Modern Home Office Desk With Colored Acrylic Base – Halo by Dune... All daily inspiration

See www.columbia.edu/~brennan/abandoned/bronx.html and en.wikipedia.org/wiki/Pelham_Park_and_City_Island_Railroad

 

"City Island Road. The brick stationhouse stands in ruins in the woods a short distance S of the road from the Hutchinson River Parkway to the City Island circle. It was also known as Bartow. This lonely spot was the transfer point for the trolley to City Island, which started here, so it rated a good station. To see it, start at the Pelham Bit Stables parking lot on the southbound Shore Road, and walk N along the bridle path. Just before the road to the Parkway, take an overgrown paved path W to the station. Warning: the bridle path is quite active; walk along the edge, but let horses and riders see you. Warning: the golf course parking lot to the north is a little closer to the station, but the walk requires a dangerous crossing of the road to the Parkway. At the station, please do not go near the tracks: high speed Amtrak trains approach around curves from both sides and you will not have time to react."

all clothes and shoes made by me, from left:

22/8; ivory Tshirt, skirt, cardigan, coat, scarf, gloves, tights, socks, boots

23/8; green Tshirt, skirt, cardigan, scarf, hand warmers, tights, socks, boots

24/8; striped Tshirt, skirt, navy cardigan, scarf, hand warmers, navy tights, socks, boots

Overlooking the vineyard at Driftwood Vineyards and Winery.

Driftwood, TX

 

I consider Driftwood Vineyards my "home" winery. It is there that my wife and I visit and purchase from more than any other. The wines from owner Gary Elliot are solid across the list. Winner of many awards, Driftwood Vineyards has its roots from California and has a "sister" winery in Paso Robles (literally his sister owns a winery there). Its very convenient to Austin and makes a great second stop after picking up barbeque from the Salt Lick. The winery sits on top of a bluff that overlooks the vineyard and has excellent views of the Texas Hill Country sunsets. The grounds include picnic tables just waiting for you to sit back and enjoy the sunset with food you bring to accompany a bottle of Gary's Lone Star Cab.

 

View on Black

 

Notes: three exposure +/-2ev, HDR processed with Photomatix and Aperture 3.

 

Blog Oxherding is Fun ~~ on Twitter ~~ Oxherder Arts Gallery

blogged

ltthings.blogspot.com/2010/03/whats-new.html

29/365 - Body Rock - listen

 

Friday... this song is stuck in my head all day

We rock the party,

Rock the party,

Come on

Get down

When we're gona make you freak han hun

We rock the party,

Rock the party,

Come on

Get down

When we're gona set you freak it

 

Strobist: SB600 | 43" shoot through | ~ƒ/8 | ISO 100 | ƒ5.6 | 200s

It wouldn't be a proper web studio without some sort of geeky art.

closetkl.blogspot.com.br/2014/11/light-of-your-look.html

blogged

For our day in port at Cannes, Mike and I began by hiking up to Musée de la Castre -- once a hilltop fortress and now a museum at the heart of Cannes' Le Suquet district.

 

The museum's collections are grouped by themes, including a Historical Journey (Voyage Historique) that encompasses antiquities from throughout the Mediterranean region and a Pictorial Journey (Voyage Pittoresque) that features paintings of landscapes, seascapes, views of Cannes, Impressionism, and Fauvism.

 

In this photo, you can see an Etruscan sarcophagus displayed in one of the Pictorial Journey rooms, with landscape paintings by Joseph Contini and Vincent Courdouan on the wall behind it. A few details on the sarcophagus (as translated from the informational placard below it) and the paintings, as well as an overview of the Mediterranean Antiquities and Painted Landscape collections (as outlined in the museum's brochure):

 

Etruscan Sarcophagus

The foliage-covered tank is not paired with the original cover

Carved and baked red clay

3rd Century B.C.

On loan from the Louvre Museum

 

Erected on the pediments of temples or installed on the tanks sarcophagi, as here, these large figures -- molded, sculpted, baked, and often painted -- were characteristic of Etruscan civilization on the Italian Peninsula. The sarcophagus lid shows a richly dressed man, semi-reclining on a bed. He is holding a crown -- one of the objects associated with large, festive banquets where attendees reclined in antiquity. Etruscan funerary art used the image of a banqueter, symbolizing the eternal banquet of the deceased in the afterlife and which characterizes his social portrait.

 

Joseph CONTINI

(Milan 1827 - Cannes 1892)

Panorama of the Fortified Monastery of Isle Saint-Honorat

Oil on Canvas

1887

 

Vincent COURDOUAN

(Toulon 1810-1893)

Panorama of the Hills of Château d'Evenos Near Toulon

Oil on Canvas

1858

 

Mediterranean Antiquities

The Mediterranean antiquities are housed in the lower room in the Abbot's Tower, a 16th-century building that was partially razed to the ground, but whose oblique profile may be made out in the museum's garden. The tower marked the corner of one of the residential buildings in Cannes' castle. The archaeology room presents a fine collection of Mediterranean antiquities, from Sumerian clay tablets written in cuneiform to 4th-century Christians' lead sarcophagi. Almost 5,000 years of art is thus displayed in the showcases, which are fitted out like collectors' cabinets, as if the room were an antique collector's private museum. The exhibits come partly from the collection of Baron Lycklama, who purchased them during his Middle Eastern travels: Persia and its capital, Tehran, the ruins beside the Tigris of what is now Iraq; Turkey and Constantinople; the lands that now make up Syria, with Damascus and Palmyra; the ancient lands of Palestine, with Jerusalem and Bethlehem; and the island of Cyprus. Another series of very fine exhibits comes from the donation made by Jacqueline Damien, who donated her father's collection to the nation in 1992 on the condition that it was to be lodged with the Musée de la Castre. A series of works on permanent loan from the Louvre, such as the two sarcophagi, one Etruscan and the other Egyptian, join the museum's early Christian lead sarcophagi to form a group representing the funerary rites of the classical and post-classical periods.

 

The Painted Landscape

Landscape art became a genre in its own right in the late 18th century, taking its cue from the Dutch and Flemish masters. Before then, it had been used as the backdrop for historical, religious, or battle scenes. The establishment, in 1817, of a Prix de Rome for historical landscapes constituted a decisive milestone, as it bestowed official recognition on the genre. At that time, open-air work for making sketches and studying individual features of the landscape -- such as rocks, trees, and clouds -- was recommended. The landscape artist then reworked the features he had sketched, turning them into an intellectual re-composition. He reconstructed landscapes, at times ideal and at times aiming for geographic or atmospheric truth, but from memory, incorporating details drawn from life into imaginary sites. The paintings presented in this room highlight Cannes' minor 19th century masters, who were virtuosos of the striking views held out by the coast. Joseph Contini (1827-1892), Adolphe Fioupou (1824-1899), and their generation focus our gaze on the minute observation of trees or rocks, whether isolated or incorporated into a full-fledged composition.

 

With Acknowledgment to the Roll of Honour website (RoH)

 

www.roll-of-honour.com/Norfolk/Holt.html

 

There is another set of memorials in the church of St Andrew the Apostle.

www.roll-of-honour.com/Norfolk/HoltStAndrew.html

 

Names shown on the Church memorial are marked as (CM)

 

The Great War

 

Alfred Anthony……………………………….....................................(RoH) (CM)

 

Corporal 47535. The Queen's (Royal West Surrey Regt.) Labour Company Chinese Labour Corps transf. to (74127) 54th Chinese Company. Died on 27th November 1919. Aged 32. Son of Mr. T. and Mrs. H. Anthony, of 8, Eastrea Rd. Whittlesea. Cambs; husband of D. Anthony, of 5 Bluestone Terrace, Holt, Norfolk. Buried: Terlincthun British Cemetery, Wimille, Pas de Calais, France. Ref. XIV. C. 13.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=4024320

 

No match on Norlink

 

The 13 year old Alfred, already a Brickyard Labourer, is recorded on the 1901 Census as living at Eastrea Road, Whittlesey. This is the household of his parents, Thomas, (aged 54 and a Brickyard Labourer from Whittlesey), and Hannah, (aged 55 and from Whittlesey.) Also resident are Arthur’s brothers Charles, (aged 18), Harry, (aged 17), and Walter, (aged 10). Charles and Harry work as Brickyard Labourers, and all were born Whittlesey.

  

Oliver Bennett………………………………...................................(RoH) (CM)

 

Corporal 32124. 12th Battery Royal Field Artillery. Killed in action in France & Flanders on 21st October 1914. Aged 25. Born at North Walsham. Enlisted Norwich. Son of William and Rebecca Bennett, of Holt, Norfolk, Norwich, Norfolk. Buried: Harlebeke New British Cemetery, West-Vlaanderen, Belgium. Ref. XVI. A. 8.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=485790

 

No match on Norlink

 

The 12 year old Oliver was recorded on the 1901 census at Bull Street, Holt, having been born North Walsham. This was the household of his parents, William, aged 59 and a Licensed Victualler from Letheringsett, and Rebecca, (aged 40 and from Hoveton St John, Norfolk). Their other children are:-

Frank…………….aged 8.………….born North Walsham.

Ida Grace………aged 14.…………..born Stalham

Margaret……….aged 6.……………born Edgefield

 

One of the Stained Glass Windows in St Andrews, Holt is dedicated to the memory of Oliver and Charles Henry Steer, (qv), former members of the church choir.

www.wartimememoriesproject.com/greatwar/allied/royalartil...

 

The battery was newly arrived in France and was involved in supporting the 7th Division on the opening day of the Battle of Langemarck.

webstats.ordersofbattle.darkscape.net/site/warpath/divs/7...

www.historyofwar.org/articles/battles_langemarck_1914.html

  

Robert William Beresford………………………………................(RoH) (CM)

 

Sergeant 293. 1st/5th Battalion Norfolk Regiment. Died in Gallipoli on 21st August 1915. Aged 29. Born and enlisted Holt. Son of Henry Beresford, of Shire Hall Plain, Holt; husband of Emily E. Beresford, of Weston Square, Holt, Norfolk. No known grave. Commemorated on Helles Memorial, Turkey. Panel 42 to 44.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=698865

 

No match on Norlink

 

The 14 year old Robert is recorded on the 1901 Census as employed as a Domestic Page Boy, and living at Shire Hall Plain, Holt, the town of his birth. This was the household of his parents, Henry, (aged 42 and a Mineral Water cater from Holt), and Sophia, (aged 39 and from Bodham). Their other children are:-

Agnes……………aged 10

Alice…………..aged 13

Bertie………….aged 12

Bessie…………aged 20

Fred……………aged 2

Gertrude………..aged under 1

Mable………….aged 9

Percy…………..aged 3

Sidney…………aged 4.

 

Also living with them is a Grandson, George Beresford, aged under 1.

All born Holt.

 

Following the disastrous attack on the 12th, subsequently immortalised in tales of Alien abduction, lost battalions and more poignantly in “All the Kings Men”, the survivors were merged with the 1st/4ths until re-enforcements could arrive. A diary of an officer of that Battalion records that there was a Turkish attack in the mid-afternoon which broke into the trenches on their right, but was quiet in their sector.

user.online.be/~snelders/sand.htm

  

William Betts……………………………….....................................(RoH) (CM)

 

Private 16399. 3rd Battalion Norfolk Regiment. Died on 20th February 1916. Aged 27. Son of William and Triana Betts, of Fir Cottage, Briston, Melton Constable. Buried: Holt Burial Ground, Norfolk. Ref. C. 542.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802696

 

No match on Norlink

 

The most likely match on the 1901 Census is a 12 year old William, born Gissing, and now living at 30 Hill Street, Norwich. This is the household of his parents, Edward William, (a 38 year old Cab Man from Norwich), and Alice Caroline (aged 39 from probably Burston, Norfolk). Their other children are:-

Edith May…………aged 8.…born Gissing

Harry………………aged 6.…born Gisleham, Suffolk

Katherine Alice……aged 5.…born Norwich

Mildred Constance..aged 11...born Gissing

Sidney……………..aged 9.…born Gissing

 

The 3rd Battalion were a UK based Training Battalion providing drafts to the other Battalions of the Regiment.

 

Thomas Boast………………………………....................................(RoH) (CM)

 

RoH has no further information available.

 

Probably

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=275227

 

Name: BOAST, THOMAS TOWNSHEND

Rank: Second Lieutenant Regiment/Service: Norfolk Regiment Unit Text: 3rd Bn.

Age: 28 Date of Death: 29/09/1918 Awards: Mentioned in Despatches

Additional information: Son of George John and M. A. Boast, of Taxal Edge, Whaley Bridge, Cheshire. Native of Holt, Norfolk.

Grave/Memorial Reference: C. 29. Cemetery: NEUVILLE-BOURJONVAL BRITISH CEMETERY

 

No match on Norlink

 

The 1901 Census has a Thomas T Boast, aged 10, living at Cromer Road, Holt. This is the household of his parents, George J, (aged 37 and a Domestic Gardener from Thorpe St. Andrews near Norwich), and Mary A, (aged 35 and from Fakenham). Their other children are:-

Alice A………..aged 3.…..born Holt

George J………aged 5.…..born Holt

Mabel M………aged 8.….born Holt

Also staying with them is a niece, Olive M Boast, born Langham and aged 13.

 

While the 3rd Battalion was a UK based training establishment, it was likely that Lt Boast was on attachment to another Battalion of the Regiment. Neuville-Bourjonval was only re-taken from the Germans at the start of September 1918, and was still very much in the front-line. A study of other casualties buried in this cemetery from this time reveals a number of officer casualties from the units that made up the 15th Brigade, which included the 1st Norfolks.

 

Albert Victor Bray………………………………..............................(RoH) (CM)

 

Private 22958. 9th Battalion Norfolk Regiment. Died of wounds at home on 10th February 1917. Aged 20. Born and enlisted King’s Lynn. Son of the late William and Margaret Bray, of Holt. Buried: Holt Burial Ground. Ref. C. 549.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802697

 

No match on Norlink

 

There is no obvious match for Albert on the 1901 Census, but as can be seen from the census entry for his brother Charles below that the family has already suffered some sort of break-up at this time.

 

Brother of Charles below

 

Charles William Bray………………………………........................(RoH) (CM)

 

Lance Corporal 41028. 8th Battalion Royal Inniskilling Fusiliers. Formerly 25409 Norfolk Regiment. Killed in action in France & Flanders on 16th August 1917. Aged 28. Born St Margaret’s, Norfolk (King’s Lynn?). Enlisted Norwich. Son of the late William and Margaret Bray. No known grave. Commemorated on Tyne Cot Memorial, Zonnebeke, West-Vlaanderen, Belgium. Panel 70 to 72.

 

www.cwgc.org/search/casualty_details.aspx?casualty=842798

 

No match on Norlink

 

Brother of Albert above

 

The 12 year old Charles Bray is recorded on the 1901 census at South Street, Kings Lynn, his birth town. The head of the household is his married brother Ernest, (aged 25 and a Brickmaker from the town). Also living with them is Ernest and Charles 16 year old brother, Herbert, who is employed as a Carpenters Apprentice. The wife of Ernest is Harriet, (aged 30 and from West Winch), and the couple have a daughter Evelyn who is less than a year old.

 

Thursday 16th August 1917 - Day 17

 

Rainfall Nil

 

The phase of the battle known as The Battle of Langemarck commenced today and lasted until the 18th. Zero Hour was 4.45 am.

 

16th (Irish) Division

 

49 Bde

 

7th Bn, Royal Inniskilling Fusiliers attacked on the left and the regiments 8th Bn on the right. 7/8th Bn, Royal Irish Fusiliers was in support. Attached from 47 Bde was 6th Bn Royal Irish Regt which was held in reserve. It was during this action that L/Cpl Frederick Room earned his Victoria Cross. Room was in charge of the battalion stretcher bearers and worked continuously under intense fire, dressing the wounded and helping to evacuate them. It was he fourth and last VC earned by a man of the Royal Irish Regt.

 

7th Inniskillings took Beck House and then moved on to Delva Farm, taking it before coming under heavy fire from the rear where they had failed to mop up some German pillboxes. 8th Inniskillings was held up by MG fire while attacking Borry Farm.

forum.irishmilitaryonline.com/showthread.php?t=11535&...

