were lost on the passage, from being placed in the hold, as is alleged.
Last week, (the day I don't recollect,) the schr. Letitia, from New Orleans, loaded with coal, for Aransas, anchored off Corpus Christi. A gale coming up, she parted both anchors and then put to sea. The next day she was found to leak badly, and with three feet water in her hold she was ran ashore, 35 miles South of this. Capt. Webster had his wife aboard – all saved, no lives lost. The wreck, as it lay, was sold to-day at auction for $25. Source: Daily Picayune, October 8, 1845, p. 2, cols. 3-4.)
Excerpt: (Florida may be the "land of promise," but Texas is the land of "varmints." In clearing the ground to pitch my tent, I killed a water moccasin; about 3 o'clock in the morning I was wakened up by the barking of a dog; he had just run a rattlesnake out of my neighbor's tent, when the rattling and barking aroused me – 9 rattles – captured. I again lay down, and when day broke, a yellow-necked lizard was cocking his eye cunningly at me from the ridge pole of my tent. I sprang up, seized my boot to despatch him, when lo! Out the boot dropped a tarantula! Exhausted from fright and fatigue, I sunk back in a chair; but no sooner down than I was compelled rapidly to abandon the position, having been stung in the rear by a scorpion!
Our friend was certainly very unfortunate. Because the above mishaps, he lost a valuable dog by a shark. The dog had jumped overboard from a boat, to follow his master to the shore, when the voracious monster caught him. The Daily Picayune, October 7, 1845, p. 2, col. 5.)
Map of Texas (1844)
In 1840 Refugio took on the county seat. Imminent was the demise of Aransas City trade. After the war was over, a few cattlemen, merchants, smugglers and sailors founded another community, Aransas, on the southern end of St. Joseph's Island.
Across the Aransas pass, the sand point was first known as El Mar Rancho, Star, Ropesville, Tarpon and then Port Aransas as small amounts of frontiersmen, then merchants, mariners, smugglers and bootleggers looking to forge a better life appeared on the sandy point.
From a sandy point to . . . a tropical paradise?
The first noted man of history to make a successful go at it on Mustang Island was Capt. Robert Ainsworth Mercer of Lancaster, England. (d.o.b Nov 6 1799 Lancashire County, England; d.o.d. March 19 1875 Port Aransas, Nueces County, Texas) Mercer settled on what is now known as St. Joseph Island in 1850. Creating a cattle and sheep ranch. He was also a bar pilot "Captain" for hire, guiding the ships through the chancy pass.
Mercer soon for unknown reasons moved across the Aransas Pass and built a small house on Mustang Island where he raised his family. He established a sheep and cattle ranch known as El Mar Rancho in 1853 0r 55, accounts differ. Huge herds of wild horses "mustangs" rambled over plush range lands of the island when Mercer first settled here. An extensive log "Captains keep logs not diaries" of island life then was kept by one of his son
The tireless work and research on the Mercer Family Ancestry must be given to Kellie Crnkovich (e-mail markkell95@aol.com)which is found on her website freepages.genealogy.rootsweb.com/~kelliesconnections/ . The hours and time taken to research it must have been very long and at times strenuous and has become a vital start to any research on Port Aransas in modern times so please lets give credit where credit it due. Thanks Kellie.
Generation No. 1
1. Robert Ainsworth2 Mercer (Unkown1) was born November 06, 1799 in Lancashire County, England, and died March 19, 1875 in Port Aransas, Nueces County, Texas. He married Agnes Rowlinson February 11, 1823 in Saint Johns Old Haymarket, Liverpool, Lancashire Co, England.
Agnes Rowlinson was born April 12, 1802 in Westmoreland County, England, and died July 20, 1863 in Indian Point, Texas.
Notes for Robert Ainsworth Mercer:
Went to New Albany, Indiana in 1830. Went to Mobile, Alabama 1850. Moved to Aransas in 1852/1853. He bought cattle and sheep and built a dwelling on Mustang Island and sent word for the family to come from Mobile. Jane stayed with Husband Samuel Shoemaker and Peter stayed with wife Margaret (Marguerite). They settled there in 1855.
PURC 1855 Wharf & Adjacent Warehouse at Aranasas Pass; PURC 1855 House; Ranch was named El Mar Rancho; Was Appointed Wreck Master By Governor Clark for Aransas Pass in 1860.
In 1862 the Federal bark "Afton" appeared off the Pass with a force of soldiers and marines. They burned the home of Robert and Agnes on Mustang Island and confiscated their cattle and sheep. The family moved to Corpus Christi where Agnes died.
Notes from "Hurricane Junction" by Cyril Matthew Kuene quotes Mercer diary entry:
"March 19, 1875: Father (Robert Ainsworth Mercer) age 75, departed this life about 3:15 a.m.; he had been confined to his bed for about four months and had been gradually sinking until this A.M. when he died"
"Frank started to Corpus to bring Jane (who had moved from Mobile to Corpus in 1873)...."
"Captain Heah came to the house, and helped put father in the coffin. March 20, 1875: At about 1 p.m., Captain Heath, Parry Humphreys, Tom Rattray, Captain Robert, Frank Stephenson and John Runnel wer pall-bearers. Ned read the Burial Service."
"April 30, 1876 - Frank Stephenson made some fencing for graves in Corpus. John and Ned made a box to put Father's coffin in..."
"May 1, 1876 - Frank Stepenson, his children, his father and mother, left for Corpus... John, Ned, Jake, Joe Hull and George Stephenson dug up Father's coffin (from Mustang Island!) and taken it aboard the Doaga to go to Corpus Christi. Coffin was in good state of preservation."
"May 2, 1876 - Ned and Jake buried Father and Mother side by side in the Catholic burying ground."
Found record of Robert and Agnes Robinson believe this is a misspelling and so included date as marriage.
Death: 19 MAR 1875 Port Aransas, Nueces County, Texas
Burial: 2 MAY 1876 Holy Cross Cemetary, Corpus Christi, Texas (K-21-001A)
More About Robert Ainsworth Mercer:
Burial: May 02, 1876, Holy Cross Cemetary, Corpus Christi, Texas (K-21-001A)
Notes for Agnes Rowlinson:
Excerpts of a letter sent by Agnes Mercer to Peter and Jane, published in the book "Hurricane Junction a History of Port Aransas" by Cyril Matthew Kuehne states:
Mustang, May 29, 1856
My dear son and daughter,
...We are all well... we have plenty of provisions to last till Christmas, and beef, pork, and mutton for life... we have just done some sheep shearing - we had a merry time of it - and now Robert and Edward (Ned) have gone to Indianola for lumber...we have over 40 young calves, 20 milk cows, and have plenty of milk and butter...Father and all send there love...
From your mother, Agnes Mercer
More About Agnes Rowlinson:
Burial: Unknown, Holy Cross Cemetary, Corpus Christi, Texas (K-21-001B)
Christening: April 16, 1802, Found Christening for Agnes Rawlandson 4 days after birth could be her. Kendal-Rc, Westmoreland, England. Parents Petri and Marg
Children of Robert Mercer and Agnes Rowlinson are:
i. Peter R.3 Mercer, born June 25, 1823 in Ulverston, Lancashire County, England; died Abt. 1866 in Mobile, Mobile County, Alabama.
ii. William H. Mercer, born November 29, 1825 in Ulverston, Lancashire County, England; died Abt. 1830 in Lancashire County, England.
iii. Robert Ainsworth Mercer, Jr., born July 03, 1827 in Liverpool, Lancashire County, England; died November 16, 1875 in Calvert, Robinson County, Texas.
iv. Mary A. Mercer, born November 18, 1829 in Liverpool, Lancashire County, England; died Unknown.
v. Dorothy A. Mercer, born June 25, 1831 in New Ablany, Floyd County, Indiana; died Unknown.
vi. Jane Amelia Mercer, born December 06, 1833 in New Albany, Floyd County, Indiana; died 1907.
vii. Thomas Rowlinson Mercer, born April 22, 1836 in New Albany, Floyd County, Indiana; died Unknown.
viii. William Henry Mercer, born October 02, 1838 in New Albany, Floyd County, Indiana; died Bet. 1860 - 1865.
Notes for William Henry Mercer:
Died serving in the confederate army during the Civil War. Steamer Cuba was a private blockade runner, not an official CSN ship. It was burned to prevent capture in 1863 while heading to Mobile.
Census: 1861, Mobile, Alabama - listed as clerk, steamer Cuba
John George Mercer, born December 27, 1840 in New Albany, Floyd County, Indiana; died 1896 in Mustang Island, Nueces County, Texas.
Edward Thomas Mercer, born December 13, 1842 in New Albany, Floyd County, Indiana; died Unknown.
xi. Mary Agnes Mercer, born March 10, 1845 in New Albany, Floyd County, Indiana; died April 16, 1876 in Port Aransas, Nueces County, Texas
2. Peter R. Mercer (Robert Ainsworth, Unkown) was born June 25, 1823 in Ulverston, Lancashire County, England, and died Abt. 1866 in Mobile, Mobile County, Alabama. He married Margaret Pamelia Schroebel July 17, 1850 in Mobile, Alabama, daughter of Jacob Schroebel and Louisa Colzey. She was born November 21, 1833 in Claiborne, Monroe County, Alabama, and died Abt. 1913.
Peter was a blockade runner to France for weapons for the South in the Civil War and was taken prisoner for 18 months. He died not long after being released and Margaret (also called Marguerite) and children came to California to live with her brother.
Census: 1861, Mobile, Alabama - listed as Engineer
Christening: June 29, 1823, Saint Mary Of Furness-Rc, Ulverston, Lancashire County, England
Notes for Margaret Pamelia Schroebel:
Margaret (Marguerite) Schroebel Mercer's father was German, Mother was French. Peter Mercer's father was English, Mother was Irish. Marguerite married Peter at 16. Peter was a Ship's Captain. He ran the blockade to France for arms during the Civil War in the First Alabama Regiment. The ship was captured by the federals mid-ocean and sunk it's crew was taken to Maine and kept in prison for 18 months. He came home after the war thin and ill and died soon afterward leaving his wife and 5 children in Mobile, Alabama. Marguerite's brother Charles Henry Schroebel brought her, her son Robert, and her daughter Janie to California to take up preemption on land near where he lived on Bear Mountain near San Andreas.
Margaret P. Schroebel to Peter Mercer July 17, 1850 11/74
More About Margaret Pamelia Schroebel:
AKA (Facts Pg): Marguerite Schroebel Mercer
Burial: Unknown, Peoples Cemetery, San Andreas, Calaveras, CA SecA Row11GR18
Census: 1869, Mobile, Alabama
More About Peter Mercer and Margaret Schroebel:
Marriage: July 17, 1850, Mobile, Alabama
Robert Ainsworth Mercer, Jr. (Robert Ainsworth2, Unkown1) was born July 03, 1827 in Liverpool, Lancashire County, England, and died November 16, 1875 in Calvert, Robinson County, Texas. He married Mary Augusta Krell. She was born in Rudolstadt, Saxony, Germany, and died Unknown. Owned a boat called Prima Donna.
Jane Amelia3 Mercer (Robert Ainsworth2, Unkown1) was born December 06, 1833 in New Albany, Floyd County, Indiana, and died 1907. She married Samuel Shoemaker May 02, 1853 in Mobile, Alabama. He was born 1822 in Louisville, Kentucky, and died 1906.
John George3 Mercer (Robert Ainsworth2, Unkown1) was born December 27, 1840 in New Albany, Floyd County, Indiana, and died 1896 in Mustang Island, Nueces County, Texas. He married Emma Christine Scott February 04, 1874. She was born in Matagorda, Texas, and died Unknown.
Received a Pilot Commission (after 1866) Appointed keeper of the Life Saving Station September of 1880 to 1882.
Emma Christine Scott: Burial: Unknown, Mercer Family Cemetary, Port Aransas, Texas
Edward Thomas3 Mercer (Robert Ainsworth2, Unkown1) was born December 13, 1842 in New Albany, Floyd County, Indiana, and died Unknown. He married Emma Livingston Thompson April 23, 1873 on St. Joseph's Island. She died Unknown. Was appointed Pilot for Aransas Pass in 1866 by Governor Throckmorton Owned a boat called Prima Donna
Mary Agnes3 Mercer (Robert Ainsworth2, Unkown1) was born March 10, 1845 in New Albany, Floyd County, Indiana, and died April 16, 1876 in Port Aransas, Nueces County, Texas. She married (1) Henry Reeves. He was born in Ingleside, Texas, and died 1868. She married (2) Frank Stephenson. He was born January 01, 1839 in Mustang Island, Nueces County, Texas, and died Unknown.
Notes for Mary Agnes Mercer:
Notes from "Hurricane Junction" by Cyril Matthew Kuehne quoting Mercer Diaries:
On Easter Sunday, April 16, 1876.
"Departed this life, at 2 o'clock this a.m., Mary Agnes Stephenson, wife of Frank Stephenson, and sister of John and Ned Mercer, and Jane Shoemaker, age thirty-one years, one month, and six days; her death was unexpected, she has been complaining of pains near her heart for a long time, but Dr. Ansel said it was nothing serious. She felt unwell last Sunday and grew worse, sent to Rockport and got Dr. Clarke, but he said her complaint was very serious and her liver was affected, and it was doubtful whether she would get over it, which she did no. God be merciful to her poor soul! May she rest in peace.
More About Mary Agnes Mercer:
Burial: April 17, 1876, Catholic burying Grounds, Corpus Christi, Texas
Notes for Frank Stephenson:
Captain Frank Stephenson was for many years the lighthouse tender at Aransas Pass, Texas. He was appointed on June 29, 1897. He retired on January 20, 1918 at the age of 79.
The Mercer Cemetery in Port Aransas, a small family plot has these markers.
Mercer, Emma C.(G), b. 21 Jan 1854, d. 28 Jan 1906
Mercer, John, b. 27 Dec 1840, d. 23(28) Sep 1895
Mercer, Wm. H., b. 13 Nov 1874, d. 11 Nov 1895
Mercer, Roberta A., b. 21 Apr 1891, d. 29 May 1891
Roberts, Agnes, d. 5 Nov 1894 age 1 hour, d/o T.P. & L.S.
Roberts, Wm. R., b. 28 Jan 1821, d. 12 Mar 1896(1876?), Capt.
Scott, Vallie, no dates, according to the last member of the family he was the brother of Emma Christine
Listed here are who these people are in this tiny little cemetery we use to run by at night as little kids, in the event their ghost were still around.
Emma C Mercer was the wife of John George Mercer, son of Robert A. Mercer.
John Mercer is John George Mercer.
Wm. H. Mercer is one of their son's
Roberta A. Mercer is their infant daughter it seems, but this could not be confirmed.
Agnes Roberts was born to Lydia Ann Stephenson and Thomas Roberts, Lydia Ann Stephenson is the daughter of Mary Agnes Mercer and Frank Stephenson, and her "Mary Agnes Mercer" was of course born to Robert A. Mercer. Lydia Ann Channel as mentioned before is her namesake.
Wm. R. Roberts was more then likely Thomas' father, but can't find records to support this. ( Thomas Roberts was born December 05, 1866 in Port Aransas, Wm. R. Roberts would have been 45 and since this is a family cemetery, we can deduce he was either an uncle or Thomas' father.)
The one marked "Scott, Vallie," has a editors note to the online records that reads ( no dates, according to the last member of the family he was the brother of Emma Christine.) But could have been her son as well. Valentine Scott Mercer, born August 02, 1889 in Port Aransas, Texas; died January 31, 1939 in Corpus Christi, Texas. Who is listed as there child as well. Since they are all in the same cemetery, it it could be mercer just was left off or weathered off.
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Next folks, if you send something to me, PLEASE give credit where it is due. If you fond something on the web, send me the page as well, and not just a copy and paste through an e-mail. . . and of course if anyone sees their work here, or even picture and wants
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An e-mail on the subject. . .
Oh P.S.
Vallie S. Scott, I have some info on:
Mary Agnes Mercer first married a Henry C. Reeves, 13 OCT 1864 (both of Ingleside, San Patricio Co., TX) at Our Lady of Refuge, Refugio, Refugio Co. TX. He died before their first child, Mary Agnes Reeves, was born. Mary Agnes Mercer remarried Frank Stephenson shortly thereafter, (so shortly, he was listed as Mary Agnes Reeves father for the baptism in the church records) and they had two children, Lydia and John. Agnes Reeves was taken in like a Stephenson.
This family lived intermittenly between James and Lydia Stephenson's (Frank's parents) in Corpus, and the Stephenson/Mercer "enclave" on Mustang Island (in 1880 they were listed 3 TIMES in 3 different counties! in Rockport, Corpus, and Mustang Island.)
Vallie Scott married Agnes Reeves. I do not know his relation to Emma though.
Children: 1) Mary Agnes REEVES b. 5 DEC 1866 NC m Vallie S. Scott ACBR b. 1864?
2) Lydia Lavonia Stephenson b 17 MAY 1870 NC 23 AUG 1935 Corpus Christi, TX m. Thomas Peter Roberts b. 5 DEC 1866 d. 26 JAN 1923 Corpus Christi, TX
3) John Stephenson b. 3 JUN 1872 NC
p.s. Also, FYI, the Mercers moved to Ingleside during the Civil War,not CC and that is where Mrs. Mercer died in 1863.
Hope this helps.
Scott
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By 1854 the Texas Senate had sanctioned a seven-mile channel from Corpus Christi to the Aransas Pass bar to better serve the Port of Corpus Christ. Also In the 1850's a regular steamship service route for cargo and passengers would be established between New Orleans and Mustang Island . This would benefit the island indirectly many years later, as the pass was brought into permanence, there was need of local pilots to guide the ships safely across the bar. For this permanent, structures would be needed to house these pilots, docks, a lighthouse, storage, jetties, a "Life Saving Station" would all have to follow in the coming years if this pass was to become a viable crossing of the bar, and all would follow. The Mercer family would soon become the caretakers of the island for many years, building docks, a general store and guiding the ships across the bar all for a fee.
It was soon after the announcement of the steamship route that Congress commissioned $12,500 for the construction of the Aransas Pass Lighthouse. Haggling over what type of lighthouse was needed would mare things down and another survey was done, the pass was slowly moving southward as rushing northern water currents banked sand on the north bank of the pass which is the south end of Saint Joseph Island. It was then advised that a lightship be used to mark the pass. More surveying was done, more talk and then a proposition was accepted to erect a screw-pile lighthouse of brick.
In December of 1855, the ship transporting the bricks struck and then stuck on the bar. The crew mates were all rescued but the ship and its cargo went to the bottom of the sea. New bricks arrived in 1856, soon followed the lantern room that would set on top, and lastly a fourth-order Fresnel lens. There was also need of a lighthouse keeper's dwelling, a small storage room and docks. The construction would be complete by mid 1857 and the illuminated lens would enlightened the dark night, guiding ships through the pass later that year.
The very first noted deep draught steamship that entered through the pass was reported and recorded in 1859. Regular passenger steamship routes entended to Galveston and New Orleans soon after, and the bustling activities of all the coastal bend ports brought cargo ships from all over the country and globe.
A curiosity note in history is Stephen F. Austin, who said of the Karankawa women, to be women of fair looking, and one he claimed was even beautiful, yet turned around and secured relatively peaceful relationships with the Tonkawa and Lipan while his colonists drove the Karankawa into virtual extinction. By the mid 1850's to 1860 they had all been killed off, or the remaining of the group integrated with other bands in North Mexico and parts of Texas.
Here's the link for all four parts. Part 1 opens and then at the end of Part 1 are the choices to click on.
2016 Tucson Gem and Mineral Show Hotel City Center Vendor List
DEALER ASSIGNED ---- CITY/STATE/COUNTRY ---- EMAIL
AAA Minerals Int’l - China ---- China ---- Email AAA Minerals Int’l - China
AAPS-Assoc. of App Paleo. Sci. ---- Logan UT ---- Email AAPS-Assoc. of App Paleo. Sci.
