[46/366] ?

____________________________________

Valentine.

mp3.zing.vn/bai-hat/Canon-in-D-Pachelbel/IW86I6IE.html

____________________________________.

 

Xem như đây là cơ hội cuối cùng cho t được nói ra những lời này nhé.

t sẽ không nói tên cậu là ai, mặc dù có lẽ mọi người ai cũng biết, nhưng thôi càng tránh càng tốt.

______________________________

tính đến bây giờ thì mình biết nhau được hơn nữa năm rồi đấy.

và nếu tính t thì đến giờ t đã thích cậu khoảng hơn 5 tháng.

...

cái gì cần biết hay cần nói cũng đã gần như nói hết cả rồi.

...

t chỉ mong cậu hiểu vài điều.

- t xin lỗi vì nhiều lúc ghen tuông thái hoá, vì lúc ấy mình cũng chẳng là gì, bạn bè thôi tự nhiên lại ghen này ghen nọ. t ghen không phải vì là cậu như này như nọ, mà chỉ ghen với những thằng cậu nói chuyện với thôi, cậu biết không, t luôn tự hỏi liệu mình có làm phiền cậu, liệu mình có đang chen ngang vô duyên vào cuộc sống cậu, tại vì t nhát không dám nói chuyện vì những lí do ấy, cho nên t luôn cảm thấy hậm hực vì t cũng như tụi nó, tại sao nhiều khi cậu bắt chuyện, nhiều lúc cậu cười thoải mái thế, còn t thì lại không. Nói chung, tất cả cũng là lỗi của t cả, t xin lỗi.

- t xin lỗi vì cậu đã bị phiền toái thật sự khi nhiều người chọc cậu, nói cậu cặp với t, nói t thích cậu này nọ nhiều điều, t xin lỗi vì đã làm cậu bị phiền phức như vậy, t xin lỗi rất nhiều,... t cũng không hiểu vì sao người ta biết,... nhưng dù sao, t cũng chỉ nên đứng ở môt xó nào đấy nhìn cậu rồi lẳng lặng bước đi, không dính liếu, và cũng không phiền phức. t xin lỗi.

- t xin lỗi vì mình đã quá nhiều lời, đã quá than vãn kêu ca,... t không biện hộ, chỉ đó là khoảng thời gian khó khăn của t. t xin lỗi, giờ thì khác nhiều lắm rồi.

- t xin lỗi vì những chuyện như add fb bạn của cậu, like stt từ hồi mới dùng fb, " tấn công " dữ dội quá - như lời cậu nói. Chỉ mong cậu hiểu, add fb là hoàn toàn do vô tình, like stt chỉ là muốn cậu để ý đến t một chút, dù chỉ là thoáng qua thôi t cũng không mong đợi hơn,... đó là trong khoảng thời gian đầu cậu bắt đầu né tránh t. Còn nếu t " tấn công " gì gì đấy thì...

[] Cậu biết không, đột nhiên người mình thích cứ né tránh mình riết, rõ ràng lắm, không một lí do, không một giải thích,... nó kéo theo nhiều suy nghĩ khùng điên lắm, t cứ nghĩ mình đã làm điều gì đấy cho cậu ghét, t nghĩ mình sai thứ gì đấy rồi,... hay đơn giản, là... cậu chỉ ghét t thế thôi... chỉ ghét đơn thuần vậy thôi. đến khi t hiểu được, t cũng im lặng,... cả hai đều im lặng. Cậu à,... mỗi lần nói chuyện với cậu là t chỉ muốn độn thổ xuống đất, mỗi lần muốn chào một tiếng là t phải suy nghĩ dữ lắm, t tự hỏi liệu t có sẽ làm phiền cậu hay không ? liệu t làm như vầy có làm cậu thấy khó chịu hay k ? ... t nghĩ nhiều thứ lắm, và hầu hết, t đều chọn im lặng. t nhát lắm,... rất nhát, t không có như con trai người ta thích là sẽ có hành động biểu thị, t không có nhắn tin này nọ, không có gọi điện,... không gì cả, t không dạn... nói chung, làm sao mà t lại " tấn công " gì đấy được chứ ?.... Hãy hỏi câu này, nếu t như lời cậu nói, có lẽ mấy tháng qua t đã không im lặng như vầy rồi.

t im lặng bởi vì t không hề biết phải làm sao cả,

t im lặng bởi vì t nghĩ nếu như vầy làm cậu vui, thì t cũng chấp nhận,

t im lặng để " nói " cho cậu biết rằng... t không phải thằng thích là cứ xồn xồn lên cua,

t im lặng để chờ đợi,...

và t nghĩ, có lẽ nếu chờ, t sẽ im lặng mãi mãi. :) ...

t nghe vài người bạn của cậu bảo cậu không thích t, không thích tính cách, không thích gì cả,... cậu còn ghét t nữa,... t nghe vài người bạn của cậu nói,... cậu thích ai đấy,... cậu đi chơi với ai đấy,... và cậu cười.

tốt thôi :), t không ghen hay tức,.. ngược lại t cảm thấy vui, bởi vì cậu không vướng bận t mỗi khi đi, mỗi khi nói chuyện với ai đấy, và t biết, sẽ tốt hơn nếu t trở thành người xa lạ với cậu.

t đã như vầy vài tháng rồi, thì t sẽ có thể làm được lâu hơn, t sẽ làm được hoài...

...

rất nhiều người bảo t ngu lắm khi cứ theo đuổi hoài, chẳng có ích gì cả, còn nhiều người lắm.

nhưng t vẫn cứ như thế đấy, vẫn cứ theo, vẫn cứ vậy hoài,... khi t biết đã có một người thực sự quan trọng với mình thì t sẽ không bao giờ mất đi tầm nhìn về người ấy.

vâng, t thích cậu thật sự đấy.

...

à, xin lỗi nhé nếu nói như vậy làm phiền cậu, xem như chưa từng đọc dòng ấy nhé... ( hoặc thậm chí cậu còn không thèm đọc ) :) ...

...

cậu có biết mỗi lần trông thấy cậu từ xa là t cảm thấy vui lắm không ? mỗi lần cậu đi ngang hay gì đấy, buồn cười thay, t lại bỏ chạy. t sợ mất công cậu lại phải nghĩ đến cái thằng như t. khốn khổ.

...

đó là cảm giác mà khi cậu trông người cậu thương yêu đứng đằng xa, rồi nhìn theo bóng dáng người ấy đến khuất hẳn, cậu mong chờ và hy vọng, nhưng sau đó lại cảm thấy vô vọng rồi chán nản,... cứ tiếp tục vậy đấy,... có rất nhiều thứ t muốn nói với cậu, là rằng t cảm thấy vui thế nào và cảm xúc ấy lẫn lộn cả vào buồn bực khi cậu đi ngang, cách t chỉ 1 bước chân mà như người dưng đi ngang vậy... nhiều lắm.

t không phải thằng con trai hay nói lời mật ngọt, hành động thân mật dịu dàng,... t hay nói thẳng và không mềm mại cả về lời ăn tiếng nói hay hành động với con gái- t không ham, t chỉ dành cả tình cảm cho người mình thương và trân trọng người ấy hết mực thôi, t không nói suông bằng lời,... t thích hành động hơn cơ.

xin lỗi nhé...

t chỉ muốn nói cho cậu biết rằng cậu luôn giữ một vị trí quan trọng trong t,

t chỉ muốn nói cho cậu biết rằng t thích cậu thật lòng, không giả dối, vụ lợi,

t chỉ muốn nói cho cậu biết rằng t trẻ con và hay làm điều dại dột, nên cậu hãy tha thứ cho t nhé.

t chỉ muốn nói cho cậu biết rằng t sẽ làm những điều tốt nhất để cậu vui, cười dù rằng nó có khiến t buồn bã đến thế nào đi chăng nữa...

t chỉ muốn nói có vậy, không đòi hỏi,... chỉ muốn nói cho cậu biết tiếng lòng mình chỉ có như vậy.

...

một khi đã nói thích, thì t đã sẵn sàng nhận lấy lời đồng ý, và... từ chối. nhưng t thừa biết câu trả lời sẽ ra sao rồi :) t sẽ làm một trường hợp ngoại lệ.

...

t thích cậu !

...

và t không yêu cầu được hồi đáp.

...

:)...

chỉ có vậy thôi. dài dòng quá lại khổ.

xin lỗi vì những chuyện đã gây ra cho cậu.

xin lỗi rất nhiều.

...

chúc cậu có ngày 14/2 vui vẻ và hạnh phúc nhé !

__________________________________________

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

ps: i ♥ you.

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

-----

other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

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

  

وینس Venetsiya

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

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

 

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

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

Thierry Geoffroy / Colonel

 

Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

-----

other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

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

  

وینس Venetsiya

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

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

 

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

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

Thierry Geoffroy / Colonel

 

Disney Movies Collection

001.Snow White amd the Seven Dwarfs

002. Pinocchio

003. Fantasia

004. Fantasia/2000

005. Dumbo

006. Bambi

007. BambiⅡ

008. Saludos Amigos

009. Fun and fancy free

010. Cinderella

011. CinderellaⅡDreams come true

012. CioderellaⅢA twist in time

013. The wild

014. Alice in Wonderland

015. Peter Pan

016. Lady and the Tramp

017. Lady and the TrampⅡ: Scamp's Adventure

018. Sleeping Beauty

019. One Hundred and One Dalmatians

020. 101 DalmatiansⅡ：Patch's london Adventure

021. The Sword in the Stone

022. The Aristocats

023. Bedknobs and Broomsticks

024. Robin Hood

025. The fox and the Hound

026. The little Mermaid

027. The little MermaidⅡ: Return to the Sea

028. Beauty and the Beast

029. Beauty and the Beast: The Enchanted Christmas

030. Aladdin

031. The Return of jafar

032. Aladdin and the King of thieves

033. The Nightmare Before Christmas

034. The lion King

035. The lion KingⅡ: Simba's Pride

036. The lion king 11/2

037. Pocahontas

038. Pocahonlas Ⅱ:Journey to a mew world

039. Toy Story

040. Toy story 2

041. James and the Giant Peach

042. The Hunchback of Notre Dame

043. the HUnCHback of notre dame Ⅱ

044. Hercules)

045. Mulan

046. Mulan Ⅱ

047. Tarzan

048. Tarzan Ⅱ

049. Valiant

050. Dinosaur

051. The emperor's New Groove

052. Kronk's new groove

053. recess:school's out

054. Atlantis:The Lost Empir

055. Atlantis:Milo's Return

056. lilo & stitch

057. Stitch 2: Stitch Has a Glitch

058. Treasure Planet

059. Brother Bear

060. Brother Bear 2

061. The Jungle Boek

062. The Jungle Book 2

063. Home on the Range

064. The Three Musketeers

065. Mickey's twice upon a Christmas

066. Chicken little

067. The wild swans

068. Felix the Cat Saves Christmas

069. Mickey's magical christmas:snowed in at the house of mouse

070. Mickey & minne

071. Donald duck and the gorilla etc

072. Casper

073. Three little pigs

074. daffy duck

075. The black cauldron

076. Return to never land

077. the tortoise and the hare

078. Everybody loves Donald

079. Everybody loves Goofy

080. Everybody loves Mickey

081. Sweetheart Stories

082. Gulliver's travels

083. Life with Mickey Town

084. Walt Disney treasures volume 1

085. Walt Disney treasures volume 2

086. Walt Disney treasures volume 3

087. Walt Disney treasures volume 4

088. Walt Disneys 100 years of Magic: Goofy sport

089. The three Caballeros

090. Who framed Roger Rabbit

091. Mary Poppins

092. The Rescuers

093. The Rescuers dowu Uuder

094. Monsters Inc.

095. Finding Nemo

096. The incredibles

097. Cars

098. Winnie the Pooh:Story Book

099. Winnie the Pooh:A very Merry Pooh Year

100. Winnie the Pooh:Heffalump Movie

101. Winnie the Pooh:Heffalump Halloween Movie

102. Winnie the Pooh:Springtime with Roo

103. Winnie the pooh:123

104. Winnie the Pooh:All for one,one for all

105. Winnie the pooh:the many adventures

106. Winnie the Pooh:the Search for Christopher Robin

107. Winnie the Pooh:franken Pooh

108. A Bug's life

109. Disney Heroes Volume One

110. An officer and a duck

111. Meet the Robinsons

112. Underdog

113. Ratatouille

114. The adventures of ichabod and Mr. Toad

115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie

116. The chronological donald:volume one

117. The chronological donald:volume two

118. Mickey mouse clubhouse mickey saves santa

119. Mickey's House of Villains

120. Mickey mouse clubhouse:great clubhouse hunt

121. Mickey princess enchanted tales:follow your dreams

  

(Vielen Dank, liebe FDP (man muss die Dinge ja doch mal beim Namen nennen). Sind denn unter 2% noch nicht wenig genug? Abgesehen davon, bin ich eigentlich der einzige Bundesbuerger, der es wirklich problematisch findet, wenn eine Partei, deren Akzeptanz in der Bevoelkerung quasi nicht mehr vorhanden ist, mit am Regierungstisch sitzt und wichtige, unter Umstaenden zukunftsweisende Entscheidungen mit trifft?

Aber das ist eine andere Baustelle. Meine ist ja bekanntlich mein mehr schlecht als recht funktionierendes Internet - und da kommt Freude auf, wenn man dann liest, dass die oben genannte Partei auf eine "Marktloesung" setzt.

Liebe Sch******** (ich sagte es bereits, Namen nennen... deutlich werden), wie stellt ihr euch denn eine Marktloesung fuer Gebiete vor, in denen sich die Investition fuer keinen der Provider lohnt, und in denen die Gemeinden pleite sind und - vorausdenken und Investitionen in die Zukunft sind ja auch auf lokaler Ebene eher out, und ich war am Wochenende in der Stadt bei einer Veranstaltung, die demographische Entwicklung spricht ebenfalls nicht dafuer - fuer Breitband-Internet wortwoertlich keinen Cent spendieren werden? Ja, da versagt der Markt naemlich auf ganzer Linie, da wo nicht wirklich dicke Gewinne zu holen sind. Wo soll denn da der "freie Wettbewerb" herkommen??? Da ich immer wieder Nachrichten der Art "Warum kuendigst du da nicht und wechselst den Provider" bekomme, moechte ich meine Situation nochmal verdeutlichen:

 

- Es gibt hier kein DSL - nicht einmal DSL light. DSL 1000 endet schon ein ganzes Stueck entfernt, hier kommt also so gut wie nichts mehr an. Die Alternative waere ISDN, Kriechinternet zu Spitzenpreisen, und das im Jahr 2011 (ein Provider verspricht hier DSL 16000, natuerlich ohne Erklaerung, wie das gehen soll, wenn die letzte Meile noch fest in der Hand der T-Com ist, und die nach mehrfachem Durchmessen keine Moeglichkeit sehen - der Nachbar hat diesen Anschluss, aber der ist technisch nicht so versiert, dass ich ihn mal mit einer Geschwindigkeitsmessung beauftragen koennte. Es ist mit Sicherheit jedoch kein DSL 16000).

 

- Internet ueber Kabel ist hier auch nicht moeglich, da kein Kabel bis zum Haus fuehrt. Warum das nie verlegt wurde, das weiss ich nicht, aber es wird auch in absehbarer Zeit nicht verlegt werden.

 

- Die einzige Loesung ist Internet ueber Funk (ja, genau, im Prinzip wie surfen uebers Handy, nichts anderes haben wir hier). Von den 4 Providern, die hier ein Netz haben, sieht es so aus, dass zwar alle 4 das GSM-Netz (2G) ausgebaut haben - eben das ganz normale Handynetz - aber nur 2 davon laut meinen Messungen ueberhaupt schnelleres mobiles Internet (UMTS/HSDPA) anbieten. Davon der eine (theoretische) 1,8 Mbit, beim anderen weiss ich es nicht genau. Beim dritten erhalte ich ein sehr sehr schwaches 3G-Netz (also UMTS/HSDPA), das nicht sehr stabil zu sein scheint und oft gar nicht da ist.

 

- Der Netzausbau ist das eine, die Konditionen das andere. ALLE mobilen Flatrates sind (dem Namen zum Trotz) volumenbeschraenkt, das heisst dass die tolle UMTS/HSDPA-Geschwindigkeit nach dem Verbrauch von zwischen 3 und 5 GB auf GSM-Geschwindigkeit gedrosselt wird (das ist ungefaehr so schnell wie anno dazumal ISDN). Bis vor kurzem hatten alle noch die Einschraenkung, dass auch Instant Messaging (ICQ, AIM, Yahoo Messenger etc. etc.), P2P und Voice over IP-Telefonie NICHT erlaubt waren. Zumindest was IM angeht, wurden da die Zuegel etwas gelockert, aber trotzdem.

 

- Das alles natuerlich zu einem Preis, der hoeher ist als ein durchschnittlicher DSL 6000-Anschluss voelllig ohne irgendeine Einschraenkung.

 

- Mein Provider ist nun (logischerweise) der, der hier wenigstens 1,8 Mbit (theoretisch) mit 5 GB Volumenbeschraenkung anbietet. Genau genommen sind es inzwischen 10, aber das wurde auch nur "defensiv beworben" sprich: man sagt dem Kunden lieber gar nicht, dass es so etwas gibt, sonst koennte der das ja auch nutzen wollen. Dort ist meines Wissens inzwischen auch IM offiziell erlaubt. Es moege nun jeder selbst sein Surfverhalten beobachten und sehen, wie weit diese 5 GB pro Monat reichen, vor allem wenn man z.B. einen Radiostream anhoert oder ab und an mal ein Video auf youtube ansehen moechte. Sind die 5 GB verbraucht, gehts froehlich mit GSM-Geschwindigkeit weiter, dann gibts sowieso kein youtube und keine Radiostreams mehr.