 

Horace Bullock……………………………….................................(RoH) (CM)

 

Private 49505. 9th Battalion Essex Regiment. Formerly 53042 Suffolk Regiment. Killed in action in France & Flanders on 6th September 1918. Born and lived Holt. Enlisted Norwich. No known grave. Commemorated on Vis-En-Artois Memorial, Pas de Calais, France. Panel 7.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1740608

 

No match on Norlink

 

The most likely match on the 1901 Census is a 1 year Horace living at Shirehall Plain, Holt. This is the household of his parents, Samuel, (aged 31 and described as a Bricklayer and then something illegible, which the Genes Reunited transcibers have put down as Inn-Keeper?), and Margaret E. (aged 29 and from Hockham, (possibly Holkham?)). Their other children are:-

Eleanor…….aged 7.….born Holt

Hilda May…aged 4.….born Holt

 

Albert Caston……………………………….................................(RoH) (CM)

 

Corporal 13018. 9th Battalion Norfolk Regiment. Killed in action in France & Flanders on 15th September 1916. Born Holt. Enlisted Norwich. No known grave. Commemorated on Thiepval Memorial, Somme, France. Pier and Face 1 C and 1 D.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1542715

 

No match on Norlink

 

No obvious match on the 1901 Census,

 

15th September 1916 Battle of the Somme

The last great Allied effort to achieve a breakthrough came on 15 September in the Battle of Flers-Courcelette with the initial advance made by 11 British divisions (nine from Fourth Army, two Canadian divisions on the Reserve Army sector) and a later attack by four French corps.

The battle is chiefly remembered today as the debut of the tank. The British had high hopes that this secret weapon would break the deadlock of the trenches. Early tanks were not weapons of mobile warfare—with a top speed of 2 mph (3.2 km/h), they were easily outpaced by the infantry—but were designed for trench warfare. They were untroubled by barbed wire obstacles and impervious to rifle and machine gun fire, though highly vulnerable to artillery. Additionally, the tanks were notoriously unreliable; of the 49 tanks available on 15 September, only 32 made it to the start line, and of these, only 21 made it into action

 

en.wikipedia.org/wiki/Battle_of_Flers-Courcelette

 

An intense preliminary bombardment began on 12 September and at 6.20am on Friday 15 September the advance began in mist and smoke. XIV Corps attack, on the extreme right, where hopes of breakthrough were pinned, fared badly; 56th Division and 6th Division lost heavily as tanks and artillery support failed to neutralise vital defensive positions

www.cwgc.org/somme/content.asp?menuid=27&id=27&me...

 

151 Soldiers of the 9th Battalion appear to have died on this day.

 

Alfred Woodhouse Caston………………………………..............(RoH) (CM)

 

Private 36460. 8th Battalion East Surrey Regiment. Died in France & Flanders on 29th July 1918. Aged 30. Born Holt. Enlisted Norwich. Son of Alfred W. Caston, of 5, Albert St., Holt, Norfolk. Buried: Crouy British Cemetery, Crouy-Sur-Somme, France. Ref. IV. B. 20.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=71021

 

No match on Norlink

 

No obvious match on the 1901 Census

 

The battalion was in the reserve lines on this date, with working parties in the front line at night improving defences. No casualties are recorded since the 22nd.

qrrarchive.websds.net/PDF/ES00819180608.pdf

 

Frederick W Chestney………………………………....................(RoH) (CM)

 

The roll of honour entry for this person is incorrect. The correct individual is shown below.

 

Name: CHESTNEY, FREDERICK WILLIAM

Rank: Private Regiment/Service: Training Reserve Unit Text: 22nd Bn

Age: 18 Date of Death: 30/01/1918 Service No: 10/7202

Additional information: Son of Mr.E Chestney. N.B.: PLEASE NOTE This casualty was accepted for commemoration by the Commission. Please contact the Commission before planning a visit, for more information.

Grave/Memorial Reference: Plot D Grave 728 Cemetery: HOLT BURIAL GROUND

www.cwgc.org/search/casualty_details.aspx?casualty=75197297

 

No match on Norlink

 

The 2 year old Frederick is recorded on the 1901 Census living at Lion Street, Holt, the town of his birth. He is living with his parents Elijah, (aged 40 and a Carpenter from Holt), and Amelia J. (aged 39 and from Suffolk, (possibly Southwold?)). As well as Frederick, they have an 8 month old daughter, Kathleen E.M.

 

Charles William Clarke………………………………...............(RoH) (CM)

 

Private 12493. 7th Battalion Norfolk Regiment. Killed in action in France & Flanders on 13th October 1915. Aged 22. Born Holt. Enlisted Norwich. Son of Mrs. Mary Ann White, of Cross St., Holt, Norfolk. No known grave. Commemorated on Loos Memorial, Pas de Calais, France. Panel 30 and 31.

 

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=729875

 

No match on Norlink

 

On the 1901 Census, the 7 year old Charles W is living at Chapel Street, Holt. His widowed mother, the 34 year old Mary Ann earns a living as a washerwoman. She is also bringing up Augustus, (aged 3) and Susannah, (aged 1), although she has a 35 year old boarder, William White living with her. William is employed as a Hedger. All of them come from Holt.

 

On 12th October 1915 the Battalion moved from billets to a line in front of the St Elie Quarries, taking over from the Coldstream Guards. The attack was planned to go ahead the following day under a smoke cloud with the Norfolks closing on the German trenches from both ends of their position thus straightening their line, their own trenches being in a semi-circle. The left side of the Battalion was also tasked with bombing a German communications trench. A bright sunny day with an ideal wind for moving the smoke towards the enemy positions, the artillery bombardment began at 12:00 and was intensive by 13:45. 54 heavy and 86 field howitzers and 286 field guns fired on enemy trenches in the area of the Hohenzollern Redoubt, Fosse 8, the Quarries, Gun Trench and the positions south to Chalk Pit Wood. It failed to cause sufficient damage to the enemy positions. The smoke barrage went wrong and ceased by 13:40, twenty minutes before the attack was launched at 14:00 and was thus very thin. German machine gun fire from in front and from the direction of Slag Alley, opposite the Norfolks right flank, enfiladed their attack. Whilst they gained a foothold in the Quarries and consolidated the position they were unable to advance further. In the battalions first serious engagement they lost 5 Officers killed or died of wounds and 6 wounded, and 66 other ranks killed, 196 wounded and 160 missing.

Source: 1914-1918.invisionzone.com/forums/index.php?showtopic=42270

.

Albert Edward Cockaday………………………………..............(RoH) (CM)

 

Private 201347. 1st/4th Battalion Norfolk Regiment. Killed in action in Palestine on 19th April 1917. Aged 21. Born North Heigham, Norwich. Enlisted Norwich. Son of Archibald and Laura Cockaday, of 4, Weston Square, Holt, Norfolk. Buried: Gaza War Cemetery, Israel. Ref. XIII. E. 6.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=649749

 

No match on Norlink

 

The 4 year old Albert is recorded on the 1901 Census at Carpenters Arms Yard, Norwich Road, Holt. This is the household of his parents, Archibald, (aged 25 and a Gas Fitter and Plumber from Norwich), and Laura, (aged 24 and also from Norwich). Their oher children are:-

Ethel………………aged under /1.…..born Holt

Harry……………aged 2.……………born Holt

 

19th April 1917 During the 2nd Battle of Gaza,

 

Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.

The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.

The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.

To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.

en.wikipedia.org/wiki/Second_Battle_of_Gaza

 

More than a thousand one hundred of the men of the 54th posted killed wounded or missing were from the two Norfolk regiment battalions, equating to 75% of their strength. Eastern Daily Press "Sunday" section May 5, 2007

en.wikipedia.org/wiki/Second_Battle_of_Gaza

 

Private Cockadays British War Medal and Victory Medal were auctioned in January 2010

www.lockdales.com/AuctionMedals&Militaria.htm

 

Update December 2016

 

While researching a Bertie Thomas Curson from Yaxham, Norfolk, who died in the same action (Private 240350, 1st/5th Battalion), I managed to track down what remains of his Service Record. In there was an undated report by the Graves Registration Unit, titled Information as to Location of Graves. There are 8 other names on the report - one of which is Albert. It seems both their bodies were discovered buried at Tank Redoubt Military Graves, Atawineh, Palestine. Presumably they were buried by the Turks. The bodies were moved to the current location probably before the CWGC, (or its predecessor, the Imperial War Commission), took responsibility for maintaining War Graves and hence no record of this move being available on CWGC.

 

1939-1945

 

John Arnott……………………………….......................................(RoH) (CM)

Roll of Honour web-site has no further details

9 Potential matches

 

Patrick Arnott……………………………….....................................(RoH) (CM)

 

Sergeant (Air Bomber) 1333984. 15 Squadron Royal Air Force Volunteer Reserve. Died on 25th May 1943. Aged 19. Son of Frederick Henry and Nellie Arnott, of Holt, Norfolk. Buried: Jonkerbos War Cemetery, Gelderland, Netherlands. Ref. 24. A. 3.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2645038

 

Stirling BK611 Information

Type..............................Stirling

Serial Number...............BK611

Squadron......................15

X1D...............................LS-U

Operation......................Dusseldorf

Date 1...........................25th May 1943

Date 2...........................26th May 1943

 

Further Information

"Delivered to No.15 Sqdn 24Dec42. Bk611 was one of two No.15 Sqdn Stirlings lost on this operation. See: BF534. Airborne 2356 25May43 from Mildenhall. Hit by Flak at 0132 26May43 when SW of the target and bombs were jettisoned two minutes later. In the ensuing confusion, Sgt Seabolt baled out. Course for base was set, but at 0215 the Stirling crash-landed some 300 metres S of the crossroads Horst-Venlo/Sevenum-Grubbenvorst (Limburg), some 8 km NW of Venlo, Holland. Those killed were taken to Venlo for burial, since when their remains have been transferred to Jonkerbos War Cemetery. Sgt Maxted and Sgt Edgley evaded capture for six weeks before being picked up in Paris 9Jul43. The name Te-Kooti was given to this aircraft Jan43 by P/O Renner RNZAF. Since its acceptance by the Squadron, this Stirling had performed remarkably well and when lost had accomplished 29 operational sorties. This information is provided by Mr A.W.Edgeley, rear gunner of BK611.

Sgt J.O.Wilson RAAF KIA

Sgt R.W.Pittard KIA

P/O B.E.Cooper PoW

Sgt P.Arnott KIA

Sgt S.J.Maxted PoW

Sgt E.I.Seabolt RCAF PoW

Sgt A.W.Edgeley PoW

 

P/O B.E.Cooper initially evaded until captured in Brussels 6Jun43. After two weeks incarceration in St.Gilles Prison was interned in Camp L3, PoW No.1770 Sgt A.W.Edgeley in Camp 4B, PoW No.222506. Sgt S.J.Maxted initially evaded until captured in Paris 9Jul43 and interned in Camp 4B, PoW No.222529. Sgt E.I.Seabolt was confined in Hospital due injuries. No PoW No. 'Air Battle of the Ruhr', A.Cooper, records Sgt S.J.Maxted as Sgt S.J.Morted and Sgt A.W.Edgeley as Sgt A.W.Edgley. "

www.lostbombers.co.uk/bomber.php?id=11246

 

A picture of the aircraft and a member of the ground crew responsible for her can be seen here.

www.ww2aircraft.net/forum/album/black26-white-photos/p632...

 

Although it doesn’t translate very well, there is a bit about the escape route that tried to help Rear-Gunner Sgt Edgeley to evade, and the betrayal that led to their capture

translate.google.co.uk/translate?hl=en&sl=fr&u=ht...

 

Gerald A Attew………………..……….....................................(RoH)(CM)

 

Probably: Gerald Albert Attew. Leading Aircraftman 1175121, Royal Air Force Volunteer Reserve. Died on 28th November 1945. Son of Thomas and Ethel Attew; husband of Lena C. Attew, of Pembroke Dock, Pembrokeshire. Buried: Naples War Cemetery, Italy. Ref. IV. N. 17.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2239128

 

Duncan Barrett ………………………………........................(RoH) (CM)

Roll of Honour web-site has no further details

 

Possibles

Name: BARRETT, DUNCAN HENRY Initials: D H Nationality: United Kingdom Rank: Sergeant (Pilot) Regiment/Service: Royal Air Force Volunteer Reserve Unit Text: 49 Sqdn. Date of Death: 29/08/1941 Service No: 901205 Additional information: Son of Benjamin Hush Barrett and Isabella Sanderson Barrett, of Durban, Natal, South Africa. Casualty Type: Commonwealth War Dead Grave/Memorial Reference: Plot D. Row 13. Coll. grave 12. Cemetery: AMELAND (NES) GENERAL CEMETERY

www.cwgc.org/search/casualty_details.aspx?casualty=2649002

 

Sergeant Barret was a Navigator of a 49 Squadron Hampden, AD971 “EA-O”, that failed to return from a bombing mission to Duisberg on this day. His headstone can be seen here.

www.bomberhistory.co.uk/49squadron/Main Menu.html

 

Hampden AE126 Information

Type..................................Hampden

Serial Number..................AE126

Squadron.........................49

X1D..................................EA-N

Operation.........................Duisburg

Date 1..............................28th August 1941

Date 2..............................29th August 1941

 

Further Information

"AE126 was one of two 49 Sqdn Hampdens lost on this operation. See: AD971. Airborne from Scampton. Shot down by a night-fighter (Oblt Helmut Lent, 4./NJG1) and crashed 0340 29Aug41 into the sea off Ameland, where all are buried in Nes General Cemetery.

 

P/O B.M.Fournier KIA

Sgt D.H.Barrett KIA

Sgt E.R.Palmer KIA

Sgt D.Watson KIA "

www.lostbombers.co.uk/bomber.php?id=9899

 

Alternatively

 

Name: BARRETT, DUNCAN HENRY JAMES

Rank: Sergeant (Obs.) Regiment/Service: Royal Air Force Unit Text: 102 Sqdn.

Date of Death: 20/05/1940 Service No: 580865

Grave/Memorial Reference: Coll. grave 2-5. Cemetery: HAMEGICOURT CHURCHYARD

www.cwgc.org/search/casualty_details.aspx?casualty=2689407

 

Whitley N1380 Information

Type.................................Whitley

Serial Number..................N1380

Squadron..........................102

X1D..................................DY-R

Operation.........................Ribemont

Date 1...............................20th May 1940

Date 2...............................21st May 1940

 

Further Information

"Serial range N1345 - N1394. 40 Whitely Mk.V. Delivered by Armstrong Whitworth Aircraft between 28Aug39 and 23Oct39. Contract No.75147/38.. Airborne 2029 20May40 from Driffield to bomb a bridge spanning the River Oise ar Ribemont. Crashed 2330 near Ham_gicourt (Aisne), 10 km SSE of St-Quentin, France.

F/L D.W.H.Owen KIA

P/O D.F.S.Holbrook KIA

Sgt D.H.J.Barrett KIA

LAC R.J.Newberry KIA

AC2 M.D.Dolan KIA

www.lostbombers.co.uk/bomber.php?id=5521

 

Robert John Bird……………………………….....................(RoH) (CM)

 

Chief Steward. H.M. Yacht Sappho, Naval Auxiliary Personnel (M.N.) Died on 29th September 1940. Aged 35. Son of Martha Bird, of Holt, Norfolk. No known grave. Commemorated on Liverpool Naval Memorial. Panel 21, Column 1.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2498496

 

The yacht Sappho was built in 1935 and requisitioned in November 1939. It weighed 327 tons and was lost, probably due to a mine, whilst serving as a guardship in Falmouth, Cornwall, 29th September 1940

(The article goes on to list 32 names of officers and men serving aboard the Sappho, including Chief Steward Bird.)

www.nationalarchives.gov.uk/A2A/records.aspx?cat=028-1260...