Adelaide Mining Co. The ---- Australia ---- Email Adelaide Mining Co. The
Aerolite Meteorites ---- Tucson AZ ---- Email Aerolite Meteorites
African Arts & Minerals ---- Bellflower CA ---- Email African Arts & Minerals
Agates by Rock of Ages ---- Bailey CO ---- Email Agates by Rock of Ages
Agates From Argentina ---- Argentina ---- Email Agates From Argentina
Alan’s Quality Minerals ---- Mt. Laurel NJ ---- Email Alan’s Quality Minerals
Alexander’s Jewelers ---- Gilbert AZ ---- Email Alexander’s Jewelers
Alexander’s Jewelers ---- Gilbert AZ ---- Email Alexander’s Jewelers
Alpine Mineral Company ---- Lawrence KS ---- Email Alpine Mineral Company
Al-Rehman Gems & Minerals ---- Pakistan ---- Email Al-Rehman Gems & Minerals
Amatistas Uruguay ---- Uruguay ---- Email Amatistas Uruguay
Amatistas Uruguay ---- Uruguay ---- Email Amatistas Uruguay
Amber America ---- Bath PA ---- Email Amber America
Amber and Larimar by Jim Work ---- Central Point OR ---- Email Amber and Larimar by Jim Work
Andreys Spectrolite LTD ---- Finland ---- Email Andreys Spectrolite LTD
Angela Conty Designs ---- Salisbury MA ---- Email Angela Conty Designs
Apex Fine Minerals ---- Reno NV ---- Email Apex Fine Minerals
Aradon Pty. Ltd. ---- Australia ---- Email Aradon Pty. Ltd.
Atkinson Leo Studio ---- Steamboat Springs CO ---- Email Atkinson Leo Studio
Ausrox/Crystal Universe ---- Australia ---- Email Ausrox/Crystal Universe
Australian Minerals ---- Tasmania ---- Email Australian Minerals
Axinite PM - Russia ---- Russia ---- Email Axinite PM - Russia
Baltic Research ---- Latvia ---- Email Baltic Research
Barlow’s ---- Cave Creek AZ ---- Email Barlow’s
Barnett Fine Minerals ---- Buchanan Dam TX ---- Email Barnett Fine Minerals
Black Cat Mountain Trilobites ---- Clarita OK ---- Email Black Cat Mountain Trilobites
Black Hills Institute ---- Hill City SD ---- Email Black Hills Institute
Brazarte ---- Aurora CO ---- Email Brazarte
Bulgarian Minerals & Gems ---- Sofia Bulgaria ---- Email Bulgarian Minerals & Gems
Burillo Luis Minerals ---- Spain ---- Email Burillo Luis Minerals
Butterflies by God ---- Maryland Heights MO ---- Email Butterflies by God
Canada Fossils Ltd. ---- Canada ---- Email Canada Fossils Ltd.
Capetown Matrix Crystals ---- Asheville NC ---- Email Capetown Matrix Crystals
Caplette Lapidary ---- Azusa CA ---- Email Caplette Lapidary
Carion Minerals - France ---- France ---- Email Carion Minerals - France
Cecile Collection Inc. ---- Pasadena CA ---- Email Cecile Collection Inc.
Changsha Shiyuantang Jewelry Trade Co. ---- China ---- Email Changsha Shiyuantang Jewelry Trade Co.
Chatta Souheil ---- France ---- Email Chatta Souheil
Cherohala Trading ---- Crossville TN ---- Email Cherohala Trading
Chinese American Art Craft ---- El Cerrito CA ---- Email Chinese American Art Craft
Cinderhill ---- Meadow Vista CA ---- Email Cinderhill
Clive Queit ---- South Africa ---- Email Clive Queit
Club Mineral Russia ---- Russia ---- Email Club Mineral Russia
Collector’s Edge Minerals Inc. ---- Golden CO ---- Email Collector’s Edge Minerals Inc.
Collector's Edge Minerals Inc. ---- Golden CO ---- Email Collector's Edge Minerals Inc.
ColoradoMinerals.co ---- Ouray CO ---- Email ColoradoMinerals.co
Comet Meteorite Shop ---- Russia ---- Email Comet Meteorite Shop
Cornerstone Minerals ---- Asheville NC ---- Email Cornerstone Minerals
Cornerstone Minerals ---- Asheville NC ---- Email Cornerstone Minerals
Cornish John Minerals ---- Port Angeles WA ---- Email Cornish John Minerals
Corrado Vietti ---- Italy ---- Email Corrado Vietti
Crate Guys The ---- Colorado Springs CO ---- Email Crate Guys The
Crystal Circle L.L.C. The ---- Morrow OH ---- Email Crystal Circle L.L.C. The
Crystal Classics Fine Minerals ---- England ---- Email Crystal Classics Fine Minerals
Crystal Classics Fine Minerals ---- England ---- Email Crystal Classics Fine Minerals
Crystal Habit ---- Australia ---- Email Crystal Habit
Crystal Junction ---- Grass Valley CA ---- Email Crystal Junction
Crystal Springs Mining & Jewelry Co. ---- Hot Springs AR ---- Email Crystal Springs Mining & Jewelry Co.
Crystal Springs Mining & Jewelry Co. ---- Hot Springs AR ---- Email Crystal Springs Mining & Jewelry Co.
Crystal World & Prehistoric Journeys ---- Australia ---- Email Crystal World & Prehistoric Journeys
Crystal World & Prehistoric Journeys - Australia ---- Australia ---- Email Crystal World & Prehistoric Journeys - Australia
Crystar Gem Minerals China ---- China ---- Email Crystar Gem Minerals China
Custom LED DIsplay Lights ---- Sebastopol CA ---- Email Custom LED DIsplay Lights
Custom Paleo ---- Ardmore OK ----
Cut Edge Gems ---- Boulder CO ---- Email Cut Edge Gems
D & M Rock & Gem ---- Vista CA ---- Email D & M Rock & Gem
Dai’s Rock Shop ---- China ---- Email Dai’s Rock Shop
Deccan Minerals Inc. ---- India ---- Email Deccan Minerals Inc.
Del Rey Agates ---- El Paso TX ---- Email Del Rey Agates
Demin Sergey ---- Russia ---- Email Demin Sergey
Digger Glass ---- Shelburne Falls MA ---- Email Digger Glass
Dinosaurs Down Under ---- Australia ---- Email Dinosaurs Down Under
Disten Ltd. ---- Russia ---- Email Disten Ltd.
Earth Science International ---- India ---- Email Earth Science International
Earth Science International ---- India ---- Email Earth Science International
Earth’s Treasures ---- Santa Clara CA ---- Email Earth’s Treasures
Eegooblago Meteorites ---- Greeley CO ---- Email Eegooblago Meteorites
Efimenko Alexander ---- Russia ---- Email Efimenko Alexander
ELKK Meteorites ---- Oro Valley AZ ---- Email ELKK Meteorites
ET Meteorites ---- Lake Oswego OR ---- Email ET Meteorites
Ethiopian Opal Exporter ---- Ethopia ---- Email Ethiopian Opal Exporter
Eurofossils ---- Germany ---- Email Eurofossils
Exotic Minerals of Russia ---- Princeton Jct. NJ ---- Email Exotic Minerals of Russia
Fabre Minerals ---- Spain ---- Email Fabre Minerals
Farber Minerals ---- Germany ---- Email Farber Minerals
Fender Natural Resources ---- Richardson TX ---- Email Fender Natural Resources
Fenn’s Gems & Minerals ---- Mesilla Park NM ---- Email Fenn’s Gems & Minerals
Fine Art Minerals ---- Pakistan ---- Email Fine Art Minerals
Fine Chinese Mineral-Honglin Museum ---- China ---- Email Fine Chinese Mineral-Honglin Museum
Floating Stones ---- Australia ---- Email Floating Stones
Fossilien Galerie Bad Homburg ---- Germany ---- Email Fossilien Galerie Bad Homburg
Fossilien Galerie Bad Homburg ---- Germany ---- Email Fossilien Galerie Bad Homburg
Fossilien Galerie Manfred Wolf ---- Germany ---- Email Fossilien Galerie Manfred Wolf
Fossils-Meteorites.com ---- Micanopy FL ---- Email Fossils-Meteorites.com
Fossils-UK.com ---- England ---- Email Fossils-UK.com
From Stone Age to Space Age ---- Belgium ---- Email From Stone Age to Space Age
Gao Duan Mineral & Gem Museum ---- China ---- Email Gao Duan Mineral & Gem Museum
Garsow John E. Gems & Minerals ---- Murrieta CA ---- Email Garsow John E. Gems & Minerals
Gem & Gold Creations ---- Scottsdale AZ ---- Email Gem & Gold Creations
Gem Connection Inc. The ---- Upland CA ---- Email Gem Connection Inc. The
Gem Connection Inc. The ---- Upland CA ---- Email Gem Connection Inc. The
Gemas N.O. ---- Miami FL ---- Email Gemas N.O.
Gem-Fare ---- Pittstown NJ ---- Email Gem-Fare
Gemini Minerals ---- San Diego CA ---- Email Gemini Minerals
Gems & Mineral Depot ---- Bear DE ---- Email Gems & Mineral Depot
Geoff Thomas Fossils ---- Australia ---- Email Geoff Thomas Fossils
Geofil Lda ---- Mozambique ---- Email Geofil Lda
Geometa Ltda - Brazil ---- Brazil ---- Email Geometa Ltda - Brazil
Geonica Inc. ---- Studio City CA ---- Email Geonica Inc.
Geonica Inc. ---- Studio City CA ---- Email Geonica Inc.
Georocks ---- Russia ---- Email Georocks
Geoscience Industries ---- Ft. Collins CO ---- Email Geoscience Industries
Ginkgo Gem Shop ---- Vantage WA ---- Email Ginkgo Gem Shop
Global Treasures ---- Quartzsite AZ ---- Email Global Treasures
Gold Bugs Trilobites ---- Watertown NY ---- Email Gold Bugs Trilobites
Gold Nuggets Exports ---- Australia ---- Email Gold Nuggets Exports
Gordian Minerals - Canada ---- Canada ---- Email Gordian Minerals - Canada
Great Basin Minerals ---- Reno NV ---- Email Great Basin Minerals
Great Wall Mineral Museum ---- China ---- Email Great Wall Mineral Museum
Green Mountain Minerals ---- Beacon NY ---- Email Green Mountain Minerals
Green River Stone Company ---- Logan UT ---- Email Green River Stone Company
Grenville Minerals - Canada ---- Canada ---- Email Grenville Minerals - Canada
H.K.Meteorites- Uruguay ---- Uruguay ---- Email H.K.Meteorites- Uruguay
Habibi Meteorites / BC Meteorites ---- Morocco ---- Email Habibi Meteorites / BC Meteorites
Hard Works ---- Tucson AZ ---- Email Hard Works
Horizon Mineral & Lapidary ---- Lewes DE ---- Email Horizon Mineral & Lapidary
Houghton Estate Sales ---- Calumet MI ---- Email Houghton Estate Sales
Huan Qiu Crystal Mineral Museum ---- China ---- Email Huan Qiu Crystal Mineral Museum
Hunan Sinophile Mineral Museum ---- China ---- Email Hunan Sinophile Mineral Museum
Hyrsl Jaroslav ---- Czech Rep ---- Email Hyrsl Jaroslav
Impactika Meteorites ---- Denver CO ---- Email Impactika Meteorites
In the Beginning Fossils ---- Custer SD ---- Email In the Beginning Fossils
Indus Valley Commerce ---- India ---- Email Indus Valley Commerce
Infinity Trading ---- Sarasota FL ---- Email Infinity Trading
Inside Passage Arts ---- Skagway AK ---- Email Inside Passage Arts
Intergeoresource Ltd. ---- Bulgaria ---- Email Intergeoresource Ltd.
Iteco Inc ---- Powell OH ---- Email Iteco Inc
J.K. Stone ---- Aurora CO ---- Email J.K. Stone
Jeanne's Rock Shop ---- Bellaire TX ---- Email Jeanne's Rock Shop
Jentsch Minerals & Rough Stones ---- Germany ---- Email Jentsch Minerals & Rough Stones
Jewel Tunnel Imports ---- Baldwin Park CA ---- Email Jewel Tunnel Imports
Jinan Chinese Mineral Trading Co. Ltd. ---- China ---- Email Jinan Chinese Mineral Trading Co. Ltd.
JR Minerals - Pakistan ---- Austria ---- Email JR Minerals - Pakistan
Jungle Buyer The ---- Keller TX ---- Email Jungle Buyer The
Kalachev Viacheslav ---- Russia ---- Email Kalachev Viacheslav
KARP ---- Czech Rep ---- Email KARP
KARP - Czech Republic ---- Czech Rep ---- Email KARP - Czech Republic
Keshav Trading Company ---- India ---- Email Keshav Trading Company
Keweenaw Gem & Gift Inc. ---- Houghton MI ---- Email Keweenaw Gem & Gift Inc.
Khyber Mineral Co. ---- Westmont IL ---- Email Khyber Mineral Co.
Kilian Collection The ---- Oro Valley AZ ---- Email Kilian Collection The
Kiros Teklu Import Exports ---- Ethopia ---- Email Kiros Teklu Import Exports
Komodo Dragon ---- The Dalles OR ---- Email Komodo Dragon
Komodo Dragon ---- The Dalles OR ---- Email Komodo Dragon
Korite International ---- Canada ---- Email Korite International
Kristalle ---- Laguna Beach CA ---- Email Kristalle
Kristalle ---- Laguna Beach CA ---- Email Kristalle
La Concha ---- Hawthorne CA ---- Email La Concha
La Memoire de la Terre ---- France ---- Email La Memoire de la Terre
La Spirale du Temps ---- France ---- Email La Spirale du Temps
Labenne Meteorites ---- France ---- Email Labenne Meteorites
Le Stage Minerals ---- Uruguay ---- Email Le Stage Minerals
Le Stage Minerals ---- Uruguay ---- Email Le Stage Minerals
Le Sueur Minerals & Gems ---- Canada ---- Email Le Sueur Minerals & Gems
Lehmann Minerals ---- Benton CA ---- Email Lehmann Minerals
Lindgren Fossils L.L.C. ---- Evanston WY ---- Email Lindgren Fossils L.L.C.
Lindgren Fossils L.L.C. ---- Evanston WY ---- Email Lindgren Fossils L.L.C.
Lithographie ---- Denver CO ---- Email Lithographie
Little Big Stone ---- Madagascar ---- Email Little Big Stone
Lowcountry Geologic ---- Charleston SC ---- Email Lowcountry Geologic
Lucio Alvaro Minerals ---- Brazil ---- Email Lucio Alvaro Minerals
Madagascar Specimens ---- Madagascar ---- Email Madagascar Specimens
Majestic Minerals ---- Potsdam NY ---- Email Majestic Minerals
Malachite and Gems of Africa ---- Greece NY ---- Email Malachite and Gems of Africa
Marjan Fossils & Minerals ---- Tucson AZ ---- Email Marjan Fossils & Minerals
Matrix India ---- India ---- Email Matrix India
Maxilla & Mandible Ltd. ---- New York NY ---- Email Maxilla & Mandible Ltd.
McCarthy’s Fossils ---- Mount Pleasant SC ---- Email McCarthy’s Fossils
McNeil’s Minerals ---- Olive Branch MS ---- Email McNeil’s Minerals
Menezes Luis Minerals ---- Brazil ---- Email Menezes Luis Minerals
Menezes Luis Minerals ---- Brazil ---- Email Menezes Luis Minerals
Merk Howard Minerals ---- Westbrook CT ---- Email Merk Howard Minerals
Meteorite Collection ---- Czech Rep ---- Email Meteorite Collection
MeteoriteHunter.com ---- Tucson AZ ---- Email MeteoriteHunter.com
Mexgems ---- Venice CA ---- Email Mexgems
Midwest Minerals ---- Tucson AZ ---- Email Midwest Minerals
Mike Hoffman ---- Tucson AZ ---- Email Mike Hoffman
Mine Invest Brazil Ltda. ---- Brazil ---- Email Mine Invest Brazil Ltda.
Mineral & Fossil Supply ---- Denver CO ---- Email Mineral & Fossil Supply
Mineral Decor ---- India ---- Email Mineral Decor
Mineral Movies ---- East Haddam CT ---- Email Mineral Movies
Mineral Sarai Co. Ltd. - Japan ---- Japan ---- Email Mineral Sarai Co. Ltd. - Japan
Mineralogical Almanac ---- Russia ---- Email Mineralogical Almanac
Mineralogical Record ---- Tucson AZ ---- Email Mineralogical Record
Minerals & Collectors’ Gems ---- Brazil ---- Email Minerals & Collectors’ Gems
Minerama USA ---- France ---- Email Minerama USA
Mo’s Meteorites ---- Germany ---- Email Mo’s Meteorites
Mohammad Akbar Jewellery Stone ---- Afghanistan ---- Email Mohammad Akbar Jewellery Stone
Moldavite Mining ---- Czech Rep ---- Email Moldavite Mining
Mountain Mark Trading ---- Elizabeth CO ---- Email Mountain Mark Trading
Mountain Minerals Int’l ---- Louisville CO ---- Email Mountain Minerals Int’l
Moussa Minerals & Fossils ---- England ---- Email Moussa Minerals & Fossils
Moussa Minerals & Fossils ---- England ---- Email Moussa Minerals & Fossils
Moussa Minerals & Fossils - England ---- UK ---- Email Moussa Minerals & Fossils - England
Muller Peter Stonecarvings ---- Brazil ---- Email Muller Peter Stonecarvings
Murph’s ---- Tigard OR ---- Email Murph’s
Mystic Crystal & Mineral Traders ---- Folsom CA ---- Email Mystic Crystal & Mineral
Natural Selection Crystals ---- Gainesville GA ---- Email Natural Selection Crystals
Nature’s Art 2000 ---- Grass Valley CA ---- Email Nature’s Art 2000
Nayab Gems & Minerals ---- Brownstown MI ---- Email Nayab Gems & Minerals
New Era Gems ---- Grass Valley CA ---- Email New Era Gems
Nooristan Crystal Hunter ---- Netherlands ---- Email Nooristan Crystal Hunter
Norcross Madagascar (US) ---- Tucson AZ ---- Email Norcross Madagascar (US)
Nord Fossil - Germany ---- Germany ---- Email Nord Fossil - Germany
North Rose Trade International ---- Pakistan ---- Email North Rose Trade International
North Star Minerals LLC ---- Traverse City MI ---- Email North Star Minerals LLC
Olson Donald K. & Associates ---- Bonsall CA ---- Email Olson Donald K. & Associates
Onyx and Antler Gallery ---- Jackson Hole WY ---- Email Onyx and Antler Gallery
Open-Adit West ---- Tucson AZ ---- Email Open-Adit West
Pak Gems & Minerals ---- Pakistan ---- Email Pak Gems & Minerals
PakAfghan Gems and Mineral ---- San Diego CA ---- Email PakAfghan Gems and Mineral
Paleo Facts ---- Fallbrook CA ---- Email Paleo Facts
Paleo-Passion ---- France ---- Email Paleo-Passion
PaleoSearch Inc. ---- Hays KS ---- Email PaleoSearch Inc.
PaleoTools ---- Brigham City UT ---- Email PaleoTools
Pan-Geo ---- Warner Springs CA ---- Email Pan-Geo
Pani Meteorites Minerals & Fossils ---- Austria ---- Email Pani Meteorites Minerals & Fossils
Patagonia Minerals ---- Argentina ---- Email Patagonia Minerals
Paul William Bell ---- Corrales NM ---- Email Paul William Bell
Peak Valley Gems & Minerals ---- Pakistan ---- Email Peak Valley Gems & Minerals
Petrov Alfredo - Japan ---- Desert Hot Springs CA ---- Email Petrov Alfredo - Japan
Pinnacle 5 Minerals Specials ---- Manitou Springs CO ---- Email Pinnacle 5 Minerals Specials
Pinnacle 5 Minerals L.L.C. ---- Manitou Springs CO ---- Email Pinnacle 5 Minerals L.L.C.
Piritas de Navajun S.L. ---- Spain ---- Email Piritas de Navajun S.L.
Pitas Pens ---- Moab UT ---- Email Pitas Pens
Polychrom Minerals ---- France ---- Email Polychrom Minerals
Porte du Sahara - Morocco ---- Morocco ---- Email Porte du Sahara - Morocco
Primme Minerals ---- India ---- Email Primme Minerals
Profit L.L.C. ---- Omaha NE ---- Email Profit L.L.C.