 

- Als ob das alles nicht schon Einschraenkung genug waere, funktioniert aber eben dieses 1,8 Mbit UMTS-Netz seit mehr als 2 Monaten nicht mehr. Von einem Tag auf den anderen war (fluessiges) surfen nicht mehr moeglich, vom Bilder-Hochladen und aehnlichem rede ich lieber gar nicht. Mein Provider behauptet, dass auf seiner Seite alles in Ordnung waere, und man bei UMTS eben mit Netzueberlastungen zu rechnen haette (mein Netz funktioniert rund um die Uhr gleich schlecht). Das ist uebrigens ganz normal, wenns nicht mehr geht, weil zuviele es nutzen, wird nicht etwa schleunigst ausgebaut, dann hat der Kunde erst mal Pech gehabt, denn im Vertrag steht ja so schoen "bis zu x Mbit". Es wird auch gern behauptet, dass mein Empfang so schlecht waere, dass rein technisch UMTS nicht mehr moeglich ist (bei einer Signalstaerke von ueber 90% und einer mittelpraechtigen Daempfung). Warum es vorher ueber Monate funktioniert hat, obwohl der Empfang ja angeblich so schlecht ist, darueber huellt man sich in Schweigen.

 

- Bei der Versteigerung der terrestrischen TV-Frequenzen, die ja frei geworden sind, nachdem wir uns nun alle mit DVB-T und Konsorten herumaergern duerfen, wurden die Provider verpflichtet, dass sie zuallererst einen bestimmten Prozentsatz an Gebieten mit LTE (4G) versorgen muessen, wo es bis jetzt noch kein 'schnelles' (damit ist 1 Mbit gemeint :D) Internet gibt. Dann erst duerfen sie in den lukrativeren Ballungszentren ausbauen. Ich schoepfte also wieder Hoffnung - aber ich haette es wissen muessen: neulich wurde vollmundig verkuendet, dass fuer NRW das Soll nun erfuellt ist, und es mit dem Ausbau der lukrativen Gebiete losgehen kann. Bei mir ist LTE natuerlich noch nicht angekommen.

 

Vielleicht verstehe ich es einfach nicht, aber wo soll er nun herkommen, der Wettbewerb? Nicht mal unter verschaerften Bedingungen (LTE) baut hier jemand aus, zumindest ist bis jetzt nichts geplant oder ersichtlich (ich habe mich bei jedem Provider als potentieller LTE-Kunde registrieren lassen, aber bis jetzt kam von niemandem eine positive Nachricht). So aehnlich wuerde es wohl auch mit Strom, Wasser und Telefon aussehen, gaebe es nicht die Universaldienstverpflichtung (waren die damals doof, die haetten doch auch nur auf die "Marktloesung" setzen muessen - stattdessen hat der Staat mit unser aller Steuern die Infrastruktur 'spendiert', auch dort, wo es sich eben nach rein marktwirtschaftlichen Aspekten nicht lohnt). Lieber Herr Ralf Kleint, vielleicht koennen Sie mir ja weiterhelfen? Wo ist der regionale Anbieter, den man ja nicht ausbooten sollte? Wenn das alles ohne staatlichen Eingriff so viel besser funktioniert, dann kann ich ja heute noch bei meinem unfaehigen Provider kuendigen (nein, die haben das immer noch nicht hinbekommen, dass mein UMTS wieder funktioniert wie vorher). Morgen sehe ich mich dann nach einem neuen Anbieter um, bei den vielen Mitbewerbern, die im freien Markt in Konkurrenz zu meinem Anbieter stehen, sollte das ja alles kein Problem sein.

 

Und liebe FDP, habt ihr euch schon die neuesten Umfragewerte zur Piratenpartei angesehen? Klingelts da? Ursache, Wirkung? Die sind ja aber auch doof und haben bestimmt noch nicht kapiert, dass man nur die Kraefte des Marktes walten lassen muss. Deshalb sind bei der letzten Wirtschaftskrise auch reihenweise Banken und Automobilhersteller ueber den Jordan gegangen - denn staatliche Eingriffe, das ist doch der reinste Kommunismus, und den wollen wir hier doch wirklich nicht. Und vom Aufschwung und den vielen neuen (Mini-)Jobs profitieren ja auch fast alle Mitbuerger. "Ich mach mir die Welt, wie sie mir gefaellt." :D).

 

Dies ist eine Zusammenfassung, deshalb habe ich mich in einigen Punkten, ueber die ich bereits geschrieben hatte, wiederholt.

Swaffham has both a town memorial and a church memorial, plus the war dead have been summarised on the Roll of Honour web-site.

 

However, there seems to be a great deal of discrepancy between all these sources of information.

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

 

*************************************************************************

John W Reeve - town memorial

John W Reeve 12 East Surreys 14th March 1918 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=505137

Husband of Gertrude Reeve, of London St., Swaffham, Norfolk.

Norlink: No match

 

************************************************************************

George Regester - town memorial

George Regester - Rifle Brigade 23rd February 1918 Southampton - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=2803478

Son of Charles Salisbury Regester and Emma Regester, of Station St., Swaffham. Born at Holme Hale.

Norlink: No match

 

 

***************************************************************************

William Regester - town memorial

William Regester City of London Rifles 6th July 1917 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=160729

Roll of honour only has this only as a probably.

Norlink: No match

 

***************************************************************************

Leslie J Richardson - town memorial

Leslie J Richardson, Civil Service Rifles 15th September 1916 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=261011

Son of James and Elizabeth Richardson, of Old Bank House, Swaffham, Norfolk

Norlink: No match

 

***************************************************************************

A Raymond N Smith - town memorial

A Raymond N Smith - 130th K C O Baluchis J R 10th July 1919 India - Church memorial

 

A Raymond Richardson on Roll of Honour is actually A Raymond N Smith on Church memorial

 

Name: SMITH, ALAN RAYMOND NOEL Initials: A R N Nationality: Indian Rank: Lieutenant Regiment/Service: 130th King George's Own Baluchis (Jacob's Rifles) Age: 19 Date of Death: 10/07/1919 Additional information: Son of Walter and Eleanor Smith, of "Oakleigh", Swaffham, Norfolk. Casualty Type: Commonwealth War Dead Grave/Memorial Reference: 2. C. 10. Cemetery: RAWALPINDI WAR CEMETERY

www.cwgc.org/search/casualty_details.aspx?casualty=909715

Norlink: No match

 

**************************************************************************

Clifford D Smith - town memorial

Clifford D Smith Norfolks 23rd October 1918(?) France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=40160

Lt Clifford D Smith, deceased 23rd October 1918. 5th Battalion attached 9th Battalion.

Norlink: No match

 

***************************************************************************

Donald G Smith - town memorial

Donald G Smith - Royal Fusiliers 18th October 1916 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=505918

Son of Walter and Eleanor Smith, of "Oakleigh," Swaffham, Norfolk

Norlink: No match

 

***************************************************************************

Joseph Smith - town memorial

Joseph Smith Norfolks 9th May 1917 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=1653722

Husband of Annie Elizabeth Tibbett (formerly Smith), of Northwell Pool, Swaffham, Norfolk.

Norlink: No match

 

***************************************************************************

Arthur Spencer - town memorial

Arthur Spencer Royal Engineers 19th December 1916 - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=545064

Norlink: No match

 

***************************************************************************

Robert Squires - town memorial

Robert W Squires - Royal Fusiliers 19th August 1918 France - Church Memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=42634

Son of William and Clara Squires, of Little Thorns, Swaffham, Norfolk.

Norlink: No match

 

***************************************************************************

Frank Sterne - town memorial

Frank Sterne Middlesex Regiment 28th April 1917 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=1671128

Son of Thomas and Clara Sterne, of 3, Jasper Cottages, London St;, Swaffham, Norfolk.

Norlink: No match

 

***************************************************************************

George Starling - town memorial

George Starling 2/5 London Regiment 28th July 1918 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=273832

Son of Mrs. E. Starling, of 2, Cley Rd., Swaffham, Norfolk.

Norlink: No match

 

**************************************************************************

Herbert W Thompson - town memorial

Herbert W Thompson 7 Bedfords 16th November 1916 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=815879

Roll of Honour - formerly of the Essex Regiment

Norlink: No match

 

***************************************************************************

Hubert W Thompson - town memorial

Hubert W Thompson 5 Norfolks 20th April 1917 Gaza - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=645972

Son of Mr. W. H. Thompson, of Prince of Wales Rd., Swaffham, Norfolk

Norlink: No match

 

**************************************************************************

Herbert Trundle - town memorial

Herbert Trundle Royal Marine Light Infantry - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=3056186

Deceased 7th June 1915 Buried Royal Navy Cemetery, Plymouth

Norlink: No match

 

**************************************************************************

Alfred Twaites - town memorial

Alfred Twaites 5 Middlesex 24th October 1918 Norwich - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=2803474

Alfred Charles Twaites. Son of William and Anna Twaites, of Swaffham; husband of Ethel Marion Twaites, of London St., Swaffham.

Unit given as Labour Corps but formerly of the Middlesex regiment

Norlink: No match

 

**************************************************************************

Albert Turner - town memorial

Albert Turner - October 1918 France - Church memorial

 

CWGC: Too many possible matches - went through Turner’s for 1918 and no likely matches. Why no mention of unit on the church memorial - was he possibly a civilian contractor or a child

Roll of Honour - no further information

Census - too many Albert Turners (8+) born after 1889 either in Norfolk or now resident there - all bar two in Norwich. Nearest to Swaffham was one in Mildenhall.

Norlink: No match

 

***************************************************************************

John Warnes - town memorial

John Warnes 8 East Surreys 12th October 1917 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=492256

Son of Samuel Warner, of London. St., Swaffham, Norfolk

Norlink: No match

 

*************************************************************************

William Watts - town memorial

William Watts 1/5th Norfolks 19th April 1917 Gaza - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=651609

Norlink: No match

 

*************************************************************************

Edward Ward - town memorial

Edward W Ward R F Artillery 24th October 1918 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=314089

Son of Henry and Clara Ward, of Watton Rd., Swaffham, Norfolk.

Norlink: No match

 

*************************************************************************

Walter Ward - town memorial

Walter Ward 7 Bedfords 16th November 1916 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=819227

Son of William Ward, of Brewery Yard, White Hart Lane, Swaffham; husband of Harriet Ward, of 2, Albert Terrace, Swaffham, Norfolk

Norlink: No match

 

**************************************************************************

Albert H Ward - town memorial

Albert H Ward Norfolks 10th March 1917 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=819087

Shown as Albert John, Son of Richard and Ann Ward, of Campingland, Swaffham, Norfolk.

Roll of Honour shown as Albert John

Norlink: No match

 

**************************************************************************

Reginald C Webster - town memorial

C Reginald Webster - 1/5 Norfolks 10th May 1917 Nazareth - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=654288

Shown as Charles Reginald. A Company. Son of Charles and Elizabeth Webster, of 4, Station Terrace, Swaffham, Norfolk

Roll of Honour - shown as Charles Reginald.

Norlink: No match

 

***************************************************************************

Reginald West - town memorial

Reginald West 8 Norfolks 22nd October 1917 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=876577

Shown as Reginald George West. Son of Richard and Ellen West, of Lynn Rd., Swaffham, Norfolk. Presumed brother of Sidney

Roll of Honour ; Reginald George West

Norlink: No match

 

***************************************************************************

Sidney West - town memorial

Sidney West 10 Lincolns 13th April 1918 = Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=867107

Shown as Sidney Thomas West. Son of Richard and Ellen West, of Lynn Rd., Swaffham, Norfolk. Presumed brother of Reginald.

Roll of Honour: Sidney Thomas West

Norlink: No match

 

***************************************************************************

Ernest Winter - town memorial

Ernest Winter - East Yorks 4th November 1917 France

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=526468

Norlink: No match

 

***************************************************************************

Ernest Wood - town memorial

Ernest Wood - Middlesex Regiment 29th August 1916 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=245669

Shown as Frederick Edward Wood.

Roll of Honour; (Frederick) Ernest Wood, and then noted that CWGC states Frederick Edward

Norlink: No match

 

***************************************************************************

Walter Wright - town memorial

Walter Wright Shropshire Light Infantry 9th August 1915 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=912216

Son of William Walter and Eliza Julia Wright, of Market Place, Swaffham, Norfolk

Norlink: No match

 

***************************************************************************

W G Leicester Young - town memorial

W G Leicester Young - Norfolks 7th February 1917 France - Church memorial

 

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=252844

Son of Charles Valentine Young and Elizabeth Young, of Market Place, Swaffham, Norfolk.

Roll of Honour - formerly of the Norfolk Regiment

Norlink: No match

 

***************************************************************************

Arthur Youngs - town memorial

Arthur Youngs Norfolks 1st July 1917 France - Church memorial

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=471512

Son of Arthur and Emma Youngs, of Oak Lodge, Swaffham, Norfolk.

Norlink: No match

 

**************************************************************************

Robert J A Davis - town memorial

Robert J A Davis 1st Beds Regiment 13th October 1914 France - Church memorial

CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=1559908

 

Name: DAVIS, ROBERT JAMES ALFRED Initials: R J A Nationality: United Kingdom Rank: Private Regiment/Service: Bedfordshire Regiment Unit Text: 1st Bn. Date of Death: 13/10/1914 Service No: 8503 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: Panel 10 and 11. Memorial: LE TOURET MEMORIAL

 

Roll of Honour - not listed

Norlink: No match

***************************************************************************

"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

  

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

 

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

 

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

 

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

 

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

 

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

 

FASHION SHOW BY "LIVE FAST" NYC

 

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

 

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.

Adolfo Vasquez Rocca PHD _ Congreso Internacional de Filosofía UCM

 

Adolfo Vasquez Rocca _ Dr. en Filosofía UCM

 

ADOLFO VASQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

Adolfo Vásquez Rocca

 

Doctor en Filosofía

 

VÁSQUEZ ROCCA, Adolfo

 

Valparaiso

 

Adscripción Académica

 

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Universidad Complutense de Madrid

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro del Consejo Editorial de Revista “Campos en Ciencias Sociales”, Universidad Santo Tomás © , Bogotá, Colombia. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

dialnet.unirioja.es/servlet/autor?codigo=1053859

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca

 

Dr. Adolfo Vásquez Rocca – Filosofía Contemporánea Investigación: Peter Sloterdijk

 

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

  

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1

 

Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,

 

- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

INVESTIGACIÓN:

2009 - 2010

 

Proyecto de Investigación N° DI-10-09/JM - UNAB

 

“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

 

Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB

  

2011 - 2012

 

- Proyecto de Investigación N° DI-08-11/JM - UNAB

 

- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.

 

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

 

Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello

  

Asistente de Investigación:

Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.

 

– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM

Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/

 

(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso

 

(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.

 

(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.

 

(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB

 

(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV.

 

(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB

 

(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB

 

(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM

 

(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP

 

(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV

 

(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM

 

(2009-2010) Profesor visitante Florida Christian University USA

 

(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH

 

(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.

 

(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.

 

(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".

 

2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"

 

2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"

 

2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"

 

2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.

  

ENTREVISTA:

 

“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.

www.alcances.cl/ver-articulo.php?id=81

  

PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS -CON COMITÉ EDITORIAL

 

PARTICIPACIÓN EN SEMINARIOS Y CONGRESOS

  

2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso. Ponencia: "Lógica paraconsistente y semántica de los mundos posibles", noviembre.

 

2004 Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y Embajada de Francia. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa", octubre.

 

2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB. Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio", septiembre

 

2006 Video-Conferencia UCM - UNED y A Parte Rei en ATEI Asociación de Televisión Educativa Iberoamericana, “El poder de la palabra; lenguaje y realidad”, Febrero, 2006, serbal.pntic.mec.es/~cmunoz11/video3.html

 

2006 Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía. Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze", octubre.

 

2006 Universidad Autónoma de Tlaxcala. Conferencia: "En el mismo barco: ensayo sobre la hiperpolítica, posmodernidad y globalización en Peter Sloterdijk", octubre.

 

2006 Universidad Autónoma de Tlaxcala. Cursillo Maestría en Filosofía: “El giro Estético de la epistemología; redescripciones de la posmodernidad”, 19 y 20 de octubre.

 

2006 1er Coloquio Hispanoamericano de Filosofía después de Auschwitz, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la Universidad Iberoamericana y La Asociación Filosófica de México. Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos", octubre.

 

2006 Coloquio internacional: Repercusiones e interacciones políticas, filosóficas y teológicas entre oriente y occidente. UNAM, Mesa ética y Responsabilidad humana, Ponencia: "Rorty: el Giro narrativo de la Ética o la Filosofía como género literario", octubre.

 

2007 II Coloquio Franco-Hispano-Chileno de Etnopsicología y III Seminario Internacional sobre el Espacio "El Espacio y el Lenguaje". PUCV. Ponencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro", enero.

 

2007 Instituto de Sistemas Complejos de Valparaíso, Ciclo: "Diálogo: Ciencia, Política y Poder. ¿Es Chile una Sociedad Justa?". Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano, mayo.