In contrast the Naval net site lists 1 deceased on the 29th, and 32 on the 30th, (including Chief Steward Bird), as a result of ship loss.

www.naval-history.net/xDKCas1940-09SEP.htm

 

Michael Bond………………………………..........................(RoH) (CM)

 

Possibly: Michael William Bond. Corporal 14566787. 1048 Port Operating Coy. Royal Engineers. Died on 4th April 1944. Aged 20. Son of Hedley Lester Bond, and of May Louise Bond, of Norwich. Buried: Brookwood Military Cemetery, Surrey. Ref. 33A. A. 1.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2761910

(The only other Michael is a 15 year old civilian who died in Wandsworth, London in 1943 - presumably as a result of an air-raid)

 

Ronald Douglas Bond………………………………............(RoH) (CM)

 

Leading Aircraftman 541180. Royal Air Force, (serving in H.M.S. Welshman). Died on 1st February 1943. Aged 23. Son of Bertie Henry and Eunice May Bond, of Holt, Norfolk. No known grave. Commemorated on Malta Memorial. Panel 9, Column 2. Special note: HMS Welshman was heading for Alexandria when she was hit and sunk by a torpedo from U-617. Over 150 Naval officers and man died, along with a number of Air Force and Army personnel who were aboard.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1081489

 

Navy The Royal Navy Type Minelayer Class Abdiel Pennant M 84 Built by Hawthorn Leslie & Co. (Hebburn-on-Tyne, U.K.) Ordered Laid down 8 Jun 1939 Launched 4 Sep 1940 Commissioned 25 Aug 1941 Lost 1 Feb 1943 Loss position 32.12N, 24.52E (See a map) History

HMS Welshman (Capt. Wiliam Howard Dennis Friedberger, DSO, RN) was returning from Malta to Alexandria when she was sunk about 35 nautical miles east-northeast off Tobruk, Libya in position 32º12'N, 24º52'E, by one torpedo from the German submarine U-617.

HMS Welshman supported the island of Malta during the long siege in WW2. The island population resisted strongly and was collectively awarded the highest decoration for civilian bravery. Welshman brought food and essential supplies many times; her role was featured in the UK movie The Malta Story. When unloading in Valetta harbor she was attacked and suffered a near miss which damaged her prop shafts, putting one of her thre engines out of service. As her principal fighting strength was her extreme speed this damage affected her ability to perform drastically. She was also torpedoed subsequently, but made it home to the United Kingdom and was repaired at Devonport. She returned to the Mediterranean to serve on the same relief duty, steaming under disguise and simulating French warships.

www.uboat.net/allies/warships/ship/3956.html

www.killifish.f9.co.uk/Malta WWII/Welshman-Manxman.htm

en.wikipedia.org/wiki/HMS_Welshman_(M84)

www.georgecrossisland.org.uk/viewPhoto.asp?Key=88

www.georgecrossisland.org.uk/viewStory.asp?Key=15

 

(Robert) Roy Bunkell………………………………..................(RoH) (CM)

 

Private 5779487. 70th Battalion Royal Norfolk Regiment. Died on 25th July 1942. Aged 20. Son of Kathleen M. R. Mason of Sheringham. Buried: Holt Burial Ground. Ref. Grave B. 269.

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2763921

 

KOREA 1952

 

Edward Farrow……………………………….................(RoH)(CM)

Private 22477681, The Royal Norfolk Regiment. Died 14th June 1952. Age 19. Buried in UN Memorial Cemetery, Korea. Plot 22. Row 4. Grave 1444

myweb.tiscali.co.uk/bkvaroh/ROH/FilesP/0551.htm

 

NORTHERN IRELAND 1991

 

Simon Ware………………………………...............................(RoH) (CM)

Lance Corporal, Coldstream Guards. Killed by a landmine 17th August 1991 while on foot patrol in forest of Carrickovaddy in South Armagh. Aged 22.

 

cain.ulst.ac.uk/sutton/chron/1991.html

 

A picture of Simon and the following obituary can be seen here

coldstreamkids.websitetoolbox.com/post?id=2653653

 

Simon was born in Enfield, North London, on 23 Jan 1969. He left school in 1986 and joined the Coldstream Guards and after his training at Pirbright was posted to the First Bn in Hong Kong. Having conducted many overseas exercises whilst in HK he returned with the Bn to Wellington Bks. He deployed to Belfast on a roulement tour in Sept 1989 based at North Howard Street Mill. In October 1990 he transfered to the Second Bn as the First Bn had been warned for a tour of Germany and this would have messed up his wedding plans if he had gone to Germany. On March 9th 1991 he married Carol Nice in the Guards Chapel and two days later he deployed to South Armagh with Number 4 (Ops) Company based at Bessbrook Mill. At 0800hrs on Sat 17 August 1991 he was the third man in a four man team as they patrolled along a fire break through Carrickovaddy Woods, near to Newtownhamilton. The remaining two teams sattelited the wood. As he approached a bend in the track a device detonated from his right side killing him instantly. The device was a 250lb landmine planted by the IRA and placed in an embankment to achieve maximum affect. So large was the explosion that he was killed instantly and his body was never found. Only parts of him and military equipment was found nearby.

Cozy Wooden House with Large Garden... All daily inspiration

a-world-in-a-grain-of-sand-sl.blogspot.com/2015/03/lights...

ddmagazine.it/2013/numeri/04apr/04apr.html

BEHIND US

    

DDMagazine april 2013 issue is on line.

    

Works:

        

LORELLA PALENI

Italian artist, she studied in Italy and Usa, and recently she had her first solo show in Germany, in april 2013 at the KunstHalle HB55 in Berlin.

            

CHRIS FRIEL

English artist makes a search on image, either human figure and landscape, with a particular sense of the void and the encertain boundary of identity.

        

JAYA SUBERG

Artist based on Berlin, her works are melting imagination, feelings, dreams and the reality to one impression, inner world and outside world of human being. About her works she uses the word “transmotionArt”.

        

RITA BOLLA

Born in Budapest, Hungary, she lives and works in San Diego, Usa. Her works tells in a pop style the presence of pets or cartoon characters, close to human being as witness of a loss.

        

LINDA DORIGO

Italian photographer, journalist and documetarist based currently in Beirut, Lebanon, she presents a search in double exposure, and a reportage about christians minorities in Middle East.

 

Dan Berger is Cartoonist behind Natural News

 

Patrick Swayze's death came as a shock to many people. But not to his own cancer doctor: they know that the five-year survival rates of people being treated with chemotherapy for pancreatic cancer are virtually zero. And Swayze was only the latest in a long list of celebrities dying after being treated with chemotherapy and other toxic forms of western medicine...

 

... The reason so many celebrities are harmed or killed by the cancer industry is quite simple: the cancer industry is a for-profit business. It makes money by treating cancer, not by curing or preventing cancer...

 

Continue reading: The truth about chemotherapy and the cancer industry by Mike Adams, the Health Ranger.

 

All our posts about cancer, chemotherapy and screenings. See more comics.

angelstyle-sl.blogspot.gr/2014/09/no-137.html

VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST

www.emergencyrooms.org/biennalist.html

 

Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

www.colonel.dk

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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

www.emergencyrooms.org/biennalist.html

 

Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the

ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013

thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...

www.emergencyrooms.org

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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

 

Any reference to (RoH) means the Roll of Honour Website, to which I am deeply indebted.

 

www.roll-of-honour.com/Norfolk/Aylsham.html

The Roll of Honour site refers to the War memorial in the churchyard. Although there is also a wooden memorial plaque in the church, this appears to be identical in practically every detail, other than adding that the Korean War individual died in 1952.

 

Francis Henry FROSTICK………………………………...............(RoH)

 

Able Seaman R/543. Hawke Bn. R.N. Div., Royal Naval Volunteer Reserve. Died Tuesday 24 April 1917. Age 26. Son of James and Emily Frostick, of Hungate St., Aylsham, Norfolk. Commemorated: ARRAS MEMORIAL, Pas de Calais, France. Bay 1

 

On Churchyard War Memorial F H Frostick

On Church Memorial board F H Frostick

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1557805

Norlink No archive items.

1901 Census There is a Frank Frostick,on the census, aged 11 and living at the Cottages by the Mill, Oxnead. Frank was born at Aylsham. His parents are James, (aged 46 and a Cattleman on Farm from Banningham), and Emily, (aged 45 and from Skeyton). Their other children are Elsie, (aged 3, born Oxnead), Frederick, (aged 7, born Aylsham), and William, (aged 15 and a Bricklayers Labourer, born Heigham).

On the DayWESTERN FRONT

9 April-15 May Battle of Arras, including

23-24 April Second Battle of the Scarpe (Second phase of Arras Offensive), 63rd (RN) Division captured Gavrelle

The attack on Gavrelle was commenced on 23 April and was carried out by the 189th and 190th Brigades. At 4.45 a.m. Nelson and Drake battalions went over the top under cover of an artillery barrage. The first line of German trenches was quickly taken, and an hour later the attack was ceased at the edge of the village.

 

The artillery barrage was relocated across the village, which was reduced to rubble. Other battalions from the brigade were moved forward. House to house fighting led to the taking of Gavrelle, at the cost of 1,500 casualties.

Virtually all the remaining reservists of the original Royal Naval Division lost their lives at Gavrelle. They were the veterans who had survived the fighting at Gallipoli and at the Ancre.

www.wereldoorlog1418.nl/RND-Royal-Naval-Division/index.html

www.naval-history.net/xDKCas1917-04Apr.htm

 

H J GIBBONS……………………………….............................(RoH)

 

No further information available at present.

 

On Churchyard War Memorial H J Gibbons

On Church Memorial board H J Gibbons

CWGC

Possibly H J East Surrey Regiment died 1916

www.cwgc.org/search/casualty_details.aspx?casualty=576007

Or Henry John, Royal Lancaster Regiment, died 1918

www.cwgc.org/search/casualty_details.aspx?casualty=301567

Norlink No archive items.

1901 Census There is a 14 year old Henry G, born Aylsham, and now employed as an Errand Boy at Chemist, living at 9 West Street, Cromer. His mother Alice M M, (age 36 and from Colby) has re-married, and so Henry is living with his step-father, James Norgate, a 32 year old Corn Porter from North Walsham).

 

William GILES………………………………............................(RoH)

 

Private 51361. 2nd Bn., Manchester Regiment. Killed in action Friday 19 April 1918 in France & Flanders. Age 27. Born Skeyton. Lived Aylsham. Enlisted Norwich. Son of William and Annie Giles, of Woodgate Cottages, Aylsham, Norfolk. Buried: QUESNOY FARM MILITARY CEMETERY, Pas de Calais, France. Ref. C. 7.

 

On Churchyard War Memorial W Giles

On Church Memorial board W Giles

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=590871

Norlink No archive items.

1901 Census There is an 8 year old “Willie” Giles, living at North Walsham Road, Skeyton, the village of his birth. Willie’s parents are William, (aged 35 and a Cattle Feeder on Farm from Scottow), and Annie, (aged 38 and from Scottow). Their other children are Alice, (aged 5, born Sketon), George, (aged 12, born Oxnead), John, (aged 9, born Swanton Abbott), Martha, (aged 13, born Swanton Abbott), and Sidney, (aged 2, born Skeyton).

On the day April 1918

Ayette attacked and carried. Batt was in the front line until the 25th 14 KIA, 87 wounded, 16 gassed, 1 missing.25th withdrawn to Barly

www.themanchesters.org/2nd batt.htm

 

Clare Horsley GOULDER……………………………….............(RoH)

 

Corporal 13146. 8th Bn., Norfolk Regiment. Died Tuesday 31 October 1916. Born Aylsham. Enlisted Norwich. Buried: AYLSHAM CEMETERY, Norfolk, United Kingdom. Ref. B. 77.

 

On Churchyard War Memorial C H Goulder

On Church Memorial board C H Goulder

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802302

Norlink No archive items.

 

There is a memorial to all the Goulder boys who died in the Great War in Aylsham Cemetery. Clare is listed as having been wounded on the Somme on the 1st July 1916, and subsequently dying in Hospital on the 31st October 1916. He was born on the 14th January 1892.

1901 Census The 9 year old Clare H is recorded at Pound Lane, Aylsham. His parents are John, (aged 56 and a Farmer and Manure Agent from Wramplingham), and Mary, (aged 52 and from Stretford, Lancashire). Their other children are Colin Chas, (aged 11), Frances M, (aged 12), John Lee, (aged 17), and Sybil M, (aged 19). The Goulders have two live in servants.

 

John Lee GOULDER………………………………................(RoH)

(There is a picture of John on the RoH website)

 

Serjeant 2179. 1st/5th Bn., Norfolk Regiment. Killed in action Saturday 21 August 1915. Born and enlisted Aylsham. Commemorated: HELLES MEMORIAL, Turkey. Panel 42 to 44.

 

On Churchyard War Memorial J L Goulder

On Church Memorial board J L Goulder

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=693690

Norlink No archive items.

 

There is a memorial to all the Goulder boys who died in the Great War in Aylsham Cemetery. John Lee is listed as having died in action at Suvla. He was born the 16th April 1883.

1901 Census The 17 year old John Lee is recorded at Pound Lane, Aylsham. His parents are John, (aged 56 and a Farmer and Manure Agent from Wramplingham), and Mary, (aged 52 and from Stretford, Lancashire). Their other children are Colin Chas, (aged 11), Frances M, (aged 12), Clare H, (aged 9), and Sybil M, (aged 19). The Goulders have two live in servants.

On the Day 21st August 1915

 

Having lost over 200 men from the battalion shortly before this on the 12th, the battalion was to lose at least another 36 on this day.

 

Robert Christopher GOULDER………………………………..(RoH)

 

Lance Corporal 13188. 8th Bn., Norfolk Regiment. Killed in action Saturday 1 July 1916. Born Aylsham. Enlisted Norwich. Commemorated: THIEPVAL MEMORIAL, Somme, France. Pier and Face 1 C and 1 D.

 

On Churchyard War Memorial Not noted by me

On Church Memorial board R C Goulder

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=786636

Norlink No archive items.

1901 Census A 14 year old Robert Goulder, born Aylsham, is recorded as a Boarder at a Private Grammer School in Banham, Norfolk. Ten years earlier, the same individual is now listed as Robert C. and is living at Cromer Road, Aylsham with his parents John and Mary - see family details recorded for Clare and John Lee. The only additional child listed appears to be a Humphrey W, (aged 6 in 1891, born Aylsham)

On the Day The 6th Battalion, Royal Berks went over the top alongside the 8th Norfolks on the first day of the Somme. The story of what happened to the two units can be read here,

www.6throyalberks.co.uk/1stJuly/default.html

 

The 8th Battalion as part of the 18th (Eastern) Division was present on the first day of the Battle of the Somme on 1 July 1916. They got beyond their initial target and had by 5.00pm reached the German trenches known as "Montauban Alley". Over one hundred men and three officers had been killed.

en.wikipedia.org/wiki/Royal_Norfolk_Regiment

 

Arthur Robert HALL………………………………..........................(RoH)

 

Sapper 230925. 130th Field Coy., Royal Engineers. Died Friday 18 October 1918. Born and lived Aylsham. Enlisted Cromer. Buried: ST. SEVER CEMETERY EXTENSION, ROUEN, Seine-Maritime, France. Ref. S. II. J 9.

 

On Churchyard War Memorial Not noted by me

On Church Memorial board A Hall

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=518028

Norlink No archive items.

1901 Census There is a 14 year old Arthur, born Aylsham, employed as a Stonemason, and currently residing at Millgate, Aylsham. His parents are Charles, (aged 48 and a Stone Mason from Cossey, Norfolk), and Susanna, (aged 47 and from Burgh). Their other children are Ada, (aged 25 and a Drapers Assistant), Alfred, (aged 17 and a Grocers Assistant), Bessie, (aged 18 and a Drapers Assistant), Frank, (aged 7), and Harry, (aged 11).

 

Arthur James HORNE………………………………......................(RoH)

 

[C.D. Gives surname as HOME.] Private 27389. 6th Bn., Somerset Light Infantry. Formerly G/37364 Royal Fusiliers. Killed in action in France & Flanders on Saturday 3 November 1917. Born Aylsham. Enlisted Norwich. Husband of Mrs. L. Farrow (formerly Horne), of Footpath House, Swanton Abbott, Norwich, Norfolk. Commemorated: TYNE COT MEMORIAL , Zonnebeke, West-Vlaanderen, Belgium. Panel 41 to 42 and 163A.

 

On Churchyard War Memorial Not noted by me

On Church Memorial board A J Horne

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=837244

Norlink No archive items.

1901 Census The 12 year old Arthur J, employed as an Errand Boy\Porter, is recorded at Woodgate Cottage, Aylsham. His parents are Johnathan, (aged 39 and a Team Man on farm from Foulsham), and Mary Ann, (age 40 and from Norwich). Their other children are Bertie S, (aged 1), Gladys F, (aged 3), and Walter S, (aged 7). Also living with them are Johnathan’s father, James, (aged 82 and from Saxthorpe, on Parish Poor Relief).