Profit L.L.C. ---- Omaha NE ---- Email Profit L.L.C.
Pustov Yury ---- Russia ---- Email Pustov Yury
Quality Minerals ---- Russia ---- Email Quality Minerals
Raj Minerals Inc. ---- Carteret NJ ---- Email Raj Minerals Inc.
Ramos Minerals SRL - Peru ---- Peru ---- Email Ramos Minerals SRL - Peru
Red Beryl Co. ---- Delta UT ---- Email Red Beryl Co.
Richard Shupe Minerals ---- Fresno CA ---- Email Richard Shupe Minerals
Riveria Gems & Minerals ---- Pakistan ---- Email Riveria Gems & Minerals
RJB Rock Shop ---- Rapid City SD ---- Email RJB Rock Shop
Rock Decor ---- Reno NV ---- Email Rock Decor
Rocko Minerals & Jewelry Inc. ---- Margaretville NY ---- Email Rocko Minerals & Jewelry Inc.
Rockology ---- Tempe AZ ---- Email Rockology
Rocks & Minerals Magazine ---- Cincinnati OH ---- Email Rocks & Minerals Magazine
Russell-Zuhl ---- Holyoke MA ---- Email Russell-Zuhl
Russian Minerals Co. ---- Russia ---- Email Russian Minerals Co.
Ryan Smith Minerals ---- Cheshire CT ---- Email Ryan Smith Minerals
Sahara Overland ---- Tucson AZ ---- Email Sahara Overland
Sahara Overland ---- Tucson AZ ---- Email Sahara Overland
Sahara Sand ---- Morocco ---- Email Sahara Sand
Samora Minerals & Amber ---- Minden NV ---- Email Samora Minerals & Amber
Sattar Gems & Minerals ---- Pakistan ---- Email Sattar Gems & Minerals
Schaezle Art Inc. ---- Billings MT ---- Email Schaezle Art Inc.
Scovil Photography ---- Phoenix AZ ---- Email Scovil Photography
Seibel Minerals ---- Tehachapi CA ---- Email Seibel Minerals
Self-A-Ware Minerals ---- Indian Hills CO ---- Email Self-A-Ware Minerals
SGI Minerals Ltd. ---- Bulgaria ---- Email SGI Minerals Ltd.
Shicheng Mineral & Jewelry Exhibition Hall ---- China ---- Email Shicheng Mineral & Jewelry Exhibition Hall
Shree Sai Minerals ---- India ---- Email Shree Sai Minerals
Sibi’s Rare Crystals ---- India ---- Email Sibi’s Rare Crystals
Skornyakov Viacheslav Meteorites ---- Russia ---- Email Skornyakov Viacheslav Meteorites
Southern African Minerals ---- South Africa ---- Email Southern African Minerals
Sphere’s To You ---- Westlake Village CA ---- Email Sphere’s To You
Spirifer Minerals ---- Poland ---- Email Spirifer Minerals
Stardust by Meelheim & Scott ---- Lynchburg VA ---- Email Stardust by Meelheim & Scott
Stone Age Gifts ---- China ---- Email Stone Age Gifts
Stoneworld Ltd. ---- Russia ---- Email Stoneworld Ltd.
Sumayer Gems ---- Pakistan ---- Email Sumayer Gems
Sunnywood Collection The ---- Aurora CO ---- Email Sunnywood Collection The
Swan Lake Gems ---- Australia ---- Email Swan Lake Gems
Syed Trading Co. ---- Pakistan ---- Email Syed Trading Co.
Sztacho Petr ---- Czech Rep ---- Email Sztacho Petr
Terra Trilobites ---- Czech Rep ---- Email Terra Trilobites
Throwin’ Stones ---- Asheville NC ---- Email Throwin’ Stones
Tideline ---- Inglewood CA ---- Email Tideline
Tom Witherspoon Fossils ---- Crawfordsville IN ---- Email Tom Witherspoon Fossils
Top Shelf Minerals ---- Mandeville LA ---- Email Top Shelf Minerals
Tower Gallery ---- Netherlands ---- Email Tower Gallery
Tresor De L’Atlasse ---- Morocco ---- Email Tresor De L’Atlasse
Trilobites of America ---- Fairfield OH ---- Email Trilobites of America
Tucson Store Fixture Co ---- Tucson AZ ---- Email Tucson Store Fixture Co
Tynsky’s Fossil Fish Inc. ---- Kemmerer WY ---- Email Tynsky’s Fossil Fish Inc.
U.K. Mining Ventures ---- San Francisco CA ---- Email U.K. Mining Ventures
Ulrich's Fossil Gallery ---- Kemmerer WY ---- Email Ulrich's Fossil Gallery
Valenzuela’s Minerals ---- Gilbert AZ ---- Email Valenzuela’s Minerals
Valere Berlage Minerals ---- Belgium ---- Email Valere Berlage Minerals
Vasconcelos - Brazil ---- Brazil ---- Email Vasconcelos - Brazil
Vasconcelos - Brazil ---- Brazil ---- Email Vasconcelos - Brazil
Vasconcelos - Multigemas ---- Brazil ---- Email Vasconcelos - Multigemas
Voelter Fine Minerals ---- Abilene TX ---- Email Voelter Fine Minerals
Warfield Fossil Quarries Inc. ---- Thayne WY ---- Email Warfield Fossil Quarries Inc.
Way Too Cool L.L.C. ---- Glendale AZ ---- Email Way Too Cool L.L.C.
We Are Gems ---- China ---- Email We Are Gems
WebMinerals S.A.S. ---- Italy ---- Email WebMinerals S.A.S.
Wendel Mineralien ---- Germany ---- Email Wendel Mineralien
Wendy’s Minerals Co. ---- Rowland Heights CA ---- Email Wendy’s Minerals Co.
West Coast Mining ---- College Place WA ---- Email West Coast Mining
Whitney’s Rocks to Gems ---- Chester ME ---- Email Whitney’s Rocks to Gems
Wild West Rock & Jewelry Co. ---- Show Low AZ ---- Email Wild West Rock & Jewelry Co.
Wilson’s Pedras ---- Brazil ---- Email Wilson’s Pedras
Wonderworks ---- Cambria CA ---- Email Wonderworks
Wood Bruce Minerals ---- Puyallup WA ---- Email Wood Bruce Minerals
Xin Gui Rock Shop ---- China ---- Email Xin Gui Rock Shop
XTAL - Dennis Beals Minerals ---- Greenwood Village CO ---- Email XTAL - Dennis Beals Minerals
Yi Jing Mineral Jewelry Shop ---- China ---- Email Yi Jing Mineral Jewelry Shop
Zeb Mineralien -Germany/Afghanistan ---- Germany ---- Email Zeb Mineralien -Germany/Afghanistan
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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
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1.Presencia en las pruebas de selectividad.
El plano, el fotoplano y la ortofoto de Barcelona han aparecido con cuatro modelos de preguntas distintos en Selectividad, siendo uno de los ejercicios más reiterados en las propuestas, si bien sólo en dos ocasiones ha sido escogido para el examen titular (septiembre de 2017 y septiembre de 2019). El que analizamos registra en 2021 su primera aparición.
2.La ortofoto es de la ciudad de Barcelona. Analícela y responda a las siguientes cuestiones:
a)Diga los tipos de plano urbano correspondientes a las tres zonas señaladas con números, indicando el periodo histórico en que se conformaron fundamentalmente. (Hasta 1 punto).
b)Defina y caracterice los tipos de plano urbano de las zonas con los números 1 y 3. (Hasta 1 punto).
c)Explique el papel de Barcelona en el sistema de ciudades español. (Hasta 2 puntos).
Ortofoto de la Ciudad de Barcelona (2021)
1.La ortofoto es de la ciudad de Barcelona. Analícela y responda a las siguientes cuestiones:
a)Diga los tipos de plano urbano correspondientes a las tres zonas señaladas con números, indicando el periodo histórico en que se conformaron fundamentalmente.
1.Plano irregular que se corresponde con la Edad Media (siglos X – XV).
2.Plano ortogonal que se corresponde con la Edad Moderna (siglo XVIII).
3.Plano ortogonal que se corresponde con la Edad Contemporánea (siglos XIX y XX).
b)Defina y caracterice los tipos de plano urbano de las zonas con los números 1 y 3.
En el número 1 (Centro Histórico) el tipo de plano predominante es irregular, advirtiéndose el núcleo fundacional de la Barcino romana que crece hasta cuadriplicar su área en la Edad Media. La parte romana se sitúa a la derecha del número 1. Conserva el trazado de las murallas y la estructura en cruz del cardo y el decumano, pero no ha perdurado la trama urbana en cuadrícula que originalmente distribuyó sus calles.
En el número 3 (Ensanche) nos encontramos con un plano ortogonal, con una cuadrícula aligerada por las esquinas en chaflán, algunas avenidas en diagonal y espacios verdes. El uso predominante del suelo es residencial. Se trata del plan de ampliación de Ildefonso Cerdá, levantado en la segunda mitad del siglo XIX y en la primera mitad del siglo XX. La estructura original fue respetada en todo este tiempo, si bien la trama se densificó al edificarse las manzanas por sus cuatros lados y al reducirse el área del parque o patio anterior.
c) Explique el papel de Barcelona en el sistema de ciudades español.
Barcelona es la segunda aglomeración urbana de España, con más de tres millones de habitantes. Cuenta con un tamaño mayor que el habitual para la segunda aglomeración un sistema nacional, lo que configura un sistema bipolar. En la jerarquía urbana alcanza la categoría de metrópolis nacional, al igual que Madrid.
Barcelona presenta una influencia general más débil que la de Madrid, aunque su importancia resulta notoria en el sector oriental de la península. La ciudad forma parte del eje urbano del Mediterráneo y además mantiene fluidas conexiones tanto con las otras tres urbes del cuadrante nordeste (Bilbao, Zaragoza y Valencia) como con Madrid. En el sistema urbano de la Unión Europea forma parte del Arco Mediterráneo junto a urbes como Valencia, Montpellier, Marsella, Niza, Génova, Turín, Milán y Roma.
En la época romana, en la que se crea el primer sistema de ciudades, Barcelona [Barcino] desempeñaba un papel secundario, quedando a la zaga de Tarragona [Tarraco] que los romanos convirtieron en la principal urbe del noreste español. No obstante, en la época medieval Barcelona consiguió ese puesto y lo mantuvo hasta el siglo XV, momento en que es rebasada por Valencia. Paradójicamente, la activa participación de la ciudad en la Guerra de Sucesión (y posterior castigo) sirvió de revulsivo económico a la ciudad que se transformó en el principal puerto de la nación tras Cádiz. En el siglo XIX arrebata a Cádiz la primacía del comercio con los dominios de ultramar (reducidos a las Antillas y Filipinas) y se transforma, además, en el primer centro industrial del país. Su población se multiplica entonces gracias al éxodo rural.
Barcelona llegó a ser sede del gobierno republicano desde octubre de 1937 hasta la entrada del ejército “nacional” en enero del 1939. La posguerra supuso una pausa en el crecimiento de la ciudad, pero a partir de 1960 sus industrias se reactivan y el flujo de emigrantes se reinicia hasta ser más numeroso que en ninguna otra época, creando asentamientos de chabolas e infraviviendas. Actualmente ha retrocedido su actividad portuaria, pero es compensada por el tráfico del aeropuerto y, sobre todo, por el trasiego de visitantes extranjeros, que convierten a Barcelona en el primer destino turístico de España.
Palabras de Dios | Palabras clásicas sobre la Biblia
"Durante muchos años, la forma de creencia tradicional de las personas (la del cristianismo, una de las tres religiones principales del mundo) ha sido leer la Biblia; apartarse de la Biblia no es creer en el Señor, es heterodoxia y herejía, e incluso cuando las personas leen otros libros, el fundamento de estos debe ser la explicación de la Biblia. Es decir, si dices que crees en el Señor, debes leer la Biblia, debes comerla y beberla, y fuera de ella no debes adorar a ningún libro que no la implique. Si lo haces, estás traicionando a Dios. Desde el momento en que la Biblia estuvo, la creencia de las personas en el Señor ha sido la creencia en la Biblia. En lugar de decir a las personas que crean en el Señor, es mejor decir que lo hagan en la Biblia; en lugar de decir que han comenzado a leer la Biblia, es mejor decir que han empezado a creer en ella; y en lugar de decir que han vuelto a la presencia del Señor, es mejor decir que han regresado ante la Biblia. De esta forma, las personas adoran la Biblia como si fuera Dios, como si fuera su vida, y perderla sería lo mismo que perder su vida. Las personas consideran la Biblia como algo tan elevado como Dios, y están incluso aquellos que la ven como algo más alto que Dios. Si las personas no tienen la obra del Espíritu Santo, si no pueden sentir a Dios, pueden seguir viviendo; pero tan pronto como pierden la Biblia, sus capítulos o sus dichos célebres, es como si hubieran perdido su vida. Así pues, tan pronto como las personas creen en el Señor, comienzan a leer la Biblia, a memorizarla, y cuanto más sean capaces de memorizar de ella, más demuestra esto que aman al Señor y tienen una gran fe. Los que han leído la Biblia y pueden hablarles de ella a los demás son todos buenos hermanos y hermanas. Y es que todos estos años, la fe y la lealtad de las personas al Señor se han medido de acuerdo a su grado de entendimiento de la Biblia. La mayoría de las personas no entienden por qué deberían creer en Dios ni cómo hacerlo, y no hacen otra cosa que buscar ciegamente pistas para descifrar los capítulos de la misma. Las personas nunca han buscado la dirección de la obra del Espíritu Santo; no han hecho más que dedicarse todo el tiempo a estudiar e investigar desesperadamente la Biblia, y nadie ha encontrado nunca obra nueva del Espíritu Santo fuera de ella, nadie se ha apartado nunca de ella ni se ha atrevido a hacerlo. Han estudiado la Biblia durante todos estos años, se les han ocurrido muchas explicaciones y se han esforzado grandemente; también tienen muchas opiniones diferentes acerca de ella, que debaten interminablemente, de manera que se han formado más de dos mil denominaciones hoy. Todos quieren encontrar algunas explicaciones especiales, o misterios más profundos en la Biblia; quieren explorarla y encontrar en ella el trasfondo de la obra de Jehová en Israel, o el trasfondo de la obra de Jesús en Judea, o más misterios que nadie más conoce. Las personas abordan la Biblia con obsesión y fe, y nadie puede aclarar del todo la historia interna o la esencia de la misma. Así pues, el resultado es que las personas siguen teniendo hoy una sensación indescriptible de magia cuando se trata de la Biblia; aún más, están obsesionadas con ella y tienen fe en ella. Hoy en día, todos quieren encontrar las profecías de la obra de los últimos días en la Biblia, quieren descubrir qué obra hace Dios durante los últimos días y qué señales hay para los últimos días. De esta forma, su adoración de la Biblia se vuelve más ferviente, y mientras más se acercan los últimos días, más credibilidad dan a sus profecías, particularmente a las relacionadas con este tema. Con esa creencia ciega en la Biblia, con esa confianza en ella, no tienen deseo de buscar la obra del Espíritu Santo. En las ideas de las personas, piensan que sólo ella puede traer la obra del Espíritu Santo; sólo en ella pueden encontrar las huellas de Dios; sólo en ella están escondidos los misterios de Su obra; sólo la Biblia —ningún otro libro o persona— puede clarificar todo lo de Dios y la totalidad de Su obra; la Biblia puede traer la obra del cielo a la tierra; y puede tanto comenzar como concluir las eras. Con estos conceptos, las personas no tienen inclinación a buscar la obra del Espíritu Santo. Así pues, independientemente de cuánta ayuda prestara la Biblia a las personas en el pasado, ha pasado a ser un obstáculo para la obra más reciente de Dios. Sin ella, las personas podrían buscar las huellas de Dios en cualquier otro lugar; pero hoy, la Biblia ha contenido Sus huellas, y extender Su obra reciente ha pasado a ser doblemente difícil, y una ardua lucha. Todo esto se debe a los capítulos y los dichos famosos de la Biblia, así como sus diversas profecías. La Biblia se ha vuelto un ídolo en las mentes de las personas, un enigma en sus cerebros, y son simplemente incapaces de creer que Dios puede obrar excluyéndola, de creer que las personas pueden encontrar a Dios fuera de la Biblia, y mucho menos son capaces de creer que Dios podría apartarse de ella durante la obra final y comenzar de nuevo. Esto es impensable para las personas; no pueden creerlo ni imaginarlo. La Biblia se ha convertido en un gran obstáculo para que los hombres acepten la nueva obra de Dios, y en una dificultad para la expansión de Dios de esta nueva obra."
de ‘Relativo a la Biblia (1)’ en “La Palabra manifestada en carne”
PictionID:54503541 - Catalog:Atlas 49D 1960 - Title:Array - Filename:Atlas 49D 1960-3.JPG - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Rottura dell’accerchiamento di Satana
di Zhao Gang, Cina
Faceva un freddo pungente lo scorso novembre nel nordest della Cina: la neve che cadeva al suolo non si scioglieva e molte persone che camminavano per le strade avevano così freddo che si tenevano le mani sotto le ascelle e procedevano con cautela, col corpo incurvato in avanti. L’altro giorno di mattina presto il vento soffiava da nordovest quando io, mio cognato e sua moglie e una dozzina di fratelli e sorelle eravamo seduti a casa mia sul letto caldo. Ognuno aveva con sé una Bibbia e teneva in mano una copia del libro delle parole di Dio intitolato “Il giudizio comincia dalla casa di Dio”. Due sorelle della Chiesa di Dio Onnipotente stavano tenendo una comunicazione sulla verità riguardante le tre fasi dell’opera di Dio. Durante la comunicazione le due sorelle tracciavano un quadro delle tre fasi dell’opera: “L’opera di Dio per la salvezza dell’umanità si può suddividere in tre fasi. Dall’Età della Legge all’Età della Grazia e poi all’Età del Regno, ogni fase dell’opera è più elevata e più profonda della precedente. Quella compiuta negli ultimi giorni è la fase finale dell’opera, in cui Dio esprime parole per giudicare e purificare l’uomo…” Noi annuivamo ascoltando e il nostro cuore si colmava di luce: chi avrebbe pensato che il piano di gestione di Dio per la salvezza dell’umanità racchiudesse tanti misteri! A parte Dio Stesso, chi altri potrebbe parlare così chiaramente dei misteri di queste tre fasi dell’opera di Dio? Questa è veramente l’opera di Dio! La comunicazione è proseguita fino alla sera del giorno seguente, e tutto il nostro gruppo ha espresso la volontà di ricercare ed esaminare l’opera di Dio Onnipotente degli ultimi giorni.
Dopo di che le due sorelle hanno tenuto una comunicazione sulla verità riguardante il significato dell’incarnazione di Dio, e tutti noi stavamo ascoltando attentamente quando, tutt’a un tratto, è arrivata Wang Ping, capo della nostra Chiesa. Non appena entrata in casa, ha puntato il dito contro le due sorelle della Chiesa di Dio Onnipotente e mi ha domandato: “Che ci fanno qui queste due?” Ho risposto francamente: “Queste sono la sorella Zhang e la sorella Mu…” Ma prima ancora che finissi di parlare, mi ha detto con tono esasperato: “Chi sono la sorella Zhang e la sorella Mu? Vedo che sono predicatrici del Lampo da Levante, sono ladre di pecorelle…” Quando Wang Ping ha finito di parlare, siamo tutti rimasti lì seduti sconvolti. Ho pensato: “La sorella Wang Ping ha parlato quasi sempre di amare il prossimo come noi stessi e di amare i propri nemici; come mai oggi viene qui a dire cose tanto irragionevoli? Perché giudica e condanna queste due sorelle?” Riflettevo su queste cose quando ho sentito la sorella Zhang dire pacatamente a Wang Ping: “Sorella, non ci sono secondi fini nella nostra presenza qui oggi. Il Signore Gesù è già ritornato. Vogliamo soltanto comunicarvi il Vangelo di Dio degli ultimi giorni…” Wang Ping ha interrotto la sorella Zhang gridando: “Il Signore è ritornato? Nemmeno quanti di noi hanno la funzione di capi sanno niente del ritorno del Signore, e allora come fate a saperlo voi? Non è possibile! Il Signore Gesù ha detto: ‘Tutti quelli che sono venuti, sono stati ladri e briganti; ma le pecore non li hanno ascoltati’ (Giovanni 10:8). Dovete andarvene tutte e due subito e non tornare mai più”. Quando ho udito Wang Ping dire così, interiormente ho provato disgusto: i suoi sermoni sono di solito tanto ragionati e ben argomentati; come mai tutt’a un tratto si dimostra così priva di compassione? Allora ho domandato a Wang Ping: “Sorella Wang, è tardi. Dove vuoi che vadano? Il Signore ci insegna che dobbiamo amare i nostri nemici, per non parlare di queste due sorelle che credono in Dio. Se trattiamo loro due in questo modo, non assomiglieremo affatto a credenti nel Signore…” Ma prima ancora che potessi concludere quello che stavo dicendo, Wang Ping con impazienza ha preso la mano della moglie di mio cognato e ha detto a lei e al marito: “Se Zhao Gang non vuole che queste due donne se ne vadano, allora ce ne andiamo noi. Non ascoltatele più!” Quindi è uscita furiosamente trascinandosi dietro i due.