 

2007 Congreso Internacional Nietzsche “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”, organizado por la Universidad Veracruzana, México. Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, posthumanismo y complejidad extrahumana", octubre.

 

2007 Conferencia Magistral en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla, “Peter Sloterdijk; Esferas, deriva biotecnológica y el cinismo difuso de nuestras sociedades Exhaustas”, octubre.

 

2007 Curso en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla: “Sloterdijk; Esferas, Flujos y Redes; Antropología y Estética Posmoderna”, octubre.

 

2007 Conferencia Magistral Aula Magna, Universidad Nacional Autónoma de México UNAM, Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Etno-terrorismo], octubre

 

2007 Congreso Internacional de Fenomenología y Hermenéutica, Universidad Andrés Bello, sección Estética. Ponencia: “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”, octubre.

 

2000 "Reflexiones sobre Alteridad y Reconocimiento". Encuentros de la Facultad de Filosofía UCM con pensadores contemporáneos alemanes. Goethe Institut Madrid. Octubre.

 

2000 Ponencia en Seminario "El Reto del Espacio: Pensar con Heidegger sobre la obra de Eduardo Chillida", Facultad de Filosofía y Letras, Universidad Pontificia Comillas, Campus Cantoblanco, noviembre.

 

2000 Ponencia "El peso del mundo y el lento regreso del sujeto escindido en Peter Hanke", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Facultad de Filosofía UNIVERSIDAD COMPLUTENSE DE MADRID. Diciembre.

 

2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso Ponencia:

Ponencia "Lógica paraconsistente y semántica de los mundos posibles" (noviembre).

 

2004 octubre Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y EMBAJADA DE FRANCIA. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa"

 

2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio"

 

2006 I COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y II SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL OTRO". Enero, PUCV. Coloquio y moderación Ponencia de la Dra. Adela Cortina Orts

 

2007 CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA

Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,

Universidad Andrés Bello UNAB (17 - 19 de octubre, 2007)

 

2008 II Seminario "De la Filosofía a la Literatura"

Departamento de Artes y Humanidades, Universidad Andrés Bello UNAB (7 de noviembre, 2008)

Conferencia “Sloterdijk; Pensamiento, expedición y verdad”.

 

2008 Segundo Coloquio Interdisciplinario: “El Pensamiento de Carla Cordua y El Desarrollo de la Filosofía En Chile”.

Seminario Permanente Hegel – Marx. Facultad de Filosofía y Humanidades, Universidad de Chile UCH (13 de noviembre, 2008)

Ponencia: “En Torno a Sloterdijk y Heidegger: La recepción Filosófica”.

 

2008 Bienal de Artes Visuales de Honduras 2008: Diásporas del Futuro (BAVH)

Conferencia "El objetivo de la Crítica de Arte" [17 - 19 de noviembre, 2008]

 

2008 Congreso Internacional - Interdisciplinario de Filosofía, Córdoba, 2008. SAF Sociedad Argentina de Filosofía.

Museo - Palacio Martín Ferreyra (24 al 29 de noviembre, 2008)

Conferencia “Sloterdijk. Ontología de las distancias, concierto de transferencias e historia de la fascinación de proximidad”

 

2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.

Orden Hospitalaria San Juan de Dios. Conferencia inaugural:

“Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.

 

2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre

 

2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/

 

- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.

 

2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm

 

- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference

 

- 2011 II Encuentro Internacional de Filosofía para no-filósofos. Filosofía 360', La Paz - "FILOSOFÍA 360': CINISMO, CRISIS Y CREATIVIDAD". Organizado por el GOETHE – INSTITUT y la Carrera de Filosofía UMSA, Universidad Mayor de San Ándres, La Paz - Bolivia

 

- 2011 III CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA: En torno a la crisis de la subjetividad. Santiago. Departamento de Humanidades de la Universidad Andrés Bello UNAB. 12, 13 y 14 de octubre, Campus Casona de Las Condes, Santiago Ponencia: Adolfo Vásquez Rocca PhD. PUCV: “El posthumanismo, sus fuentes filosóficas y sus medios técnicos: alteridad, reconfiguración de la subjetividad y ontología del cuerpo en Jean–Luc Nancy y Peter Sloterdijk”.

 

- 2011 COLOQUIO DE FILOSOFÍA 2011 UNIVERSIDAD NACIONAL _ COSTA RICA _ UNA Filosofía para la realidad actual_ CONFERENCIA INAUGURAL Dr. Adolfo Vásquez Rocca: “Sloterdijk: Esferas, Psicopolítica y neuroglobalizacion: concierto de transferencias e historia de la fascinación de proximidad”.

Facultad de Filosofía y Letras - Universidad Nacional, Heredia Costa Rica, (Del 18 al 20 de octubre).

 

- 2012 JORNADAS DE INVESTIGACIÓN: ALTOS ESTUDIOS EN HUMANIDADES UNAB 2012 11 y 12 de enero - UNIVERSIDAD ANDRÉS BELLO: Charlas de Investigadores Fondecyt y VRID: Áreas Historia, Literatura y Filosofía. Proyectos Fondecyt, Fondos internos de Investigación UNAB, Proyecto Jorge Millas (VRID) y Tesis Doctorales [Vicerrectoria de Investigación y Doctorado (VRID) Salón de Honor Campus Casona de Las Condes 10.00 hrs.

artesyhumanidades.unab.cl/jornadas-de-investigacion-en-hu...

Adolfo Vásquez Rocca PH.D. - Proyecto de Investigación N° DI-08-11/JM – UNAB: “Ontología del cuerpo en la filosofía de Jean Luc Nancy: Biopolítica, alteridad y estética de la enfermedad

  

- 2012 Seminario: "Ciudad y Complejidad; Valparaíso y los bordes simbólicos, económicos y culturales", Instituto de Sistemas Complejos de Valparaiso ISCV, mayo 2012, Ponencia: "Del espacio público a la topología urbana; Aproximaciones semióticas y epistemológicas a una ciudad escindida", En Actas del Seminario y Memoria anual ISCV

 

- 2012 Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC): Informe 1º Encuentro - 30 Agosto

CONFERENCIA: "SLOTERDIJK: PRÁCTICAS ANTROPOTÉCNICAS Y CONSTITUCIÓN INMUNITARIA Y DE LA NATURALEZA HUMANA".

Diálogo e Investigación con el Dr. Fernando Flores Labra, Presidente de CNIC

  

- 2013 Conferencia: “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana” en el IV Congreso Internacional y VII Nacional de Filosofía del Derecho, Ética y Política , Organizado por la Facultad de Filosofía, de Derecho y la Oficina de Relaciones Interinstitucionales (ORI) de la Universidad Libre en Colombia, y la Facultad de Derecho del Centro Universitário Newton Paiva en Bello Horizonte – Brasil, 22, 23 y 24 de abril de 2013, Programa del Congreso

  

- 2013 Congreso Internacional de Psicología Teórica "Dialogue and Debate in the craft of Theoretical Psychology"; 3, 4, 6 y 7 de mayo - The International Society for Theoretical Psychology (ISTP) will hold its 15th Biennial conference in Santiago, Chile.

www.syntagmas.net/istp2013/

 

CONFERENCIAS INTERNACIONALES

 

Octubre 2006

 

Ciclo de Conferencias en México invitado por la Fundación Hombre y Mundo y la UNAM, 0ctubre de 2006.

 

- UV Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía.

Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze".

serbal.pntic.mec.es/~cmunoz11/vasquez49.pdf

  

- 1° COLOQUIO HISPANOAMERICANO DE FILOSOFÍA DESPUÉS DE AUSCHWITZ, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la UNIVERSIDAD IBEROAMERICANA Y LA ASOCIACIÓN FILOSÓFICA DE MÉXICO.

Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos".

 

- UNIVERSIDAD AUTÓNOMA DE TLAXCALA

Conferencia: "El giro Estético de la Epistemología; el estatuto óntico-semiótico de la ficción".

 

- COLOQUIO INTERNACIONAL: REPERCUSIONES E INTERACCIONES POLÍTICAS, FILOSÓFICAS Y TEOLÓGICAS ENTRE ORIENTE Y OCCIDENTE

Conferencia Aula Magna, UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM:

"Rorty: el Giro narrativo de la Ética o la Filosofía como género literario"

 

- Ponencia "Espacio y Arquitectura de la Memoria; Hölderlin Trakl y Teillier", En Taller de Investigación "Arquitectura y Humanidades", Programa de Maestría y Doctorado en ARQUITECTURA - UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM

  

2007 - 2010

 

- II COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y III SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL LENGUAJE". 9 y 12 de Enero de 2007, PUCV

Conferencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro".

 

- INSTITUTO DE SISTEMAS COMPLEJOS DE VALPARAÍSO ISCV

Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano" En el marco del Ciclo: "Diálogo: Ciencia, Política y Poder – ¿Es Chile una Sociedad Justa?"

www.psikeba.com.ar/actualizaciones/archivo_06_07/Institut...

 

- EXPOSICIÓN "Esferas, flujos y complejidad extrahumana" Galería SONAR -Arte y Estudios Culturales- Buenos Aires.

comunicacion.unab.cl/index.php?option=com_content&tas...

[octubre - noviembre de 2007]

 

Exposición de Pintura: "La condición posthumana", En Espacio Expositivo Itaca -Homines- Málaga.

www.homines.com/itaca/vazquez_condicion_posthumana/index.htm

 

Exposición "La condition Posthumaine” En Psychanalyse Gallery Paris.

 

- Ciclo de Conferencias en México

 

- Conferencias y Congresos en México, invitado por la UNAM y la Fundación Cultural Hombre y Mundo

 

- CONGRESO INTERNACIONAL NIETZSCHE “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”,

Universidad Veracruzana UV, México

Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, post humanismo y complejidad extrahumana".

[1 al 5 de octubre 2007]

 

- CONFERENCIA Y CURSILLO EN LA MAESTRÍA DE FILOSOFÍA

Benemérita Universidad Autónoma de Puebla BUAP [octubre 2007]

 

- CONFERENCIA MAGISTRAL AULA MAGNA de la Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México UNAM:

“Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Atmo-terrorismo]”

[9 de octubre 2007]

Agencia Universitaria de Noticias UNAM

aunam.politicas.unam.mx/Archivo/07/octubre/071010-pol.htm

 

- CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA

Sección ESTÉTICA

Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,

Universidad Andrés Bello UNAB [17 - 19 de octubre, 2007]

 

- SEMINARIO 'La Poética del Cine en Raúl Ruiz”, FESTIVAL DE CINE DE SEVILLA 2007, en colaboración con la Universidad Hispalense, Ponencia: "La Poética del Cine; sobre las permutaciones antropológicas en el cine de Raúl Ruiz”, 2 de noviembre 2007.

 

- 2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.

Conferencia inaugural: “Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.

 

- 2009 “Seminario acerca de la verdad” Tercera Versión Departamento de Artes y Humanidades, Universidad Andrés Bello.

Campus Viña del Mar - 22 de junio

Ponencia: “Sloterdijk y Heidegger. Verdad y biopolítica después de la crisis del humanismo”.

 

- 2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre

 

- 2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, Gigón - España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/

- II Seminario Local de Pensamiento

 

- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.

 

- 2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm

 

- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference

  

PROYECTOS DE INVESTIGACIÓN

 

2009 - 2010

 

- Proyecto de Investigación N° DI-10-09/JM - UNAB

 

- Proyecto de Investigación: “Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

 

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

 

Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello

  

2011 - 2012

 

- Proyecto de Investigación N° DI-08-11/JM - UNAB

 

- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.

 

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

 

Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello

  

PROYECTOS DE CREACIÓN ARTÍSTICA

 

2007 - 2008

 

Exposición la Condición Post-Humana | Buenos Aires - Málaga |

Marco conceptual y Registro de Obras

  

2006

Antología de Ensayos y Artículos sobre Arte y Literatura Contemporánea. AUTORES: Adolfo Vásquez Rocca. Madrid, España

personales.ya.com/mpal/poe/rocca/roccal0.htm

 

ENTREVISTAS

 

2010

 

"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81

  

PARTICIPACIÓN EN DIRECTORIOS INTERNACIONALES Y CONCEJOS CIENTÍFICOS.

 

Director

 

Revista Observaciones Filosóficas

 

www.observacionesfilosoficas.net/

 

Revista de Filosofía Contemporánea, con secciones dedicadas a la Antropología, Estética, Epistemología, Ética, Psicología y Literatura. Indexada en Base de Datos de la Universidad Complutense de Madrid, Catalogada en UNIVERSIA.net Directorio de la Conferencia de Rectores de Universidades Españolas y el Consejo Superior de Investigaciones Científicas (CSIC); DIALNET Directorio de publicaciones científicas hispanoamericanas; LATINDEX Sistema de Publicaciones Científicas Seriadas de América Latina, España y Portugal. En BIBLIOTECA VIRTUAL MIGUEL DE CERVANTES; Les Signets de la BIBLIOTHÈQUE NATIONALE DE FRANCE: Philosophie, Revues y Centre d'Études en Rhétorique, Philosophie et Historie des Idées, Paris. Asociada al Postgrado en Filosofía - Pontificia Universidad Católica de Valparaíso y al Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. ISSN 0718-3712

 

Secretario de Redacción de Philosophica, Revista del Instituto de Filosofía de la PUCV. ISSN0716–1913

 

Editor Asociado de Psikeba, Revista de Psicoanálisis y Estudios Culturales, Buenos Aires, ISSN 1850-339X www.psikeba.com.ar

 

Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica.

 

Miembro del Consejo de Redacción de Revista Homines –Arte y Cultura– MA-739-2004, Málaga, España.

 

Miembro del Consejo Editorial Internacional de la Fundación Ética Mundial de México, www.eticamundial.com.mx/fundacion.html

 

Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil.

 

Miembro de la Sociedad Internacional de Bioética (SIBI) - 'Bioéticas'. Guía internacional de la Bioética

 

Miembro del Consejo Editorial Internacional de 'Cuadernos del Seminario' - Revista del Seminario del Espacio ISSN 0718-4247 Vicerrectoría de Investigación y Estudios Avanzados Pontificia Universidad Católica de Valparaíso.

 

Miembro del Consejo Editorial de Escáner Cultural - Revista de Arte Contemporáneo y nuevas tendencias, Santiago.

 

Miembro del Taller de Investigacion "Arquitectura y Humanidades" del Programa de Maestría y Doctorado en Arquitectura de la Universidad Nacional Autónoma de México, UNAM

 

Miembro del Consejo Consultivo Internacional y dictaminador de Revista de Humanidades:Tecnológico de Monterrey, México.

 

Director del Consejo Consultivo Internacional de Konvergencias, Revista de Filosofía y Culturas en Diálogo, Argentina. ISSN 1669-9092

  

COLUMNISTA DE REVISTAS Y PUBLICACIONES INTERNACIONALES, entre las que se cuentan:

 

A PARTE REI ISSN: 1137-8204 -Revista de la Sociedad de Estudios Filosóficos de Madrid-

 

NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas ISSN 1578-6730 - Universidad Complutense de Madrid.

 

MARGEN CERO, Miembro fundador de la Asociación de Revistas Culturales de España, ISSN 1695-4807

 

CUENTA Y RAZÓN, Revista de la Fundación de Estudios Sociológicos (FUNDES) de Madrid, Fundada por Julián Marías, ISSN: 0211-1381

 

HETEROGÉNESIS [SWEDISH-SPANISH] _ Revista de arte contemporáneo. TIDSKRIFT FÖR SAMTIDSKONST

 

MODALOGÍA Filosofía della moda - Italia

 

EIKASIA Revista de Filosofía, ISSN 1885-5679 - Oviedo, España

 

ENFOCARTE Revista Internacional de Arte y Cultura, España

 

DAIMON Revista de Filosofía, Universidad de Murcia.

 

PRAXIS Revista – Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica.

 

SOCIETARTS Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California.

 

DEBATS Revista de Filosofía y crítica cultural, ISSN 0212-0585, Institució Alfons el Magnànim, Valencia.

 

www.danoex.net/adolfovasquezrocca.html

 

E-mail: adolfovrocca@gmail.com

 

Reference: Photo 24/(335)

 

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

 

Date: 28 Aug 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.

SHIBUYA SKY拍攝地點

 

FaceBook｜Blogger ｜Instagram ｜500PX

 

You can licence images through My Getty image

 

All of My Reviews｜心得文：

 

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

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

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

 

Q nf: ᴹQ elen (Ak elān • cf Sk रोक, स्वर्; G ἥλιος, ἀστήρ) + ᴹQ tári (Ak tarû • cf Ak Ištar, Sk जनि): a title of Varda as the maker of the stars.

 

Why not The Lady of the Rings instead of The Lord of the Rings? It would appear quite debatable whether or not these two titles would have achieved equal popularity, at least within Tolkien's socio-historical context. The virtual lack of any exquisitely negative anthropomorphic female main character — the only authentic malefemmine (female villains) being indeed arachnomorphic — in Tolkien's legendarium (as in the doctrinal corpus of the christian religion) has led to speculate on basically idealized moral human models in which most, though not all women — cfr the undescribed female southrons and orcresses — are willingly choosing to embrace good and reject evil, rather than lacking the sheer will or the mere ability of evil actions, words and thoughts, if not as an unconscious reflex of men's, as in a sexist/misogynistic perspective. Tolkien himself, anyway, expressly disclaimed¹ any responsibility arising from each/every arbitrary decontextualization, abusive extrapolation and non-literary (e.g. political-religious) interpretation of his literary works.