 

Eric HORNER………………………………..................................(RoH)

(There is a picture of Eric on the RoH website)

 

Lance Corporal 11376. 6th Bn., Yorkshire Regiment. Killed in action Saturday 21 August 1915. Born Aylsham. Enlisted South Shields. Commemorated: HELLES MEMORIAL, Turkey. Panel 55 to 58.

 

On Churchyard War Memorial Not noted by me

On Church Memorial board E Horner

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=691984

Norlink No archive items.

1901 Census The 9 year old Eric is resident at Cawston Road, Aylsham. His parents are Frederick J, (aged 37 and a Blacksmith from Calthorpe), and Eliza, (aged 37 and from Aylsham). Their other children are Cora, (aged 12), Ella, (aged 12), Hilda, (aged 4), Leonard, (aged 11), and Raymond, (aged 7).

1914-1918.invisionzone.com/forums/index.php?showtopic=124...

On the Day The Yorkshires were involved in the costly Battle of Scimitar Hill and the attack on “W” Hills on this day.

en.wikipedia.org/wiki/Battle_of_Scimitar_Hill

www.firstworldwar.com/battles/scimitarhill.htm

 

G HUNT……………………………….........................................(RoH)

 

No further information available at present.

 

On Churchyard War Memorial Not noted by me

On Church Memorial board G Hunt

CWGC

 

Possibly George Lewis aged 18 of the 1st/5th Duke of Wellingtons (West Riding) Regiment. His parents are shown as residing at Neatishead.

www.cwgc.org/search/casualty_details.aspx?casualty=794393

 

Norlink No archive items.

1901 Census Possibilities are:-

George, (aged 2), living at Hungate Street, Aylsham. Parents Arthur, (32, Agricultural Labourer), Alice (33, born Fritton) - other children Arthur W. (6), and Florence C (4).

George, (aged 16 - Cattle Man on Farm), living at Mucklands, Aylsham..Mother Elizabeth, (aged 39 and a Widow from Barningham Parva) - other children Bertie, (aged 12), Daisy, (aged 10), Lily, (aged 8), and Sidney, (aged 14 and a Baker).

 

(Charles) Frederick KNIGHTS……………………………….........(RoH)

 

Private 127984. 34th Coy., Machine Gun Corps (Inf). Formerly 35348 East Surrey Regiment. Killed in action Thursday 11 April 1918 in France & Flanders. Born Northrepps. Lived Aylsham. Enlisted Cromer. Son of Fredrick Charles Knights. Commemorated: PLOEGSTEERT MEMORIAL, Comines-Warneton, Hainaut, Belgium. Panel 11.

 

On Churchyard War Memorial Not noted by me

On Church Memorial board F Knights

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=869316

Norlink No archive items.

1901 Census There is a 2 year old Frederick Knights living at Norwich Road, Aylsham who was born at Southrepps. He is living with his Grand-Parents Frederick, (aged 50 and a Railway Porter from Diss), and Alice, (aged 40 and from Wells, Norfolk). The children of Frederick and Alice are Adeline, (aged 14), Anne, (aged 19), Bertie G, (aged 5), Edith, (aged 11), and Sidney, (aged 9).

  

C LEE………………………………............................................(RoH)

 

No further information available at present.

 

On Churchyard War Memorial Looks more like G Lee but carving not in common with other C’s or G’s

On Church Memorial board C Lee

CWGC

Norlink No archive items.

1901 Census There is a 9 year old Charles H Lee, born Cawston and now living at Cawston Road, Aylsham. His parents are Herbert Wm, (aged 31 and a Farm Bailiff from Cawston), and Elizabeth, (aged 31 and also from Cawston). Their other children are Sidney S., (aged 4, born Cawston), Valentine E. (aged 2, born Aylsham) and Walter W. (aged 7, born Cawston).

 

This points us to a possible match on the CWGC database - Charles Herbert Lee who was 26 when he died on the 14/11/1918. His wife had re-married, and was now living at Aldborough, but Charles is buried in the Churchyard of St Giles, Colby, Norfolk. Charles is on the Colby War Memorial. He had served as a Pioneer in the Royal Engineers.

www.cwgc.org/search/casualty_details.aspx?casualty=2802318

www.roll-of-honour.com/Norfolk/Colby.html

 

If they are all the same individual, then Charles is probably the brother of the Sydney listed below.

 

Sydney Samuel LEE………………………………......................(RoH)

 

Private 22202. 2nd Bn., Norfolk Regiment. Died Sunday 7 January 1917. Age 20. Born Aylsham. Enlisted Norwich. Son of Hubert William and Elizabeth Lee, of Beer House Farm, Cawston, Norfolk. Commemorated: KIRKEE 1914-1918 MEMORIAL, India. Face C.

 

On Churchyard War Memorial S Lee

On Church Memorial board S Lee

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1481525

Norlink No archive items.

1901 Census There is a 4 year old Sidney S Lee, born Cawston and now living at Cawston Road, Aylsham. His parents are Herbert Wm, (aged 31 and a Farm Bailiff from Cawston), and Elizabeth, (aged 31 and also from Cawston). Their other children are Charles H., (aged 9, born Cawston), Valentine E. (aged 2, born Aylsham) and Walter W. (aged 7, born Cawston).

 

(Frank) Sydney LEMAN………………………………................(RoH)

Private 40900. 11th Bn., Essex Regiment. Formerly 32927 Suffolk Regiment. Died of wounds Saturday 23 March 1918 in France & Flanders. Age 35. Born Kelling. Lived Aylsham. Enlisted Cromer. Buried: DERNANCOURT COMMUNAL CEMETERY EXTENSION, Somme, France. Ref. III. J. 46.

 

On Churchyard War Memorial S Leman

On Church Memorial board S Leman

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=37479

Norlink No archive items.

1901 Census No apparent match. On the 1891 Census, the 9 year old Frank, having been born at Kelling was by now living at The Street, (Possibly Kelling or Erpingham - original is a poor quality scan). His parents are John Leman, (aged 31 and an Agricultural Labourer, place of birth illegible on the Genes Re-united site - possibly Erpingham) and Jane, (aged 30 and probably from Kelling). I believe the other children are Jane, Agnes, Stuart and Arthur, but I shall roll my eyes next time I hear someone waffle on about how standards of hand-writing used to be so much better in Victorian times J

On the DayThe 11th Essex had been heavily engaged in holding back the German onslaught of their 1918 Spring Offensive which had commenced on the 21st.

www.gutenberg.org/files/20115/20115-h/20115-h.htm#page044

Private Leman may well have picked up his fatal wounds during this time.

 

B MARSHALL……………………………….....................................(RoH)

 

No further information available at present.

 

On Churchyard War Memorial B Marshall

On Church Memorial board B Marshall

CWGC

 

Possibly Bertie Walter, aged 22, of the 35th Battalion, Machine Gun Corps, who died 30/11/1917. Bertie’s parents (James & Laura) are recorded as living at Stafford Street, Norwich.

www.cwgc.org/search/casualty_details.aspx?casualty=554906

Norlink No archive items.

1901 Census No obvious match for any B Marshall and no obvious Marshall connection with Aylsham.

 

Frederick MOY………………………………..................................(RoH)

 

Private 240040. 1st/5th Bn., Norfolk Regiment. Killed in action Thursday 19 April 1917. Born Aylsham. Enlisted Millgate, Higham, Norfolk. Buried: GAZA WAR CEMETERY, Israel. Ref. XXII. G. 5.

 

On Churchyard War Memorial F Moy

On Church Memorial board F Moy

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=650910

Norlink No archive items.

1901 Census No obvious match on the 1901 or 1891 Censuses. There are two Moy familys, both with numerous sons, and Aylsham connections - one having subsequently moved to Old Buckenham, but there is not even a middle initial F. on any of them.

On the Day 19th April 1917 During the 2nd Battle of Gaza,

Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.

The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.

The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.

en.wikipedia.org/wiki/Second_Battle_of_Gaza

More than a thousand one hundred of the men of the 54th posted killed wounded or missing were from the two Norfolk regiment battalions, equating to 75% of their strength. Eastern Daily Press "Sunday" section May 5, 2007

en.wikipedia.org/wiki/Second_Battle_of_Gaza

 

William NORTON………………………………...............................(RoH)

 

Private 41117. 7th Bn., The Queen's (Royal West Surrey Regt.) attd. 288th Coy., Royal Engineers. Died Saturday 17 March 1917. Age 41. Born and lived Aylsham. Enlisted Cromer. Son of Mr. and Mrs. W. Norton, of Aylsham; husband of S. E. Norton, of Pound Rd., Aylsham, Norfolk. Buried: WARLINCOURT HALTE BRITISH CEMETERY, SAULTY, Pas de Calais, France. Ref. V. E. 4.

 

On Churchyard War Memorial W Norton

On Church Memorial board W Norton

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=91524

Norlink No archive items.

1901 Census The 25 year old William, born Aylsham, is employed as a Domestic Gardener and is living on Hungate Street, Aylsham with his widowed mother Esther, (aged 48 and born Edgefield). Also living with them are William’s brothers Albert, (aged 15 and a Cattle Feeder on Farm), Augustus, (aged 12) and Frederick, (aged 9).

 

J C PAYNE……………………………….........................................(RoH)

 

[No record on CD.] Private T/254791. Army Service Corps. Died Thursday 20 December 1917. Age 35. Buried: AYLSHAM CEMETERY, Norfolk, United Kingdom. Ref. G. 70.

 

On Churchyard War Memorial J C Payne

On Church Memorial board J C Payne

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802303

Norlink No archive items.

1901 Census The 1901 Census has a 17 year old James C, born Aylsham and employed as a Bricklayers Labourer. He is living at Drabblegate, Aylsham with his parents William, (aged 44 and a Bricklayer), and Sophia, (aged 40). Their other children are Blanch, (aged 10), Eliza, (aged 13), Ethel S, (aged 8), Frederick H, (aged 19 and a Gardener, (not Domestic)), Harry E. (aged 7), Katie (aged 6), and William, (aged 4).

 

Frederick PEGG……………………………….............................(RoH)

 

Corporal 12967. 7th Bn., Suffolk Regiment. Killed in action Wednesday 27 March 1918. Born Aylsham. Enlisted Lowestoft. Commemorated: POZIERES MEMORIAL, Somme, France. Panel 25

 

On Churchyard War Memorial F Pegg

On Church Memorial board F Pegg

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1586611

Norlink No archive items.

1901 Census The 14 year old Frederick, born Aylsham, is living on Hungate Street and employed as an Errand Boy. His parents are Alfred Charles, (a 47 year old Carpenter from Heydon), and Clara, (47 and from Wood Dalling). Their other children are Benjamin A, (aged 15 and a Newspaper Boy), Caroline E, (aged 22), Francis H, (aged 13), Marshall A, (aged 20 and a Bricklayers Labourer), and Stephen S.A. (aged 11).

On the dayThe 7th Suffolks were involved in the fighting retreat that was gradually bringing the German Spring Offensive to a halt before Albert.

1914-1918.invisionzone.com/forums/index.php?showtopic=111...

 

W J PITCHER………………………………...............................(RoH)

 

Possibly: Wilfred Pitcher. Private 240948. 1st/5th Bn., Norfolk Regiment. Died in Palestine on Thursday 19 April 1917. Enlisted East Dereham. Buried: GAZA WAR CEMETERY, Israel. Ref. XXIII. D. 10.

 

On Churchyard War Memorial W J Pitcher

On Church Memorial board W J Pitcher

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=651074

Norlink No archive items.

 

There is a memorial to Wilfred’s father Elliot who died in 1934 in Aylsham cemetery. This also lists a son Wilfred John who fell in action in Egypt, 19th April 1917.Elliot’s wife, (and presumably Wilfred’s mother) is listed as Alice Mary.

1901 Census The 1 year old Wilfred, born Aldborough, is living Near the Green, Aldborough. His parents are Elliott, (aged 25 and a Domestic Gardener) and Alice, (aged 22 and from Saxthorpe). Wilfred has a brother George, (aged under 1).

On the dayMore than a thousand one hundred of the men of the 54th posted killed wounded or missing were from the two Norfolk regiment battalions, equating to 75% of their strength. Eastern Daily Press "Sunday" section May 5, 2007

en.wikipedia.org/wiki/Second_Battle_of_Gaza

19th April 1917 During the 2nd Battle of Gaza,

 

Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.

The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.

The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.

To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.

en.wikipedia.org/wiki/Second_Battle_of_Gaza

 

E J PRESTON………………………………................................(RoH)

 

Possibly: Ernest James Preston. Gunner 906467. 337th Bde., Royal Field Artillery. Died in Mesopotamia on Monday 28 October 1918. (CD gives date as 25 October 1918). Lived and enlisted Norwich. Buried: BASRA WAR CEMETERY, Iraq. Ref. I. S. 3.

 

On Churchyard War Memorial E J Preston

On Church Memorial board E J Preston

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=631320

Norlink No archive items.

1901 Census The 4 year old Ernest J is living at Buxton Road, Aylsham, the town of his birth. His parents are Leonard J, (34 and a Road Surveyor from Hevingham), and Louisa E, (aged 30 and from Highfield, Sussex). The Prestons also have a daughter, Florence M, aged 1. Although I only have access to the high-level search on the 1911 census, Ernest is still recorded in the District of Aylsham. I can only assume he either moved to Norwich to seek work or that the Ernest James on the RoH site is a different individual.

 

C RISEBOROUGH……………………………….........................(RoH)

 

Possibly either: Charles Riseborough. Gunner 98474. Guards Div. H.Q., Royal Field Artillery. Killed in action in France & Flanders on Sunday 3 October 1915. Born Holt. Enlisted Norwich. Buried: FOSSE 7 MILITARY CEMETERY, MAZINGARBE, Pas de Calais, France. Ref. I. A. 2. Or: Charles James Riseborough. Private22396 "A Coy. 8th Bn., Norfolk Regiment. Killed in action in France & Flanders on Wednesday 19 July 1916 . Age 25. Born Wickmere. Enlisted Norwich. Son of Herbert and Mary Ann Riseborough, of Wickmere, Norwich. Commemorated: THIEPVAL MEMORIAL Somme, France. Pier and Face 1 C and 1 D.

 

On Churchyard War Memorial C Riseborough

On Church Memorial board C Riseborough

CWGC

www.cwgc.org/search/casualty_details.aspx?casualty=563714

www.cwgc.org/search/casualty_details.aspx?casualty=1551611

Norlink No archive items.

1901 Census The 1901 census has a 17 year old Charles, born Aylsham, employed as a Shepherd, and living at Drabblegate, Aylsham. His parents are James, (aged 40 and a Shepherd from Erpingham), and Fanny, (aged 38 and from Aylsham). Their other children are Albert, (aged 14, born Ingworth, and a Shepherd), Charles, (aged 17, born Aylsham and a Shepherd), Elenor, (aged 5, born Ingworth), James, (aged 11, born Ingworth), and Thirza, (aged 8, born Ingworth).

 

There is also a 10 year old Charles, born Weybourne, and now also living at Drabblegate, Aylsham. His parents are Robert, (aged 40 and a Blacksmith from Hempstead, Norfolk) and Martha, (aged 36, from Peckham, Norfolk). Their other children are Hilda, (aged 3, born Aylsham), John T, (aged 12, born Weybourne), Mary, (aged 11, born Weybourne), Maud, (aged 9, born Aylsham), and Sidney, (aged 4, born Aylsham).

 

There are only 2 C Riseborough’s shown on the CWGC database, and neither set of details as shown on the RoH web-site appear to tie in with the C Riseborough’s on the 1901 Census.

 

I’ve then tried the RoH details on the 1911 high level search engine. The individual born at Wickmere is now recorded as living in the District of Aylsham. I can find no match on the 1901 or 1911 Census for a Charles born in Holt.

 

The Wickmere individual was aged 9 on the 1901 Census and living at 9 Low Street, Wickmere, (in the District of Aylsham). His parents are Hebert, (aged 36 and a Horseman on Farm from Matlaske), and Mary A, (aged 39 and from Sheringham). Their other children are Fred, (aged 11), and Richard, (aged 6).

 

Edward Henry RISEBOROUGH……………………………….........(RoH)

 

Private 16114. 2nd Bn., Coldstream Guards. Killed in action Saturday 16 September 1916 in France & Flanders. Born Ingham. Lived Aylsham. Enlisted Hertford. Commemorated: THIEPVAL MEMORIAL, Somme, France. Pier and Face 7 D and 8 D.