Quando se ne sono andati, la sorella Mu si è rivolta a noi e ha domandato: “Fratelli e sorelle, che vi sembra della scena di cui siamo appena stati testimoni? Parliamone”. Tutti i fratelli e le sorelle si sono voltati verso di me, senza che nessuno dicesse una parola. Ho detto francamente: “Sorella, tramite la lettura della parola di Dio Onnipotente in questi ultimi due giorni e l’ascolto della tua comunicazione, io credo fermamente che le parole di Dio Onnipotente siano la verità e che Dio Onnipotente sia il ritorno del Signore Gesù. Tuttavia Wang Ping non ha tutti i torti. In fin dei conti, lei è il nostro capo e ha fede nel Signore da tanto tempo. È molto esperta della Bibbia e si è sempre data da fare e si è spesa per il Signore. Se il Signore è ritornato, lei dovrebbe essere la prima a saperlo”. La sorella Zhang ha risposto gentilmente dicendo: “Molti credono che il ritorno di Dio debba essere rivelato prima ai capi che poi ne parlano ai fedeli, ma nelle parole del Signore questo modo di pensare ha forse un reale fondamento? È conforme alla verità e ai dati di fatto dell’opera di Dio? Il Signore Gesù disse: ‘Le Mie pecore ascoltano la Mia voce e Io le conosco, ed esse Mi seguono’ (Giovanni 10:27). ‘Chi ha orecchi ascolti ciò che lo Spirito dice alle Chiese’ (Apocalisse 2:7). Il Signore Gesù ci dice chiaramente che quando arriverà di sicuro pronuncerà delle parole ed esprimerà la verità e tutti coloro che sentono la voce di Dio e poi ricercano e la riconoscono accoglieranno il ritorno del Signore e saranno innalzati al cospetto di Dio. Il Signore ha detto forse che al Suo ritorno avrebbe illuminato qualche capo con la conoscenza del Suo avvento? No. Pertanto questa opinione non fa che fuorviare e confondere le persone, che allora, se aspettano che il Signore le illumini in linea con questa affermazione, stanno ad aspettare passivamente l’avvento della fine. Guardiamo che cosa è detto nelle parole di Dio Onnipotente. Dice Dio Onnipotente: ‘Ancora più persone credono che, qualunque sia l’opera nuova di Dio, debba essere confermata dalle profezie e che in ogni fase di tale opera a tutti coloro che seguono Dio con cuore sincero debbano essere mostrate anche delle rivelazioni, altrimenti l’opera non potrebbe appartenere a Dio. Conoscere Dio è già un compito arduo per l’uomo. Considerando, poi, il cuore irrazionale dell’uomo e la sua natura ribelle fatta di egoismo e presunzione, sarà ancora più difficile che l’uomo accetti l’opera nuova di Dio. L’uomo non esamina l’opera nuova di Dio con cura né la accetta con umiltà; piuttosto, assume un atteggiamento di disprezzo, aspettando le rivelazioni e la guida di Dio. Non è questo il comportamento di un uomo che si ribella e si oppone a Dio? Questi uomini come possono ottenere l’approvazione di Dio?’ (“Come può l’uomo che ha delimitato Dio nelle sue concezioni ricevere le rivelazioni di Dio?” in “La Parola appare nella carne”). Dalle parole di Dio capiamo che, per la questione dell’avvento del Signore, se le persone si attengono ciecamente alle loro concezioni e fantasie e non ricercano la verità e non si concentrano sull’udire la voce di Dio, ma si limitano ad aspettare che Dio le illumini, non potranno mai accogliere il ritorno del Signore. Soltanto coloro che si impegnano nell’ascoltare la voce di Dio sono in grado di accogliere la manifestazione del Signore. In effetti, nemmeno uno di coloro che seguirono il Signore Gesù nell’Età della Grazia fu illuminato da Dio prima che seguisse Gesù. Tutti sentirono qualcun altro testimoniare il Signore Gesù oppure ascoltarono il Signore parlare o tenere un sermone, e Lo seguirono solo dopo avere riconosciuto la voce del Signore. Anche se Pietro ricevette l’illuminazione da parte di Dio e riconobbe nel Signore Gesù il Cristo e il Figlio di Dio, questo avvenne soltanto dopo che ebbe seguito il Signore Gesù per un certo tempo; solo quando giunse ad avere una certa conoscenza del Signore dalle Sue parole e dalla Sua opera ottenne l’illuminazione e la rivelazione dello Spirito Santo: questo è un dato di fatto. Ora, negli ultimi giorni, Dio Onnipotente incarnato esprime la verità e compie l’opera di giudicare, purificare e salvare l’umanità. Molti accolgono e seguono Dio Onnipotente, ma fra loro non ce n’è uno che abbia ottenuto l’illuminazione da parte di Dio prima di seguirLo. Dio è giusto e certamente non favorisce nessuno. Dio Si rallegra delle persone di buon cuore che anelano a ricercare la verità. Proprio come disse il Signore Gesù: ‘Beati quelli che sono affamati e assetati di giustizia, perché saranno saziati’ (Matteo 5:6). ‘Beati i puri di cuore, perché vedranno Dio’ (Matteo 5:8). Dio Onnipotente inoltre ha detto: ‘Dio cerca coloro che anelano alla Sua apparizione. Egli cerca coloro che sono in grado di prestare ascolto alle Sue parole, che non abbiano dimenticato l’assegnazione del Suo compito e Gli offrano il loro cuore e il loro corpo. Cerca coloro che siano obbedienti come bambini nei Suoi confronti, e che non Gli facciano resistenza’ (“Dio sovrintende al destino dell’intera umanità” in “La Parola appare nella carne”). Questo ci fa capire che, se l’uomo ama la verità e ha sete di verità, indipendentemente dal fatto che abbia o no qualche prestigio o da quanto capisca la Bibbia, Dio lo illuminerà e lo guiderà e gli consentirà di udire la Sua voce e di testimoniare la Sua manifestazione. Se coloro che fungono da capi ritengono che Dio al Suo ritorno debba prima illuminare loro, questo indica che non hanno alcuna comprensione dell’opera di Dio e non conoscono l’indole giusta di Dio. Inoltre rivela la loro grande arroganza. Nella parola di Dio Onnipotente è detto: ‘E così dico che coloro che “vedono chiaramente” Dio e la Sua opera sono impotenti, e sono solo arroganti e ignoranti. L’uomo non dovrebbe definire l’opera di Dio; inoltre, non può definirla. Agli occhi di Dio, l’uomo è più piccolo di una formica, perciò come può comprendere l’opera di Dio? Coloro che dicono costantemente “Dio non opera in questo o in quel modo” o “Dio è come questo o come quello”, non sono forse degli arroganti?’ (Introduzione a “La Parola appare nella carne”). L’onnipotenza e la sapienza di Dio sono di una profondità insondabile. Gli esseri umani sono soltanto minuscole creature. La nostra mente e i nostri pensieri sono limitati, e allora come potremmo sondare l’opera del Creatore? Pertanto, in attesa del ritorno del Signore, dobbiamo serbare nel cuore la venerazione per Dio e ricercare ed esaminare attentamente. Non dobbiamo usare le nostre concezioni e fantasie per limitare Dio e giudicarLo arbitrariamente, poiché questo offenderà l’indole di Dio e inoltre pregiudicherà le nostre possibilità di conseguire la vera salvezza”.
Dopo aver ascoltato la parola di Dio, ho capito che noi al cospetto di Dio siamo davvero insignificanti, più ancora di una formica. Inoltre siamo stati corrotti da Satana al punto che siamo pervasi dall’indole corrotta dell’arroganza e della presunzione. Amiamo affidarci sempre alle nostre fantasie e concezioni per limitare Dio e, quando l’opera di Dio non è conforme alle nostre concezioni, perfino rinneghiamo Dio, Lo condanniamo e ci opponiamo a Lui. Evidentemente, se l’uomo non capisce la verità e non ha nel cuore nemmeno un briciolo di venerazione per Dio, allora oserà fare tutto ciò che vuole. Ed è una cosa davvero pericolosa! Questo mi ha fatto rammentare ciò che disse il Signore Gesù: “Io Ti rendo lode, o Padre, Signore del cielo e della terra, perché hai nascosto queste cose ai sapienti e agli intelligenti, e le hai rivelate ai piccoli. Sì, Padre, perché così Ti è piaciuto” (Matteo 11:25-26). Soltanto oggi ho capito che le cose stanno veramente così! La rivelazione della parola di Dio e la comunicazione della sorella Zhang mi hanno consentito di riconoscere che questa idea secondo cui “i capi devono essere i primi a essere illuminati riguardo alla conoscenza dell’avvento del Signore al Suo ritorno” è falsa e assurda, proprio non è conforme alla verità e deriva interamente dalle concezioni e fantasie dell’uomo. In realtà, soltanto coloro che hanno sete di verità e ricercano la voce di Dio avranno l’occasione di ricevere l’opera di Dio e la Sua guida e di essere condotti al cospetto di Dio. Questo mi ha offerto una nuova comprensione dell’equità e della giustizia di Dio. Sia ringraziato Dio!
La mattina presto del terzo giorno, quando la sorella Zhang e la sorella Mu se n’erano andate, il mio confratello Guan, collaboratore di alto rango della nostra Chiesa, è venuto da me e mi ha domandato: “Fratello Zhao, ho sentito che voi due adesso credete nel Lampo da Levante”. Gli ho risposto con fervore: “Sì, ho accolto l’opera di Dio Onnipotente degli ultimi giorni, perché tramite le parole di Dio Onnipotente sono giunto a capire molte verità che prima non capivo, per esempio i misteri delle tre fasi della Sua opera e il significato dell’incarnazione di Dio. Vedo che le parole di Dio Onnipotente sono ‘Ciò che lo Spirito dice alle Chiese’ come profetizzato nel libro dell’Apocalisse”. Il fratello Guan mi ha guardato e ha detto: “Fratello Zhao, davvero intendi seguire ciò che dicono queste persone? Sai che genere di persone sono?” Ho risposto: “Vedo che tutti hanno una grandiosa natura umana e comunicano molto chiaramente riguardo alla verità. Tutto ciò di cui parlano è in relazione alle verità dell’opera di Dio. In questi ultimi due giorni ho davvero acquisito molto”. Il fratello Guan mi ha detto rabbiosamente: “Come puoi essere così testardo? La Lettera agli Ebrei, 6,6-8, ci dice: ‘E poi sono caduti, è impossibile ricondurli di nuovo al ravvedimento, perché crocifiggono di nuovo per conto loro il Figlio di Dio e Lo espongono a infamia. Quando una terra, imbevuta della pioggia che vi cade frequentemente, produce erbe utili a quelli che la coltivano, riceve benedizione da Dio; ma se produce spine e rovi, è riprovata e prossima a essere maledetta, e la sua fine sarà di essere bruciata’. Tu sei un predicatore, gioisci tanto della grazia del Signore, ma non solo non stai guidando fratelli e sorelle a credere nel Signore, ma anzi li induci ad abbandonare la nostra Chiesa. Non temi di essere punito? Se non torni indietro, perderai la protezione del Signore e non vivrai una vita felice. Le tue malattie precedenti avranno una ricaduta e i tuoi due figli non troveranno un buon lavoro…”
Quando il fratello Guan se n’è andato, mi sono sentito piuttosto nervoso e ho pensato: le cose che ha detto sembrano in parte ragionevoli, e allora che devo fare nel caso in cui la mia fede in Dio Onnipotente mi facesse perdere la grazia del Signore? Riflettendo su questo, ho sentito il mio cuore indebolirsi, perciò mi sono affrettato a inginocchiarmi e ho pregato Dio: “Dio Onnipotente! Le parole del fratello Guan mi hanno fatto sentire piuttosto debole. Dio! Le cose che mi ha detto sono effettivamente vere o no? Adesso proprio non so che fare…” Mentre pregavo Dio, è ritornata mia moglie e le ho riferito quello che era appena successo. Nel sentire queste cose, mi ha detto nervosamente: “Davvero ha parlato così?” Ho annuito, e mia moglie ha detto preoccupata: “È un capo importante che crede nel Signore da molti anni ed è esperto della Bibbia. Non penso che dica menzogne. Se davvero succederà come dice lui, che cosa dobbiamo fare?” Proprio in quel momento ho pensato alla verità delle tre fasi dell’opera di Dio su cui avevano tenuto una comunicazione la sorella Zhang e la sorella Mu: l’opera di Dio per la salvezza dell’umanità è suddivisa in tre fasi, ma tutte e tre le fasi dell’opera sono compiute da un unico Dio. Quando ho pensato così, all’improvviso mi è divenuto tutto chiaro e sono sbottato rivolgendomi a mia moglie: “Quello che dice il fratello Guan non mi pare giusto. Dice che accogliendo l’opera di Dio degli ultimi giorni stiamo abbandonando la via del Signore e tradendo il Signore Gesù, ma le parole di Dio Onnipotente che abbiamo letto nei giorni scorsi sono veramente la voce di Dio e Dio Onnipotente è il ritorno del Signore Gesù. Seguendo Dio Onnipotente, in realtà seguiamo le orme dell’Agnello. Siamo noi le vergini sagge. Perché il Signore dovrebbe punirci?” Eravamo nel pieno di una comunicazione a questo riguardo quando sono arrivate la sorella Zhang e la sorella Mu…
Mia moglie ha riferito alle sorelle quello che aveva detto il fratello Guan quando era venuto a casa nostra, e la sorella Zhang mi ha domandato come mi sembrasse tutta questa faccenda. Così ho parlato alle sorelle della debolezza che avevo provato e della comprensione che avevo appena raggiunto. La sorella Zhang ha sorriso dicendo: “Sia ringraziato Dio! Questa è una comprensione davvero pura ed è l’illuminazione e la guida di Dio!” Mia moglie ha domandato, confusa: “Siccome noi non ci siamo smarriti, perché il fratello Guan dice queste cose? È un capo importante che crede nel Signore da molti anni!” Ho guardato mia moglie e ho detto: “Vuole soltanto che ritorniamo nella nostra Chiesa precedente!” La sorella Zhang ha sorriso e ha detto: “In questo momento, tutto ciò che possiamo vedere sono le loro apparenze esteriori, ma non abbiamo esaminato la sostanza della loro natura! Il Signore Gesù disse: ‘Ma guai a voi, scribi e farisei ipocriti, perché serrate il Regno dei Cieli davanti alla gente; poiché non vi entrate voi, né lasciate entrare quelli che cercano di entrare’ (Matteo 23:13). ‘Guai a voi, scribi e farisei ipocriti, perché siete simili a sepolcri imbiancati, che appaiono belli di fuori, ma dentro sono pieni d’ossa di morti e d’ogni immondizia’ (Matteo 23:27). A giudicare dalle apparenze esteriori, i farisei erano assai leali nel servire Dio. Nella mente delle persone, i farisei erano servi devoti di Dio ed erano le autorità religiose più degne di fiducia. Però, quando il Signore Gesù venne a compiere la Sua opera, fu rivelata la natura di opposizione a Dio dei farisei. Furono questi farisei a opporsi sfrenatamente e a condannare l’opera del Signore Gesù. Inventarono ogni genere di dicerie e resero falsa testimonianza per ingannare la gente comune. Dicevano che il Signore Gesù scacciasse i demoni tramite Belzebù, il principe dei diavoli. E quando il Signore Gesù risorse tre giorni dopo essere stato crocifisso, corruppero i soldati perché diffondessero dicerie secondo cui il corpo del Signore Gesù sarebbe stato trafugato dai Suoi discepoli, fra l’altro. I farisei inventavano ogni genere di menzogne e usavano tutti i trucchi a loro disposizione per impedire alle persone di ricercare ed esaminare la vera via. Il loro scopo era eliminare l’opera di Dio in modo da poter mantenere per sempre il loro dominio sul popolo eletto di Dio. Anche se esteriormente apparivano devoti, nella sostanza erano degli anticristo che odiavano la verità ed erano nemici di Dio. Nello smascherarli e condannarli, il Signore Gesù disse: ‘Serpenti, razza di vipere, come scamperete al giudizio della geenna?’ (Matteo 23:33). Allora adesso riflettiamo: questi capi religiosi di oggi sono forse diversi dai farisei?” Le sorelle quindi mi hanno chiesto di leggere un brano delle parole di Dio Onnipotente: “Quelli che leggono la Bibbia in grandi chiese, recitano la Bibbia tutti i giorni ma non capiscono lo scopo dell’opera di Dio. Non uno è in grado di conoscere Dio; inoltre, nessuno è in sintonia con il cuore di Dio. Sono tutti uomini meschini e privi di valore, così boriosi da voler insegnare a Dio. Anche se brandiscono il nome di Dio, Gli si oppongono ostinatamente. Anche se si fregiano della definizione di credenti in Dio, sono quelli che mangiano la carne e bevono il sangue dell’uomo. Tutti questi uomini sono diavoli che divorano l’anima dell’uomo, capi demoni che volutamente disturbano coloro che cercano di percorrere la strada giusta, sono pietre di inciampo che impediscono il cammino di quanti cercano Dio. Anche se sono ‘fortemente carnali’, come fanno i loro seguaci a sapere che sono anticristi che guidano l’uomo a opporsi a Dio? Come fanno a sapere che sono diavoli vivi che cercano espressamente anime da divorare?” (“Tutti coloro che non conoscono Dio sono coloro che si oppongono a Dio” in “La Parola appare nella carne”). Le sorelle ci hanno tenuto una comunicazione dettagliata in riferimento a queste parole di Dio, analizzando tutte le azioni dei capi religiosi e la sostanza della loro natura, e alla fine sono giunto a capire che questi capi persistono nell’intralciarci e nell’impedirci di credere in Dio Onnipotente e perfino ci rivolgono minacce e intimidazioni, non per proteggerci, bensì per mantenere il loro dominio sul popolo eletto di Dio, affinché noi li adoriamo e li veneriamo come se fossero Dio. Perciò in realtà sono uguali ai farisei. Sono tutti degli anticristo che odiano la verità e si oppongono a Dio. Dio è venuto a salvarci, ma loro escogitano ogni metodo possibile per impedirci di accogliere l’opera di Dio e di leggere le Sue parole. Così facendo, non ci stanno forse trascinando all’inferno? Sono davvero malevoli! Se non fosse che le parole di Dio Onnipotente rivelano la sostanza di come queste persone si oppongano a Dio e si contendano l’uomo con Dio, mi sarei forse fatto ingannare dai loro trucchi, frustrando la mia possibilità di conseguire la vera salvezza. In quel momento, mia moglie ha detto con stupore: “A quanto pare, loro sono qui per farci del male! Queste persone davvero non molleranno finché non ci avranno trascinati all’inferno! Non crederò più a quello che dicono”.