 

NOTES

 

1. J.R.R. Tolkien 1954: LOTR, pp. XVIII-XXI, 350-351.

 

REFERENCES

 

R. Minutolo 2024: Battle of Pelennor Fields.

M.F. Gervais 2024: Middle-earth legendarium family tree.

R. Lehoucq & al. 2021: Middle-earth science.

J.R.R. Tolkien 2021: Middle-earth nature.

W.S. Judd & G.A. Judd 2017: Middle-earth flora.

Reddit 2017: Eagles of Middle-earth in the War of the Ring.

G. de Turris & al. 2016: Dizionario dell'universo di J.R.R. Tolkien.

K. Larsen 2007: Influence of Tolkien on modern science.

B. Bates 2002: The real Middle-earth.

J.R.R. Tolkien 1977: The Silmarillion.

J.R.R. Tolkien 1937: The Hobbit.

 

Quenta Silmarillion Eldalambenen • Eagles in Middle-earth • WHL0137-LS • onomastics • nomix.it

"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

  

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

 

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

 

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

 

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

 

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

 

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

 

FASHION SHOW BY "LIVE FAST" NYC

 

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

 

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

 

www.andynoise.com/fallbtchalf08.html

 

Place Name Time Pace Div/Tot Sex/Tot Div

1 GALVIN GONZALEZ 1:11:30 5:28 1/8 1/98 M3034

2 David Bacus 1:14:52 5:43 1/4 2/98 M2024

3 ZACHARY HOLT 1:21:52 6:15 1/10 3/98 M1319

4 JORDAN PERRY 1:23:34 6:23 1/8 4/98 M2529

5 Rudy Montoya 1:23:49 6:24 1/11 5/98 M4044

6 Jose Salcedo 1:25:28 6:32 2/4 6/98 M2024

7 Timothy Anderson 1:25:33 6:32 1/18 7/98 M5054

8 Chris Anderson 1:26:31 6:37 2/10 8/98 M1319

9 Diego Diaz 1:26:58 6:39 1/14 9/98 M3539

10 JOHN PURCELL 1:28:22 6:45 3/10 10/98 M1319

11 SHAWNA ROUNTREE 1:29:00 6:48 1/8 1/73 F2529

12 CREGG WEINMANN 1:29:53 6:52 2/18 11/98 M5054

13 Craig Gardner 1:30:40 6:56 3/18 12/98 M5054

14 Javier Cruz 1:31:16 6:58 1/11 13/98 M4549

15 Steve Dirkse 1:31:23 6:59 2/14 14/98 M3539

16 WALTER PAVLAKOVICH 1:31:36 7:00 4/18 15/98 M5054

17 David Little 1:32:46 7:05 4/10 16/98 M1319

18 Ezequiel Gonzalez 1:32:47 7:05 5/10 17/98 M1319

19 Alec Briones 1:33:03 7:07 1/9 18/98 M5559

20 Damon Wilstead 1:33:55 7:11 2/8 19/98 M3034

21 BART VANDERWAL 1:35:35 7:18 2/11 20/98 M4044

22 John Lee 1:35:55 7:20 5/18 21/98 M5054

23 Roehl Caragao 1:36:29 7:22 2/11 22/98 M4549

24 MARK OGILVIE 1:37:25 7:27 3/11 23/98 M4044

25 Dave Hoglund 1:37:26 7:27 2/9 24/98 M5559

26 JEFF GIUMARRA 1:37:29 7:27 3/8 25/98 M3034

27 Jacob Scott 1:37:32 7:27 6/10 26/98 M1319

28 JAMES BELL 1:37:32 7:27 6/18 27/98 M5054

29 Charolette Cholometes 1:37:40 7:28 1/9 2/73 F3034

30 DAVE MEEK 1:38:36 7:32 3/14 28/98 M3539

31 Daniel Ramirez 1:39:18 7:35 3/9 29/98 M5559

32 AARON ALBAY 1:39:25 7:36 7/10 30/98 M1319

33 COURTNEY MOORE 1:40:16 7:40 1/1 3/73 F1319

34 Richard Black 1:40:35 7:41 7/18 31/98 M5054

35 JOSE MONTELONGO 1:40:44 7:42 4/14 32/98 M3539

36 Klaus Benamy-Hackel 1:41:14 7:44 4/9 33/98 M5559

37 MICHAEL RAMIREZ 1:41:20 7:45 2/8 34/98 M2529

38 Raul Gonzalez 1:41:31 7:45 5/14 35/98 M3539

39 Freddie Bingham 1:42:33 7:50 4/8 36/98 M3034

40 Mike Gonzalez 1:42:47 7:51 3/11 37/98 M4549

41 Gerry Saba 1:43:55 7:56 4/11 38/98 M4044

42 DAVE PEGLER 1:44:04 7:57 5/11 39/98 M4044

43 DEBBIE WALLACE 1:45:03 8:02 1/12 4/73 F4549

44 EDDIE PAULSEN 1:45:25 8:03 6/14 40/98 M3539

45 Gary Enns 1:45:33 8:04 7/14 41/98 M3539

46 GREG FONTES 1:45:33 8:04 4/11 42/98 M4549

47 JOE SWEET 1:45:35 8:04 5/8 43/98 M3034

48 Sara Bradford 1:45:52 8:05 2/9 5/73 F3034

49 Daniel Tavarez 1:46:31 8:08 8/14 44/98 M3539

50 Connie Tavarez 1:46:35 8:09 1/5 6/73 F3539

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

51 Todd Witwer 1:47:12 8:11 8/18 45/98 M5054

52 MARK WITCHER 1:48:41 8:18 9/18 46/98 M5054

53 Roy Walford 1:50:02 8:24 1/3 47/98 M6064

54 HAYLEY TOBIN 1:50:13 8:25 1/14 7/73 F4044

55 Amy Fredericks 1:50:33 8:27 1/2 8/73 F6064

56 KELLY LOPEZ 1:50:45 8:28 2/14 9/73 F4044

57 ROBERT JOHNSON 1:50:48 8:28 5/9 48/98 M5559

58 JOSHUA GARZA 1:50:50 8:28 6/11 49/98 M4044

59 Eric Wolf 1:50:52 8:28 3/4 50/98 M2024

60 Derek Jeffery 1:51:02 8:29 3/8 51/98 M2529

61 BROOKS RICHARDSON 1:51:25 8:31 10/18 52/98 M5054

62 Tony Jeffery 1:52:52 8:37 7/11 53/98 M4044

63 Mike Moore 1:53:34 8:41 5/11 54/98 M4549

64 DAVE COWLES 1:54:34 8:45 8/11 55/98 M4044

65 Brian Cisneros 1:55:06 8:48 8/10 56/98 M1319

66 John Wilson 1:55:22 8:49 2/3 57/98 M6064

67 Mike Barella 1:55:26 8:49 9/11 58/98 M4044

68 FRANCISCO RAMIREZ 1:55:29 8:49 9/14 59/98 M3539

69 Jose Torres 1:56:33 8:54 9/10 60/98 M1319

70 Yolanda Hughes 1:56:38 8:55 3/14 10/73 F4044

71 Keith Stearmon 1:56:40 8:55 4/8 61/98 M2529

72 BOB BARTON 1:57:15 8:57 6/11 62/98 M4549

73 JOHN OPHEIM 1:57:22 8:58 3/3 63/98 M6064

74 Margaret Patterson 1:57:26 8:58 2/12 11/73 F4549

75 Jim Cowles 1:57:28 8:58 1/2 64/98 M6569

76 PHILIPPE IGOA 1:58:11 9:02 7/11 65/98 M4549

77 KATE QUINN 1:58:11 9:02 1/7 12/73 F5559

78 Ken Berckes 1:58:18 9:02 11/18 66/98 M5054

79 CARMEN ALBANES 1:58:25 9:03 1/11 13/73 F5054

80 KATHRYN JOSLIN 1:58:28 9:03 3/9 14/73 F3034

81 Darlene Savage 1:59:12 9:06 3/12 15/73 F4549

82 CHRIS DANFORTH 1:59:57 9:10 8/11 67/98 M4549

83 JUAN CERVANTES 2:00:23 9:12 4/4 68/98 M2024

84 JOSIE MARTIN 2:00:31 9:12 2/11 16/73 F5054

85 TAMMY GARCIA 2:01:31 9:17 4/14 17/73 F4044

86 Carol Weston 2:01:47 9:18 2/2 18/73 F6064

87 Esther Ray 2:02:16 9:20 2/7 19/73 F5559

88 Bob Ziemet 2:02:25 9:21 2/2 69/98 M6569

89 TRACY HUBBELL 2:02:40 9:22 5/14 20/73 F4044

90 ERIC BERLIN 2:03:45 9:27 12/18 70/98 M5054

91 craig smith 2:04:15 9:30 9/11 71/98 M4549

92 Jialan Su 2:04:21 9:30 4/9 21/73 F3034

93 DANIEL RODRIGUEZ 2:04:29 9:31 13/18 72/98 M5054

94 Greg Adkins 2:04:32 9:31 10/14 73/98 M3539

95 Tawnie McCaa 2:04:55 9:33 1/2 22/73 F2024

96 ROY PIERUCCI 2:04:56 9:33 6/9 74/98 M5559

97 ALICIA BROWN 2:05:39 9:36 2/5 23/73 F3539

98 Kevin Higgins 2:05:49 9:37 14/18 75/98 M5054

99 Guido Climer 2:06:11 9:38 11/14 76/98 M3539

100 Lonnie Stockton 2:06:16 9:39 6/14 24/73 F4044

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

101 CHARLES MATHER 2:06:55 9:42 5/8 77/98 M2529

102 Meg Reimers 2:07:10 9:43 7/14 25/73 F4044

103 Barb Johnston 2:07:27 9:44 3/11 26/73 F5054

104 Katie Nickell 2:07:27 9:44 8/14 27/73 F4044

105 HOPE ROE 2:07:39 9:45 4/12 28/73 F4549

106 RODERICK MARCIA 2:07:45 9:46 6/8 78/98 M3034

107 Connie Taylor 2:07:46 9:46 5/9 29/73 F3034

108 Nicole Panero 2:07:50 9:46 2/8 30/73 F2529

109 Cory Bringman 2:08:26 9:49 3/5 31/73 F3539

110 LONDO WHITNEY 2:09:11 9:52 12/14 79/98 M3539

111 Odette Hudson 2:09:27 9:53 3/7 32/73 F5559

112 Clarissa Wilstead 2:09:49 9:55 3/8 33/73 F2529

113 JEFF COOMBER 2:09:58 9:56 15/18 80/98 M5054

114 Susan James 2:10:43 9:59 4/11 34/73 F5054

115 JOAN COLLIN S 2:11:42 10:04 5/11 35/73 F5054

116 Denise Haynes 2:11:43 10:04 5/12 36/73 F4549

117 Peg Baird 2:13:42 10:13 6/11 37/73 F5054

118 REBECCA WALKER 2:15:22 10:20 4/8 38/73 F2529

119 Troy Wells 2:15:29 10:21 10/11 81/98 M4044

120 Fred Little 2:15:29 10:21 16/18 82/98 M5054

121 Brock Sheela 2:16:35 10:26 7/8 83/98 M3034

122 Pedro Segura 2:16:59 10:28 7/9 84/98 M5559

123 DELORES CORTEZ 2:17:12 10:29 1/2 39/73 F7099

124 Jennifer Fendrick 2:17:26 10:30 4/5 40/73 F3539

125 Rachel Taylor 2:17:48 10:32 5/8 41/73 F2529

126 DANIEL J. RAMIREZ 2:17:49 10:32 13/14 85/98 M3539

127 Angelica Rogers 2:18:22 10:34 7/11 42/73 F5054

128 Jason Gutierrez 2:19:10 10:38 6/8 86/98 M2529

129 Maria Steele 2:19:13 10:38 8/11 43/73 F5054

130 Janice Horcasitas 2:19:16 10:38 4/7 44/73 F5559

131 DALE VAN SCHAACK 2:20:54 10:46 5/7 45/73 F5559

132 MARILYN JOHNSON 2:20:56 10:46 6/7 46/73 F5559

133 Deanna Koelewyn 2:23:11 10:56 6/12 47/73 F4549

134 Karen Briltz 2:23:15 10:57 9/14 48/73 F4044

135 PEGGY SCHUH 2:23:29 10:58 9/11 49/73 F5054

136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549

137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319

138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529

139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529

140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044

141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054

142 carol montez 2:29:10 11:24 7/12 52/73 F4549

143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549

144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529

145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529

146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044

147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549

148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099

149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559

150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549

152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054

153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044

154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559

155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034

156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044

157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044

158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034

159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044

160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529

161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549

162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024

163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559

164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054

165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539

166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054

167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549

168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034

169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034

170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034

171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539

 

©2008 Bakersfield Track Club

 

Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

-----

other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

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

  

وینس Venetsiya

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

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

 

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

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

Thierry Geoffroy / Colonel

 

Disney Movies Collection

001.Snow White amd the Seven Dwarfs

002. Pinocchio

003. Fantasia

004. Fantasia/2000

005. Dumbo

006. Bambi

007. BambiⅡ

008. Saludos Amigos

009. Fun and fancy free

010. Cinderella

011. CinderellaⅡDreams come true

012. CioderellaⅢA twist in time

013. The wild

014. Alice in Wonderland

015. Peter Pan

016. Lady and the Tramp

017. Lady and the TrampⅡ: Scamp's Adventure

018. Sleeping Beauty

019. One Hundred and One Dalmatians

020. 101 DalmatiansⅡ：Patch's london Adventure

021. The Sword in the Stone

022. The Aristocats

023. Bedknobs and Broomsticks

024. Robin Hood

025. The fox and the Hound

026. The little Mermaid

027. The little MermaidⅡ: Return to the Sea

028. Beauty and the Beast

029. Beauty and the Beast: The Enchanted Christmas

030. Aladdin

031. The Return of jafar

032. Aladdin and the King of thieves

033. The Nightmare Before Christmas

034. The lion King

035. The lion KingⅡ: Simba's Pride

036. The lion king 11/2

037. Pocahontas

038. Pocahonlas Ⅱ:Journey to a mew world

039. Toy Story

040. Toy story 2

041. James and the Giant Peach

042. The Hunchback of Notre Dame

043. the HUnCHback of notre dame Ⅱ

044. Hercules)

045. Mulan

046. Mulan Ⅱ

047. Tarzan

048. Tarzan Ⅱ

049. Valiant

050. Dinosaur

051. The emperor's New Groove

052. Kronk's new groove

053. recess:school's out

054. Atlantis:The Lost Empir

055. Atlantis:Milo's Return

056. lilo & stitch

057. Stitch 2: Stitch Has a Glitch

058. Treasure Planet

059. Brother Bear

060. Brother Bear 2

061. The Jungle Boek

062. The Jungle Book 2

063. Home on the Range

064. The Three Musketeers

065. Mickey's twice upon a Christmas

066. Chicken little

067. The wild swans

068. Felix the Cat Saves Christmas

069. Mickey's magical christmas:snowed in at the house of mouse

070. Mickey & minne

071. Donald duck and the gorilla etc

072. Casper

073. Three little pigs

074. daffy duck

075. The black cauldron

076. Return to never land

077. the tortoise and the hare

078. Everybody loves Donald

079. Everybody loves Goofy

080. Everybody loves Mickey

081. Sweetheart Stories

082. Gulliver's travels

083. Life with Mickey Town

084. Walt Disney treasures volume 1

085. Walt Disney treasures volume 2

086. Walt Disney treasures volume 3

087. Walt Disney treasures volume 4

088. Walt Disneys 100 years of Magic: Goofy sport

089. The three Caballeros

090. Who framed Roger Rabbit

091. Mary Poppins

092. The Rescuers

093. The Rescuers dowu Uuder

094. Monsters Inc.

095. Finding Nemo

096. The incredibles

097. Cars

098. Winnie the Pooh:Story Book

099. Winnie the Pooh:A very Merry Pooh Year

100. Winnie the Pooh:Heffalump Movie

101. Winnie the Pooh:Heffalump Halloween Movie

102. Winnie the Pooh:Springtime with Roo

103. Winnie the pooh:123

104. Winnie the Pooh:All for one,one for all

105. Winnie the pooh:the many adventures

106. Winnie the Pooh:the Search for Christopher Robin

107. Winnie the Pooh:franken Pooh

108. A Bug's life

109. Disney Heroes Volume One

110. An officer and a duck

111. Meet the Robinsons

112. Underdog

113. Ratatouille

114. The adventures of ichabod and Mr. Toad

115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie

116. The chronological donald:volume one

117. The chronological donald:volume two

118. Mickey mouse clubhouse mickey saves santa

119. Mickey's House of Villains

120. Mickey mouse clubhouse:great clubhouse hunt

121. Mickey princess enchanted tales:follow your dreams

Biennalist

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

  

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

  

www.emergencyrooms.org/formats.html

  

www.colonel.dk/

  

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

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

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

Characteristics[edit]

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

 

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

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

The Venice Biennale as an archetype[edit]

 

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

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

Biennials after the 1990s[edit]

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

International biennales[edit]

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

Adelaide Biennial of Australian Art, South Australia

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

Athens Biennale, in Athens, Greece

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

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

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

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

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

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

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

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

Biennial of Hawaii Artists

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

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

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

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

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

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

Changwon Sculpture Biennale in Changwon, South Korea

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

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

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

EVA International, biennial in Limerick, Republic of Ireland

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

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

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

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

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

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

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

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

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

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

Moscow Biennale, in Moscow, Russia

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

Mykonos Biennale

Nakanojo Biennale[13]

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

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

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

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

São Paulo Art Biennial, in São Paulo, Brazil

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

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

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

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

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

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

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

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

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

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

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

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

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

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

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

 

—---Venice Biennale from wikipedia —

 

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

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

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

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

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

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

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

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

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

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

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

1948–1973[edit]

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

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

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

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

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

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

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

1974–1998[edit]

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

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

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

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

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

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

1999–present[edit]

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

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

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

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

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

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

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

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

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

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

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

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

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

Role in the art market[edit]

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

Central Pavilion and Arsenale[edit]

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

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

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

 

Reference: Photo 24/(230)

 

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

 

Date: 4 Aug 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 / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)

In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .

He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "

www.emergencyrooms.org/biennalist.html .

at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum

www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )

--------------------------------------------------------------------------------------------------------------------------------------------

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.

--------------------------------------------------------------------------------------------------------------------------------------------

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

 

----------------------------------------------------------------------------------------------------------------------------------------------

Encyclopedic Palace is curated by Massimiliano Gioni

---------------------------------------------------------------------------------------------------------------------------------------------------------------

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

-----------------------------------------------------------------------

in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?

 

Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

-----

other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

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

  

وینس Venetsiya

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

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

 

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

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

Thierry Geoffroy / Colonel

 

PictionID:54464861 - Catalog:1990 Kearny Mesa Atlas Tank Arrive - Title:Array - Filename:1990 61 KM Atlas Tank Arrive.jpg - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

Almost as much fun as it was seeing them in 2004 :-)

 

More links about the show, mostly via the Frank Black Forum:

 

Vanity Fair - For the Pixies, Cashing in Is the Right Thing to Do.

 

It sounds damn good live too, thanks to an excellent sound setup and the songs themselves, which are as dynamic, colorful, and deliciously sinister as a David Lachapelle photograph. Having said all that, though, it’s hard to escape the conclusion that the Pixies, whose best-known members are rumored to not like each other very much, have been reunion-touring for the past five years for one overriding reason: to make money. Money that probably would have been beyond their wildest imaginings back in the late 80s and early 90s, when they were actually writing songs together and putting out albums.

Is that a bad thing?

It is if it means that audiences are spending top dollar to see a band go through the paces and cash a check. But that’s not what happened last night. The audience was in ecstacy, amazed at its luck to worship the Pixies in person. Countless hours spent listening intently to Doolittle, Surfer Rosa, and Come on, Pilgrim had led them to this moment, when they could share their obsession with thousands of like-minded souls. They knew every word to songs as foreign to the mainstream as “Hey,” “Monkey Gone to Heaven,” and even “Gouge Away.”

Not even screaming, weeping tweens possess this level of intimacy with their idols’ respective repertoires. It takes time to become this close to an album and, by extension, to an entire body of work. And if I’m right, then the young people I saw at last night’s concert won’t be the last generation to appreciate this music and hunger for a chance to see it performed for themselves.

  

The Boston Globe - Pixies return to their ‘Doolittle’ days.

 

Devoted fans of bands that have broken up are like casualties of divorce. They cherish the stories of the good times long after the fighting starts and the records stop.

An album like “Doolittle’’ is proof that the good times were indeed good - really good.

The Pixies recorded their second full-length album in 1989, and it is regarded as the Boston band’s crowning achievement, especially by zealous fans who still lurk on Pixies online forums and wear their “Come on Pilgrim’’ T-shirts long after they’ve faded to gray. A balancing act of melodic guitar and diabolical yelps, “Doolittle’’ solidified the place of the phrase “loud/quiet’’ in the rock ’n’ roll vernacular and exalted the Pixies as the godfathers of grunge. To commemorate the album’s 20th anniversary, the Pixies are touring again, playing all the songs from “Doolittle’’ and its B-sides in concert. The tour stops at the Wang tonight and tomorrow.

[...]

“Doolittle’’ epitomizes the polarities that the Pixies are remembered for. The album is gruesome. The opening track, “Debaser,’’ is about slicing eyeballs, and from there “Doolittle’’ only descends into apocalyptic lyricism, with songs about hell, blood, aliens, and AIDS.

[...]

One of the most widely revered songs from the Pixies catalog, the uncharacteristically straightforward and jaunty “Here Comes Your Man,’’ is evidence of the stronghold that pop had on the band. The song is the fifth track on “Doolittle,’’ though it was written years before. Steve Albini, the audio engineer who recorded the Pixies’ first album, “Surfer Rosa,’’ successfully argued for keeping “Here Comes Your Man’’ off that album. But engineer Gil Norton, who worked on “Doolittle,’’ saw the song’s potential.

“Here Comes Your Man’’ became one of the two singles that “Doolittle’’ produced. The other, “Monkey Gone to Heaven,’’ falls at the other end of the album’s spectrum, although the songs are separated by only one track. Full of demonic numerology and shrieking, “Monkey Gone to Heaven’’ encapsulates the dissonance and darkness of the Pixies, both musically and interpersonally.

  

The Boston Globe - The Pixies party like it’s 1989.

The full album concert concept that has become so popular in the past few years is on one level a gimmick to help juice catalog sales and draw out those less inclined to see a group they’ve already spent time and money on. But with a record as exhilarating and irresistible as “Doolittle,’’ it’s easy to understand the desire for both seminal alt-rockers the Pixies and their audience to want to party like it’s 1989.

It felt appropriate that the University of Massachusetts-spawned group was hitting the Hub around homecoming because the 94-minute show - the first of two sold-out gigs at Citi Wang Theatre - felt like a reunion with old friends. A big, loud, dry-ice-infused, sense memory-generating reunion of sticky melodies and squalling guitars. Sure, everybody’s gained a few pounds and lost a few hairs, but the spirit was there, from David Lovering’s first crisp downbeat and Frank Black’s throat-shredding scream.

Old-school fans and younger folks getting their first live taste of the group screamed right along to the outbursts from “Monkey Gone to Heaven’’ to “Dead.’’ The crowd bounced en masse to the rhythmic left turns of “Crackity Jones’’ and bopped to “Here Comes Your Man’’ with Black and bassist Kim Deal aptly replicating their metal and smoke harmonies. “Wave of Mutilation’’ got two spins, with the original coming in its spot and the whisper-smooth “UK Surf’’ flavor popping up in the encore.

Deal, a propulsion machine throughout, was also the evening’s appointed tour guide, giving in-progress announcements -- “we’re halfway through the first side’’ - accompanied by her goofy grin.

The band buttressed the 40-minute centerpiece with a quartet of b-sides from the album and encores chock full of assorted non-“Doolittle’’ favorites. Those included the juicy big beat drone of “Into the White,’’ complete with a cloud of hazy dry ice, the chilly coo and growl of “Where is My Mind,’’ and the clangorous and celebratory “Gigantic.’’

Buzzed-about indie rocker Jay Reatard handled the evening’s warm-up duties.

  

Chris Devers's Posterous linkblog thingy - The Pixies play the Wang Center, Boston.

news.bostonherald.com/entertainment/music/general/view/20...

The 90-minute show started with scenes from ‘‘Un chien andalou,’’ a surrealistic short film with the infamous sliced eyeball scene. It was the particular inspiration for ‘‘Debaser,’’ the kickoff to ‘‘Doolittle.’’

The Pixies played the album to perfection, which is to say most of the songs were nasty, brutish and short.

Songs rarely went over the three-minute mark. Santiago’s noisy guitar squalls were essential, but there were surging pop hooks in ‘‘Here Comes Your Man’’ and surf-guitar licks splashed throughout. Deal’s high harmonies lent a tad of sweetness to Francis’ screams.

After playing ‘‘Doolittle,’’ they encored with several more B-sides before nailing hits ‘‘Where Is My Mind?’’ and ‘‘Gigantic.’’ What accounts for the Pixies’ peculiar longevity? The band’s life after death, if you will?

Perhaps it’s because life may be even more conflicted and tumultuous than it was two decades ago. As such, the Pixies are, oddly enough, in step.

 

True/Slant - Pricey Pixies Tickets, or Can Critics Complain About Concert Costs?

It’s been well over a week since Jim DeRogatis reviewed the first night of The Pixies’ three-night Doolittle retrospective at Chicago’s Aragon Ballroom. DeRogatis caused quite a stir among Pixies fans with statements like:

 

…it’s hard to consider them anything but a cynical corporation cashing in on blatant nostalgia–a hipper version of Creedence Clearwater Revisited or Journey and whoever is singing with that group these days.

 

Pixies defending aside, DeRogatis has a right to his opinion. After all, that’s his job. As any critic who has ever encountered the briefest whiff of resistance from diehard fans over the years can tell you, not everyone’s going to agree with what you write. And of course, this came in droves for the eight paragraphs DeRogatis wrote about The Pixies set. There were comments from fans who couldn’t believe DeRogatis would compare their beloved Pixies to Journey of all bands – Journey?!?! There were comments from fans who said DeRogatis was elitist and assuming the worst before setting foot in the Aragon.

  

Flickr - The Pixies at the Wang Center in Boston, 27 November 2009.

Kelly Has Thoughts - Pixies Pics!

  

Flickr user sdowen: Pixies at the Wang Center in Boston - Nov. 27, 2009 -- a set of photos from the second row, unlike my pictures from the last row of the top balcony.

 

Google acquired image editing site Picnik today. Financial terms of the deal weren't disclosed, but you can read the announcements by Picnik and Google on their respective blogs.

 

This is interesting to me for a few reasons.

 

First, Picnik is the default image editing software built into Yahoo's photosharing site Flickr. While nobody has yet suggested that Picnik will be getting the boot from Flickr, it would seem to me an awkward relationship at best for a Yahoo property to be using a Google owned service for part of their offering. I suspect that Picnik gets dropped by Flickr and replaced with some sort of new offering.

 

But second, you have to ask yourself why Google would buy Picnik and why now.

 

The most logical application for Picnik at Google, would be for Google to integrate the software into their photo sharing property Picasa which competes with Flickr. The fact that Google would allocate $$$ towards Picasa right now may signal that they are getting serious about finally mounting some reasonable effort at trying to displace Flickr as the photo social sharing King of the internet.

 

What else makes me think this? Google Buzz. While I consider Flickr superior in a lot of ways to Picasa today, the biggest advantage that Flickr has always held over their competitors is how strong a grip they've had on the social aspect of photo sharing. But now that Buzz has arrived on the scene (and your Buzz photos go into Picasa albums by default by the way), it would appear that Google finally has a viable social network to compete with Flickr's own internal social network inside of Flickr. By combining the social power of buzz, with an enhanced version of Picasa, Google could mount a formidable competing offering to Yahoo's Flickr.

 

Personally I hope this is the case. Why? Because Flickr needs competition. Not only have they grown lazy in terms of innovation (because they can), they treat their users and their users' data disrespectfully (because they can) censoring users and nuking whole communities on their site. With a stronger competitor out there it may force Yahoo to finally begin beefing up Flickr as well as treating their users better than they have been.

 

I've been actively using Picasa for the past few weeks after not really using them for years, mostly because of their integration with Buzz. They are still a long ways away from Flickr. Flickr today is a much more elegant offering with far better organizational capabilities and a huge body of work already on the site which carries weight. But with the right engineers hacking on Picasa and the right $$$ being allocated from Google, I'm pretty sure Picasa could in fact build a better Flickr. Combining the social sharing aspects of Buzz with a beefed up Picasa from Google, would be a formidable offering on the social photo sharing space.

 

Certainly integrating Picnik into Picasa (weird how their names are so similar) will enhance Picasa a bit. But here are the things I think Picasa should also be working on if they want to offer viable competition to Flickr.

 

1. Picasa should redesign the service around the concept of the photostream. By default Picasa only has album views. But people think in terms of streams much of the time. Flickr has a stream AND albums (sets). Picasa just has albums (and sort of clunky albums at that). By retooling the site with a photostream as a primary view, Picasa would feel more comfortable for people who wanted to migrate away from Flickr and towards Picasa. Picasa could still have albums (just like Flickr has sets), but a photostream should be the primary main view.

 

2. Picasa needs better organizational tools. Flickr's organizer is *amazing*. In fact, it's probably what I'm impressed with more than anything that they've ever done. The ability to batch organize photos is powerful. Picasa's not as much. One very easy thing Picasa could do right away to improve their organizational capabilities would be to introduce SmartSets. SmartSets allow you to build albums/sets around the concept of tags. I can say, for instance, put all of my photos that are tagged/keyworded "neon" into my neon album/set. There could be better support this way for overlapping albums as well. I might have a Golden Gate Bridge album (for instance) that had all my Golden Gate Bridge photos. But those photos could also be in a SmartSet for my San Francisco photos too.

 

3. Picasa should make blogging photos easier. Flickr has super easy html code that you can easily cut and paste and then use to blog. Picasa allows this too but with more complicated tables that are difficult to custom size and are harder work to use. Picasa could easily copy flickr's approach and get more traction from bloggers wanting to use Picasa to host their photos.

 

4. Picasa needs a better "Recent Activity" view. "Recent Activity" may be the most viewed page on Flickr for active users. Picasa needs a better way for you to easily and quickly view what's going on with your photos. Likes/comments/tags/etc. in a central page view on Picasa.

 

5. Picasa needs a super easy to use Flickr-Picasa importer. Our photos belong to us. Not Flickr. So does the metadata (tags, geotags, etc.) associated with our photos. Much of this data today is trapped in the silo that is Flickr. Picasa should build an application that makes it super simple to (with the press of a button) transfer all of your Flickr photos (and metadata) easily over to Picasa. If Flickr won't grant Picasa a commercial API key for this, then Google/Picasa should make a point of publicizing that Yahoo/Flickr is not serious about user data portability and a more open and relevant web.

 

There is a ton more that Picasa could do to compete with Flickr. Hopefully today's announcement of Picnik is but a first step in a serious attempt by Google to build a viable competitor to Flickr.

 

Congratulations, by the way, to the Picnik team on today's exciting announcement.

<a href="https://en.wikipedia.org/wiki/El_Paso,_Texas" El Paso, TX, est. 1873, pop. (2015) 679,000 • Ciudad Juarez, Chihuahua, Mexico, est. 1659, pop. 1.4MM) • El Paso-Juárez Metropolitan Area, pop. 2.7 MM • Life on the Line, NY Times Magazine

 

Marker: "Hotel Cortez. Alzina DeGroff bought the Vendome Hotel at this site in 1899, renaming it hotel Orndorff after her first husband. Noted architect Henry C. Trost designed a new building for her, which opened in 1926. Renamed Hotel Cortez in 1935, this brick structure reflects a Spanish eclectic style, featuring prominent cast-relief, terra cotta detailing with busts of conquistadors. Guests included President John F. Kennedy, who stayed here in 1963. The hotel closed in 1970. It was converted into offices in 1984, and the first and 10th floors were historically restored."

 

• the lot now occupied by the Cortez Building was purchased in 1881 by Massachusetts-born Francis A. Parker (1827-1920), El Paso's first resident photographer [photos] • aka Francis Parker, F. Parker & erroneously, Francis F. Parker, Francis W. Parker • tore down existing adobes on the lot to erect a building for his studio & home, completed in 1883 • unused rooms became a bording house, known locally as the "Parker House" • he also let commercial space on the ground floor

 

• Francis wasn't the only member of the Parker family who chose photography • during the Civil War his brother, Joseph Chamberland Parker (1834-1910), opened a photo gallery (studio) in Pekin, IL, which operated from 1862 to 1872 • Francis owned galleries in Los Angeles in the late 1860s to early 1870s & later, with Joseph, in San Francisco, 1871-1873

 

• bought out by his brother, Francis moved back to LA • established Parker & Co. • from 1877 to 1880 the "genial photographer" operated a gallery at the Downey Block, No. 65 Main St. • by the end of 1880 he had moved once again, establishing residence in Tombstone, Arizona Territory • thus, he was a well-traveled veteran photographer when, in 1881 at age 54, he arrived in El Paso

 

• while Francis was establishing himself in EP, Joseph worked out of San Diego, remaining there from 1873 to 1889 • formed a partnership — Parker & Parker — with his son, Wallace Brown (W.B.) Parker (b. 1861) • briefly moved to Yuma, Arizona in 1884, then settled in Tucson c. 1900 - 1910 before making his final move to LA • all of the Parkers were known not only for their images of the Old West, but also for their fondness of stereoscopy —Joseph C. Parker in Northern Arizona, Taylor & Francis Online

 

• in 1885, Francis replaced Parker House with a new hotel — the Vendome — & 5 yrs. later added 42 rooms • among the early guests were Joseph Pulitzer, publisher of the NY World & St. Louis Post Dispatch, and a 5'3", 100 lb. Bostonian who was one of the hottest celebrities of the day...