 

On Churchyard War Memorial E Riseborough

On Church Memorial board E Riseborough

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1551612

Norlink No archive items.

1901 Census The 3 year old Edward H, born Ingham, is now living at Cawston Road, Aylsham. His parents are James, (aged 26 and a Yardman on Farm from Hempstead), and Mary E. (aged 27 and from Stalham). Their other child is William J, (aged 1 and born Aylsham).

On the Day15th September 1916

 

“The Guards Division went into action at Ginchy on the 15th September, supported by tanks, but these broke down or stuck in the mud. None of the enemy strongpoints had been silenced, when, for the first and indeed the only time in the regiments history, three Coldstream Battalions, 1st, 2nd and 3rd, advanced together in line.Very heavy losses were sustained against heavy hand fire and artillery, and the dead and the wounded, as they fell, frequently disappeared into the engulfing mud.

The first objectives were seized, but there was a serious hold up on the right flank, and the advance ground to a halt. The main resistance came from a complicated and extensive trench system called the Quadrilateral, from which a withering fire poured forth at the Coldstreamers. However, later in the day, it was penetrated and neutralised by other Guards units, and the Coldstream battalions were able to resume their forward movement. Within an hour the secondary objectives were taken and held, in spite of the most furious resistance. The three Coldstream battalions suffered crippling losses, no less than 40 officers and 1,326 rank and file killed or wounded. The commanding officer of the 3rd Battalion, Lt Col John Campbell, was awarded the Victoria Cross for his gallantry, rallying and encouraging his men with blasts from his hunting horn.

 

Despite their shattered condition, the Coldstreamers were back in the line within a few days, but were relieved on the 27th when the division was withdrawn for a spell in the general reserve.”

books.google.co.uk/books?id=GzRcQah1ULcC&pg=PA28&...

 

John T RISEBOROUGH………………………………...................(RoH)

 

Gunner 606180. 293rd Bty. 1st (Glam.) Bde., Royal Horse Artillery. Died in France & Flanders on Monday 26 February 1917. Age 28. Born Weybourne. Enlisted Marsham. Son of Robert and Martha Riseborough, of Aylsham, Norfolk. Buried: DOULLENS COMMUNAL CEMETERY EXTENSION No.1, Somme, France. Ref. III. G. 17.

 

On Churchyard War Memorial J T Riseborough

On Church Memorial board J T Riseborough

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=83398

Norlink No archive items.

1901 Census There is a 12 year old John T, born Weybourne, and now also living at Drabblegate, Aylsham. His parents are Robert, (aged 40 and a Blacksmith from Hempstead, Norfolk) and Martha, (aged 36, from Peckham, Norfolk). Their other children are Hilda, (aged 3, born Aylsham), Charles, (aged 10, born Weybourne), Mary, (aged 11, born Weybourne), Maud, (aged 9, born Aylsham), and Sidney, (aged 4, born Aylsham).

 

Oswald Herbert ROE………………………………....................(RoH)

 

Private 22993. 20th Bn., Lancashire Fusiliers. Formerly 128540 R.G.A. Killed in action in France & Flanders on Monday 16 April 1917. Born Aylsham. Enlisted Harrow, Middx. Husband of Mrs. M. Roe, of 20, Cornwall Rd., Harrow, Middx. Buried CHAPELLE BRITISH CEMETERY, HOLNON, Aisne, France. Ref. IV. E. 12.

 

On Churchyard War Memorial O Roe

On Church Memorial board O Roe

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2911925

Norlink No archive items.

1901 Census The 17 year old Oswald is a Drapers Apprentice, living at Cawston Road, Aylsham. His parents are Frederic, (aged 50, and a “Relieving Officer”), and Emily, (aged 52, and from Lockerley, Hampshire). Their other children are Beatrice, (aged 18), Frederic, (aged 23 and a Drapers Warehouseman), and Leonard, (aged 22 and a Solicitors Clerk).

 

There is a bit more family detail here

1914-1918.invisionzone.com/forums/index.php?showtopic=443...

 

George RUDD………………………………..............................(RoH)

 

Private 1379. 1st/5th Bn., Norfolk Regiment. Killed in action in Gallipoli on Saturday 21 August 1915. Age 21. Born Hardley. Enlisted Aylsham. Son of Henry and Alice Rudd, of 16, Little Paddock St., Norwich. Commemorated: HELLES MEMORIAL, Turkey. Panel 42 to 44.

 

On Churchyard War Memorial G Rudd

On Church Memorial board G Rudd

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=687981

Norlink No archive items.

1901 Census The 7 year old George who had been born at Hardley was living at Yarmouth Road, Hales by the time of the Census. His parents are Henry, a 40 year old Bricklayer from Rockland St.Mary, and Alice, aged 32 and from Langley. Their other children are Arthur, (aged 11, born Hardley), Charlotte, (aged 1, born Loddon), Ethel, (aged 9, born Hardley), Lilian, (aged 12, born Hardley), and Samuel, (aged 5, born Loddon).

On the day21st August 1915

 

Having lost over 200 men from the battalion shortly before this on the 12th, the battalion was to lose at least another 36 on this day. There was a trench raid by the Turks on the area were the 1/4ths and 1/5ths were stationed, although it is unclear whether these casualties arose from this action.

user.online.be/~snelders/sand.htm

 

Charles John RUMP………………………………......................(RoH)

 

Private 235326. "C Coy 20th Bn., The King's (Liverpool Regiment). Formerly 5283 Yorkshire Regiment. Died Thursday 12 July 1917. Age 37. Born and lived Aylsham. Enlisted Cromer. Only son of Joseph and Harriet Rump, of Aylsham; husband of Mabel Rump, of Aylsham, Norfolk. Buried: RECQUES-SUR-HEM CHURCHYARD, Pas de Calais, France. South of church.

 

On Churchyard War Memorial C Rump

On Church Memorial board C Rump

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2001311

Norlink No archive items.

1901 Census The 20 year old Charles J was employed as a Carpenter, and living at The Market Place, Aylsham, the town where he had been born. His parents are James, (aged 50 and a Gardener (not Domestic)), and Harriet, (aged 46 and from Bury St Edmunds). Also living with the Rump’s are their married daughter Beatrice M Davison, (aged 25), and her husband , James, (aged 29 and a Tailor from Aylsham), and their child, Geoffrey E, (aged 2).

 

Philip SHEPHEARD……………………………….....................(RoH)

 

Captain. Essex Regiment. Killed in action Sunday 13 June 1915. Age 31. Son of Philip C. and Pasqua Maria Shepheard, of Aylsham, Norfolk. Commemorated: HELLES MEMORIAL, Turkey. Panel 144 to 150 or 229 to 233.

 

On Churchyard War Memorial P Shepheard

On Church Memorial board P Shepheard

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=685314

Norlink No archive items.

1901 Census The only Philip Shepheard on the 1901 Census is at a Boarding School at Old Windsor, Berks, aged 17. Philip doesn’t appear to be on the 1891 Census. There is no match for either parent on the 1901 Census.

 

On the high level search of the 1911 Census, (ie the free one!), a 27 year Philip is recorded as being on Military Service Overseas. A 72 year Philip Candler Shepheard is recorded in the District of Aylsham, as is a 55 year Maria Pergua Shepheard.

 

Charles Alfred SKOYLES……………………………….........(RoH)

 

Gunner 37942. "Q Bty. 5th Bde., Royal Horse Artillery. Killed in action Wednesday 19 July 1916. Age 34. Born Aylsham. Enlisted Stratford E. Son of Thomas and Sarah Skoyles, of Aylsham, Norfolk. Buried: LAVENTIE MILITARY CEMETERY, LA GORGUE, Nord, France. Ref. III. C. 22.

 

On Churchyard War Memorial C A Skoyles

On Church Memorial board C A Skoyles

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=328163

Norlink No archive items.

1901 Census The 19 year old Charles, born Aylsham, is now residing as a Boarder at New North Road, Attleborough, and employed as a Railway Porter. No obvious match on the 1891 Census.

 

Stephen William STONE………………………………...................(RoH)

 

Private 325839. 13th Bn., Royal Scots. Formerly 3530 Kings Own Yorkshire Light Infantry. Died of wounds Tuesday 19 February 1918 in France & Flanders. Age 22. Born Hevingham. Lived Aylsham. Enlisted Normanton, Yorks. Son of Maria Eliza and the late Stephen Stone, of Town Lane, Aylsham, Norfolk. Buried: TILLOY BRITISH CEMETERY, TILLOY- LES-MOFFLAINES, Pas de Calais, France. Ref. II. A. II.

 

On Churchyard War Memorial S W Stone

On Church Memorial board S W Stone

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=566360

Norlink No archive items.

1901 Census There is no Stephen matching the RoH\CWGC details, but there is a 5 year old William, born Hevingham and now living at Little London, near Corpusty. His parents are Stephen, (aged 38 and a Navvy on the JC(??) Way, from Hevingham), and Maria, (aged 35 and from Thurgarton). Their other children are Edith, (aged 1, born Saxthorpe), Katie, (aged 11, born Hevingham), and Nellie, (aged 7, born Hevingham).

 

George Utting TINKLER………………………………...................(RoH)

 

Private S4/039150. "A Coy., Army Service Corps. Died Sunday 27 August 1916. Age 25. Son of John and Mary Frances Tinkler, of 30, Artist Row, Portland, Dorset. Born at Aylsham, Norfolk. Buried: HIPSWELL (ST. JOHN) CHURCHYARD, Yorkshire, United Kingdom. (Not on CD)

 

On Churchyard War Memorial G Tinkler

On Church Memorial board G Tinkler

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=408964

Norlink No archive items.

1901 Census There is no obvious match on the 1901 Census. There is a 9 year old George born Wigan, Lancashire, and now living at Runton near Erpingham, Norfolk. Georges parents are John, (aged 30 and a Baker \ Confectioner from Norwich), and Mary, (aged 29 and from East Runton). Their other children are Winifred, (aged 8 and born Wigan), and Thomas, (aged 5 and born East Runton).

 

Frederick TORTICE………………………………..........................(RoH)

 

Private R/367063. Army Service Corps. Died Monday 18 November 1918. Age 32. Son of Mrs. Eliza Tortice, of Town Lane, Aylsham. Buried: AYLSHAM CEMETERY, Norfolk, United Kingdom. Ref. F. 69.

 

On Churchyard War Memorial F Tortice

On Church Memorial board F Tortice

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802304

Norlink No archive items.

1901 Census The only Frederick on the 1901 Census was only 5 years old, and therefore too young to match the RoH\CWGC details. However there is a Frederick of the right age on the 1891 Census, living at Drabblegate, Aylsham. His parents were James, (age 36 and an Agricultural Labourer), and Eliza, (age 36 and from Walsingham). Their other children are John H. (aged 18), Robert, (aged 15), Edward, (aged 13), William (aged 10), Thomas, (probably aged 7), and an infant son, aged 1 month.

 

F TORTICE……………………………….....................................(RoH)

 

Probably: James Tortice. RiflemanB/200134. 13th Bn., Rifle Brigade. Formerly 5/5372 Norfolk Regiment. Killed in action in France & Flanders on Sunday 25 August 1918. Age 34. Born and lived Blickling. Enlisted Norwich. Son of Henry and Jane Tortice, of 37, Silvergate, Blickling, Aylsham, Norfolk. Buried: GOMIECOURT SOUTH CEMETERY, Pas de Calais, France. Ref. I. F. 6.

 

On Churchyard War Memorial F Tortice

On Church Memorial board F Tortice

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=569529

 

Norlink No archive items.

1901 Census The James referred to on the RoH site was aged 16, employed as a Shoemaker, and living at 37, Silvergate, Blickling. His parents were Henry, (aged 47 and a Shepherd from Aylsham), described as married, although his mother appears to be absent on the night of the Census. Also living with them are James brother, Henry, (aged 21 and a Bricklayer), and sister, May, (aged 24).

NB - there is also a Fred, aged 5, born Aylsham living on Drabblegate. There is a Fred Tortice of unknown age and with no additional information on the CWGC database. He was a Private serving in the Northamptonshire Regiment.

 

Benjamin Robert TURNER………………………………..............(RoH)

 

Serjeant 869. 1st/5th Bn., Norfolk Regiment. Died in Gallipoli on Thursday 12 August 1915. (CD gives date 28 August 1915). Born and lived Aylsham. Commemorated: HELLES MEMORIAL, Turkey. Panel 42 to 44.

 

On Churchyard War Memorial B Turner

On Church Memorial board B Turner

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=683631

1901 Census The 12 year old Benjamin R. is already employed as a House Decorator. Having been born at Aylsham, he currently resided at Hungate Street. His parents are Benjamin H. (aged 36 and a House Decorator), and Mary A. (aged 36 and from Barningham Parva). Their other children are Alice M, (under 1), Charlotte, (aged 4), Herbert J, (aged 2), Maggie, (aged 10), Mary L, (aged 6), Miriam, (aged 11), and Ruth, (aged 7).

On the dayThis is the date associated with the “disappearance” of the 1st/5ths - at least in popular mythology.

user.online.be/~snelders/sand.htm

www.drdavidclarke.co.uk/vanbat.htm

 

Ralph John WADE……………………………….........................(RoH)

(There is a picture on the Roll of Honour site which notes that he died of Enteric Fever at the Alexandra Hospital)

 

Private 2063. 1st/5th Bn., Norfolk Regiment. Died Wednesday 13 October 1915. Age 21. Born and enlisted Aylsham. Son of Harry R. and Leah Wade, of Penfold St., Aylsham, Norfolk. Buried: ALEXANDRIA (CHATBY) MILITARY AND WAR MEMORIAL CEMETERY, Egypt. Ref. D. 52.

 

On Churchyard War Memorial Ralph Wade

On Church Memorial board Ralph Wade

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=110066

Norlink No archive items.

1901 Census The 6 year old Ralph was born at Aylsham, and at the time of the census was living at Penfold Street. His parents are Harry Wade, (aged 39 and a Whitesmith), and Leah, (aged 41 and from Booton). Their other children are Agenes, (aged 10), Charles (aged 9), Fred, (aged 4), Gertrude, (aged 1), and Harvey, (aged 3). The Wades also have a live-in servant.

 

Frederick Charles WARNE………………………………...................(RoH)

 

Gunner 102505. 265th Siege Bty., Royal Garrison Artillery. Killed in action Saturday 28 July 1917. Born and lived Aylsham. Enlisted Norwich. Buried: DICKEBUSCH NEW MILITARY CEMETERY EXTENSION, Ieper, West-Vlaanderen, Belgium. Ref. I. B. 1.

 

On Churchyard War Memorial F Warne

On Church Memorial board F Warne

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=442406

Norlink norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...

1901 Census The 6 year old Frederick C. was living at The Feathers Inn, Cawston Road, Aylsham. His parents were George, (aged 47 and a Licensed Victualler from Hempnall, Norfolk), and Susanna, (age 43 and from Foulsham). Their other children are Alfred J, (aged 11), Beatrice M A, (aged under 1), Christiana D, (aged 10), George J, (aged 13 and a Carpenters Apprentice), Harriet E. (aged 8), Susanna H (age 4), and William W, (age 15 and an Ironmongers Apprentice). All the children were born at Aylsham.

 

Abraham WATSON………………………………..............................(RoH)

 

Private 28203. 11th Bn., Essex Regiment. Killed in action Saturday 14 July 1917. Age 29. Born and lived Aylsham. Enlisted Cromer. Husband of Agnes Mary Jane Watson, of Unicorn Yard, Aylsham, Norfolk. Buried: MAROC BRITISH CEMETERY, Nord, France. Ref. II. F. 13.

 

On Churchyard War Memorial A Watson

On Church Memorial board A Watson

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=523687

Norlink No archive items.

1901 Census the 14 year old Abraham, working as a Farm Labourer, was born at Antingham, but living at The Rookery, Aylsham by the time of the census. His parents were Edward, (aged 53 and an Ordinary Agricultural Labourer from Sco Ruston), and Mary, (age 50 and from Coltishall). Their other children are Archer, (aged 16, an Ordinary Agricultural Labourer, born Brumstead), Claud, (aged 12, born Aylsham), and Ernest, (aged 8, born Aylsham).