La sorella Mu allora ci ha letto un altro brano delle parole di Dio: “In ogni fase dell’opera che Dio compie dentro le persone, esternamente sembra che si tratti di un’interazione tra le persone, come se tutto nascesse da disposizioni o da interferenze umane. Ma dietro le quinte, ogni fase dell’opera e tutto ciò che accade, è una scommessa fatta da Satana davanti a Dio, una scommessa che richiede che le persone rimangano salde nella loro testimonianza di fede a Dio. Considera quando Giobbe è stato messo alla prova, per esempio: dietro le quinte, Satana stava facendo una scommessa con Dio, e ciò che è accaduto a Giobbe era legato alle azioni degli uomini e alla loro interferenza. Dietro ogni passo che Dio compie dentro di voi, vi è la scommessa di Satana con Dio – dietro ogni cosa vi è una battaglia” (“Solo amare Dio vuol dire credere veramente in Dio” in “La Parola appare nella carne”). Quindi la sorella Zhang ha dato inizio alla sua comunicazione: “Dalle parole di Dio vediamo che, qualunque cosa ci accada, anche se esteriormente può sembrare opera dell’uomo, in realtà è Satana che scommette con Dio dietro le quinte. È proprio come quando Giobbe fu tentato da Satana. Sua moglie gli chiedeva di abbandonare Jahvè, ma Giobbe riuscì a capire i trucchi di Satana. Si affidò alla propria fede in Dio e testimoniò Dio, rimproverando sua moglie perché era una donna ignorante e ostinata. Le esperienze di Giobbe ci fanno capire che, quando Dio intende salvare qualcuno, Satana lo tenterà sempre sfrenatamente e lo intralcerà e tirerà fuori tutti i trucchi a sua disposizione per attaccarlo e indurlo ad abbandonare e tradire Dio e in definitiva a perdere la possibilità di conseguire la vera salvezza. Poiché Satana intende dominare e divorare l’uomo per sempre, non vuole proprio che l’uomo consegua la salvezza offerta da Dio”. Anche la sorella Mu ha tenuto una comunicazione: “È vero. Ripetutamente Satana usa i capi perché ci rivolgano attacchi e intimidazioni, allo scopo di indurci a rinnegare Dio, tradirLo e abbandonare la vera via. Questi sono i trucchi di Satana. Dobbiamo riuscire a vedere chiaramente questa lotta che si svolge nel mondo spirituale”. Dopo avere ascoltato la comunicazione delle due sorelle, ho riflettuto per un po’ su queste cose e poi ho detto: “Allora Satana sta facendo una scommessa con Dio, e attraverso le cose che dicono i capi Satana ci attacca dove siamo deboli e vuole che abbandoniamo la vera via e ci allontaniamo da Dio per via della nostra codardia! Satana è davvero infido!” Allora mia moglie ha detto: “Satana è proprio repellente! Se non avessimo ascoltato le parole di Dio e la vostra comunicazione, come avremmo potuto sapere che questa era una macchinazione di Satana?” Ho detto con gioia: “Adesso che capiamo queste cose, dobbiamo affidarci a Dio per rompere l’accerchiamento di Satana, testimoniare Dio e svergognare Satana con le nostre azioni concrete!” La sorella Zhang allora ha detto allegra: “Fratello, sorella, d’ora in poi riuniamoci più spesso per comunicare riguardo alla parola di Dio. Solo in questo modo possiamo attrezzarci con una parte maggiore di verità in modo da essere presto certi dell’opera di Dio degli ultimi giorni e porre le fondamenta della vera via, e allora non saremo più ingannati da tutte quelle dicerie e vere e proprie menzogne di Satana”. Ho detto: “Ottimo! Sarebbe bellissimo se voi poteste venire più spesso a tenere comunicazioni con noi”. La sorella Mu ha sorriso e ha detto: “Allora faremo proprio così”.
La mattina presto qualche giorno dopo, mi sono alzato dal letto e guardando fuori dalla finestra ho visto che c’era stata una forte nevicata, e inconsciamente mi sono messo a sfregarmi le mani. Poi ho indossato un berretto di lana e dei guanti di cotone e sono andato in cortile a spazzare la neve. Quando ho finito, sono rientrato e ho aperto il coperchio della stufa per attizzare il fuoco, mentre mia moglie riordinava la casa. In quel momento sono arrivati il fratello maggiore di mia moglie e sua moglie, e mia cognata, appena entrata, ha detto con voce ansiosa: “Il capo Wang e il collaboratore Guan sono venuti qui e hanno parlato tanto con voi, come potete non ascoltarli? Ci hanno chiesto specificamente di venire qui oggi per cercare di nuovo di persuadervi. Non dovete credere più al Lampo da Levante. Sono i nostri capi ad assumersi la responsabilità della nostra vita!” Quando l’ho sentita parlare così, ho detto con fermezza: “Se davvero si assumono la responsabilità della nostra vita, allora dovrebbero guidarci a studiare l’opera di Dio Onnipotente degli ultimi giorni e ad accogliere il ritorno del Signore!” Mia moglie ha quindi detto con franchezza: “Non fanno così per il nostro interesse. Temono che se tutti noi crediamo in Dio Onnipotente non rimarrà più nessuno ad ascoltarli”. Mia cognata si è piuttosto irritata nel sentire queste parole e ha detto: “Come potete voi due dire cose simili? Non vi hanno chiesto di fare altro. Non vogliono forse soltanto che ritorniate nella Chiesa? Ascoltatemi. Pensate che io voglia farvi del male, visto che le nostre famiglie sono così vicine?” Il fratello di mia moglie ha proseguito: “Pensate a come vi ho trattati nel corso degli anni. Sapete quante cose ho fatto per voi? Avete davvero cuore di separarvi da noi? Non vi sentite in colpa?” Nel sentire loro due dire queste cose, mi sono sentito sconvolto e ho pensato: “Davvero ci hanno aiutati molto, e adesso vedono che insistiamo nel seguire Dio Onnipotente. Certo, si sentono profondamente feriti, ma che cosa si può fare? Possono chiedermi di abbandonare la vera via e tradire Dio, ma non posso proprio farlo, perché so che Dio Onnipotente è il ritorno del Signore Gesù. Ma se insisto nel credere in Dio Onnipotente, che cosa penseranno di me? Diranno che sono un ingrato?” In quel momento mi sentivo sconvolto, come se il cuore mi venisse strattonato in due direzioni diverse. In silenzio ho pregato Dio, chiedendoGli di indicarmi una via d’uscita. All’improvviso ho pensato a queste parole di Dio: “Tutto ciò che accade alle persone è segno che Dio ha bisogno che restino salde nella loro testimonianza di fedeverso di Lui” (“Solo amare Dio vuol dire credere veramente in Dio” in “La Parola appare nella carne”). Allora ho ripensato alle parole che mi avevano comunicato alcuni giorni prima la sorella Zhang e la sorella Mu: tutto ciò che ti accade è in relazione con la lotta che si svolge nel mondo spirituale, ed è Satana che fa una scommessa con Dio. Pensavo: “Oggi il fratello di mia moglie e mia cognata hanno cercato di sfruttare la nostra parentela per spingerci a tradire Dio e a ritornare alla religione, ma questo è un trucco di Satana. Se io dovessi tradire Dio per tutelare i miei sentimenti privati, sarebbe una cosa davvero ingrata e indicherebbe che io sono privo di coscienza. Se non voglio deludere mio cognato, devo comunicare il Vangelo di Dio degli ultimi giorni, in modo che abbiano anche loro l’occasione di conseguire la salvezza offerta da Dio. Questo è l’unico modo per mostrare la compassione che dovrei avere”. Mentre pensavo così, il cuore all’improvviso mi si è colmato di luce, e ho detto: “Fratello, cognata, so che voi due siete stati buoni con me, ed è per questo che devo dirvi che Dio Onnipotente è davvero il ritorno del Signore Gesù. Solo seguendo l’opera di Dio Onnipotente degli ultimi giorni potremo conseguire la salvezza offerta da Dio! Altrimenti la nostra fede nel Signore in tutti questi anni sarà stata vana e noi non otterremo niente! Ecco, permettetemi di leggervi un brano delle parole di Dio, e quando l’avrete ascoltato saprete se queste parole sono la verità o no e se sono o non sono i discorsi di Dio”. Ho preso il mio libro delle parole di Dio e stavo per mettermi a leggere, quando mia cognata si è alzata di scatto e ha detto sconfortata: “Siamo venuti qui oggi per cercare di persuadervi, ma anziché cambiare idea cercate perfino di comunicarci questo Vangelo, ma noi non vi ascolteremo”. Detto questo, è uscita incollerita, trascinando via il marito.
Li ho seguiti in cortile fino all’ingresso, ma ho visto che si erano già allontanati. Sentendomi smarrito, sono rimasto lì scrollando il capo. In quel momento ho visto che il cielo si era rischiarato e che fuori nel cortile una luce calda investiva un pino. La neve che si era accumulata sul pino ha cominciato a sciogliersi, come se proprio in quel momento l’albero fosse stato battezzato. In contrasto col terreno ricoperto di neve, l’albero alto e diritto appariva particolarmente verdeggiante. Mi sono sentito molto felice, come se, al pari del pino, anch’io fossi stato battezzato col vento e con la neve e fossi cresciuto col nutrimento del sole. Sapevo che le parole di Dio mi avevano guidato a rompere questo accerchiamento e a testimoniarLo. Sia ringraziato Dio Onnipotente!
Fonte: La Chiesa di Dio Onnipotente
Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
8/5/2015
COPENHAGEN ULTRACONTEMPORARY BIENNALE @ Venice 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
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Well, this technically is my 500th texture I've made available under the Creative Commons License. Yaaaa!
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Thanks again!
Patrick H.
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el.godfootsteps.org/videos/knocking-at-the-door-trailer.html
Εισαγωγή
φωνή Θεού
Ελληνική Χριστιανική ταινία «χτυπώντας την πόρτα» Οι χριστιανοί παρευρίσκονται στο γαμήλιο δείπνο μαζί με τον Κύριο (Τρέιλερ)
Ο Κύριος Ιησούς είπε: «Εν τω μέσω δε της νυκτός έγεινε κραυγή· Ιδού, ο νυμφίος έρχεται, εξέλθετε εις απάντησιν αυτού». (κατά Ματθαίον 25:6). «Ιδού, ίσταμαι εις την θύραν και κρούω· εάν τις ακούση της φωνής μου και ανοίξη την θύραν, θέλω εισέλθει προς αυτόν και θέλω δειπνήσει μετ’ αυτού και αυτός μετ’ εμού». (Αποκάλυψη 3:20). Κατά τα τελευταία δύο χιλιάδες χρόνια, εκείνοι που πιστεύουν στον Κύριο είναι σε επαγρύπνηση και περιμένουν τον Κύριο να κρούσει τη θύρα, άρα πώς Εκείνος θα κρούσει τη θύρα της ανθρωπότητας όταν επιστρέψει; Κατά τις έσχατες ημέρες, κάποιοι άνθρωποι έχουν επιμαρτυρήσει ότι ο Κύριος Ιησούς έχει επιστρέψει – ως ο ενσαρκωμένος Παντοδύναμος Θεός – και ότι εκτελεί το έργο της κρίσεως κατά τις έσχατες ημέρες. Αυτή η είδηση έχει ταράξει ολόκληρο τον θρησκευτικό κόσμο.
Η Γιανγκ Αϊγκουάνγκ, η πρωταγωνίστρια της ταινίας, πιστεύει στον Κύριο εδώ και δεκαετίες και έχει ήδη αρχίσει να εργάζεται και να κηρύσσει τον λόγο Του με ενθουσιασμό, περιμένοντας να υποδεχθεί την επιστροφή του Κυρίου. Μια μέρα, έρχονται δύο άνθρωποι και κρούουν τη θύρα, λένε στη Γιανγκ Αϊγκουάνγκ και στον σύζυγό της ότι ο Κύριος Ιησούς έχει επιστρέψει και μοιράζονται τον λόγο του Παντοδύναμου Θεού μαζί τους. Εκείνοι συγκινούνται βαθιά από τον λόγο του Παντοδύναμου Θεού, αλλά, επειδή η Γιανγκ Αϊγκουάνγκ έχει βιώσει την πλάνη, την εξαπάτηση και τις απαγορεύσεις των παστόρων και των πρεσβυτέρων, πετάει τους μάρτυρες της Εκκλησίας του Παντοδύναμου Θεού έξω από το σπίτι. Στη συνέχεια, οι μάρτυρες κρούουν τη θύρα τους πολλές φορές και διαβάζουν τον λόγο του Παντοδύναμου Θεού στη Γιανγκ Αϊγκουάνγκ, γινόμενοι μάρτυρες του έργου του Θεού των εσχάτων ημερών. Κατά την ίδια περίοδο, ο πάστορας ενοχλεί και εμποδίζει επανειλημμένα τη Γιανγκ Αϊγκουάνγκ, με αποτέλεσμα αυτή να συνεχίζει να αμφιταλαντεύεται. Ωστόσο, καθώς ακούει τον λόγο του Παντοδύναμου Θεού, η Γιανγκ Αϊγκουάνγκ καταλήγει να κατανοήσει την αλήθεια και καταφέρνει να κρίνει σωστά τις φήμες και τις πλάνες που διαδίδονται από τους πάστορες και τους πρεσβυτέρους. Τελικά, καταλαβαίνει με ποιον τρόπο ο Κύριος κρούει τις θύρες των ανθρώπων κατά την επιστροφή Του στις έσχατες ημέρες και πώς θα πρέπει να Τον υποδεχτεί η ίδια. Όταν καθαρίζει η «ομίχλη», η Γιανγκ Αϊγκουάνγκ ακούει επιτέλους τη φωνή του Θεού και αναγνωρίζει ότι ο Παντοδύναμος Θεός είναι πράγματι η επιστροφή του Κυρίου Ιησού!
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.godfootsteps.org/disclaimer.html
en.wikipedia.org/wiki/Plant_intelligence
Plant intelligence is an ongoing scientific field which combines physiology, ecology and molecular biology to investigate whether certain species of plant could be considered intelligent. Studies indicate that some species are capable of communication[1] and grow healthier while listening to music.
www.csmonitor.com/2005/0303/p01s03-usgn.html
www.springerlink.com/content/m851130561r57518/
Published online: 2 September 2005
Abstract Intelligent behavior is a complex adaptive phenomenon that has evolved to enable organisms to deal with variable environmental circumstances. Maximizing fitness requires skill in foraging for necessary resources (food) in competitive circumstances and is probably the activity in which intelligent behavior is most easily seen. Biologists suggest that intelligence encompasses the characteristics of detailed sensory perception, information processing, learning, memory, choice, optimisation of resource sequestration with minimal outlay, self-recognition, and foresight by predictive modeling. All these properties are concerned with a capacity for problem solving in recurrent and novel situations. Here I review the evidence that individual plant species exhibit all of these intelligent behavioral capabilities but do so through phenotypic plasticity, not movement. Furthermore it is in the competitive foraging for resources that most of these intelligent attributes have been detected. Plants should therefore be regarded as prototypical intelligent organisms, a concept that has considerable consequences for investigations of whole plant communication, computation and signal transduction.
www.sciencenews.org/view/feature/id/44327/title/No_braine...
No brainer behavior
Messages, memory, maybe even intelligence — botanists wrangle over how far plants can goBy Susan Milius June 20th, 2009; Vol.175 #13 (p. 16) Text Size
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ACTIVE VEGETATION
Plants move. Time-lapse photography reveals the circular sweep of a Lonicera japonica vine during two hours of growth. But an evolving definition of plant behavior doesn't even require motion. It turns out, plants behave in myriad, often-hidden ways. Ash Kaushesh and Katherine Larson In a somewhat different world, Consuelo M. De Moraes would be revolutionizing vampire fiction.
Her lab at Penn State University studies predators that entangle prey in a tight embrace, pierce victims’ tissue and suck out nourishment. In the last few years, De Moraes and her colleagues have found that the predators even hunt down prey by scent.
Creepy as her predator, Cuscuta pentagona, is, it is also, frankly, a plant. Better known as five-angled dodder, its orange tentacles bypass the porcelain throats of young women in favor of the slim stems of young tomato plants. De Moraes and other researchers are showing that plants behave and misbehave as dramatically as animals. But there’s still not much hope for a feature-length dodder movie.
“I think most people regard plants as being pretty unresponsive and stuck in one place,” laments ecologist Richard Karban of the University of California, Davis. “Now, animals, they’re interestingbecause they can change and act in response to their environment.”
It’s a dichotomy Karban doesn’t accept for one second. When he and an animal behaviorist recently supervised a grad student, he remembers, “I would constantly want to say, ‘Oh yeah! Yeah! Plants do that too!’” Recent findings on plant capacities, he declares in a 2008 paper in Ecology Letters, reveal “high levels of sophistication previously thought to be within the sole domain of animal behavior.”
Even plants less vampirish than Cuscuta vines forage strategically for their food, and there’s evidence that plants fight each other over resources. In a broad sense of the word, plants communicate — some essentially scream for help. Also, a plant can respond to stimuli depending on its history of previous experiences, a tendency Karban is willing to call a sign of memory.
Karban stops there, but other plant scientists go much further in borrowing animal terminology. In May, researchers gathered in Florence, Italy, for their fifth annual meeting on “plant neurobiology,” and some of these green neuroscientists talk about searching for a plant “brain.” The June issue of Plant, Cell & Environment, devoted to plant behavior, even begins with a paper that uses the term “plant intelligence.”
Expanding the language for describing plants to include at least some “behavior” words could expand ideas for research, Karban contends. Plant researchers might do well to borrow analytic techniques from animal scientists, he adds. Finally, everyone may discover just how exciting it can be to watch grass grow.
Movement in animal time
One of the first questions posed to believers in plant behavior is, “How can plants behave if they can’t move?”
Part one of plant behaviorists’ almost universal answer: Plants do move.
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FAST EATER
The delicate-looking swollen bladderwort, Utricularia inflata, can kick into action quickly. An unsuspecting bug that finds its way to one of the underwater plant's traps (shown above) will be sucked in through a trapdoor. Barry Rice/Sarracenia.comTime-lapse photography of growing shoots reveals spooky, circular sweeps called nutation. The circular motion arises because a shoot does not necessarily grow evenly, with cells on one side elongating as fast as cells on the other. Growth rate varies on different sides. Over hours or days, the growing tip moves like a turning searchlight.
And as plant scientists relish pointing out, some plants do move in animal time, especially those that hunt animals for food. When it lands inside the open jaws of a Venus flytrap, a fly may jog trigger hairs. An electrical signal zaps through the plant tissue and the two sides of the trap can close like a book in less than a second. And a water flea that bumbles into a little cup of a bladderwort likewise confronts the peril of touch-sensitive triggers. A trapdoor opens within 30 milliseconds, and the flea whooshes down into a digestive chamber.
No insects are harmed when white mulberry trees bloom, but the Morus alba flowers open with a quick puff of yellow pollen. In a lab setup, a team of aerosol specialists at Caltech found the mulberry flower’s parts moving at speeds exceeding Mach 0.5. Pollen flinging could thus be the fastest biological movement yet observed, the team reported in 2006, and team member James House says he’s not aware of any challenges since.
But while plants trap and snap with boastable speeds, the second theme of a typical plant scientist’s comments about motion is that it doesn’t really matter in defining behavior.
Motion seems an unfortunately strict requirement, even for animal behavior, says Jonathan Silvertown of the Open University in Milton Keynes, England. He studies plant communities, and in 1989 worked with animal behaviorist Deborah Gordon, now at Stanford University, to outline a framework for defining plant behavior. A hedgehog playing dead is certainly behaving, they wrote.
Still behavior
“Behavior,” they proposed, applies to “what a plant or animal does, in the course of an individual’s lifetime, in response to some event or change in its environment.” This concept does not include intent, the team wrote, and Karban concurs. “Even in people, determining intent is very difficult,” he says.
This motion-free, intent-free definition allows the concept of behavior to embrace an activity in which plants excel: releasing chemical bursts, says plant community ecologist Kerry Metlen of the University of Montana in Missoula. Plants secrete secondary metabolites, chemicals that go beyond the basics of metabolism. These substances can prospect for food, wage war and call for reinforcements, all the while gossiping in chemical detail. “Plants are prodigious chemists,” Metlen says.
These chemical doings also show two other qualities that Metlen requires for plants behaving. A behavior should start relatively fast and it should be reversible, he and his colleagues contend in the June Plant, Cell & Environment.
Fighting tooth and chemical
Consider foraging, Metlen says. Iconic scenes of animal behavior star cheetahs streaking toward an antelope lunch. Underfoot, it turns out, the plants are hunting too, just by different means.