 

"Armed with only a [pearl handled, 38 calibre] revolver, a change of undergarments and a bicycle, Annie Londonderry embarks on an epic around-the-world adventure in 1894..." —The Renegade Rider of 1894, Narratively

 

• Annie Cohen Kopchovsky (1870-1947), a Jewish immigrant from Latvia better known as Annie Londonderry [photo], was the first woman to cycle around the world (1894-1895) • the trip was reportedly the result of a wager: to win $10,000, Annie was required to 1) circle the earth by bicycle 2) cover at least 10,000 miles in 15 months or less & 3) earn at least $5,000 ($125,000 in 2016 dollars) during the journey

 

• the 24 year old mother of three struck a deal with Nashua New Hampshire's Londonderry Lithia Spring Water Co. to affix the sponsor's placard to her bike & change her name to Annie Londonderry, in exchange for $100 [ad] • she earned money en route by displaying ads, giving lectures, working in stores & accepting contributions raised by local bicyclists • accompanied her lectures with magic lantern slides ostensibly depicting her adventures, but in fact were images she either purchased or staged for a photographer [photo]

 

“I thought the story I was pursuing was the story of a woman who rode her bike around the world. I thought she should receive the recognition. As things didn’t add up, I was sort of disappointed.

 

“Then I embraced Annie as a 'snake oil salesman,' a public relations genius. What kind of woman would undertake this venture? It's a more complicated story than this around-the-world adventure. How did she connive to pull this whole thing off?" —Author tracks down Annie Londonderry's bike ride, Biking Bis • Chasing Annie, Bicycling, May, 2005

 

• on the final leg of her journey, Annie approached El Paso from the west [map] • she was met at Strauss, NM by five male "wheelmen," who escorted her to town where, around June 27, 1895, she checked in to the Hotel Vendome • the proprietors, Messrs. Sweeney & Hawley, gave her a discounted rate of 5 cents per day

 

• Annie's odyssey occurred at height of the bicycle craze of the 1890s • a crowd of about 100 showed up at El Paso's McGinty club on Sat., Jun 29 to hear her speak • outlaw John Wesley Hardin was reported to have been in the audience • 6 weeks later Hardin was dead & Annie was in Chicago collecting her $10,000 (~$250,000 in 2016 dollars) —Texas Mountain Trail

 

• in 1886 Mr. S. Leipziger leased the Vendome, remodeled the interior, brought in a chef from Chicago & opened 18 May • served as host & proprietor • Leipziger was formerly manager of El Paso's Grand Central Hotel & prior to that, of the entire Harvey House chain of hotels & restaurants along the entire Santa Fe RR line [map]

 

• Harvey's is considered the first restaurant chain in the U.S. • servers called Harvey Girls [photo] became the chain's signature • over the years, ~100,000 women worked as Harvey Girls, agreeing to remain single for their first year • supervised housing was provided adjacent to the restaurants, with enforced curfews & chaperoned male visits • as many as 20,000 Harvey Girls married, thus helping to both civilize & populate the predominantly male Wild West • trailer for The Harvey Girls movie (1946)

 

• La Castañeda Hotel (1898), Las Vegas, NM, was the first of the Harvey House chain's 3 trackside anchor hotels • the interior was designed by architect/designer Mary Elizabeth Jane Colter (1869-1958), a frequent contributor to Harvey House design which in turn influenced the emerging Southwestern architectural style • Harvey House [photos], Pinterest • Leaving a Legacy, Western Art & Architecture

 

• after his 1889 marriage to Pauline Sanger in Crawford, AR, Francis Parker returned to his photography business in El Paso • his gallery at Texas & Mesa burned in 1891 • in 1902 he opened a new "Fotograf Gallery" at 217 San Antonio St, offering "portraits, the latest styles, in silver or platinum" [newspaper ad] • the studio was located a few doors down from the Acme Saloon, where gunslinger John Wesley Hardin was shot & killed in 1895 • in 1910 Parker sold off his local real estate &, at age 83, removed to San Diego with Pauline, where he continued making photos • he died in 1920, age 93

 

• the Vendome was purchased in 1898 by Alzina Orndorff DeGroff (1859-1926), who had moved to EP after selling her hotel in Tucson • she painted the bldg. red, renovated the interior, added basement reading rooms, billiard rooms & a barber shop • renamed it Hotel Orndorff [photo] after her first husband, Lee H. Orndorff, whom she had married at age 17 • manager was husband Charles DeGroff, with help from son Burt & later from sons Lee & Seth • opened, 1901 • remodeled, 4th floor added, 1902 —El Paso Herald, 17 Sep, 1898

 

• in 1925 Mrs. DeGroff had the Orndorff demolished • borrowed $825,000 (~$11MM in 2016 dollars) to construct the current building, designed by Henry C. Trost (1860-1933), Trost & Trost, El Paso • final cost: $1.5MM (~$20MM in 2016 dollars) • interior design/decoration by Mitchel & Halbach, Chicago reportedly cost $4.5MM (~$60MM in 2016 dollars) • the façade of the new Orndorff Hotel featured portrait heads of conquistadors • was advertised as a “Castle of Old Spain on the Plaza of El Paso” • on 11 Aug, 1926, amid the build-up to the grand opening, Alzina Orndorff DeGroff died • 2 wks. later, the first guests checked in to her landmark Spanish Castle

 

• purchased by Hussman Hotel Co., 1926, renamed Hotel Hussman • ~$700,000 dollars spent to expand the hotel to 300 rooms w/convention hall & addl. dining facility • when completed was the largest hotel between Dallas & LA • 2 stories, known as the aviation headquarters, added in 1929 • provided offices for air transportation & aviation companies

 

• Alzina's son Lee retained his stake in the company & stayed on as manager • in a 1935 contest won by prominent lawyer Thornton Hardie, the Orndorff was renamed Hotel Cortez after the controversial Spanish conquistador, because the judges felt that the name complimented the décor & architectural theme • ceased operations, 1970 • the Job Corps took over ownership & conducted training courses in the building —EPCC Libraries

 

• Recorded Texas Historic Landmark - 2002 # 12881 • National Register # 80004105, 1980

The Death of Canadian Journalism - Sean Condon on the homegrown media

giant that's holding the nation hostage.

 

adbusters.org/the_magazine/

 

Sean Condon's website: www.seancondon.com/index.html

 

The Death of Canadian Journalism

By SEAN CONDON

 

In a crowded bar in downtown Vancouver, a group of reporters from the city’s main daily newspaper, The Vancouver Sun, gather after work to do what most people revel in after a long week at the office: bitch about the boss. While images of the Iraq War, Wal-Mart and Kid Rock quickly flash and disappear on the television screens above them, editors are mocked, columnists are ridiculed and the paper their bylines appear in is panned up and down.

 

There’s nothing too radical about most of their complaints – it’s not secret to anyone in the city that the Sun is a dull suburban paper pretending to be a respectable urban broadsheet. With few exceptions, there’s little investigative journalism left within its pages, and most of what gets printed is so tepid and banal that it’s almost entirely useless to read.

 

It’s when the reporters start talking about what’s happening inside the newsroom that they reveal a deeper and more disturbing problem with the flagship newspaper in Canada’s third largest city: one that explains everything that is wrong with the increasing consolidation of the media around the world.

 

Overly anxious that they’re not caught exposing the paper’s dirty secret, reporters at the Sun say that morale has hit rock bottom and an alarming atmosphere of fear and paranoia has infected the newsroom. With a tone of anger and resentment, reporters tell stories about vindictive editors who spend more time attacking them over personal and petty grievances than they do worrying about the deteriorating quality of the paper. Anyone that dares question the authority of Editor-in-Chief Patricia Graham is bullied, isolated and forced out of the paper.

 

Reporters say the story inside the Sun is that inexperienced editors rise through the ranks because they toe the company line or are personal friends with senior editors and not because they produce good journalism or defend the public trust. There newly empowered editors are known for not letting reporters pitch their own ideas and for pushing press releases onto veteran journalists who grudgingly grind out copy before deadline, caring very little about what they write. Reporters who challenge this system are moved out of their department, questioned about their stories and eventually given an ultimatum by the editors: quit or we’ll make your life hell.

 

“The culture at The Vancouver Sun is incredibly poisonous and it extends right through the newsroom,” confides Charles Campbell, a former editorial board member at the paper, who says he was surprised at how much disdain senior management had towards the paper’s star reporters. “There are very few [reporters] who are particularly happy or proud of The Vancouver Sun as a newspaper.”

 

While the Sun has a long history of acrimonious newsrooms and lengthy labor disputes, it was also once a respected paper that boasted some of the top journalists in the country and consistently broke stories that changed the political landscape of the city and province. When the paper was part of the Southam chain, the newsroom had a bigger budget and more independence – reports were even allowed to criticize the paper in print. But once CanWest Global Communications got its hands on the Sun in 2000, it slashed funding, silenced writers and allowed an inexperienced, and strangely insecure, management to take control. The paper has never been as irrelevant or dysfunctional as it is today.

 

CanWest has such a stranglehold on the city that any reporter caught speaking out against them would have trouble finding work in Vancouver again. This toxic environment has created such a chill amongst reporters that getting them to talk about the turmoil is extremely difficult. One news staffer that initially agreed to be quoted as an anonymous source later backed out for fear of repercussion. A former reporter was so worried by the ruthless reach of the editors that they would only talk off-the-record. Most wouldn’t even take that risk.

 

“If [the Editor-in-Chief] found out I talked, I’d be finished,” said one reporter when declining an interview. “If there was another game in town it’d be different, but there’s nothing else in this city. There’s nowhere to go.”

 

CanWest’s dominance over Vancouver is extraordinary even in an era of unprecedented global media consolidation and convergence.

 

Led by CEO Leonard Asper and the powerful Asper family, the Winnipeg-based corporation now owns both of Vancouver’s daily newspapers (the Sun and the tabloid Province), the city’s top-rated television station (GlobalTV), 12 community newspapers, eight analog and digital television stations, and one of two national papers. For good measure, it also owns the only daily in the nearby provincial capital, Victoria’s Times Colonist. A throwback to the classic Company Town, CanWest has turned Vancouver into the single-most media concentrated city in the western world.

 

Cities thrive in diverse media markets. In Montreal, four different companies own the city’s four major dailies, each presenting four unique perspectives on issues that concern its citizens. The same is true in cities from Toronto and New York to London and Paris. But as a small number of corporations swallow up more media outlets every year, the conflicts within the Sun are being duplicated across the country. With the largest private newspaper publisher in Canada, Black Press, recently taking ownership of Osprey, one of the most diverse, just four corporations now control 70 percent of the country’s newspaper circulation.

 

Cities stagnate in consolidated media markets. CanWest has a total of 13 daily newspapers in Canada, where its only competitors are often vapid tabloid or commuter dailies. On the East Coast, the Irving family owns every English-language newspaper in the province of New Brunswick and a series of dailies and weeklies throughout the Maritimes. Without any real competition, these newspapers can manipulate their content to push a single point of view. In Canada, this had led to a one-sided debate on the country’s role in Afghanistan, where editorials back the country’s military intervention and pay little attention to the mounting civilian causalities and ongoing human rights violations. But nowhere is the freedom of the press in as much danger as Vancouver, where the CanWest monopoly controls an astonishing 70 percent of the entire media market and is the only voice of record for the city.

 

“The story of the Sun should be presented as a cautionary tale [to the rest of the world],” says Marc Edge, a former Vancouver journalist and author of Pacific Press: The Unauthorized Story of Vancouver’s Newspaper Monopoly. “If you want to see the future of media, just look at Vancouver where you have the tightest control of media in the free world. If you allow cross-media ownership like the [Federal Communications Commission in the United States] has been considering, this is how it could end up.”

 

Editorial Eclipse

 

The internal turmoil of the Sun is a stark contrast to the colorless content on its pages. While almost all corporate newspapers have an obvious pro-business slant, the Sun leaves little doubt about where its bias lies. Corporate press releases are disguised as news stories, puff pieces on right-wing politicians pose as investigative journalism and hatchet jobs on activists purport to be fair and balanced reporting. In 2002, the Sun spent $3 million to run a series of advertorial stories praising the virtues of British Columbian businesses called ‘Believe BC.’ The stories weren’t marked as advertising features as they should have been, but were either listed as a ‘Special Feature’ or left completely unmarked.

 

The timing of the Believe BC series was especially insulting since it came right after the newly elected right-wing provincial government had slashed social services for the poor by $2 billion while cutting taxes for the rich by $2 billion. But there has been little coverage in the paper since then of how the cuts caused Vancouver’s homeless population to double in just three years. Although Sun reporters aren’t given direct orders to write glowing reports about the provincial government, they say they are discouraged from writing claims made by government critics. There has also been a conscious decision from the paper’s management to ignore government protesters, even when their actions are top stories for national news agencies. More often than not, the Sun is not the voice of the community, but a mouthpiece for the provincial government – over the years CanWest has donated thousands of dollars to the current provincial government and the Sun employs the premier’s brother as a columnist.

 

However, most troubling of all is that the Sun refuses to be held to account to the many criticisms lobbied at them by media analysts and their own current and former employees. A request for an interview with the paper’s Editor-in-Chief, Patricia Graham, was denied because Adbusters is protecting the identity of the Sun reporters who have spoken out.

 

“The Vancouver Sun has a policy of avoiding the use of unnamed sources,” wrote Graham in an email. “We consider it a violation of journalistic ethics to permit people to criticize others while remaining anonymous. I do not care to participate in interviews with publications whose ethical standards I do not share.”

 

Aside from the fact that any Sun reporter named would immediately be fired, Graham overlooks the fact that most media outlets allow anonymous sources if the importance of their information outweighs the potential for public skepticism. But Adbusters couldn’t even get a copy of the Sun’s code of ethics to verify what the paper’s policy on using anonymous sources actually is. While other news agencies post their code of ethics online, a request to the Sun was denied on the grounds that it’s not available to the public. Like much of what is happening in the Sun, the paper seems to prefer keeping the public in the dark.

 

Black Hole

 

The Aspers bought the Sun and over 130 newspapers across the country from Conrad Black’s Hollinger Inc. at a time when major media corporations around the world were clamoring for convergence. But while CanWest had one of the largest television networks in the country, it had zero experience in newspapers. Like many newly formed media conglomerates at the time, it quickly lost millions of dollars trying to make its different media outlets work together. Just as newspaper circulation was plummeting across North America, the Aspers paid Black an inflated $3.5 billion for a product in an ailing industry that they had no idea how to run.

 

With their fledgling newspaper empire quickly crumbling and its newly adopted national daily The National Post hemorrhaging profits from the other dailies, the Aspers tried to stop the hemorrhaging with massive layoffs – leaving already thin newsrooms stretched beyond repair. Today, reports at CanWest papers have to write more stories in less time, which adds another level of pressure in already tense environments. Instead of investigative journalism, there has been an increase in one-source stories. Many reporters have been moved off of beats and turned into general assignment reporters, giving them less knowledge on the issues they cover and less access to sources that help them cultivate and uncover breaking news.

 

CanWest further exasperated the problem by carelessly spending $5 million launching its now-defunct, youth-oriented commuter daily, Dose, while saving $4.6 million this past June by abandoning its partnership with the national newswire, Canadian Press (CP). Reporters across the chain have been extremely distressed by this latest move, saying it will force shorthanded newsrooms to produce extra copy for which the CP co-operative could once be relied upon. Since newspapers are still the best, and often the only, mechanism that gives the public in-depth analysis on issues, all of these cuts have damaged the public’s ability to have the kind of qualified and informed debate required in a democracy.

 

“This whole corporatization of journalism is not healthy,” says Mike Gasher, director of journalism at Concordia University and a former Vancouver Province reporter. “I know journalism is a business, but I think it’s just a question of how you strike the balance between the quality of the product and the bottom line. My concern is that when you have these conglomerate ownerships, that not only own several newspapers, but radio, television, internet, then I think by definition the commitment to any one of those properties is decreased.”

 

CanWest did not return multiple requests for an interview. Adbusters Media Foundation is currently suing CanWest along with another national broadcaster for refusing to air its public awareness campaigns about mass consumerism on their stations, which was also one of the reasons that Graham gave for turning down an interview.

 

Burnout

 

The acrimony inside the Sun is excessive when compared to other newspapers, but there are high levels of dissatisfaction and depression in all of CanWest‘s dailies. Not long after CanWest bought Black’s chain, it sparked international uproar when it broke the journalistic autonomy and implemented a national editorial policy. In 2001, the Aspers dictated a series of editorials from Winnipeg and demanded its papers not run any editorial that held views opposed their “core positions” – which primarily focused on lowering taxes and supporting Israel in the Middle East. After journalists at Montreal’s The Gazette angrily withheld their bylines, the controversy forced CanWest to drop the policy. However, it sent an early message to its newsrooms that their independence had vanished.

 

“I can say to our critics and to the bleeding hearts of the journalist community that it’s the end of the world as they know it, and I feel fine,” callously said David Asper, the family’s publication chairman, about the Gazette’s protest.

 

But the national editorial policy was almost benign compared to the firing of Ottawa Citizen publisher Russell Mills for running a feature about then Prime Minister Jean Chretien’s suspicious financial dealings and an editorial calling for his resignation. Asper patriarch Izzy Asper (now deceased) had close ties to Chretien and the country’s ruling Liberal party, and the firing sent a chill throughout the entire CanWest chain that still exists today. Although CanWest has since toned down its editorial interference (its most recent act was to replace all mention of Palestinian “militants” with “terrorists” in newswire copy), reporters at its papers say the damage has already been done.

 

“People do their jobs, they roll their eyeballs, and a lot of them at quitting time stop thinking about it,” says one staffer at The Gazette.