 

Ernest Fountain Thomas WILLIAMSON…………………………….(RoH)

 

Lance Corporal 18900. 7th Bn., Norfolk Regiment. Killed in action Friday 4 May 1917. Age 29. Born Aylsham. Enlisted Norwich. Son of James and Sarah Williamson, of Penfold St., Aylsham; husband of Ethel E. E. Scarfe (formerly Williamson), of Matlaske, Aldborough, Norwich. Commemorated: ARRAS MEMORIAL, Pas de Calais, France. Bay 3

 

On Churchyard War Memorial E Williamson

On Church Memorial board E Williamson

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=774465

Norlink No archive items.

1901 Census The 14 year old Ernest was working as an Errand Boy and living at Hungate Street, Aylsham. His parents are James, (aged 39 and an Agricultural Labourer), and Sarah, (aged 37 and from Edgefield). Their other children are Arthur, (aged 5), George, (aged 3), James, (aged 10), Olive, (aged 1), Otto, (aged 12, and an Errand Boy), Phyllis, (aged 16, a Domestic Servant, born Edgefield), and Thomas, (aged 7).

On the DayThe Division of which 7th Norfolks were part were engaged in the Third Battle of the Scarpe (3rd - 4th May 1917).A preliminary attack on the left by 36th Brigade in the early hours of 2 May, including a gas barrage fired by Livens projectors, was not entirely successful but apparently caused considerable casualties to the enemy. The main attack was of mixed fortune, although 7th Royal Sussex reached the objective and then beat off determined counter attacks. Once again, German shellfire was the primary cause of problems and and heavy machine gun fire from Roeux caused many casualties. Shellfire was heavy over the next few days and the uncertain position of the advanced troops in Devil's Trench meant that British artillery was cautious in replying on German trenches.

www.1914-1918.net/12div.htm

 

Sidney WILSON………………………………...............................(RoH)

 

Private 18001. 1st Bn., Northamptonshire Regiment. Formerly 16751 Norfolk Regiment. Killed in action Sunday 9 May 1915. Age 32. Son of Mr. and Mrs. J. Wilson, of Millgate St., Aylsham, Norfolk. Buried: LE TOURET MEMORIAL, Pas de Calais, France. Panel 28 to 30.

 

On Churchyard War Memorial S Wilson

On Church Memorial board S Wilson

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1564184

Norlink No archive items.

1901 Census There is a 17 year old Sidney who was born in Aylsham, and at the time of the Census was working as a Bakers Assistant and living on Town Lane, Aylsham. His parents were John, (aged 40 and a General Porter from Ingworth), and Fanny, (aged 38 and from Brampton). Their children are Bertie, (aged 4), George, (aged 11 and employed as a Bakers Assistant), Herbert, (aged 1), and Sarah, (aged 10).

On the DayThe Battle of Aubers took place on this day. The 1st Northants were one of the two lead assault battalions of the southern pincer intended to surround Neuve Chappelle and assist the French in seizing Vimy Ridge. The German’s were well prepared while the artillery ammunition and gun shortage were taking a toll on how much firepower the British could bring to bear. Even while the final barrage was taking place and British troops tried to advance behind it, the German machine gunners kept on firing, taking a very heavy toll. Even when they were able to find the few gaps in the wire, the bunched up soldiers were a perfect target, and the few that made it through were easily dealt with. The casualties for the 1st Northants by the end of the day is 560, of which 17 are officers.

www.1914-1918.net/bat11.htm

 

Albert Edward WINTERBORN………………………………............(RoH)

 

Private G/21220. 7th Bn., The Queen's (Royal West Surrey Regt.) Formerly 27597 Middlesex Regiment. Killed in action Monday 1 April 1918. Age 36. Husband of Hannah Winterborn, of Brandon Rd., Watton, Thetford, Norfolk. Commemorated: POZIERES MEMORIAL, Somme, France. Panel 14 and 15.

 

On Churchyard War Memorial A Winterborn

On Church Memorial board A Winterborn

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=851496

Norlink

norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...

(Norlink notes:- Private Winterborn was born in Aylsham on 11th October 1882, and educated in Aylsham. He enlisted on 3rd May 1916, and was killed in action in France on 1st April 1918)

1901 Census The 18 year old Albert is recorded as a Coach Painters Apprentice. He was born at Aylsham and at the time of the Census lives at Mill Road, Aylsham. His Parents are George, (aged 60 and a Mill Wright), and Annie, (aged 52 and from Holme Hale). The 1891 census confirms he is an Albert E.

On the day7th Queens, as part of the 18th (Eastern) Division had taken part in the fighting retreat in the face of the German Spring Offensive which by the 1st April was starting to run out of steam.

en.wikipedia.org/wiki/Spring_Offensive

(Also recorded on the Rockland St Peter Roll of Honour)

 

C H WOOD………………………………........................................(RoH)

 

No further information available at present.

 

On Churchyard War Memorial C H Wood

On Church Memorial board C H Wood

CWGC

19 Possible matches for C H Wood alone, none with any obvious link even to Norfolk.

Norlink No archive items.

1901 Census No obvious links, although there is a Charles H, (aged 16) and a John, (aged 14),

both born Frettenham and both of whom no longer live with their parents - Charles is an Assistant Draper at Harvey&Nicholls Drapery in Chelsea, and lives in the shop, and John is training to be a seaman at Birkenhead. My guess would be that they were brothers and had been orphaned.

 

J H WOOD………………………………........................................(RoH)

 

No further information available at present.

 

On Churchyard War Memorial J H Wood

On Church Memorial board J H Wood

CWGC

38 Possible matches for J H Wood, none with any obvious link even to Norfolk

Norlink No archive items.

1901 Census See C H Wood above.

 

James Emmanuel WYMER………………………………................(RoH)

 

[WYNLER on the CD.] Private 41492. 19th Bn., Northumberland Fusiliers, Tyneside Pioneers. Formerly 24952 West Yorkshire Regiment. Died of wounds in France & Flanders on Saturday 13 April 1918. Age 25. Born Aylsham. Enlisted Leeds. Son of John and Elizabeth Ann Wymer, of Aylsham, Norfolk. Buried: DOULLENS COMMUNAL CEMETERY EXTENSION No.1, Somme, France. Ref. VI. B. 26.

 

On Churchyard War Memorial J E Wymer

On Church Memorial board J E Wymer

CWGC www.cwgc.org/search/casualty_details.aspx?casualty=83712

Norlink No archive items.

1901 Census The 8 year old James is listed at Drabblegate, Aylsham. His parents are John, (aged 40 and a Traction Engine Driver from Banningham), and Elizabeth, (aged 40 and from Felmingham). Their other children are Ethel, (aged 10), Maggie, (aged 2), Martha, (aged 14) and William, (aged 5).

lynettecollis.blogspot.co.nz/2015/07/week-30-dlp-2015.html

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

 

LOS ANGELES METROPOLITAN TRANSIT AUTHORITY #1543

These were the "Blimp Cars" of the high speed Interurban, multiple unit, electric trains of Southern California's Pacific Electric, the famous "Big Red Cars". This car made it's last run April 6.1961, from Los Angeles, 6th and Main (where now stands a bus terminal) to Long Beach, CA at Ocean and Long Beach Blvd. just a block from The Pike. There was an elevated wooden trestle that allowed it to bridge dense downtown automotive traffic, then it came down to street level just short of Alameda and curved South to Long Beach Avenue. When it got to Clement's Junction (Washington Street) the roadbed opened up to four tracks, on the outside was the South and North bound Local Service using smaller cars. The interior pair of the four track sets was reserved for strings of these heavy, high speed electric commuter trains. The private right of way was four tracks through Watts and down to Long Beach Blvd., where these cars would then ride down the center of the street to downtown Long Beach. Another line branched from the end of four track operation at Willow, and rocked on down to Electric Avenue in Seal Beach, past Signal Hill, the Lagoon and Alamitos Bay.

The curious round windows on the end earned the cars their nickname and were the portholes for the motorman operator.

The wind up knob to the left of the end door was attached by rope to the hot shoe end of the trolly pole pickup the operator could open the door and adjust the pole or reel it in and let up the one on the other end to change direction, the end doors were for train crew only and were not used to communicate passengers between cars.

 

dsc04407, 2008:04:27 14:11:46, 3D, Los Angeles, Griffith Park, Travel Town, MTA #1543 Metropolitan Transit Authority, Pacific Electric "Big Red Car" Interurban, Green Livery of 1961 - Long Beach "Balloon Car" or "Blimp"

 

dsc04407

Happy Easter! Easter bunny - greetings-day.com/happy-easter-easter-bunny.html #GreetingsPics, #HolidayEcards, #HolidayGreetings

www.emperis.co.uk/www.emperis.co.uk/news/news/cat_24.html

Marillion's concert at the Bridgewater Hall in Manchester as part of the 'Light at the End of the Tunnel' tour in November 2021.

 

Marillion setlist

 

More pictures from the show

Reference: Photo 24/(115)

 

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

 

- Browse this collection on Europeana

- and on Wikimedia Commons

 

Please consider donating to the British Library.

VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST

www.emergencyrooms.org/biennalist.html

 

Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

www.colonel.dk

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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

www.emergencyrooms.org/biennalist.html

 

Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the

ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013

thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...

www.emergencyrooms.org

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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

 

www.blouseroumaine.com/orderthebook_p1.html

 

Maria Cebotari (Ciubotaru, Cebotaru), Countess Alexandre Wyruboff, Frau Gustav Diessl), (b. 1910 – d. 1949), Soprano, Theatre and Film Actress, Exile in Germany and Austria

 

"Blouse Roumaine - the Unsung Voices of Romanian Women"

 

Presented and Selected by Constantin ROMAN

 

Anthology E-BOOK (11BM)

 

DISTRIBUTION: Online with credit card

 

COST: $ 54.99, £34.99 (ca Euros 35.50)

 

LINK: www.blouseroumaine.com/orderthebook_p1.html

 

CONTENTS:

 

2,250,000 words,

 

over 1,000 pages,

 

ca 160 illustrations in text

 

160 critical biographies,

 

58 social categories/professions,

 

600 quotations (mostly translated into English for the first time),

 

circa 3,000 bibliographical references (including URLs and credits)

 

6 Indexes (alphabetical, by profession, timeline, quotation Index, place

 

index and name index)

 

AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.

  

INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status

 

Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)

 

NOTE:

Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.

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LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)

 

AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu

 

BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur

 

CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza

 

DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu

 

EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün

 

FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida

 

GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza

 

HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin

 

II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian

 

JJ *Doina Jela *Lucretia Jurj

 

KK *Mite Kremnitz

 

LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu

 

MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci

 

NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac

 

OO *Helen O’Brien *Oana Orlea

 

PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu

 

RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco

 

SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck

 

TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini

 

UU *Viorica Ursuleac

 

VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu

 

WW *Sabina Wurmbrand

 

ZZ *Virginia Zeani

  

Collaboration beetween Biennalist and Ultracontemporay

 

Art Format

www.emergencyrooms.org/formats.html

  

Documenta From Wikipedia,

 

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

 

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

  

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

 

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

 

History

 

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

 

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

 

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

 

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

  

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

 

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

 

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

  

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

 

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

 

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

 

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

 

other biennales :

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

  

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

 

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

 

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

  

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

   

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Fractalworks plot May01wja1a

Fractalworks plot May01wja1b

...un Barocco particolare ed irripetibile, influenzato dal gusto teatrale e spettacolare dell'epoca, ma reso unico dalle caratteristiche della pietra locale, duttile, disponibile ad ogni intaglio, ad ogni arabesco.

 

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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black

  

This is the cover photo of my set National Language Movement 2011

 

This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH

 

Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন

  

The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims

 

Background

 

The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]

 

The Other Set related to this set are available here at : International Mother Language Day

 

All other Photos of this set are available at : National Language Movement Dat 2011

 

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Art Format

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Documenta From Wikipedia,

 

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

 

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

  

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

 

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

 

History

 

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

 

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

 

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

 

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

  

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

 

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

 

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

  

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

 

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

 

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

 

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

 

other biennales :

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

  

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

 

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

 

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

  

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

   

pt.kingdomsalvation.org/videos/mistakes-are-most-easily-m...

 

Clipe filme gospel (II) "Que erros são mais facilmente cometidos em se acolher ao Senhor?"

 

Muitas pessoas de fé em círculos religiosos acreditam no que os pastores e presbíteros dizem "Todas as palavras e obras de Deus estão na Bíblia. Seria impossível que qualquer palavra de Deus aparecesse fora da Bíblia". Existe base bíblica para essa afirmação? O Senhor Jesus proferiu essas palavras? Em Apocalipse é profetizado muitas vezes: "Quem tem ouvidos, ouça o que o Espírito diz às igrejas". As palavras do Senhor dizem isso claramente: quando o Senhor retornar nos últimos dias, Ele falará novamente. Em termos de acolher a vinda do Senhor, se não nos apartarmos da Bíblia e buscarmos o que diz o Espírito Santo às igrejas, poderemos dar as boas-vindas ao Senhor?

 

Fonte da imagem：de "Igreja de Deus Todo-Poderoso"

 

Aviso Legal e Termos de Uso： pt.kingdomsalvation.org/disclaimer.html

 

Sexy Losers

 

First, before reading any further, look at picture

attached (also available here:

www.sexylosers.com/148.html .)

 

If that didn't bring a smile to your face, you

probably don't get most of this blog. But for the rest

of you, I'm glad you shared that laugh with me. Sexy

Losers is full of such jewels, and I hope you will

explore the site more fully:

 

www.sexylosers.com

 

This website has many different ongoing seiries,

created by "clay" and his collaborators. I think you

will find it richly rewarding. I want to focus one

series that I found particularly outrageous, and

therefore very funny!

 

I was laughing out loud at the adventures of "Chie

Sakamachi, Bukkake Porn Star". The source subject of

this particular strip (the Japanese practice of

bukkake - orgies where large groups of men masturbate

to orgasm, ejaculating their semen onto the face of a

submissive female) could be disturbing to some, but

this strip shows the private life of a young starlet

in this field with such irony and wit, that it won me

over. It is sure to offend many, but for those who can

enjoy the series on it's own merits instead of judging

it based on the fetish it stems from, it will be a

clever, fun read.

 

This reveiw in no way reflects my own preferences or

fetishes. But, by the time I got to the strip where

Chie is complaining to her roommate about how all her

dates just want to jack off on her face, and her

roommate responds by strapping on a dildo and

proclaiming "Must jack off ... in Chie's face ...

Cannot resist ... Penis not real ... but ... MUST ...

TRY ... ANYWAY ..." and then reading Chie's punchline

response, I was won over and practically rolling on

the floor!

 

Here are the URL's for some of my favorite strips from

the series, and I would highly encourage you to look

at them. See if you don't laugh at the absurdity of it

all.

 

www.sexylosers.com/135.html

www.sexylosers.com/144.html

www.sexylosers.com/171.html

www.sexylosers.com/176.html

www.sexylosers.com/184.html

www.sexylosers.com/201.html

www.sexylosers.com/219.html

www.sexylosers.com/234.html

 

Also, here's one from another series ... just because!

 

www.sexylosers.com/111.html

another bra found in our street:

blog.whatfettle.com/archives/000121.html

Collaboration beetween Biennalist and Ultracontemporay

 

Art Format

www.emergencyrooms.org/formats.html

  

Documenta From Wikipedia,

 

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

 

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

  

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

 

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

 

History

 

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

 

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

 

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

 

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

  

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

 

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

 

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

  

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

 

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

 

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

 

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

 

other biennales :

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

  

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

 

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

 

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

  

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

 

Fonte dell'immagine: La Chiesa di Dio Onnipotente

 

Condizioni d'Uso: Avviso legale e condizioni per l’uso

  

Il vero amore per Dio è spontaneo

 

Tutte le persone sono state sottoposte al raffinamento tramite le parole di Dio. Se non fosse stato per il Dio incarnato, l’umanità non sarebbe affatto benedetta in tale sofferenza. Questo concetto può anche essere espresso come segue: coloro che sono in grado di accettare le prove delle parole di Dio sono persone benedette. Sulla base del calibro originale delle persone, del loro comportamento e dei loro atteggiamenti verso Dio, non sono degne di ricevere questo tipo di raffinamento. Hanno goduto di tale benedizione perché sono state innalzate da Dio. Dicevano che non erano degne di vedere il volto di Dio o di ascoltare le Sue parole. Oggi, è interamente grazie all’elevazione di Dio e alla Sua misericordia che le persone hanno ricevuto il raffinamento delle Sue parole. Questa è la benedizione di ogni singola persona che vive negli ultimi giorni, lo avete sperimentato personalmente? In quali aspetti gli individui debbano soffrire e avere delle battute d’arresto dipende da Dio, e non dalle esigenze delle persone. Questo è assolutamente vero. Ogni credente deve possedere la capacità di subire le prove delle parole di Dio e di soffrire nell’ambito delle Sue parole. Riuscite a capirlo con chiarezza? Pertanto, la sofferenza che hai subito è stata scambiata con le benedizioni odierne; se non soffri per Dio, non puoi ottenere la Sua lode. Forse ti sei lamentato in passato, ma per quanto tu ti sia lamentato, Dio non se ne ricorderà. Oggi è un altro giorno e non vi è motivo di soffermarsi sui problemi di ieri.