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ROOT WARRIOR
Exposed to a secretion from an invasive knapweed, the root of a blanketflower within an hour responds with its own secretion (right, shown as gel acidifies and turns yellow). At left is an unexposed root. Tiffany Weir et al./Planta 2006In a very basic sense, plants hunt by sending out roots. Decades of research have established that plants are strategic, allotting root growth to the promising patches and skimping on dead zones.
Plants also have their version of the cheetah pounce, but it’s chemical. Metlen’s favorite example, he says, comes from a study of fava beans by Long Li at China Agricultural University in Beijing and a network of colleagues. Like other plants, the beans need phosphorus. When researchers put the plants in phosphorus-poor agar gel, the beans took “action.” They acidified the material around their roots, causing malate and citrate concentrations in the agar to increase in such quantities that the gel’s pH dropped by about two units within six hours. Driving down soil pH increases plants’ phosphorus uptake, so chemically those bean roots were chasing and grabbing the food they needed.
One plant Metlen is studying now, spotted knapweed, adds a root-war twist to the chemical-pounce scenario. Back in its native Eurasian range, Centaurea maculosa grows here and there as an occasional member of mixed-plant communities. Its roots exude a substance called catechin, which makes phosphorus more available in certain soils.
Spotted knapweed has moved to North America. Where it once had an occasional presence, it is now a land grabber. Knapweed blankets entire slopes and pushes out native vegetation. One of the secrets for its new success may be the catechin. European neighbors of knapweed don’t seem bothered by catechin seeps, but some North American species can’t cope. A handy dietary aid has turned into an invader’s chemical weapon.
It’s root versus root, and research, including a 2006 Planta paper, suggests that some native species fight back, chemically of course. A lupine and a blanketflower can still grow when knapweed erupts in the neighborhood. Expose the two species to catechin and their roots exude extra oxalate, four times the normal level for the blanketflower and 40 times normal for the lupine. The oxalate may defang the catechin, with protection extending beyond the blanketflower and lupines to other native species growing near enough.
Volatile messages
It’s not neighboring plants but insects that come to the rescue when a plant cries for help. Karban, in his 2008 paper, argued that these behaviors amount to a plant version of communication.
When mites or caterpillars bite into leaves or stems, the attacked plant releases volatile compounds. It’s not just that sap dribbling from an open wound happens to have a scent. In corn, for example, insects boring into the stem prompt leaves to release complex blends of volatile chemicals.
Blends include a lot of information. Some plants enduring the indignity of a researcher snipping their leaves will release volatiles, but not of quite the same aroma as when caterpillars bite.
Some of the insects that prey on other insects react to these volatiles, swarming to the attacked plant to dine on the attackers. Research has found that certain of these ambulance-chasing predators respond selectively, flying toward the aromatic news of pests they prefer to eat while ignoring aromas from attacks by species they don’t fancy. For example, a little wasp that can only manage to inject its eggs into young caterpillars reacts to volatiles of plants under the attack of such tender youngsters. But the wasp doesn’t respond to volatiles from infestations inflicted by older caterpillars.
Neighboring plants can eavesdrop on the volatile signals too, and some respond by priming their own defenses.
Karban is willing to use the term “communication” for these chemical outbursts. He acknowledges, however, that strict definitions of communication demand that both the cue-emitter and the receiver benefit from the exchange. Plant volatiles that bring insect rescue may fit even this tougher definition, he says.
Remember me?
Warfare, chemical or otherwise, changes surviving plants much as it might animal survivors, according to research on the phenomenon of priming.
A poplar leaf once scarred by insect attack kicks its defense genes into high gear faster during the next attack than a naive leaf does, says De Moraes. “Memory comes with so much baggage,” she says, so she uses the term priming or preparedness. Karban, among other researchers, does compare this effect of past experience in plants to memory in animals.
And De Moraes’ work shows that even a rumor of war can create a state of preparedness in a naive leaf. The way poplars’ internal plumbing system is structured means that a leaf does not have a direct connection to its immediate neighbor. When De Moraes experimentally “attacks” leaf number one, volatiles waft to near neighbors, and those volatiles can constitute gossip about the nature of the attacker. Should she challenge those neighbors later with their own crisis, they rev up their defense genes faster than does a leaf prevented from receiving the informative volatiles. Biochemical gossip has its value.
That warnings waft over a plant’s own leaves may help explain how the volatile cues evolved, De Moraes says. Biochemical messages benefit the gossiping plant itself, rather than just its neighbors.
Neighboring plants may be listening in, but perhaps the wounded plant is getting big benefits just from talking to itself, De Moraes says. And plants may be able to distinguish self from nonself, according to Karban’s current research effort. He is finding evidence that a sagebrush plant shows signs of distinguishing its own airborne signals from those of other sagebrushes. A sagebrush plant that sniffed volatiles from wounded neighbors that are genetically identical to it was more resistant to attack than were sagebrush plants exposed to volatiles from genetically different plants, he and a colleague report in the June Ecology Letters. That plants have some powers of self-recognition opens a new arena of comparisons with animals.
Green neuroscience
De Moraes, Metlen and Karban borrow animal terms moderately, but other plant scientists go much further. Anthony Trewavas of the University of Edinburgh freely uses the phrase “plant intelligence.”
For defining intelligence, he says that “a capacity for problem solving is the best descriptor that I have come across, and problem solving is something all organisms have to do.”
Botanists have already borrowed plenty of other originally human terms, such as arms races, foraging, cross talk and vascular system, even though the plant versions rely on mechanisms that are different from the human ones. People comfortably say computers have memory and can even learn. Trewavas is now working on a book on “plant behavior and intelligence.”
In a similar vein, other plant scientists argue for what they call “plant neurobiology.” In a 2006 manifesto introducing the field to readers of Trends in Plant Science, Eric Brenner of the New York Botanical Garden and five colleagues describe their aim as understanding “how plants process the information they obtain from their environment.” They write that, almost a century ago, researchers reported electrical activity in plant tissues as part of the early explorations of electrophysiology in all living things. Also, the major neurotransmitters in animal nervous systems, including acetylcholine, serotonin, GABA and glutamate, occur naturally in plants.
Figuring out what all of this means for plants is drawing researchers’ attention. “The most important thing is that we’re missing something,” Brenner says.
Applying neurobiology terms to plants has sparked debate aplenty. “I see no reason why one can’t simply talk about signal transduction in plants,” objects David G. Robinson of the University of Heidelberg in Germany.
He also argues that even simple animals can be trained to respond to a stimulus, so he challenges plant neurobiologists to train a plant, perhaps to bend toward yellow light or to avoid blue. “My guess is that neither experiment would work,” he says. His final take on plant neurobiology: “Absolute rubbish, rubbish!”
Plant neurobiology isn’t yet attracting many enthusiasts, says Michael J. Hutchings of the University of Sussex in Brighton, England, who adds that he is not a fan. But he says a wide range of plant biologists do think of their subjects as having some capacity to behave.
Failing to use “behavior” language feeds a notion of “plants as really boring,” as Hutchings puts it. For bringing a more dynamic vision of plants into research and teaching, he says, “It’s about time.”
13/3/2015 a group of artists exhibited NOW about the NOW as warm up for
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
www.emergencyrooms.org/biennalist.html
--- a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
menawhile contemparary art will be shownn 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
Das Einsetzen des HTML-Codes funktioniert bei mir seid Tagen nicht - möchte das Foto deshalb hier zeigen, da es unter dem Bild als Kommentar nicht geht.
Das ist eine abfotografierte offizielle Postkarte zu der Christo-Ausstellung im Gasometer Oberhausen, die jetzt leider zu Ende gegangen ist. Das Foto hier ist leider noch etwas heller als das Original und ist (oder soll sein) eine Farbaufnahme !
Das ist nicht der Himmel ;-) sondern eher die Hölle ...
Wie so oft stelle ich fest, dass die Ausrichter solcher Ausstellungen keine Ahnung von Fotografie haben und wundere mich, dass sie nicht in der Lage sind, das Foto mit der Wirklichkeit zu vergleichen ... oder direkt angenommen wird, dass es nicht besser geht ...
Im besten Falle ist das SOOC ;-) !
Zum Vergleich:
www.flickr.com/photos/poetry-and-truth/11704528953/in/pho...
Walt Disney's 100 Years Of Magic DVD Boxset
001. Snow White amd the Seven Dwarfs
002. Pinocchio
003. Fantasia
004. Fantasia/2000
005. Dumbo
006. Bambi
007. BambiⅡ
008. Saludos Amigos
009. Fun and fancy free
010. Cinderella
011. CinderellaⅡDreams come true
012. CioderellaⅢA twist in time
013. The wild
014. Alice in Wonderland
015. Peter Pan
016. Lady and the Tramp
017. Lady and the TrampⅡ: Scamp's Adventure
018. Sleeping Beauty
019. One Hundred and One Dalmatians
020. 101 DalmatiansⅡ：Patch's london Adventure
021. The Sword in the Stone
022. The Aristocats
023. Bedknobs and Broomsticks
024. Robin Hood
025. The fox and the Hound
026. The little Mermaid
027. The little MermaidⅡ：Return to the Sea
028. Beauty and the Beast
029. Beauty and the Beast: The Enchanted Christmas
030. Aladdin
031. The Return of jafar
032. Aladdin and the King of thieves
033. The Nightmare Before Christmas
034. The lion King
035. The lion KingⅡ: Simba's Pride
036. The lion king 11/2
037. Pocahontas
038. Pocahonlas Ⅱ:Journey to a mew world
039. Toy Story
040. Toy story 2
041. James and the Giant Peach
042. The Hunchback of Notre Dame
043. the HUnCHback of notre dame Ⅱ
044. Hercules)
045. Mulan
046. Mulan Ⅱ
047. Tarzan
048. Tarzan Ⅱ
049. Valiant
050. Dinosaur
051. The emperor's New Groove
052. Kronk's new groove
053. recess:school's out
054. Atlantis:The Lost Empir
055. Atlantis:Milo's Return
056. lilo & stitch
057. Stitch 2: Stitch Has a Glitch
058. Treasure Planet
059. Brother Bear
060. Brother Bear 2
061. The Jungle Boek
062. The Jungle Book 2
063. Home on the Range
064. The Three Musketeers
065. Mickey's twice upon a Christmas
066. Chicken little
067. The wild swans
068. Felix the Cat Saves Christmas
069. Mickey's magical christmas:snowed in at the house of mouse
070. Mickey & minne
071. Donald duck and the gorilla etc
072. Casper
073. Three little pigs
074. daffy duck
075. The black cauldron
076. Return to never land
077. the tortoise and the hare
078. Everybody loves Donald
079. Everybody loves Goofy
080. Everybody loves Mickey
081. Sweetheart Stories
082. Gulliver's travels
083. Life with Mickey Town
084. Walt Disney treasures volume 1
085. Walt Disney treasures volume 2
086. Walt Disney treasures volume 3
087. Walt Disney treasures volume 4
088. Walt Disneys 100 years of Magic: Goofy sport
089. The three Caballeros
090. Who framed Roger Rabbit
091. Mary Poppins
092. The Rescuers
093. The Rescuers dowu Uuder
094. Monsters Inc.
095. Finding Nemo
096. The incredibles
097. Cars
098. Winnie the Pooh:Story Book
099. Winnie the Pooh:A very Merry Pooh Year
100. Winnie the Pooh:Heffalump Movie
101. Winnie the Pooh:Heffalump Halloween Movie
102. Winnie the Pooh:Springtime with Roo
103. Winnie the pooh:123
104. Winnie the Pooh:All for one,one for all
105. Winnie the pooh:the many adventures
106. Winnie the Pooh:the Search for Christopher Robin
107. Winnie the Pooh:franken Pooh
108. A Bug's life
109. Disney Heroes Volume One
110. An officer and a duck
111. Meet the Robinsons
112. Underdog
113. Ratatouille
114. The adventures of ichabod and Mr. Toad
115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie
116. The chronological donald:volume one
117. The chronological donald:volume two
118. Mickey mouse clubhouse mickey saves santa
119. Mickey's House of Villains
120. Mickey mouse clubhouse:great clubhouse hunt
121. Mickey princess enchanted tales:follow your dreams
122. The tigger movie
123. Tom and jerry volume 1
124. Tom and jerry volume 2
125. Tom and jerry volume 3
126. Tom and jerry volume 4
127. Tom and jerry volume 5
128. Tom and jerry volume 6
129. Tom and jerry volume 7
130. Tom and jerry volume 8
131. Tom and jerry volume 9
132. Tom and jerry volume 10
133. Tarzan Planet
134. Piglet's Big Movie
135. Make Mine Music
136. Melody Time
137. Homeward Bound: The Incredible Journey
138. Homeward BoundⅡ: Lost in San Frabcisco
139. A Goofy Movie
140. Belle's Magical World
141. Buzz Lightyear of Star Command: The adventure Begins
142. Iver & Company
143. Magic English 1
144. Magic English 2
145. Magic English 3
146. Magic English 4
147. Magic English 5
148. Magic English 6
149. Magic English 7
150. Magic English 8
151. Disney princess stories: A Gift From The Heart
152. Disney princess stories: Tale of Friendship
153. Kim Possible: So The Drama
154. The Fox And The Hound 2
155. Micky Mouse Clubhouse: Micky's Treat
156. Micky Mouse Clubhouse: Micky's Storybook Surprise
157. Walt Disney Treasures: The Complete Pluto vol. 1
158. Walt Disney Treasures: The Complete Pluto vol. 2
159. My Friends Tigger & Pooh's Friendly Tails
160. The Little Mermaid. Ariel's Beginning
161. My Friends Tigger and Pooh: Hundred Acre Wood Haunt
162. Tinker Bell
163. Wall. E
164. Jasmines Enchanted Tales
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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
researches for COPENHAGEN ULTRACONTEMPORARY BIENNALE
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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
Aizawl, March 12 Nearly 11,000 tribal boys and girls in India’s northeastern state of Mizoram danced their way into the Guinness Book of World Records by setting a record of the largest dance ensemble in the world.
A new Guinness world record was created with 10,780 dancers performing the bamboo dance for eight minutes in perfect rhythm,” a representative of the Guinness Book of World Records, Lucia Sinigagliesi, announced after the event.
“About 671 troupes comprising 10,736 dancers participated in the mass dance congregation at the Assam Rifles ground and its outskirts in the heart of the capital Aizawl city to demonstrate the world’s largest and longest dance ensemble,” Jim K. Chozah, Mizoram information and public relations director.
The bamboo dance locally known as the Cheraw dance is the harbinger of the Chapchar Kut festival of the Mizos, which marks the end of winter and the advent of summer.
Please view large
newcastlephotos.blogspot.com/2006/06/all-saints-cemetery....
All Saints Cemetery
This Cemetery stands on Jesmond Road, opposite Jesmond Old Cemetery and was the first cemetery in Newcastle to be instigated by the Burial Board. Consecrated in 1855 and opened in 1856 this was very much a rural part of Newcastle. The residential housing surrounding the cemetery on 3 sides were built later.
Noted Newcastle architect Benjamin Green designed the cemetery, its buildings and the fine Gothic archway over the entrance from Jesmond Road. The cemetery is surrounded by cast iron railings with fleur-de-lys heads.
The cemetery was extended to Osborne Avenue, from just under 10 acres by another 1.3 hectares in 1881.
In 1924 Carliol Square Gaol was demolished and the bodies of its executed criminals were transferred into unmarked graves in the cemetery.
In total around 90,000 burials have taken place here.
Thomas Harrison Hair (1810-1875) the artist best known for his Views of the Collieries of Northumberland and Durham, is buried here in an unmarked grave.
Two Small Chapels:
2 chapels. 1856 by Green. Coursed squared sandstone with ashlar turrets and dressings; Welsh slate roofs. T-plan with additional porch on side away from centre of cemetery, and corner turret on innermost side at south end. Aligned north-south. Decorated style. Double doors, with elaborate hinges,on inner fronts have nook shafts and head-stopped dripmoulds; similar surround to plainer door in outward-facing porch; windows of 3 lights facing gateway, 2 lights on other fronts, have similar dripmoulds. Lancets to corner turrets with gabled belfry under octagonal spirelets. Buttresses. Steeply-pitched roofs with cross finials. LISTED GRADE 2.
1 of the Chapels is now the Russian Orthodox Church Of St. George.
Gate, walls, piers, gates and railings.
Cemetery gateway, walls, piers, gates and railings. Dated 1856; by Green. Coursed squared sandstone with ashlar dressings; wrought iron gates; cast iron railings. Gothic style. High gable over 2-centred arch with 12 shafts each side and many mouldings; gabled ends have fantastic beasts climbing down kneelers; head-stopped dripmoulds, buttresses and finials.
High, pointed coping to flanking walls containing pedestrian doors in arches; end piers have gables with fleur-de-lis moulding. Chamfered coping to dwarf quadrant walls and similar walls along cemetery front, with 4 square piers at each side having pyramidal coping. High gates are Gothic-patterned; railings have fleur-de-lis heads.
Burials:
Samuel Smith.
Celtic Cross monument. Samuel Smith OBE JP (1872-1949) was the founder of Rington's Tea. He was born in Leeds and became an errand boy for a tea merchants on leaving school at 11. In 1908 he moved to Newcastle and set up a small shop in Heaton with William Titterington. They called the company Ringtons. The tea was imported from India and Sri Lanka then tasted, blended and packaged. It was delivered by the company's black, gold and green horse-drawn coaches. In 1926 the business moved to purpose-built premises in Algernon Road. Eventually there were 26 branches of Ringtons in the North. The firm moved into coachbuilding during the World Wars, which led to the creation of Smith's Electric Vehicles at Team Valley Trading Estate.
Alexander Gardner.
Cross monument. Alexander Gardner (1877-1921) was a footballer for Newcastle United. Before the First World War, Newcastle United were in the First Division, won three league titles and won one FA Cup final of three. Alexander was the captain and played at right half (midfielder). He made 268 appearances and scored 20 goals. He was born in Leith in 1899. The 1904/5 team won 23 out of 34 league games. In 1909 Alexander broke his leg, which ended his football career. He became landlord of the Dun Cow Inn in Claremont Road.
Michael Joseph Quigley.
Gravestone of Michael Joseph Quigley (1837-1924), American Civil War veteran. Michael was born in Bradford and emigrated to America with his wife shortly before the outbreak of civil war. He served under General Robert E. Lee in Virginia but was wounded in his left arm. He was later employed in Government Service. He returned to Britain in 1876. He lived in St. Lawrence Square off Walker Road. His income was subsidised by a pension from the American Government.
James Skinner.
Obelisk monument to James Skinner (1836-1920), shipbuilder. James was born in London. He moved to Newcastle aged 14 to begin an apprenticeship at Coutts shipyard at Low Walker. He went on to manage Andrew Leslie's shipyard at Hebburn then opened a yard at Bill Quay with William Wood, shipyard cashier. The firm Wood Skinner & Co. built 330 vessels over 42 years up to 1925. They also built the 30-bed Tyne Floating Hospital for Infectious Diseases at Jarrow Slake, designed by Newcastle Civil Engineer, George Laws. The hospital ship was launched on 2 August 1885. It sank in 1888. She was refloated and remained moored there for over 40 years.
Francis Batey.
Urn monument to Francis Batey (1841-1915), steam tug boat owner. Francis joined his father's tug boat business at the age of 11 and eventually gained his master's certificate. When the Albert Edward Dock opened in 1884, he was assistant pilot on the Rio Amazonas, the first ship to enter the dock. He went on to be chairman of several tug related companies on the River Tyne. One of his sons, John Thomas Batey, became Managing Director of Hawthorn Leslie's Hebburn shipyard.
Antonio Marcantonio.
Impressive monument of a statue of a monk or friar holding an infant. Antonio Marcantonio (1886-1960), ice cream manufacturer, arrived in Newcastle in 1895 to join a small colony of Italians living in Byker. In the early 1900s he returned to Italy to marry Angela. He returned to Newcastle and began making ice cream in a room in his house using small pans of salt and ice to freeze it. Eventually he took over a small factory on Stepney Bank. 500 gallons of ice cream were made daily. He also owned five ice cream parlours, the first one was in the Grainger Arcade. The Mark Toney business still flourishes (factory at Benton Square).
George Henry Carr.