 

The primary complaint heard from CanWest reporters today is that the corporation’s drastic financial cuts have done the most to sink morale. In almost revolutionary development, editors and publishers at CanWest papers have also begun to openly criticize the Aspers to their reporters because of the budget cuts. The Aspers make a sharp contrast to the CanWest papers’ original owners, the Southam family, which turned its newspapers into some of the most competitive and respected in North America. Ironically, CanWest reporters even refer to the Conrad Black era as the “golden age.” Although Black cut back on reporters and was reviled as a tyrant with an overt political agenda, he also invested more in his newsrooms. Today, the computers in the Edmonton Journal newsroom are so old that staff can’t even access their own paper’s website.

 

“It’s depressing,” says Journal reporter, “and it makes you wonder about the future. There are all sorts of new pressures going on in today’s media, and most of us don’t have confidence that the Aspers have the business acumen to deal with these pressures in an effective way.”

 

Shine A Light

 

While CanWest’s control over Canada’s media sheds a disturbing light on the future of media consolidation, the concentration of ownership has in actuality been a major problem brewing in Canada for the past half-century. When The Vancouver Sun and The Province first merged their competing newspapers under a single management company called Pacific Press in 1957 because of economic problems, the federal government investigated the deal and found it would likely be “to the detriment of the public.” However, it backed away from taking any action.

 

When corporate chains came to control an alarming 77 percent of the country’s circulation, the 1970 Davey Committee stated that “all transactions that increase concentration of ownership in the mass media are undesirable and contrary to the public interest – unless otherwise shown,” and recommended the country form a press review board to rule on mergers. However, none of its recommendations were implemented.

 

When two major newspaper chains, Southam and Thompson, colluded to each shut down a competing newspaper in Ottawa and Winnipeg in 1980 and both of Vancouver’s daily newspapers were officially handed over to the Southams, the Royal Commission on Newspapers stated that “freedom of the press is not a property right of owners,” and recommended strict ownership limits. Again, no action was taken.

 

And when a Senate committee on media concentration released a report in 2006 stating, “the concentration of ownership has reached levels that few other countries would consider acceptable” and recommended that large mergers be publicly reviewed, it was outright dismissed by Heritage Minister Bev Oda who argued that “convergence has become an essential business strategy in order to stay competitive.”

 

Despite an endless amount of evidence provided by federal commissions and investigations showing how dangerous it is to a democracy when fewer companies control the media market – foreign bureaus are reduced, staff is cut back and quality diminished – no Canadian government has ever tried to put the brakes on consolidation. By ignoring the problem for the past 50 years, it has been allowed to grow into a full-blown crisis.

 

Today, reporters at CanWest simply go through the motions and many veteran journalists say their main goal is to try and get an early buyout from the corporation. Others say they personally tell journalism students to stay out of the business. Seeing the writing on the wall, many journalism students at colleges and universities from Vancouver to Ottawa say they have little interest entering an industry that they had such high hopes for only a few years earlier. Once considered a respected and noble profession that challenged authority and represented its community, CanWest’s consolidation has killed any sense of pride Canadian journalist once had in their job.

The most obvious example of consolidation run amok is Vancouver, where one corporation has such a tight control over the city that it gets away with bullying its reporters and slanting its news coverage without ever being challenged. The problems inside the Sun and CanWest papers will be repeated across the country if consolidation is allowed to continue unabated.

 

Because the priority of the paper’s corporate controller is on the bottom line instead of the public trust, a once-proud newspaper chain has turned into a skeleton of its former self. Reporters at CanWest papers who don’t conform the corporate perspective have few options or alternatives since CanWest owns the majority of media in most of their cities. Despite the restrictions, some reporters have managed to produce good journalism, but those that try to speak out have been harassed, silenced and sent packing. When journalists are denied resources and can’t truthfully disseminate information, the entire public is held hostage. It’s time to set them free.

 

adbusters.org/home/

 

Who's looking out for you?

www.flickr.com/photos/joshuatree/1234912698/

 

still popping people off.

 

how much longer, until nsa cia whore and murderer jami rose, faces justice?

 

and for those, who put her into, that position? :)

 

www.nytimes.com/2014/04/04/us/fort-hood-shooting.html?_r=1

 

www.timeanddate.com/date/durationresult.html?m1=4&d1=...

 

From and including: Friday, April 4, 1980

To, but not including Wednesday, April 2, 2014

Result: 12,416 days

 

It is 12,416 days from the start date to the end date, but not including the end date

 

Or 33 years, 11 months, 29 days excluding the end date

Alternative time units

12,416 days can be converted to one of these units:

 

1,072,742,400 seconds

17,879,040 minutes

297,984 hours

12,416 days

1773 weeks (rounded down)

 

4 people killed. 16 injured. army 21/57

 

am i supposed to be 'talking' about 1831 salcedo / guyaso new olreans zip 70119, and baton rouge zip 70801?

 

and nsa cia whore and murder jami rose, 'trying' to guide 'wins' for lsu..

 

initial 16/25..

 

onward, to what is important.

 

the people she killed. the damage, and profiteering herin.

 

(her conscious, has to come thru. not possible, to live with out. not in live / life, as a good person. :)

 

so people still remember that nsa cia whore and murderer jami roses guides people to there graves with 'serial numbers', don't they?

 

(195189112) there's *alot* out there,

 

and if you look at her day in time, and also, forward placment, next day, week, month year, you'll find things,

 

that are interesting.

 

now don't forget "Dallas" 22/49,

 

and how she can position latitude and longitude, to guide daily events,

 

markets, sports, WORLD WIDE MURDERS.. its all in there:

 

tools.wmflabs.org/geohack/geohack.php?pagename=Dallas&amp...

 

WGS84 32° 46′ 33″ N, 96° 47′ 48″ W

32.775833, -96.796667

 

jerry jones, the owner of the dallas cowboys, knows her.

 

and used her thru me, for possession in guidance, just like sean peyton, for the new olreans saints..

 

and what happened to sean? his wife fucked some other dude?

 

and what's going to happen to jerry jones? :))

 

i'll wait for that one.

 

ok, and the usual, huh?

 

scores.espn.go.com/ncb/boxscore?gameId=400547504

 

33-579-145-12726332295111380

 

57.9%64.3%41.7%

 

notice the jami 15/33 rose 30/57

 

and the 579 murderer inside of accident? :)

 

and the:

 

1 SMU 35 45 80

 

everything you need to find, on her,

 

is in baton rouge. from there, you'll find

 

the rest.. i did :)

 

so, how much longer, until those victims, those people she killed,

 

in the thousands now,

 

claim her back?

 

how much longer, for that to happen?

 

:)))))))))

 

~peace

 

thomas :)

 

well, there's nsa cia whore and murderer jami rose,

 

and her 'settings' of medals thru the sochi olympics :)

 

www.timeanddate.com/date/durationresult.html?m1=4&d1=...

 

From and including: Friday, April 4, 1980

To, but not including Saturday, February 22, 2014

 

Result: 12,377 days

It is 12,377 days from the start date to the end date, but not including the end date

 

Or 33 years, 10 months, 18 days excluding the end date

 

Alternative time units

 

12,377 days can be converted to one of these units:

 

1,069,372,800 seconds

17,822,880 minutes

297,048 hours

12,377 days

1768 weeks (rounded down)

 

notice her '45' placement of Russia 40/77 and :)

 

www.sochi2014.com/en/medals

 

Medal count

RankCountryGoldSilverBronzeTotal

1Russian Fed.1311933

2Norway1151026

3Canada1010525

4United States971228

5Netherlands87924

6Germany86519

7Switzerland63211

8Belarus5016

9Austria48517

10France44715

 

and the 1831 salcedo / guyaso zip 70119 new orleans jami 15/33:

 

1Russian Fed.1311933

 

doesn't take much, to see and understand her 'natural and arbitration guidance thru her daily basis on / in time', huh?

 

(and nsa via whore and murderer jami rose currently resides in texas, and you can see her reflection and natural arbitration in guidance of score, here:

 

scores.espn.go.com/ncb/boxscore?gameId=400498406

 

#19TEX 18 3654

#8KU 46 3985

 

and:

 

www.timeanddate.com/date/durationresult.html?m1=4&d1=...

 

From and including: Friday, April 4, 1980

To, but not including Sunday, February 23, 2014

 

Result: 12,378 days

 

It is 12,378 days from the start date to the end date, but not including the end date

 

Or 33 years, 10 months, 19 days excluding the end date

 

Alternative time units

 

12,378 days can be converted to one of these units:

1,069,459,200 seconds

17,824,320 minutes

297,072 hours

12,378 days

1768 weeks (rounded down)

 

54 love 85 contained.. same as thomas is contained in house 1768, huh?

 

33 jami 96 pleasure and what else to say?

 

54 love 85 contained 1768 weeks 54 love (eastern) 18 love (western),

 

i mean, 'opposite' 38/83 right? and how nsa cia whore and murderer USES

 

that to KILL people, FOR LOVE? (of violence 85 yea maybe that.. contained 85? riiight.. well

 

you get it :)

 

CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon 4 months before their wedding 6

 

you created the channel at 1831 Salcedo / Guyaso Zip 70119, and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose

 

8635445544 CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon on 07021995 isn't that right?

 

You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your going to face judgement,

 

whether you like it or not :)

 

You created the channel and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose?

 

343 in time, huh? CIA and NSA Whore and MURDERER Jami Rose?

 

Jami 15/33 Alisa 242,

 

Still creating that "natural order" and ordinance of time of yours on a daily monthly weekly yearly basis and killing people in time, CIA and NSA Whore and MURDERER Jami Rose? :)

 

how much longer do you think before it ends up, on *your* end :)

 

you set up the channel without even asking me jami, and then you did what you wanted to, in 2005 and 2006. you chose murder jami, you chose

 

who supported you jami.. and why did you accept $$,$$$ to contain 176 and power contain 176 :) at 1831 salecdo/guyaso, and let those people die.. without even asking

me, if you could could create that channel, if you contain me. you chose jami. you chose murder. who supported you?

 

your CIA and NSA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be?

 

CIA Whore and MURDERER, Jami Rose. her photo, right here :)

 

www.flickr.com/photos/89268704@N08/8123854555/in/photostream

 

JamiRoseCIAandNSAWhore

 

jami rose cia and NSA whore all those people that she killed all that damage that she caused

 

1)hurricane katrina

2)bp oil spill

3)japan tsunami

 

her date in time for the murders and destruction she cause in Hurricane Katrina,

 

here:

 

www.timeanddate.com/date/durationresult.html?m1=4&d1=...

 

From and including: Friday, April 4, 1980

To, but not including Monday, August 29, 2005

Result: 9278 days

 

It is 9278 days from the start date to the end date, but not including the end date

 

Or 25 years, 4 months, 25 days excluding the end date

Alternative time units

9278 days can be converted to one of these units:

 

801,619,200 seconds

13,360,320 minutes

222,672 hours

9278 days

1325 weeks (rounded down)

 

en.wikipedia.org/wiki/Hurricane_Katrina

 

( At least 1,833 people died in the hurricane and subsequent floods, making it the deadliest U.S. hurricane since the 1928 Okeechobee hurricane; total property damage was estimated at $81 billion (2005 USD) (per wikipedia :)

 

nice reference, huh? :)

 

her date in time for the murders and destruction she cause in the BP Gulf Oil Spill,

 

here:

 

www.timeanddate.com/date/durationresult.html?m1=4&d1=...

 

From and including: Friday, April 4, 1980

To, but not including Tuesday, April 20, 2010

Result: 10,973 days

 

It is 10,973 days from the start date to the end date, but not including the end date

 

Or 30 years, 16 days excluding the end date

Alternative time units

10,973 days can be converted to one of these units:

 

948,067,200 seconds

15,801,120 minutes

263,352 hours

10,973 days

1567 weeks (rounded down)

 

( It claimed eleven lives[6][7][8][9] and is considered the largest accidental marine oil spill in the history of the petroleum industry, an estimated 8% to 31% larger in volume than the previously largest, the Ixtoc I oil spill. Following the explosion and sinking of the Deepwater Horizon oil rig, a sea-floor oil gusher flowed for 87 days, until it was capped on 15 July 2010.[8][10] The US Government estimated the total discharge at 4.9 million barrels (210 million US gal; 780,000 m3).[3] After several failed efforts to contain the flow, the well was declared sealed on 19 September 2010.[11] Some reports indicate the well site continues to leak.[12][13](per wikipedia..

 

notice the 1831 salcedo guyaso.. take away the contained 1 and you have... 831.. there's much more if you just check it out :)

 

en.wikipedia.org/wiki/Deepwater_Horizon_oil_spill

 

what was the government estimate of how many barrels of oil, again?

 

1.76 million, but for some reason that was lost and changed to 4.9.

 

just saying on that. :)

 

(there's alot there too.. make sure you check it out :)

 

next:

 

her date in time for the murders and destruction she cause in the 2011 Tōhoku earthquake and tsunami:

 

www.timeanddate.com/date/durationresult.html?m1=04&d1...

 

From and including: Friday, April 4, 1980

To, but not including Friday, March 11, 2011

Result: 11,298 days

 

It is 11,298 days from the start date to the end date, but not including the end date

 

Or 30 years, 11 months, 7 days excluding the end date

Alternative time units

11,298 days can be converted to one of these units:

 

976,147,200 seconds

16,269,120 minutes

271,152 hours

11,298 days

1614 weeks

 

doesn't take a genius to see this one, in direct correlation with nsa cia whore and murderer jami rose's time, does it? :)

 

(The 2011 earthquake off the Pacific coast of Tōhoku (東北地方太平洋沖地震 Tōhoku-chihō Taiheiyō Oki Jishin?), often referred to in Japan as the Great East Japan Earthquake (東日本大震災 Higashi nihon daishinsai?)[8][9][10][fn 1] and also known as the 2011 Tohoku earthquake,[11] and the 3.11 Earthquake, was a magnitude 9.0 (Mw) undersea megathrust earthquake off the coast of Japan that occurred at 14:46 JST (05:46 UTC) on Friday 11 March 2011,[2][3][12] with the epicentre approximately 70 kilometres (43 mi) east of the Oshika Peninsula of Tōhoku and the hypocenter at an underwater depth of approximately 30 km (19 mi).[2][13] It was the most powerful known earthquake ever to have hit Japan, and the fifth most powerful earthquake in the world since modern record-keeping began in 1900.[12][14][15] The earthquake triggered powerful tsunami waves that reached heights of up to 40.5 metres (133 ft) in Miyako in Tōhoku's Iwate Prefecture,[16][17] and which, in the Sendai area, travelled up to 10 km (6 mi) inland.[18] The earthquake moved Honshu (the main island of Japan) 2.4 m (8 ft) east and shifted the Earth on its axis by estimates of between 10 cm (4 in) and 25 cm (10 in),[19][20][21] and generated sound waves detected by the low orbiting GOCE satellite.[22]

 

On 12 September 2012, a Japanese National Police Agency report confirmed 15,883 deaths,[23] 6,150 injured,[24] and 2,643 people missing[25] across twenty prefectures, as well as 129,225 buildings totally collapsed, with a further 254,204 buildings 'half collapsed', and another 691,766 buildings partially damaged.[26] The earthquake and tsunami also caused extensive and severe structural damage in north-eastern Japan, including heavy damage to roads and railways as well as fires in many areas, and a dam collapse.[18][27] Japanese Prime Minister Naoto Kan said, "In the 65 years after the end of World War II, this is the toughest and the most difficult crisis for Japan."[28] Around 4.4 million households in northeastern Japan were left without electricity and 1.5 million without water.[29]

 

The main earthquake was preceded by a number of large foreshocks, with hundreds of aftershocks reported. The first major foreshock was a 7.2 MW event on 9 March, approximately 40 km (25 mi) from the epicenter of the 11 March earthquake, with another three on the same day in excess of 6.0 MW.[2][40] Following the main earthquake on 11 March, a 7.0 MW aftershock was reported at 15:06 JST (6:06 UTC), succeeded by a 7.4 MW at 15:15 JST (6:16 UTC) and a 7.2 MW at 15:26 JST (6:26 UTC).[41] Over eight hundred aftershocks of magnitude 4.5 MW or greater have occurred since the initial quake,[42] including one on 26 October 2013 (local time) of magnitude 7.3.[43] Aftershocks follow Omori's Law, which states that the rate of aftershocks declines with the reciprocal of the time since the main quake. The aftershocks will thus taper off in time, but could continue for years.[44](per wikipedia :)

 

en.wikipedia.org/wiki/2011_T%C5%8Dhoku_earthquake_and_tsu...

 

what else?

 

Still creating that "natural order" and ordinance of time of yours on a daily monthly weekly yearly basis and killing people in time, CIA and NSA Whore and MURDERER Jami Rose? :)

 

here's the rest :)

 

by entering in her information from date of birth here:

 

www.timeanddate.com/date/duration.html

 

you can monitor her information that is used by the world markets on a daily basis, not only that, but control for what is in numerical belief, thru out the us and the rest of the world.

 

She creates a natural order in time with her existance and by her date of birth, on a daily basis, weekly basis, yearly basis and in forward motion time placement. :)

 

Its also an Ordinance in time,

 

(but she's KILLING people in time. THOUSANDS of people,

and *thats* accepted. :) not anymore, huh, CIA and NSA Whore and MURDERER Jami Rose. :) not anymore :)

 

also,

 

www.timeanddate.com/date/durationresult.html?m1=01&d1...