 

Alcune persone dichiarano che cercano di amare Dio ma non ci riescono, e quando sentono dire che Dio sta per allontanarsi, allora provano amore per Lui. In generale, alcune persone non mettono in pratica la verità, e quando sentono dire che Dio sta per allontanarsi adirato, si presentano al Suo cospetto e pregano: “Oh, Dio, Ti prego, non andarTene. Dammi una possibilità! Dio! Non Ti ho soddisfatto in passato; Sono stato Tuo debitore e Ti ho resistito. Oggi sono disposto a offrire pienamente il mio corpo e il mio cuore per poter finalmente soddisfarTi e amarTi. Non avrò più questa opportunità”. Hai mai pregato così? Quando qualcuno prega in questo modo è perché la sua coscienza è stata risvegliata dalle parole di Dio. Gli esseri umani sono tutti intorpiditi e annebbiati mentalmente. Sono soggetti al castigo e al raffinamento ma non sanno ciò che Dio sta realizzando. Se Dio non operasse così, le persone sarebbero ancora confuse e nessuno potrebbe ispirare sentimenti spirituali nei loro cuori. Solo le parole di Dio che esprimono giudizio e rivelano le persone possono portare tale frutto. Pertanto, tutto si ottiene e si adempie tramite le parole di Dio, ed è solo attraverso le Sue parole che è stato suscitato l’amore dell’umanità per Dio. Se le persone amassero Dio basandosi solo sulla propria coscienza, non vedrebbero alcun risultato. Non avveniva forse già in passato che le persone fondassero il loro amore per Dio sulla coscienza? È mai esistita una sola persona che abbia preso l’iniziativa di amare Dio? È solo attraverso l’incoraggiamento delle parole di Dio che Lo hanno amato. Alcune persone dicono: “Seguo Dio da tanti anni e ho ricevuto grandi manifestazioni della Sua grazia, e una moltitudine di benedizioni. Sono stato raffinato e giudicato dalle Sue parole. Tramite ciò sono riuscito a comprendere molte cose e ho visto l’amore di Dio. Devo ringraziarLo, devo ripagare la Sua grazia. Io soddisferò Dio con la morte e baserò il mio amore per Lui sulla mia coscienza”. Basandosi unicamente sui sentimenti della coscienza, le persone non riescono a sentire l’amabilità di Dio; basandosi unicamente sulla coscienza, l’amore per Dio sarà debole. Se parli solo di ripagare la grazia e l’amore di Dio, non avrai alcun impulso nell’amore per Lui; amarLo in base ai sentimenti della coscienza è un approccio passivo. Perché dico che è un approccio passivo? Si tratta di un problema pratico. Che tipo di amore è questo? Non è come cercare di ingannare Dio e agire solo meccanicamente per Lui? La maggior parte delle persone crede che non ci sia alcuna ricompensa per il fatto di amare Dio, e che saranno condannate ugualmente per il fatto di non amarLo, per cui basta semplicemente non peccare. Pertanto, amare Dio e ripagare il Suo amore sulla base dei sentimenti della propria coscienza è un approccio passivo, che non corrisponde all’amore per Dio che sgorga spontaneo dal cuore. L’amore per Dio dovrebbe essere un sentimento autentico che procede dal profondo del cuore di una persona. Alcuni dicono: “Sono disposto a perseguire Dio e a seguirLo. Ora Dio vuole abbandonarmi ma io desidero ancora seguirLo. Che Lui mi voglia o meno, io Lo amerò comunque e alla fine Lo conquisterò. Offro il mio cuore a Dio, e qualunque cosa Egli faccia, Lo seguirò per tutta la vita. Nonostante tutto, devo amare Dio e devo conquistarLo; non avrò pace finché non Lo avrò conquistato”. Possiedi tale volontà?

 

Il percorso della fede in Dio è il percorso dell’amore per Lui. Se credi in Lui devi amarlo; tuttavia, amare Lui non comporta solo ripagare il Suo amore o amarLo in base ai sentimenti della coscienza: si tratta di amore puro per Dio. A volte le persone si basano solo sulla coscienza e non riescono a sentire l’amore di Dio. Perché ho sempre detto: “Possa lo Spirito di Dio muovere il nostro spirito”? Perché non ho parlato di muovere le coscienze affinché amino Dio? Perché le coscienze delle persone non riescono a sentire la bellezza di Dio. Se non ti lasci convincere da queste parole, puoi usare la tua coscienza per sentire il Suo amore, e avrai un po’ di motivazione in quel momento ma poi essa scomparirà. Se usi la tua coscienza solo per percepire l’amabilità di Dio, hai una motivazione quando preghi, ma dopo essa sparisce, si dissolve. Come mai? Se usi soltanto la tua coscienza, dentro di te non sarai in grado di suscitare l’amore per Dio; quando percepisci davvero la Sua amabilità nel cuore, il tuo spirito sarà mosso da Lui, e solo in quel momento la tua coscienza potrà svolgere il suo ruolo originario. Ciò significa che quando le persone sono state mosse da Dio nel loro spirito e quando il loro cuore ha acquisito conoscenza e incoraggiamento, ossia dopo aver acquisito esperienza, solo allora saranno in grado di amare effettivamente Dio con la coscienza. Amare Dio con la coscienza non è sbagliato: si tratta del livello più basso di amore per Dio. Il modo di amare degli esseri umani, che rende a malapena giustizia alla grazia di Dio, non può assolutamente spingere il loro ingresso proattivo in essa. Quando le persone ottengono una parte dell’opera dello Spirito Santo, cioè quando vedono e gustano l’amore di Dio nella loro esperienza pratica, quando hanno qualche conoscenza di Dio e si accorgono veramente che Dio è autenticamente degno dell’amore dell’umanità e che Egli è infinitamente amabile, ebbene solo allora sono in grado di amare veramente Dio.

 

Quando le persone contattano Dio tramite i loro cuori ed essi sono in grado di volgersi completamente a Lui, compiono il primo passo dell’amore umano per Dio. Se vuoi amare Dio, devi prima essere in grado di volgere il tuo cuore a Lui. Che significa volgere il cuore a Dio? Significa che tutto ciò che persegui nel tuo cuore è volto all’amore e alla conquista di Dio, e ciò indica che hai rivolto completamente il tuo cuore a Dio. A parte Dio e le Sue parole, non esiste quasi nient’altro nel tuo cuore (famiglia, ricchezza, marito, moglie, figli o altre cose). Anche se esiste, tutto ciò non può occupare il tuo cuore, e non pensi alle tue prospettive future, ma ricerchi solo l’amore per Dio. Quando arriverai a fare ciò, avrai completamente rivolto il tuo cuore a Dio. Supponi che tu stia ancora facendo piani per te stesso nel tuo cuore e che stia continuando a perseguire il tuo vantaggio personale, pensando sempre: “Quando posso fare una piccola richiesta a Dio? La mia famiglia, quando diventerà benestante? Come posso procurarmi dei begli abiti? …” Se stai vivendo in tale stato, ciò prova che il tuo cuore non è pienamente rivolto a Dio. Se hai solo le parole di Dio nel tuo cuore e sei in grado di pregare Dio e di avvicinarti a Lui in ogni momento, come se Egli ti fosse molto vicino, come se fosse dentro di te e tu fossi in Lui, se sei in tale stato, significa che il tuo cuore è stato alla presenza di Dio. Se preghi Dio, nutrendoti ogni giorno delle Sue parole, pensando sempre all’opera della Chiesa, dimostrando considerazione per la volontà di Dio, usando il tuo cuore per amarLo veramente e soddisfare il Suo cuore, il tuo cuore apparterrà a Dio. Se il tuo cuore è occupato da tante altre cose, allora è ancora occupato da Satana e non è veramente rivolto a Dio. Quando il cuore di qualcuno è veramente rivolto a Dio, proverà amore genuino e spontaneo per Lui e potrà ponderare l’opera di Dio. Pur essendoci ancora degli stati di stoltezza e irragionevolezza, queste persone saranno comunque in grado di avere considerazione per gli interessi della casa di Dio, per il Suo lavoro, e per un loro cambiamento di indole. Il loro cuore sarà assolutamente nel giusto Alcune persone sventolano sempre la bandiera della Chiesa, qualunque cosa facciano; la verità è che lo fanno solo per il proprio vantaggio. Sono persone che non possiedono la giusta motivazione. Sono disoneste e ingannevoli, e la maggior parte delle cose che fanno è volta a ricercare il loro tornaconto personale. Questo tipo di persona non persegue l’amore di Dio; il suo cuore appartiene ancora a Satana e non può volgersi verso Dio. Dio non ha modo di ottenere questo tipo di persona.

 

Il primo passo per amare Dio veramente ed essere conquistati da Lui consiste nel volgere completamente il cuore a Dio. In ogni singola cosa che fai, esamina quello che hai dentro e chiediti: “Ciò che sto facendo scaturisce da un cuore pieno di amore per Dio oppure è mosso da qualche intenzione personale? Qual è il mio obiettivo reale?” Se vuoi consegnare il cuore a Dio, devi prima sottometterlo, rinunciando a tutte le tue intenzioni e raggiungendo il punto di esistere totalmente per Dio. Questa è la strada da seguire per dare il cuore a Dio. Che cosa vuol dire sottomettere il cuore? Significa prendere le distanze dai desideri smodati della propria carne, non desiderare le benedizioni di uno stato sociale o le comodità, fare ogni cosa per soddisfare Dio, e dedicare pienamente il cuore a Lui, e non a sé stessi. Ecco cos’è.

 

Il vero amore per Dio viene dalla profondità del cuore; è un amore che esiste solo sulla base della conoscenza di Dio da parte dell’umanità. Quando il cuore di qualcuno si rivolge completamente a Dio, nutre l’amore per Dio, ma questo amore non è necessariamente puro né necessariamente completo. Ciò avviene perché esiste una certa distanza tra il cuore di una persona che si rivolge completamente a Dio e la possibilità che essa consegua una vera comprensione e adorazione per Lui. Il modo in cui si può ottenere il vero amore di Dio e conoscere l’indole di Dio consiste nel volgere il proprio cuore a Lui. Dopo aver autenticamente consegnato il proprio cuore a Dio, si comincia a entrare nell’esperienza della vita, con conseguente cambiamento di indole, crescita graduale dell’amore per Dio e della conoscenza di Dio. Quindi, volgere il proprio cuore a Dio rappresenta il prerequisito per imboccare la retta via dell’esperienza di vita. Quando si volge il cuore al cospetto di Dio, esso è pieno di desiderio per Lui, ma non di amore per Lui, perché non si possiede la comprensione di Dio. Anche se in questa circostanza si prova un certo amore per Lui, esso non è né spontaneo né sincero. Ciò avviene perché tutto ciò che proviene dalla carne dell’uomo è un prodotto emotivo e non deriva da una comprensione autentica. Si tratta solo di un impulso momentaneo che non riesce a trasformarsi in adorazione a lungo termine. Quando le persone non hanno comprensione di Dio, possono amarlo solo in base alle proprie preferenze e alle loro nozioni individuali; questo tipo di amore non può essere definito né spontaneo né genuino. Quando il cuore di qualcuno si rivolge veramente verso Dio, è in grado di pensare agli interessi di Dio in tutto, ma se non si possiede alcuna comprensione di Dio non si potrà avere un amore veramente spontaneo. Tutto ciò che si potrà fare sarà compiere alcune funzioni per la Chiesa e svolgere qualche dovere, ma senza avere alcun fondamento. Questo tipo di individuo ha un’indole difficile da cambiare; sono tutte persone che non perseguono la verità o non la capiscono. Anche se una persona rivolge completamente il proprio cuore a Dio, non significa che il cuore pieno di amore per Dio sia completamente puro, perché coloro che hanno Dio nel cuore non necessariamente nutrono amore per Lui. Ciò riguarda la distinzione tra chi persegue e chi non persegue la comprensione di Dio. Se una persona ha comprensione di Lui, è chiaro che il suo cuore si è volto completamente a Dio, e che il suo amore sincero per Dio nel cuore è spontaneo. Solo questo tipo di persona ha Dio nel cuore. Rivolgere il proprio cuore verso Dio è un prerequisito per imboccare la strada giusta, per comprendere Dio e per raggiungere l’amore di Dio. Non rappresenta un indicatore di adempimento del dovere di amare Dio, né è un segno di vero amore per Lui. L’unico modo in cui si può ottenere l’amore genuino di Dio consiste nel rivolgere il cuore a Lui, e ciò dovrebbe anche essere la prima cosa che una delle Sue creature dovrebbe fare. Coloro che amano Dio sono tutte persone che cercano la vita, cioè persone che cercano la verità e vogliono veramente Dio; tutte hanno l’illuminazione dello Spirito Santo e sono state sollecitate da Lui. Sono tutte in grado di essere guidate da Dio.

 

Quando qualcuno riesce a percepire di essere in debito verso Dio, ciò avviene perché è spinto dallo Spirito; in presenza di tale percezione, tenderà anche ad avere un cuore pieno di desiderio e riuscirà a perseguire l’ingresso nella vita. Se tuttavia ti fermi a un certo punto, non sarai in grado di andare più in profondità; correrai ancora il pericolo di restare intrappolato nella rete di Satana, e, raggiunto un certo punto, ne resterai imprigionato. L’illuminazione di Dio permette alle persone di conoscere sé stesse e, in seguito, di percepire il loro debito verso Dio così come la loro volontà di collaborare con Lui, abbandonando le cose che non Lo compiacciono. Questo è il principio dell’opera di Dio. Siete tutti disposti a perseguire la crescita nella vostra vita e ad amare Dio, e vi siete pertanto liberati della vostra superficialità? Se ti sei solo liberato da questo modo di agire e non causi alcun problema, evitando di metterti in mostra, ciò significa che stai davvero cercando di crescere nella tua vita? Se non mostri alcun comportamento superficiale, ma non entri nelle parole di Dio, significa che sei una persona priva di un progresso proattivo. Qual è l’origine dell’adozione di comportamenti superficiali? Agisci con lo scopo di crescere nella vita? Stai cercando di qualificarti per essere una delle persone scelte da Dio? Qualunque sia la cosa su cui ti concentri, essa corrisponde a ciò che vivi; se ti concentri sulla superficialità, il tuo cuore è focalizzato sulle cose esterne, e non riuscirai in alcun modo a perseguire la crescita nella vita. Dio richiede un cambiamento di indole, ma tu continui a perseguire le cose esterne; questo tipo di persona non avrà modo di cambiare la propria indole! Si comportano tutti in un certo modo prima di diventare maturi nella vita, ossia devono accettare il giudizio, il castigo e il perfezionamento delle parole di Dio. Se non hai le parole di Dio, ma ti basi meramente sulla tua fiducia e sulla tua volontà, tutto quello che fai si fonda semplicemente sullo zelo. In altri termini: se vuoi crescere nella vita, devi nutrirti, e comprendere maggiormente le parole di Dio. Tutti coloro che sono perfezionati dalle Sue parole sono in grado di metterle in pratica; coloro che non subiscono il perfezionamento e il giudizio delle Sue parole, non possono essere idonei a essere usati da Lui. Fino a che punto, quindi, vivete in base alle Sue parole? Solo nutrendovi delle parole di Dio e riuscendo a confrontarle con la vostra condizione di vita, trovando un percorso di pratica nella luce in relazione ai problemi che spiego, la vostra pratica sarà corretta e rispecchierà il cuore di Dio. Solo chi possiede questo tipo di questa pratica ha la volontà di amare Dio.

  

it.godfootsteps.org/genuine-love-for-god-is-spontaneous.html

www.library.yale.edu/science/socialnetworking.html A few of the social networking services used by the Yale Science Libraries

A text, in english, from www.arthurgrosset.com/sabirds/burnished-bufftanager.html :

Burnished-buff Tanager (Tangara cayana)

Male Burnished-buff Tanager, Parque Olhos D'água Brasília, Brazil, 20/07/2007.