A 13 feet high monument to George Henry Carr (1867-1889), racing cyclist. There is a shield on each side depicting a bicycle, flowers, the badge of the Jubilee Rovers Bicycle Club and the badge of Clarence Bicycle Club. Carr was a prominent figure on the racing circuit. He died aged 22 of inflammation of the brain.
John James Lightfoot,
Monument of an angel to John James Lightfoot (1877-1897), apprentice joiner. John James was crushed to death aged 19 during restoration of the 200 year old Green Tree beerhouse in Robson's Entry, Sandgate.The building collapsed killing 4 people and injuring 12. The disaster was sketched by the Chronicle's artist and published on 6 March 1897 the day after the accident. The article describes the scene - 'in the house to the east there was a yawning space where the wall had tumbled in; behind the hole a staircase stood, but seemed, like the sword of Damocles, to have no more than a hair-strength to support it'.
Josephine Esther Salisse.
Family vault of M. and H.M. Salisse. A stone sarcophagus with a bronze female figure mourning over it. Josephine Esther Salisse (1905-1924) was from Thornton Heath in Surrey. She died suddenly at her aunt's home in Stratford Road, Heaton, aged 19.
John and Benjamin Green were a father and son who worked in partnership as architects in North East England during the early nineteenth century. John, the father was a civil engineer as well as an architect. Although they did carry out some commissions separately, they were given joint credit for many of their projects, and it is difficult to attribute much of their work to a single individual. In general, John Green worked on civil engineering projects, such as road and rail bridges, whereas Benjamin worked on projects that were more purely architectural. Their work was predominantly church and railway architecture, with a sprinkling of public buildings that includes their masterpiece, Newcastle's Theatre Royal.
Drawings by John and Benjamin Green are held by the Laing Art Gallery in Newcastle upon Tyne.
Biographies
John Green was born on 29 June 1787 at Newton Fell House, Nafferton, two miles north of Ovington, Northumberland. He was the son of Benjamin Green, a carpenter and maker of agricultural implements. After finishing school, he worked in his father's business. The firm moved to the market town of Corbridge and began general building work with young John concentrating on architectural work. About 1820, John set up business as an architect and civil engineer in nearby Newcastle upon Tyne.
John Green married Jane Stobart in 1805, and they had two sons, John (c.1807–68) and Benjamin (c1811-58), both of whom became architects. Little is known about the career of John, but Benjamin worked in partnership with his father on many projects.
In 1822 John Green designed a new building for the Newcastle Literary and Philosophical Society. The building, which houses the society's substantial library, is still in use today. He also designed a number of farmhouses, being employed on the Beaufront estate near Hexham and also on the Duke of Northumberland’s estates.
John Green was principally a civil engineer, and built several road and rail bridges. In 1829–31 he built two wrought-iron suspension bridges crossing the Tyne (at Scotswood) and the Tees (at Whorlton). The bridge at Scotswood was demolished in 1967 but the one at Whorlton still survives. When the High Level Bridge at Newcastle was proposed ten years later, John Green submitted plans, but those of Robert Stephenson were accepted by the York, Newcastle and Berwick Railway. Green also built a number of bridges using an innovative system of laminated timber arches on masonry piers, the Weibeking system, based on the work of Bavarian engineer C.F. Weibeking. The two he built for the Newcastle and North Shields Railway, at the Ouseburn and at Willington Quay remain in use, though the timbers were replaced with wrought iron in a similar lattice pattern in 1869. In 1840 he was elected to the Institution of Civil Engineers, and in 1841 he was awarded the institution's Telford Medal for his work on laminated arch design.
John Green died in Newcastle on 30 September 1852.
Benjamin Green
Benjamin Green was a pupil of Augustus Charles Pugin, father of the more famous Augustus Welby Northmore Pugin. In the mid-1830s he became a partner of his father and remained so until the latter's death in 1852. The two partners differed somewhat. John has been described as a 'plain, practical, shrewd man of business' with a 'plain, severe and economical' style, whereas Benjamin was 'an artistic, dashing sort of fellow', with a style that was 'ornamental, florid and costly'.
The Greens worked as railway architects and it is believed that all the main line stations between Newcastle and Berwick upon Tweed were designed by Benjamin. In 2020 Morpeth Station was restored to Green's original designs following a £2.3M investment. They also designed a number of Northumbrian churches, the best examples being at Earsdon and Cambo.
The Green's most important commissions in Newcastle were the Theatre Royal (1836–37) and the column for Grey's Monument (1837–38). Both of these structures were part of the re-development of Newcastle city centre in neo-classical style by Richard Grainger, and both exist today. Although both of the partners were credited with their design, it is believed that Benjamin was the person responsible.
Another well-known structure designed by the Greens is Penshaw Monument (1844). This is a folly standing on Penshaw Hill in County Durham. It was built as a half-sized replica of the renowned Temple of Hephaestus in Athens, and was dedicated to John George Lambton, first Earl of Durham and the first Governor of the Province of Canada. The monument, being built on a hill is visible for miles around and is a famous local landmark. It is now owned by the National Trust.
Benjamin Green survived his father by only six years, and died in a mental home at Dinsdale Park, County Durham on 14 November 1858.
Major works
Presbyterian Chapel, Newcastle upon Tyne, 1822 (demolished 2011)
Literary and Philosophical Society, Newcastle upon Tyne, 1822–1825
St Peter's Church, Falstone, 1824–1825
Westgate Hill Cemetery, Newcastle upon Tyne, 1825–1829 (lodge demolished 1970, railings and gates removed, piers and basic layout remains)
Ingram Farm, Ingram, 1826
Whorlton Suspension Bridge, Wycliffe, County Durham, 1829–1831
Hawks Cottages, Gateshead, 1830 (demolished 1960)
Scotswood Chain Bridge, Newcastle upon Tyne, 1831, (demolished 1967)
Church of St Mary and St Thomas Aquinas, Stella, 1831–1832[1]
Bellingham Bridge, Bellingham, 1834
Holy Trinity Church, Stockton-On-Tees, 1834–1835[2]
Holy Trinity Church, Dalton (near Stamfordham), 1836
Vicarage of St Alban, Earsdon, 1836
Church of St Alban, Earsdon, 1836–1837
St Mary's Roman Catholic Church, Alnwick, 1836
Church of the Holy Saviour, Newburn, 1836–1837
Poor Law Guardians Hall, North Shields, 1837
Master Mariners Homes, Tynemouth, 1837–1840[3]
Theatre Royal, Newcastle upon Tyne, 1837
Parish Hall of the Church of the Holy Saviour, Newburn, 1838
Column of Grey's Monument, Newcastle upon Tyne, 1838
Willington Viaduct, Wallsend, 1837–1839
Ouseburn Viaduct, Newcastle upon Tyne, 1837–1839
Church of the Holy Saviour, Tynemouth, 1839–1841
Ilderton Vicarage, Ilderton, 1841
The Red Cottage, Whitburn, 1842
Holy Trinity Church, Cambo, 1842
Holy Trinity Church, Horsley-on-Rede, 1844
The Earl of Durham's Monument, Sunderland, 1844
St Edwin's, Coniscliffe, Co. Durham, 1844 (restoration of mediaeval church)
40–44 Moseley Street, Newcastle upon Tyne, 1845
Witham Testimonial Hall, Barnard Castle, 1846
Old Railway Station, Tynemouth Rd, Tynemouth 1846–1847
Acklington Station, Acklington, 1847
Chathill Station, Chathill, 1847
Belford Station, Belford, Northumberland, 1847
Morpeth Station, Morpeth, Northumberland, 1847
Warkworth Station, Warkworth, Northumberland, 1847
Holy Trinity Church, Seghill, 1849
Newcastle Joint Stock Bank, St Nicholas Square, Newcastle, c.1850
Norham station, Norham, 1851
St Paul's Church, Elswick, 1854
All Saints Cemetery, Jesmond, 1854
Sailor's Home, 11 New Quay, North Shields, 1856
United Free Methodist Church, North Shields, 1857
Corn Exchange, Groat Market, Newcastle (demolished 1974)
Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.
Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.
The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.
Roman settlement
The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.
The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.
Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.
Anglo-Saxon development
The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.
Norman period
After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.
In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.
Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.
Middle Ages
Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.
The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.
Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.
In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.
In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.
Religious houses
During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.
The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.
The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.
The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.
The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.
The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.
All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.
An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.
Tudor period
The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.
During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).
With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.
Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.
The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.
In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.
Stuart period
In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.
In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.
In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.
In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.
In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.
A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.
Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.
In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.
In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.
Eighteenth century
In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.
In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.
In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.
Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.
The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.
In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.
A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.
Victorian period
Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.
In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.
In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.
In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.
In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.
Industrialisation
In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.
Innovation in Newcastle and surrounding areas included the following:
George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.
George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.
Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.
Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.
William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.
The following major industries developed in Newcastle or its surrounding area:
Glassmaking
A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Locomotive manufacture
In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.
Shipbuilding
In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.
Armaments
In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.
Steam turbines
Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.
Pottery
In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.
Expansion of the city
Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.
Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.
Twentieth century
In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.
During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.
In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.
Newcastle City Council moved to the new Newcastle Civic Centre in 1968.
As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.
In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.
As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.
The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.
Recent developments
Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.
www.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/Conten...
Days of Rome: the Age of Conquest, Rome and the Greek World.
Starting from February 24 until September 5, the Capitoline Museums will host a major exhibition of masterpieces of ancient art from the major European museums. In overview, first round of five-year program Days of Rome, the works will be exhibited for a period of the most innovative and original for the entire development of Western art: the one next to the campaigns of conquest in Greece since the end of the third century The second half of the BC, one of the key to the future Roman artistic and cultural identity, not only of the Republican.
Through the vision of imposing marble statues, fine works in bronze and terracotta sculptures entire cycles, ornaments and home decor items made of bronze and silver, the highest value style will be told a time of profound change in the canons and the stylistic aesthetic taste of ancient Rome. A time when Greek influence became predominant to involve fully the cultural world of the Roman Empire.
The exhibition The Age of Conquest, the first of the series "The Days of Rome, offers the unique opportunity to reflect on an era of profound changes in the canons on the stylistic and aesthetic taste of ancient Rome: one of the key to future cultural and artistic identity Roman, not only of the Republican. Will represent the period following the campaigns of conquest in Greece, in the decades between the end of the third century BC and half of the first century A.. C, where Greek influence becomes overwhelming to involve outright the Roman cultural world. And 'this is the period in which the ruling elite felt, with increasing awareness, strengthening of its prestige by expressing it through art.
The exhibition, through masterpieces coming from the Mediterranean basin, including impressive marble statues, fine works in bronze and terracotta sculptures entire cycles, ornaments and home decor items made of bronze and silver, the highest value style, describe the period that will be among the most innovative and original for the entire development of Western art.
The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.
Pasting from Wikipedia: Arnold Arboretum:
• • • • •
The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.
History
The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).
In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.
Sixteen years after Bussey's death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "...the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs ... either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.
Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.
Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.
Status
The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.
Location
The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.
Hours
The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor's Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.
Area
Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.
Climate
Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July's mean temperature is 73.5 °F (23 °C); January's is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).
Collections (as of September 14, 2007)
At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.
Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.
Collections policy
The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.
Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.
As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.
For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.
Research
Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum's education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives
Plant Records
Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.
Grounds Maintenance
The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).
Nursery and Greenhouse Facilities
The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.
Isabella Welles Hunnewell Internship Program
The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.
As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.
Horticultural Apprenticeship
The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum's living collections to individuals interested in pursuing a career in an arboretum or botanical garden.
The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.
Lilac Sunday
The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:
Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]
Associated Collections
The Arboretum's herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.
Publications
The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.
Institutional Collaborations
The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).
See also
Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson
The Case Estates of the Arnold Arboretum
List of botanical gardens in the United States
North American Plant Collections Consortium
External links
Arnold Arboretum Official Website
Arnold Arboretum Visitor Information
American Public Gardens Association (APGA)
Virtual Information Access (VIA) Catalog of visual resources at Harvard University.
Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)
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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
Editor's note: The panther translations are in italics and were not visible to those observing this fight.
What started it
Amara stood up, storming off to the edge of the bed. Here she was feeling bad for herself and Rico just acted like nothing had happened. "I'm not apologizing for giving an ungrateful bitch like you a vaccine to save your life…but don't expect treatment from the medics you're so fucking convinced are useless!" She started for the stairs. "Next time your dumbass decides to get deliberately infected, do the family a favor and stay away from the Den!"
Tanner 's ears twitched at this point, frowning as he looked over to Rico, feeling Amara's emotions still, sadness and maybe just a little anger. He shook his head at this point before letting out, "what the fuck did you do!" he lets out angrily as he tries to get himself up from the wall. His own mix up emotions weren't helping. He was volitile right now and Amara's emotions weren't helping in the least. He narrows his eyes a bit before limping over towards the other.
Rico didnt pay anymind to her. He didnt think the medics in general were useless. Sure he was mad she took forever but this could have been avoided if she didnt threaten him and then shock him 5 seconds after being shocked. He heard tanner and sighed "I asked her not to talk to me.....if she wants to shock me and threaten me then theres nor reason to talk to me.....So I told her not to speak to me" he shrugs as he wasnt going to apologize for anything he said she wouldnt stop talking to him so she made him say that. He knew she was probably going to tell alot of packies and they werent going to like him anymore but its just that way he assumed
(( Patman Ballinger: no*))
"News Flash jerk. When you disrespect an Elder, you get punished. I walked out on my wife to come here yesterday….I left her alone at a fucking restaurant, our private time after several days of working on different schedules…to run over here to treat Yvonne. And you send a rude, ungrateful text across the entire Pack channel because you didn't feel like waiting!" Amara paced around for a few seconds. "After all, that you go and jeopardize the treatment by deliberately kissing your infected lover…and I'm the bad one for giving you a vaccine?!"
Tanner 's ears flattened against his head at this point as he shook his head, taking a deep breath before murmuring out, "I don't know exactly what happened... but sounds like you're being an asshole Rico..." he lets out, looking to Amara, "I... I shouldn't stay here... I'm... just gonna make things worse..." he lets out, knowing he's getting angry and upset and more confused and depressed then he already is.
Rico shakes his head "Fine Im an asshole" he throws his hands in the air. "Look at me the biggest asshole ever " he hops down off the ledge and to the pool below and goes into the back of the part of the cave to be alone "The asshole will be downstairs if you need it" he said down and laid his head on the rock closing his eyes
Amara snarled, a more animalistic bellow than a hybrid feline would technically make. Fists clenched tight enough to draw blood, she'd storm after the sarcastic Rico. Now would be a smart time to hold her back…because after admitting all this sacrifice just to hear Rico blow it off like it meant nothing, Amara was not about to tell him off…oh no…she was ready to kill him.
Editor's note: *rings fight bell*
Tanner wouldn't hold her back though... he wasn't in a state of mind to do so... not with Amara's emotions as we as his own engulphing his mind. He clenched his fists and knawed his lip as he backed up some trying not to trip or anything as he tried to get away from Amara and her emotions before he did something that he'd regret. His heart was thumping in his chest before he shook his head and let out a loud scream before starting to sob softly, hands coming to his hair, injured shoulder aching a bit as he dropped to his knees trying to create an invisible sphere around himself like Alexandra was trying to teach him... it wasn't working though.
Rico heard the snarl but didnt think anything of it at the time. He scratched a his chin with a yawn before looking back at the wwater
Without Tanner to stop her, Amara jumped down to the pool, landing easily on her feet. The snarls never ceased to leave her lips, a challenging noise to the ears of panther. She'd prowl outside the grotto, snapping in a fit of loud growls and hissing, the sounds being the equivalent of curses deliberate enough to provoke Rico in their native feline dialect.
" You spineless ungrateful coward! If you want to run away from a conversation that badly, just say so!"
Rico was insulted at this and this was just nature but panthers werent an animal to turn down such calls. He angrily growled before turning over and walking through the falls to meet the call. He growled the yellow feline eyes on her as his claws came out. He opened his mouth in what almost looked like a smile but it was to show his canines in intimidations as he snarled back angrily
Amara knelt for a moment at the reply, not out of fear but merely bracing herself in case he charged. She raised her left hand, presenting her natural claws to the male as a message she would not be backing down to him. Her rank was important, and Amara had every intention of making that message clear in the hisses she returned.
Tanner tugged on his hair before shaking his head, shouting loudly, "STOP IT! STOP IT! STOP IT!" His claws dug into his scalp as he growled out, tears slipping down his cheeks as his eyes became rimmed with crimson, pupils getting larger as he stared at the ground.
Rico crouched down snarling and snapping. He indeed had no doubt she wouldnt back down but neither was he. When he was created his scientist wanteed to see how far a panther could be fused into a human. So his willingness to accept a challege was high. He continued the showing of his canines ignoring the pleas to stop. Hisses escaped his lips as he looked at her . His body lowered but he wasnt going to charge first with his size one bad charge could take him out the fight
Patman Ballinger: ((Trans)) Im not backing down....You wanna fight me thenfine I tried to walk from this issue
Amara took advantage of this hesitation, lunging forward to attack his midsection. A quick sweep with her left hand lashed out at the male panther, both hand and tongue desiring blood. The howling reflected her disgust in him, again repeating taunting growls and roars intent to demean him. In the wild, such noises were reminiscent of a female disapproving a weaker suitor.
Amara Parmelee: ((trans)) You did nothing of the sort! You pouted and turned your back like some angry child at nursery. Pathetic...why did I waste my time trying to treat you at all?!
Rico started back before a burning came across his stomache. Fresh claw marks began to bleed which didnt make the male panther too happy. He snarled loudly his right hand camed down in a club like motion hoping to rake his sharp claws down the side of her cheek. A snarl given taunting the female panther that most would take as an insult to their sex in the big cat world. He wanted nothing more than to sink his teeth into her neck . He snapped again in her direction before giving a call as if he claimed superiority in this battle
Patman Ballinger: ((Trans))Now you insult me? And spill my blood...FINE..... I did not ask you to fight........I told you to leave me alone...But you keep on talking. I told you not to treat me so you wasted your own time I asked you not to!!!!!
Tanner 's fingers dug into his scalp as he just stared at the ground, breath coming out in short little gasps as his usually golden eyes became crimson, pupils getting bigger and smaller as he stared at the ground. His claws were finally removed from his scalp as he slowly got to his feet, eyes narrowed dangerously as he moved towards the stairs, limping slightly but not seeming to be in any pain anymore.
Amara was not about to let Rico actually mark her in this fight. She braced for the impact which sent her flying rudely into the waters of the pool. Sitting up immediately and panting heavily, Amara spit the bit of blood from her mouth that was caused by the bruising. Several hisses went let out in Rico's direction. Running some water over her face, she adjusted her stance, flicking her ears in retaliation at Rico's bold proclamation of victory. She launched herself in the air this time, intent on landing a swift right hook to his face.
Amara Parmelee: ((trans)) If you wished to die so badly, just say so weakling! I won't have you infecting the entire family for your fucking pride! I'll have you show some damn respect before this is over.
Rico snarled as his swipe hit but it was short lived as he saw her lunge. His head snappedto the side as he tumbled meeting not water but just more rock. He groaned as his body met the hard surface but he shook his head moving back into his stance. His face now with fresh claw marks he could let that go. He lunged forward upon getting up his face and belly burned but his right raised a claws attempting to slam and rake hard at the top of her heard and forehead heavy snarls as he did
(( Patman Ballinger: couldnt*))
Patman Ballinger: ((Trans)) I dont get infected like most. If I get a cold its small and its not serious. I respected you until you threaten me and shock me....You know im still shook from the last time I was left behind by packies *Swipe* But no instead of just leaving me be you want to be an aggressor....I refuse to kill you but ill defend myself and make sure its know you started this!!!!
arwen Eiren wanders into the den arms crossed over her chest , her small eyes widen as she could see the fight , ears pinningb back against her head standing there"m.....mama!"she saw Rico attacking her mama, She lets out a very feirce, more then she even knew she could do growl"LEAVE MY MAMA ALONE!!"she yells at the top of her lungs"LEAVE HER ALONE!!"She screams
Tanner
Tanner Blackheart: [[uuh -_-"]]
Patman Ballinger: ((Tanner great post lol))
Amara Parmelee: ((It moved me to tears, Tanner. Such powerful words...hahaha))
Tanner Blackheart: [[T_T ur so mean]]
Amara screamed as her hair was caught, the weight of Rico's arm throwing her sideways in the rocky walls. Trickles of blood ran down the side of her face as she heard Arwen's voice. For once, she went back to English. "Arwen, you stay back! I want you nowhere near this!" She pushed herself off the wall, hoping to land a strong blow to Rico's already injured midsection. The roars of defiance and her authoritative stance would speak volumes to the male panther.
Amara Parmelee: ((trans)) Learn well, Rico! This is a pack, not a pride. The elders and leads are to be respected, not taken for granted with they are most convenient for you! You insulted the medics of this family and I will not stand for it! I've tried to be supportive and yet all you're done is behave like an infant!
Patman Ballinger: ((Yea me an amara are friends again it was such an inspiration lol jk
arwen Eiren: (damn i didnt see tanner's post)
Zhin Murakami wakes up, she streches and yawns looking around if she was alone. Zhin touches a spot behind her left ear and a mask morphes out her chaw around her mouth and nose, the last hing she remembered before she felt aslepp, was hearing Amara saying something about a virus.
Tanner had since moved down the stairs, ears plastered on his face and an almost strained, maybe pained expression on his face. He wasn't in pain, however, just fighting... with himself as he moved towards the fighting. His eyes went immidiately to Arwen as he growled out, "If you have your phone... call the pack now... tell them to get their asses here before the den gets smeared with blood..." he says, not seeming to care that his words might scare the child. He turned to Rico and Amara at this point and growled low in his throat, claws out, blood dripping down the sides of his face from the wounds he'd inflicted on himself, crimson eyes getting darker.
arwen Eiren pulls out her pda , pushing a button on it and screams into it top of her lung"RICO AND MAMA MARA TEARING EACH OTHER UP! NEED HELP!THEY WONT STOP FIGHTING!"
Rico moved forward to follow up his hand coming down again clawing at the top of her head again as another burn emerged from his midsection. New claw bloody marks emerging. The stupidest thing someone could do what intervene in a big cat fight. They were fights that couldnt be broken up and could get the one breaking it hurt. He snarled the pain in his stomacheand lower section growing. He roared out bringing his hand up turning waiting for her next attack
Patman Ballinger: ((Trans))I didnt insult the medics. the medics have my respect for the ones I have met. Notice my comments were to you not the medical staff. I said leave me be....LKeave me be........But now you come to fighting. i understand respect but yea anger and worry can make a person abit angry. Now look your cub pleads for you to stop but instead you want to fight.
arwen Eiren heart races as she waits for someone to come help to knock sense into the two fighting. Her little heart raced, she started breathing quickly"stop fightging stop fighting!"she growls , her eyes watering up"DONT HURT MY MOMMY!!"
Zhin Murakami comes downstairs following the fighting noises, she sees Amara and Rico fighting? What the.. she tabs Tanner at his shoulder "What is going on?!" Looking over to Arwen seeing the kid all frighten
Amara kept her body low to the ground before swinging a leg out to trip him. The roars only got louder as if trying to drown out any voice of reason. This was beyond a personal fit for her; this was the natural way of showing her stance on this issue. Wild howls filled every corner of the den as Amara explained herself in a tongue only Rico would understand.
Amara Parmelee: ((trans)) How quickly you forget your words from yesterday. "Fuck it…I'll do what little I can do since no one cares." Of course we cared! We've always cared! But no, you were too stuck up in your own damn impatience to see it! To hell with earlier, that's why I yelled at you yesterday and for your rude remarks, that's why you were shocked!
I'll comfort Arwen after this…after you apologize for trampling over our sacrifices! Mitka was traumatized from her attack and is still in training. Tanner was tortured by the UAC just a few days ago! I was with my wife…I'm sorry it took so long, but you have no right to look down on someone's attempt to help you!
Tanner knew he couldn't let their fight continue much longer... his own fight getting difficult. He couldn't hold the other back much longer if this continued but even considering leaving made it ten times worse to fight the other so he gave up on that idea completely as his eyes narrowed. It was either stop them from fighting... or better yet... knock at least one of them out before all hell broke loose... The moment he felt a tap on his shoulder, however, his eyes narrowed and he wipped around, claws going straight for Zhin's chest as he growls out loudly, eyes getting even darker.
arwen Eiren sdcreaming top her lungs"STOP FIGHTING!"her body shook breathing quickly smelling her mama mara's blood, ears pinned back against her head"no more no more!!FAMILY DONT FIGHT!!!!"She sways as she stands
Rico got off balance from her foot and snarled as he didnt trip fully seeing he was on all fours. He backed away shaking his head as his cheek and stomache bled. His snarls and roars echoeing loudly in return to hers a form of panther speaking that they only could understand
Patman Ballinger: ((Trans)) That noone was directed to you not that it makes my words better. From what I saw you were the only medic with a fucking pda ON!!!. I know tanner was gone !!!
Akiel Martian came running in catching the sight before him, emerald hued eyes shifting already into that darkened feral jade, "..ah 'ell na..", he shook his head, "..this'll na do..", his left mechanical arm raised, coming to be pointed upon Mara and Rico. the arm straightened and that small latch at the palm would open, his right, moved for its respective cerberus gun, "..cover yer ears, Arwen..", he said as he pulled it and raised it high, and ear splitting shot of a fifty cal depleted uranium shell would go off, resonatting the air about them with the sound, Syle's ears flattened agains his head before he growled out, "..S'ENOUGH ALL O' YE'S!!"
Jayde Rasmuson enters and observes the situation at hand.. walking closer to Arwen she puts her hand on the little one's head, a gesture that had become familiar with her. Taking morenote to Amara, Jaydesucked in a deep breath then exhaled.. looking about to the others, emerald glance finally resting 'pon Syle, who was.. fuckin' shit up.. oh shit! Jayde kind of ducked then watched the effect this had..
Zhin Murakami is a little surprised at Tanners move, as his claws dig into her chest she reaches up with her left mechanic hand griping around his wrist, she looks straight into his eyes, purring softly "Shhh..." then she heard Syle yelling and autmaticly ducks pulling Tanner down with her.
Amara let out a last minute reply, her tail hairs flaring angrily as she sounded more like a large angry domestic cat before the sound of Syle's gun shut her up. The blood dripping from her forehead didn't seem to bother her though the immediate ringing in her ears was a different story. Her hands rose to cover her ears from the stinging. "…was deafening us really necessary?" she whimpered.
Amara Parmelee: ((trans)) I was saying goodbye to my lover whom I haven't had a proper sit down with in days! It's not like I just got the message and ran off; we were having a meal…Tanner's PDA was destroyed, and even if he could hear the feed, he was in no position to help!
arwen Eiren hears the gun going off and lets out a scream, and then well between watching her mom fighting , hearing the gun go off, the poor 5 year old fainted
Rico snarls his ears slam down against his head as thee sound of the gun erupts. His cheek and belly were bleeding but his panther communication continued
Patman Ballinger: ((trans))I didnt know you were with her!!! Ok im sorry but I lost alot and It got to me when it seemed like she was dying!!!! So dont turn the whole medic team on me when I spoke to you....And I know tanner wasnt on the line so you were the only one i was speaking to......Now ya daughter needs you more than this fight
Rennat would have winced as he's grabbed by the wrist and pulled down but this wasn't Tanner anymore... this was Rennat who felt no pain. He stared into Zhin's eyes as she shushed him, dark crimson eyes focusing on her and nothing else. He focused his mind on her, blocking out some of the emotions from the other's, dark eyes getting a bit lighter as he gives a bit of an almost pained expression, still fighting the other personality back. He winced quite a bit, tensing against the other at the shot, ears ringing as he growls out.
[12:55] Tanner Blackheart: [[Tanner would have not Rennat would have -_-"]]
Akiel Martian: "When it seem that no one be listenin' ta a worried child n' oi get a text, aye oi think it be..", he said and lowered the gun, wagging it between Rico and Amara with his next words, "..what the fuck be all this about, we're supposed ta be family n' oi walk in ta ye' both tearin' at one another..", he holstered the cerberus gun. Mechanical left arm lowering too as the latch closed, "..what's all this, y'all two have beef, ye' should'na be scrappin' in the den..ye' be scarrin' the wee ones.."
Zhin Murakami slowly straightens up after Syles shoot, her right ear rings and is flaten on the head, she pulls Tanner up wither, her mech hand gripping his right wrist like a bench vice. She continues staring at him, noticing the change in his eyes she purrs softly again "Shhhhhh...."
Amara backed away, moving to check on the collapsed Arwen. "Sweetheart…Arwen…are you alright?" She didn't feel any now pains, so she knew she had not been shot. Ignoring Syle a moment, she mews her final response to Rico. They had reached a relative understanding though no one understood that. She'd gotten the apology she'd been after and the male knew now why she'd been so cross. Not the traditional means of talking things out. "It was in regards to some events concerning yesterday. We've settled it for the most far though. Sometimes, between panthers, it's easier the converse that way. I'm sorry for scaring any of ya…"
Amara Parmelee: ((trans)) If you read your messages again you would have seen my reply "I'm in Madres with Adagio...but I'll head over to the den now." *walks to Arwen* I would never turn the family against you over a petty argument like this, but I'd appreciate if you thought a little better of us.
arwen Eiren had a huge bump on her forehead a bit passedout to respond at the moment, poor kid got the hell scaredout of her
Rico shakes his head free of blood before dipping it in the water. The had worked it out abit and Rico got how he felt out and gave his sorry. He did like having other panthers in the pack to the fact they could talk in their own way but only bad that their language no matter what will look hostile. He dipped his head in the water a sting aas he felt his face stretched when he opened his mouth gettin g a few sips of water. He sighed gave one last few growls before coming uo and sitting on rock
Patman Ballinger: ((Trans)) Im sorry......Its just been a bad run of events.....Hope ovetime this issue heals
Rennat 's heart was racing as he continues to fight back the other personality, the battle getting easier as he focuses on Zhin, though he could still feel the quickly dimming anger coming from the two who'd been fighting but his focus was on Zhin, not seeming bothered by the grip on his wrist, though still seeming to 'wince' every now and then as he continued to fight with the darker personality. Thank god Arwen had managed to get help... or things could have ended badly.
Akiel Martian frowned, shaking his head, "..will take a whole lot more ta scare me than two brawlin' Panthers..", in truth, male panther hybrids worried him, always, Dax was one and Rico another, Panthers were strong cats and possibly the only spcies of Hybrid able to go toe to toe with Syle. The Wolf had size and strength and if it wasnt for that, well. He certainly would have to be worried then, he looked from Amara to Rico, and frowned, he shook his head. Then looked to Tanner, "..oi dun' feel like seein' Rennat ta'day lad..ye' keep 'im locked away nice n' tight.."
Zhin Murakami nods at Syles words, she was glad the fight was over. Zhin holds her gaze straight for Tanners eyes purring deeper as she tightens the grip on his wrist a little more once more she hushes at him "Shhhhhh..." her eyes glowing.
Amara cradled the child in her bruised arms, the blood covered claws long retracted. "It was not out of violence if that explains it further. Just a really primal form of a heart to heart." She sighed as she held Arwen, a long hiss and low growling spoken to Rico again ending in a faint smile. "Still, two Pack members fighting is not something to be encouraged. As the Medic Lead and as an elder, I should know this."
Amara Parmelee: ((trans)) I'd like to help you if you'd just let me…I know how
horrible it can be to be held powerless and captive in a cell…tortured to the point of madness. We can talk another time…when you are ready that is.
Rico listens to the growls and nods his head giving a growl in return. He shakes his head rapidly his hair sending water and blood that dripped from it flying. He stretched his tail swung slowly as he looked around then back to his claws covered in blood and strands of hair. He began to pull at them cleaning them as he sat there
Patman Ballinger: ((trans)) Yea whenevers' fine...But now les both calm down and you can make sure your cubs is ok
arwen Eiren groans her blue eyes flickering opening letting out a yelp hand to her head she starts to cry
Rennat 's ears twitches at Syle's words as he lets out a bitter laugh, "sorry... but Tanner's not in control... hasn't been since shortly after those two morons started fighting... It's not me you should be worried about though... Just be glad i'm around to stop 'the other one' from paying you all a visit..." he lets out, having finally looked away from Zhin, eyes now Rennat's usual crimson color though his heart was still racing as he speeks again, "It may be best if Tanner stays away from the pack for a while... if things like this are going to happen... it's not safe for him or for you... Not till he's got things worked out."
Akiel Martian looked them all over again, sighing, from Amara behind him to Rico, to Zhin and Tanner, "..glad that be over at least..", he said shaking his head, if that was talking, he wondered for a moment, if Keira, with her desire to always have a scrap with Syle, was her way too, of talking? Was there a message to be read in the way, Keira faught? Strange as it would seem, but Amara and Rico, had given Syle something to think on, mayhaps sometimes, later, he would pull one of them aside and ask to learn more on Panther type Hybrids. It could help him with his own, oddly chaotic relationship, "..aye, Mara, ye' should..as should Rico..", his voice was calm, soft, there was no blame being pointed at anyone, "..mayhaps next time, ye' both need a heart ta heart it could be..away from the wee ones eyes?", he certainly wasnt one to go against instinct. After all it was what kept Syle alive this long, instinct, "..oi gotta go, y'all..please..stay safe..", he said before moving, "..aye, dun wanna see that one either..", he said plainly to Tanner before walking out.
Amara immediately tried to calm the child. "It's okay. I'm right here, Arwen." She'd rock back and forth gently to assure Arwen the dust had settled. She'd only nod to Rico, agreeing that the argument of sorts was over. "Rennat…kindly don't call us morons. And if Tanner's mind needs a break from the family and what not for a while, please go ahead and leave. We had no intention of harming tanner nor sparking you to the surface." She groaned at Syle's words, but knew that if her own elders were here, they'd be furious with her.
arwen Eiren buries her head into Amara's shoulder and clings, little tears rolling down her cheeks "no more fighting."
Rico groans as his wound stretch when he lays down. He yawns hanging his leg and arm over into the water and looks around "We need a tree in here" he mumbles before closing his eyes just resting for a moment but nit sleeping
Zhin Murakami looks from Tanner to Syle and back. Slowly she lets go of Tanners wrist, looking down on her chest, she curses as the green was darkened with blood, she did not notice till now. "Dammit, this suit was only a few days old" she grumbles to her self, then she looks up saying loud "Everybody ok so far?"
arwen Eiren looks up" Kitty scratching post?I can buy one uh huhs."
Rennat looks calmly over to Amara, heart beat starting to return to normal as he lets out calmly, "sorry... still a bit tense. We need to keep stuff like that away from Tanner right now... a new, very dangerous, personality has 'appeared' and it's not a friendly one. His name is Tearnn... and he will tear and anyone or anything that's in the vicinity," he explains as he moves to stand slowly, looking to Zhin, "sorry for attacking you."
Tanner Blackheart: [[at anyone]]
Amara shook her head, pausing to pull a cleansing wipe from her bag. "No..no..I know what it looked like but we weren't fighting; we were arguing at best. Mommy's a panther, and that fighting you saw was how panthers argue or voice their opinions. It's not the most civil of sights." She'd hug the girl tightly before attempting to clean her forehead. "Rico, try the beams of the ruined building rather than a tree in here. The city ledges are good also for relaxing." Rennat's description was disturbing at best. "Where did this persona grow from? The UAC attacks…or is it better not to ask?"
That had to be one my most enjoyable RPs to date
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el.kingdomsalvation.org/videos/one-who-holds-sovereignty-...
χριστιανικεσ ταινιεσ με ελληνικουσ υποτιτλουσ
Στο απέραντο σύμπαν, όλα τα ουράνια σώματα κινούνται με ακρίβεια στην τροχιά τους. Κάτω από τον ουρανό, όλα τα βουνά, τα ποτάμια και οι λίμνες είναι οριοθετημένα και όλα τα πλάσματα ζουν και αναπαράγονται κατά τη διάρκεια των τεσσάρων εποχών σύμφωνα με τους νόμους της ζωής.... Τα πάντα έχουν σχεδιαστεί με τέτοια λεπτότητα — υπάρχει ο Ισχυρός Θεός που κυβερνά και οργανώνει τα πάντα; Από τότε που ερχόμαστε σε αυτόν τον κόσμο κλαίγοντας, παίζουμε διαφορετικούς ρόλους στη ζωή. Μεταβαίνουμε από τη γέννηση στο γήρας, στην ασθένεια, στον θάνατο, ζούμε μεταξύ χαράς και λύπης.... Από πού προέρχονται πράγματι οι άνθρωποι και πού πράγματι οδεύουμε; Ποιος κυβερνά τη μοίρα μας; Από την αρχαιότητα ως τη σύγχρονη εποχή, μεγάλα έθνη έχουν ακμάσει, δυναστείες έχουν έλθει και παρέλθει, και οι χώρες και οι λαοί έχουν προοδεύσει και χάθηκαν στον ρου της ιστορίας.... Όπως οι νόμοι της φύσης, έτσι και οι νόμοι της εξέλιξης της ανθρωπότητας περιέχουν άπειρα μυστήρια. Θα θέλατε να μάθετε τις απαντήσεις σε αυτά; Το ντοκιμαντέρ Αυτός που κυριαρχεί επί των πάντων θα σας καθοδηγήσει για να φτάσετε στη ρίζα τους, για να αποκαλύψετε όλα αυτά τα μυστήρια!
σύσταση： θρησκευτικες ταινιες 2019
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
www.anglesey-today.com/llynnon-mill.html
And an adjoining prehistoric settlement .
I edited the other shots to remove minor flaws , like dust and scratches , but I like how this looked like an old postcard straight out of the camera.
Trying new things , dusted off my old Kiev 88 medium format film camera ( a Soviet copy of a Hasselblad 1600) from about 1990 and tried out some new (old) lenses on it.
A Zodiac-8 (30mm fisheye lens) , a Volna-3 (80mm standard lens) and a Kalinar-3 (150mm short telephoto ) . Got a few more lenses on the way .
These cameras from the former Soviet union do have a reputation for terrible quality control at the factories , they build the camera , you tweak it to get it working right !
First two roll's of film I put though it are out of date , but sort of came out O.K .......
The black and white film was in a 6x4.5cm back and leaked light from the dark slide slot like a sieve !!!
Replacement parts have arrived from Hasselblad .
The developed film also had unusual scratches on them that need investigating , but overall still usable.
Adjustment is also needed to set it up better for long fast lenses .
Dusted off my old 120 roll film scanner from 2001 and it actually worked on Windows 7 !
Set it up on a "medium" resolution and it churned out a huge 170mb file , compared to the 24mb RAW files from my Sony a900 .
The scan output was set at approx. a 70 megapixel equivalent .
Still looked good but way bigger than needed !
www.internationalfolkart.org/mayolica/contemporary/spain-...
Santa Catalina Cerámica Regional
Pedro de la Cal Rubio (1907-2000)
Owner, Santa Catalina Cerámica Regional
Puente del Arzobispo, Toledo, Spain
Pedro de la Cal is credited with reviving the ceramics industry in the town of Puente del Arzobispo. His grandfather and father were both potters and he was instructed in the art at an early age. In his youth, he would go into nearby areas to collect plants and minerals for his pigments, which were then prepared in the courtyard of his house, and ground and mixed in a mill that was powered by a donkey. Greens and yellows predominate in his artwork in a style that was characteristic of ceramics in Puente in the late 18th and 19th centuries.
(Museum of International Folk Art, Santa Fe, New Mexico)
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Santa Catalina Cerámica Regional
Pedro de la Cal Rubio (1907-2000)
Propietario, Santa Catalina Cerámica Regional
Puente del Arzobispo, Toledo, España
A Pedro de la Cal se le acredita por revivir la industria de la cerámica en la población de Puente del Arzobispo. Tanto su abuelo como su padre fueron loceros y lo instruyeron en el arte desde una temprana edad. En su juventud, exploraba las zonas aledañas donde coleccionaba plantas y minerales para hacer sus propios pigmentos, los cuales se preparaban en el patio de su casa en un molino impulsado por una mula. Los verdes y amarillos predominan en sus obras con un estilo característico de la cerámica en Puente a fines del siglo XVIII y durante el siglo XIX.
(Museum of International Folk Art, Santa Fe, New Mexico)