There are several subspecies of Burnished-buff Tanager and they are normally divided into two groups: the cayana group found north of the Amazon and in Venezuela and Colombia, and the flava group found in south and east Brazil.

Male Burnished-buff Tanager.

The main difference between the two groups is that the male of the flava group, as shown in the first two photos, has a broad black line running from the throat down the middle of the belly. This is lacking in the cayana group. The female is much duller and lacks the black below.

Male Burnished-buff Tanager.

They are found in savannas, cerrado, gallery woodland and forest borders.

Em Português:

Este saíra vive aos pares ou em pequenos grupos, freqüentando árvores com frutos maduros, como a aroeira-vermelha (Schinus terebinthifolia) e magnólias (Magnolia spp).

Alimentação: frutos e insetos como cupins e vespas.

Nidificação: o ninho, em forma de taça aberta, é feito com folhas, raízes e capins e envolto por finas raízes. Ele é colocado em ramos com folhas a cerca de 2 m do solo, em árvores baixas e isoladas. Os 2 ovos são esbranquiçados, azul-pálidos ou branco-pardos com manchas pardas num dos pólos. A fêmea, embora auxiliada pelo macho, é a responsável pela maior parte da construção do ninho, incuba os ovos e aquece os filhotes. Durante este período o macho permanece nas proximidades do ninho e alguns podem alimentar a fêmea. O macho auxilia também na alimentação dos filhotes.

Hábitat: matas abertas e ciliares, áreas cultivadas, parques e jardins.

Tamanho: 14,5 cm

Fonte: USP

 

# Tangara cayana, Saíra-amarelo, Burnished-buff Tanager

blogged:http://doecdoe.blogspot.com/2008/07/wednesday-books_16.html

Sugar-paste topped with piped html and binary code detail

www.thereforthebaking.com

PHOTOs: Right_Harpars Bazaar

www.tias.com/9105/PictPage/3923223996.html

Left_undated, ca. late 1950s-early 1960s

bettyswallow.wordpress.com/2010/08/19/50s-lingerie-ads/

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" FRILLY AND FEMININE LINGERIE " -

CALLING ALL GIRLS January 1963

Cover : Freeman ELLIOT

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Calling All Girls

( Parents' Magazine Press, Parents' Magazine Institute )

  

YM was an American teen magazine that began in 1932. It was published for 72 years and was the second-oldest girls' magazine (the oldest being Seventeen) in the United States.

 

YM got its start as two magazines in the 1930s—Compact, which was aimed at older teens, and

Calling All Girls, which was intended for younger girls and pioneered the signature embarrassing-moments column, "Say Anything".

By the late 1960s, the publications merged into Young Miss, a small digest-sized mag. In the 1960s the size was increased and the 1980s saw still another title change (this time to Young & Modern) under Bonnie Fuller's direction as editor-in-chief.

The final title change came in 2000 (this time to Your Magazine), though the abbreviation "YM" was the title by which it was commonly referred. It ceased publication in 2004, with the December/January issue featuring Usher. Subscribers received Teen Vogue subscriptions in replacement.

YM is no longer published online and now the domain is only a link to Teen Vogue.

en.wikipedia.org/wiki/YM_(magazine)

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Freeman Elliot (b.1922)

BIO >>

www.thepinupfiles.com/elliot.html

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COVER GALLERY >> Calling All Girls

FIRST Series #1 September 1941 - #89 September 1949

www.mycomicshop.com/search?tid=335481&pgi=51

AND

www.comics.org/series/12682/covers/

AND

www.coverbrowser.com/search?q=Calling+All+Girls

AND

www.atomicavenue.com/atomic/TitleDetail.aspx?TitleID=6877

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The Vintage April Dachshund @ dachshundlove.blogspot.com

Calling All Girls, April, 1960

AND

other Calling All Girls covers

featuring Dachshunds by Freeman Elliot

dachshundlove.blogspot.com/2011/04/vintage-april-dachshun...

 

Εισαγωγή

χριστιανική ταινία «Λαχτάρα» Ο Θεός αποκαλύπτει το μυστήριο της βασιλείας των ουρανών

 

Πριν από δύο χιλιάδες χρόνια, ο Κύριος Ιησούςυποσχέθηκε στους πιστούς του: «υπάγω να σας ετοιμάσω τόπον· και αφού υπάγω και σας ετοιμάσω τόπον, πάλιν έρχομαι και θέλω σας παραλάβει προς εμαυτόν, διά να είσθε και σεις, όπου είμαι εγώ.» (Κατά Ιωάννην, 14:2-3). Λόγω αυτού, γενιές πιστών επιμένουν πεισματικά να ελπίζουν και να προσεύχονται για την εκπλήρωση της υπόσχεσης του Κυρίου. Ελπίζουν και προσεύχονται ότι θα αρπαγούν στους ουρανούς για να συναντήσουν τον Κύριο και να μπουν στη βασιλεία των ουρανών, όταν έρθει ο Κύριος. Αυτό περιγράφει και τον πρωταγωνιστή της ταινίας, Τσεν Σιάνγκ-Γκουάνγκ. Είναι ενθουσιώδης αναζητών, διαδίδει το Ευαγγέλιο και γίνεται μάρτυρας στον Κύριο, για να υποδεχτεί την έλευση του Κυρίου. Αν και απολύθηκε από τη θέση του σε ένα σχολείο και η οικογένειά του δεν του δείχνει κατανόηση, στην καρδιά του ποτέ δεν απελπίζεται. Μια μέρα, σε κάποια συνάντηση, ο Τσεν Σιάνγκ-Γκουάνγκ συλλαμβάνεται και φυλακίζεται από την κινέζικη κομμουνιστική κυβέρνηση. Κάτω από τη θαυμαστή εξουσία και τα σχέδια του Θεού, γνωρίζει τον Ζάο Ζιμίνγκ, έναν Χριστιανό από την Εκκλησία του Παντοδύναμου Θεού. Ο Ζάο Ζιμίνγκ του δίνει τη μαρτυρία του για την εμφάνιση και το έργο του Θεού τις έσχατες ημέρες, δίνοντας τέλος σε μια σειρά ετών γεμάτα αντιλήψεις και φαντασίες, στα οποία έλπιζε και προσευχόταν για την επιστροφή του Κυρίου. Βγαίνοντας από τη φυλακή, ο Τσεν Σιάνγκ-Γκουάνγκ οδηγεί τους αδελφούς και τις αδελφές του να ερευνήσουν το έργο του Παντοδύναμου Θεού τις έσχατες ημέρες. Τελικά, όλοι καταλαβαίνουν τι σημαίνει η αρπαγή στη Βασιλεία των Ουρανών, αν η βασιλεία είναι στη γη ή στον ουρανό και πώς πρέπει οι άνθρωποι να υποδεχτούν την επιστροφή του Κυρίου...

Πηγή εικόνας: Εκκλησία του Παντοδύναμου

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

Visto su Sdamy

You can read more about my $2 Portrait Project here.

 

While shooting on Harrison Street between 5th and 6th earlier this afternoon I ran into Billy while shooting a mural in an alley. Billy had street sheet newspapers and said he was between things right now and asked me if I'd buy one. I told Billy about my $2 Portrait project though and he agreed to pose.

 

At first Billy said that nobody would want to see a photograph of him. But as he warmed up he told me that with the silver in his beard and hair that maybe he could look like a dockworker who just got off the job.

 

Billy was born and raised in Oakland, California. He's been here his whole life. He has two adult children, a son and a daughter. One to carry on his name and one to carry on his grandkids he told me. Billy took out the photos of both of his children from his wallet and showed them to me. Billy said that his son was doing ok, but that his daughter was headed for trouble. He said that he was going to be a grandfather before he knew it.

 

While going through his wallet Billy wanted to show me that his name on his social security card was different than the name on his drivers license. The stupid California Department of Motor Vehicles had screwed up his name putting his middle name Clyde first and his first name Billy as his middle. Typical Government I remarked.

 

Billy told me that he'd injured his eye at some point. You'd better not be some doctor trying to get evidence of my eye injury he warned me. I assured Billy that i wasn't though. I think he was joking about that.

 

Billy and I talked a bit more and then he said thanks for the $2 and I headed on my way and he headed on his.

Meninas, Li uma Matéria da CRISTIANE SEGATTO - Colunista da Epoca outro dia e achei muito importante compartilhar

 

Ja tinha mandado pelo twitter mas vou deixar por aqui tb - segue o link - É fácil pegar hepatite B e C na manicure. Por que não dá para confiar na esterilização feita nos salões de beleza

 

Vou copiar alguns trechos que achei mais importante:

  

Ninguém sabe ao certo quantos são os portadores dos vírus B e C no Brasil. Estima-se algo entre 1,5 milhão e 4 milhões.

 

Os vírus podem danificar o fígado durante décadas sem dar o menor sinal.

 

É chocante perceber que todo esse sofrimento poderia ser evitado se normas básicas de higiene fossem efetivamente cumpridas.

 

Em TODOS os salões, encontrou práticas inadequadas.

 

As manicures não lavavam as mãos depois de atender cada cliente, não lavavam o material antes de colocá-lo no equipamento de esterilização, não usavam as autoclaves corretamente etc. Em um deles, as profissionais achavam que colocar os alicates no forninho elétrico seria suficiente. Tiravam pães de queijo da assadeira e colocavam os alicates no lugar. Inútil. O calor do forninho não é suficiente para matar os vírus.

 

Entre as manicures, a prevalência dos vírus da hepatite é maior que na população geral.

 

As manicures também tinham muitas dúvidas sobre a forma correta de higienizar o material. Para não correr risco de se infectar ou de infectar as clientes, a profissional precisa cumprir todos os passos a seguir. Na próxima vez em que for ao salão, observe se eles realmente foram cumpridos. É provável que você se assuste:

 

1) Antes de atender cada cliente, lavar as mãos ou usar álcool gel

2) Colocar as luvas. Usar um novo par a cada cliente

3) Usar lixa e palito descartáveis (um para cada cliente)

4) Abrir o pacote com o material esterilizado na frente da cliente

5) Usar uma toalha limpa ou descartável para cada cliente

6) Lavar os alicates, a espátula e outros instrumentos metálicos reutilizáveis com água, sabão e escova

7) Enxugar esse material com toalha limpa e colocá-lo no envelope especial para esterilização

8) Selar o envelope e colocá-lo na estufa ou na autoclave

9) A estufa não pode ser aberta durante a esterilização. Se uma manicure abrir a porta da estufa enquanto outra deixou o material lá dentro, a esterilização fica comprometida. É preciso manter a estufa funcionando durante uma hora ininterrupta, à temperatura de 170 graus

10) A autoclave é mais fácil de controlar porque funciona como uma panela de pressão. Basta colocar o envelope, fechá-la e esperar até o final da esterilização.

 

Se você gostou desses passos, espalhe o link e contribua para a saúde de todos. Outra opção é fazer um kit e levar o seu próprio material ao salão. Não basta levar apenas o alicate. “Levo acetona, esmalte, palito, espátula, alicate, tudo”,

  

BIENNALIST @ Venice Biennale

 

www.emergencyrooms.org/biennalist.html

by www.colonel.dk and www.emergencyrooms.org

www.emergencyrooms.org/formats.html about other art format

  

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

 

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

 

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

 

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

 

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

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

  

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

 

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

 

other Biennale :(Biennials ) :

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

* Dakar

  

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

 

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

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

 

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

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

 

#biennalevenice

 

Institutional Critique

 

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

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

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

 

Culture, Collective History, Group of Portraits, Photographic Source

 

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

 

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

 

Personal Histories, Alter Egos and Avatars

 

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

, Photographic Source

 

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

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

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

   

[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]

 

enriqueviolanevado.blogspot.com/2021/04/ejercicio-practic...

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1. Presencia en las pruebas de selectividad.

 

Este mapa ha aparecido como propuesta en los modelos de exámenes de 2020. El mapa que reproducimos reproduce la policromía original del mapa del IGN, no de la adaptación realizada por la Ponencia de Geografía.

 

2. El Mapa representa la superficie regada por provincias en España (en porcentaje sobre el total de tierras de cultivo). Analícelo y conteste a las siguientes cuestiones:

 

a) ¿Cuáles son las provincias que presentan más del 40,0% de sus tierras de cultivo en regadío? (Hasta 1 punto).

 

b) ¿Qué tipo de cultivos son los que motivan la superficie regada en las provincias 1 y 2? (Hasta 1 punto).

 

c) ¿Qué condiciones naturales motivan el predominio de la superficie cultivada de regadío en el sureste peninsular? (Hasta 2 puntos).

 

________________________________________________

 

Superficie regada por provincias en España

 

1. El Mapa representa la superficie regada por provincias en España (en porcentaje sobre el total de tierras de cultivo). Analícelo y conteste a las siguientes cuestiones:

 

a) ¿Cuáles son las provincias que presentan más del 40,0% de sus tierras de cultivo en regadío?

 

León, Huesca, Lérida, Valencia, Alicante, Murcia, Almería, Jaén, Las Palmas y Santa Cruz de Tenerife.

 

b) ¿Qué tipo de cultivos son los que motivan la superficie regada en las provincias 1 y 2?

 

En la provincia n.º 1 (Jaén) el cultivo de regadío predominante es el olivo, un árbol propio de la agricultura de secano, pero con esta técnica su rendimiento resulta muy superior. Además su avance se vio estimulado por la concesión de subvenciones comunitarias.

 

En la provincia n.º 2 (Almería) existe una gran variedad de cultivos: hortofrutícolas (tomates, pimientos, berenjenas…), flores y plantas ornamentales (rosas, crisantemos, claveles…) y frutas de origen tropical (aguacate, chirimoya, mango…). El cultivo bajo plástico se inició en los años sesenta y cobró un gran impulso con la entrada de España en la Unión Europea (entonces C.E.E.) pues esta área pasó a abastecer a todo el continente de producciones tanto tempranas como de fuera de temporada.

 

c) ¿Qué condiciones naturales motivan el predominio de la superficie cultivada de regadío en el sureste peninsular?

 

Las condiciones, en principio, eran muy adversas, pues se trata del área con menos precipitaciones de toda la península. Además la distribución de las lluvias es muy irregular, alternando largos períodos de sequía con bruscas inundaciones que destruían la endeble infraestructura de regadío que se había podido establecer.

 

No obstante, las condiciones climáticas resultan particularmente benévolas para la actividad agrícola, pues los inviernos resultan suaves, con una práctica ausencia de heladas y los veranos, aunque calurosos, no alcanzan las temperaturas extremas de otras comarcas, como el Valle de Guadalquivir. Por otra parte, las escasas precipitaciones se traducen en muy pocos días de nubosidad, o sea en un elevado número de horas de insolación anuales.

 

Los suelos predominantes, por otra parte, son de tipo cambisol, que permite una gran variedad de cultivo, siempre que se garantice el suministro de agua. La forma de relieve más usual en esta parte de la península es la llanura aluvial, que resulta idónea para la práctica agrícola.

 

Tradicionalmente el regadío se reducía a la vega de los escasos ríos que atraviesan este territorio (en particular el Segura). Primero con la edificación de aljibes y, a partir del siglo XIX, con la construcción de embalses, se logró aumentar la superficie irrigada, si bien, los cultivos característicos siguieron siendo los de secano mediterráneo, como cereales, olivo, vid o cítricos.

 

La situación cambió en la década de 1960, cuando pudieron explotarse los acuíferos subterráneos gracias al empleo de modernas bombas de gran capacidad. El rendimiento agrícola aumentó con el empleo de otras tecnologías novedosas:

 

-El uso de enarenados que neutralizan los efectos de la sal del y mantienen la humedad del suelo y el calor más tiempo, lo que acelera su crecimiento.

-Los invernaderos que emplean plástico transparente que intensifica el calor y mantiene la humedad.

-La sustitución del riego a manta por el riego por goteo, reduciendo el despilfarro de agua y logrando una irrigación más eficiente.

 

Estas innovaciones permiten recoger cosechas un mes antes que en campo abierto y con más anticipación que en otras regiones, iniciando recolecciones en diciembre y permitiendo el crecimiento vegetal de las siembras de otoño-invierno hasta marzo, duplicando y, en ocasiones, triplicando el número de cosechas.