 

(The stasis of origin should show in the above link, like what is just listed below. why not tell people? :)

 

From and including: Saturday, January 1, 0001 (Julian calendar)

To, but not including : Friday, April 4, 1980 (Gregorian calendar)

 

It is 722,910 days from the start date to the end date, but not including the end date

 

Or 1979 years, 3 months, 3 days excluding the end date

 

Note:The From date is a Julian calendar date. The current Gregorian calendar was adopted in United States where Thursday, September 3, 1752 was the first of 11 days that were skipped. This has been accounted for in this calculation. Read more about the Julian and Gregorian calendars

 

Alternative time units

722,910 days can be converted to one of these units:

62,459,424,000 seconds

1,040,990,400 minutes

17,349,840 hours

103,272 weeks (rounded down)

 

if you need a little help to her "stasis of orgin" here you go. if you're not smart enough to know what a birthday does in time, its an active measure for which you create throught your life span. there, i said it. don't like that intelligent secret? millions people living, and not knowing that. how could anyone not know? :)

 

and all those people she killed. never punished

 

thomas warn varnas will make sure that happens, won't he?

 

you attempted two murders on his life at 143 Rue Esplanade and Villa Du Lac,

 

by channeling his dreams with tenants and parking cars outside of his residence, capturing him..

 

how does it feel now Jami, to know the same is happening

 

to you :)

 

:)

 

there you go :)

 

btw, did i channel her ill will and associations unknowingly, and did it kill alisa ferraro and paul gagnon in time, to?

 

to me, that warrants enough to blow her head off.

 

sorry. but thats the way i feel, at the moment

 

~peace

 

thomas :) (not smiling) (but its about to get better :)

 

NOTE: ADDITION: DON'T FORGET TO CHECK OUT HER '45' FROM HER DOB, ON A DAILY BASIS, NEXT DAY BASIS, AND *YEARLY* BASIS.. THE FORMATION SHE HAS DOES MANY THINGS, *INCLUDING* 575.. just fyi.. :)

 

(and don't forget to check out one of CIA and NSA Whore and MURDERER Jami Rose's Habitat's.. 225 Area Code Baton Rouge.. you'll find her there :)

 

(Don't forget that she is being 'channeled' (still, after all those people she killed and all of that destruction) into sales and control for 'wins' :)

 

LSU and The New Orleans Saints..)

 

(lsu initial 16/25.. Saints.. 37/82 :)(

 

(504 319 0813 nsa cia whore and murderer jami rose's phone from 1831 Salcedo / Guyaso, Zip 70119

 

you can find out *everything* you need to know from Baton Rouge on nsa cia whore and murderer jami rose.

 

i did. :)

 

(oh yea, am i supposed to be mentioning anything on NSA itself on NSA CIA WHORE AND MURDERER JAMI ROSE'S *NEXT* BIRTH YEAR, THAT IS HAPPENING YEAR TO DAY.. 34.. initial 38/74 NSA 16/34.. alot of things are "happening" with that currently in time now, no? :) good info. pats self on back, check her out and what's going on in the markets.. :)

 

~peace

 

thomas :)

 

(*that's good* oh i know it is mrs alisa who is with mr paul in heaven, *i know it is* ty friend :)!

 

the only thing that i'm surprised about kids, is that i *truly* thought she had a conscious,

 

and that she would disclose who she really is.. who supported her to KILL :)

 

and not just that, to attempt to kill me to.

 

but you're too much of a coward, to face justice,

 

huh nsa cia whore and murderer jami rose?

 

what? afraid that you might end up in prison?

 

:) that would be a safer place for you now> :)

 

well, your move.

 

still chicken? seemingly so, and albeit without a conscious.

 

how long, will that last ?

 

~peace

 

thomas :)

The Birds of Ireland: A Field Guide with Jim Wilson

Shorebirds of Ireland with Jim Wilson.

Freshwater Birds of Ireland with Jim Wilson

www.markcarmodyphotography.com

 

The Rock Pipit (Anthus petrosus) is a small species of passerine bird that breeds in western Europe on rocky coasts. It has streaked greyish-brown upperparts and buff underparts, and is similar in appearance to other European pipits. There are three subspecies, of which only the Fennoscandian form is migratory, wintering in shoreline habitats further south in Europe. The Eurasian rock pipit is territorial at least in the breeding season, and year-round where it is resident. Males will sometimes enter an adjacent territory to assist the resident in repelling an intruder.

 

Its population is large and stable, and it is therefore evaluated as a species of least concern by the International Union for Conservation of Nature (IUCN).

 

The Rock Pipit is closely related to the Water Pipit and the Meadow Pipit, and is rather similar in appearance. Compared to the meadow pipit, the rock pipit is darker, larger and longer-winged than its relative, and has dark, rather than pinkish-red, legs. The water pipit in winter plumage is also confusable with the rock pipit, but has a strong supercilium and greyer upperparts; it is also typically much warier. The rock pipit's dusky, rather than white, outer tail feathers are also a distinction from all its relatives. The habitats used by rock and water pipits are completely separate in the breeding season, and there is little overlap even when birds are not nesting. (wikipedia)

 

This very pale individual was feeding very well at the base of the East Pier in Dun Laoghaire, Dublin.

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

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

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

Characteristics[edit]

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

 

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

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

The Venice Biennale as an archetype[edit]

 

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

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

Biennials after the 1990s[edit]

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

International biennales[edit]

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

Adelaide Biennial of Australian Art, South Australia

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

Athens Biennale, in Athens, Greece

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

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

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

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

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

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

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

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

Biennial of Hawaii Artists

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

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

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

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

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

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

Changwon Sculpture Biennale in Changwon, South Korea

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

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

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

EVA International, biennial in Limerick, Republic of Ireland

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

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

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

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

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

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

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

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

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

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

Moscow Biennale, in Moscow, Russia

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

Mykonos Biennale

Nakanojo Biennale[13]

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

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

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

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

São Paulo Art Biennial, in São Paulo, Brazil

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

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

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

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

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

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

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

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

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

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

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

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

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

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

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

 

—---Venice Biennale from wikipedia —

 

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

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

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

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

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

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

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

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

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

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

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

1948–1973[edit]

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

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

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

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

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

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

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

1974–1998[edit]

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

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

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

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

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

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

1999–present[edit]

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

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

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

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

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

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

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

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

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

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

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

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

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

Role in the art market[edit]

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

Central Pavilion and Arsenale[edit]

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

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

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

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

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

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

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

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

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

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

-----

وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

SHIBUYA SKY拍攝地點

 

FaceBook｜Blogger ｜Instagram ｜500PX

 

You can licence images through My Getty image

 

All of My Reviews｜心得文：

 

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

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

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

 

Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)

In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .

He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "

www.emergencyrooms.org/biennalist.html .

at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum

www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )

--------------------------------------------------------------------------------------------------------------------------------------------

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.

--------------------------------------------------------------------------------------------------------------------------------------------

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

 

----------------------------------------------------------------------------------------------------------------------------------------------

Encyclopedic Palace is curated by Massimiliano Gioni

---------------------------------------------------------------------------------------------------------------------------------------------------------------

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

-----------------------------------------------------------------------

in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?

 

Reference: Photo 24/(74)

 

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

 

Date: 24 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.

Película cristiana completa en español | "Donde está mi hogar" Dios me da una familia bendita

Los padres de Wenya se separaron cuando ella tenía dos años y después vivió con su padre y su madrastra. La madrastra no la soportaba y siempre discutía con el padre. Él tenía pocas opciones y tuvo que enviar a Wenya a casa de su madre, quien estaba totalmente centrada en dirigir su negocio y no tenía tiempo para ocuparse de Wenya, por lo que solía enviarla a casa de familiares y amigos para que la acogieran. Después de tantos años en acogida, la joven Wenya se sentía sola e indefensa y anhelaba el calor de un hogar. No volvió con su padre hasta que este y su madrastra no se divorciaron y, desde entonces, para bien o para mal, tuvo un hogar.

Cuando Wenya se hizo mayor era muy prudente y obediente y estudiaba mucho. Pero justo cuando se estaba esforzando mucho en preparar los exámenes de ingreso a la universidad, le sobrevino la desgracia: su madre tuvo una hemorragia cerebral y se quedó paralítica y postrada en cama. Su padrastro abandonó a la madre e incluso se hizo con el control de todos sus bienes, y luego su padre fue hospitalizado con un cáncer de hígado... Wenya no podía asumir las cargas de la casa, por lo que lo único que pudo hacer fue suplicarles a sus familiares y amigos, pero estos le dieron la espalda...

Justo cuando Wenya estaba sufriendo y sin recursos, dos hermanas de la Iglesia de Dios Todopoderoso les dieron testimonio a ella, a su madre y a su hermana sobre la obra de Dios Todopoderoso en los últimos días. Por medio de las palabras de Dios Todopoderoso llegaron a entender la raíz del dolor en la vida de la gente y entendieron que sólo si la gente se presenta ante Dios podrá ganarse Su protección y vivir feliz. Sólo a través del consuelo de las palabras de Dios pudieron la madre y las hijas salir del dolor y el desamparo. Wenya experimentó verdaderamente el amor y la misericordia de Dios; acabó sintiendo la calidez de un hogar y entró en uno de verdad...

 

Ver más： videos evangélicos

Wolf Pack Invite 09/27/08

River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008

 

www.andynoise.com/wolfpack08.html

 

Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.

 

Varsity Boys Team Results

 

1 MCFA McFarland 25

2 PADA Palmdale 95

3 RIDG Ridgeview 118

4 SHAF Shafter 130

5 BAEA East Bakersfield 142

6 BAKE Bakersfield 174

7 WASC Wasco 176

8 STOC Stockdale 210

9 FTHL Foothill 233

10 GARC Garces Memorial 254

11 ARVI Arvin 321

12 NORT North 324

13 Fron Frontier 345

14 SOUT South 404

15 BACH Bakersfield Christian 423

16 WSTB West Bakersfield 461

TFCC Taft INC

  

1. 16:18 179 179 Chris Schwartz Sr M FTHL 1

2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2

3. 16:38 450 450 Robby Baker Jr M RIDG 3

4. 16:44 297 297 Marco Perez So M MCFA 4

5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5

6. 16:51 294 294 Marco Camargo Jr M MCFA 6

7. 16:54 451 451 Alex Garcia Jr M RIDG 7

8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8

9. 16:58 295 295 Eddie Garcia Sr M MCFA 9

10. 17:04 296 296 Francisco Nava So M MCFA 10

11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11

12. 17:10 402 402 Adrian Ramos Jr M PADA 12

13. 17:16 400 400 Victor Hernandez Sr M PADA 13

14. 17:19 72 72 Andrew Ariey Sr M BAKE 14

15. 17:20 403 403 Daniel Ramos Jr M PADA 15

  

Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.

 

Varsity Girls Team Results

 

1 RIDG Ridgeview 45

2 SHAF Shafter 73

3 PADA Palmdale 94

4 NORT North 95

5 STOC Stockdale 124

6 FTHL Foothill 142

7 BAKE Bakersfield 142

8 GARC Garces Memorial 189

9 Fron Frontier 243

10 SOUT South 278

BAEA East Bakersfield INC

ARVI Arvin INC

WASC Wasco INC

TFCC Taft INC

WSTB West Bakersfield INC

BACH Bakersfield Christian INC

  

1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF

2. 21:04 430 430 Tijerra Lynch So F RIDG

3. 21:07 369 369 Merino Jennifer Sr F PADA

4. 21:10 428 428 Jessica Huizar Jr F RIDG

5. 21:12 89 89 Lucia Garcia Jr F BAEA

6. 21:17 208 208 Monica Guzman Jr F GARC

7. 21:23 330 330 Cecilia Lopez Sr F NORT

8. 21:33 90 90 Sophia Garcia So F BAEA

9. 21:35 136 136 Natalie Fernandez So F FTHL

10. 21:46 2 2 Tonya Hernandez Jr F ARVI

11. 21:53 624 624 Alejandra Gutierrez Sr F WASC

12. 21:55 372 372 Anaiz Ortiz Sr F PADA

13. 21:56 426 426 Ashley Duran Sr F RIDG

14. 22:05 459 459 Lindsee Handel So F SHAF

15. 22:12 45 45 Gabrielle Lerma So F BAKE

   

JV Boys Results

 

1 MCFA McFarland 29

2 RIDG Ridgeview 72

3 BAEA East Bakersfield 105

4 PADA Palmdale 118

5 SOUT South 150

6 Fron Frontier 160

7 WASC Wasco 161

8 STOC Stockdale 169

9 FTHL Foothill 237

10 GARC Garces Memorial 246

11 MiMo Mira Monte 278

12 BAKE Bakersfield 341

SHAF Shafter INC

TFCC Taft INC

ARVI Arvin INC

NORT North INC

 

1. 11:06 284 284 Bryan Calvo Sr M MCFA

2. 11:23 290 290 Pedro Sanchez Jr M MCFA

3. 11:34 661 661 Eric Sanchez Jr M WASC

4. 11:34 100 100 felix Trevino So M BAEA

5. 11:36 277 277 Bernardo Garcia Fr M MCFA

6. 11:39 440 440 Ernesto Castillo Jr M RIDG

7. 11:45 476 476 Matt Yanez Jr M SHAF

8. 11:46 439 439 Michael Anseno Sr M RIDG

9. 11:47 98 98 Marc Sotello Jr M BAEA

10. 11:47 474 474 Elias Picazo Sr M SHAF

11. 11:49 288 288 Adam Marquez Fr M MCFA

12. 11:50 394 394 Ramirez Miguel Jr M PADA

13. 11:50 393 393 Nicholas Mayo Jr M PADA

14. 11:53 276 276 Ismael Bautista Fr M MCFA

15. 12:00 101 101 Esteban Vargas Sr M BAEA

  

JV Girls Results

 

1 PADA Palmdale 27

2 STOC Stockdale 51

3 RIDG Ridgeview 66

4 MiMo Mira Monte 100

SOUT South INC

BAKE Bakersfield INC

FTHL Foothill INC

NORT North INC

GARC Garces Memorial INC

 

1. 14:45 494 494 Claudia Cuevas Sr F SOUT

2. 15:05 420 420 Natalia Motta Sr F RIDG

3. 15:12 528 528 Amber Crabtree Sr F STOC

4. 15:28 351 351 Amy Diaz Sr F PADA

5. 15:33 360 360 Lizet Onofre Jr F PADA

6. 15:41 364 364 Crystal Schachter Jr F PADA

7. 15:48 531 531 Shelby Pinkham Jr F STOC

8. 15:51 41 41 Felisa Torres Sr F BAKE

9. 15:52 118 118 Lucia Garcia Jr F FTHL

10. 15:54 362 362 Karina Ortega Jr F PADA

11. 15:54 328 328 Aubree Mossburg Jr F NORT

12. 16:04 365 365 Michelle Silva Jr F PADA

13. 16:06 367 367 Zaria Zambrano Jr F PADA

14. 16:07 525 525 Justine Benavidez Sr F STOC

15. 16:19 128 128 Nancy Tenorio Sr F FTHL

  

Frosh/Soph Boys

 

1 MCFA McFarland 25

2 WASC Wasco 66

3 FTHL Foothill 95

4 STOC Stockdale 114

5 RIDG Ridgeview 121

6 PADA Palmdale 139

7 SHAF Shafter 174

8 Inde Independence 183

9 TFCC Taft 254

10 BAKE Bakersfield 287

11 RFKH RFKH 312

12 GARC Garces Memorial 313

13 ARVI Arvin 337

14 MiMo Mira Monte 383

SOUT South INC

Error 2042 #N/A INC

 

1. 10:53 666 666 Jorge Zuniga Fr M WASC

2. 10:55 282 282 Chavez Ryan Fr M MCFA

3. 11:12 275 275 Sergio Avelar Fr M MCFA

4. 11:25 638 638 Eddie Aguilar So M WASC

5. 11:26 280 280 Leo Perez Fr M MCFA

6. 11:26 278 278 Jose Monrreal Fr M MCFA

7. 11:36 177 177 Genaro Quintanar Fr M FTHL

8. 11:38 541 541 Alex Eckley Fr M STOC

9. 11:39 279 279 Gonzalo Mulato Fr M MCFA

10. 11:40 252 252 Dwayne Facho So M Inde

11. 11:41 434 434 Brandon Magno Fr M RIDG

12. 11:42 383 383 Corey Nieto Fr M PADA

13. 11:48 543 543 Abraham Mayorga So M STOC

14. 11:49 467 467 Pablo Mendez Fr M SHAF

15. 11:50 650 650 Asencion Mendoza Sr M WASC

   

Frosh/Soph Girls

 

1 MCFA McFarland 43

2 Inde Independence 51

3 STOC Stockdale 73

4 FTHL Foothill 101

5 TFCC Taft 121

6 RIDG Ridgeview 139

7 RFKH RFKH 173

8 WASC Wasco 180

SOUT South INC

BAEA East Bakersfield INC

NORT North INC

BAKE Bakersfield INC

GARC Garces Memorial INC

 

1. 14:02 267 267 Corina Garcia So F MCFA

2. 14:02.6 270 270 Kathy Torres Fr F MCFA

3. 14:09 266 266 Olivia Ayon Fr F MCFA

4. 14:09 586 586 Daisy Guitron Fr F TFCC

5. 14:16 522 522 Madison Schutzner Fr F STOC

6. 14:23 484 484 Natalie Espinoza So F SOUT

7. 14:37 248 248 Sara Sullivan Fr F Inde

8. 14:37 110 110 Erica Castro So F FTHL

9. 14:44 237 237 Natalie Ambriz So F Inde

10. 14:46 93 93 Mayra Ponce So F BAEA

11. 14:50 244 244 Acacia Ingram So F Inde

12. 14:58 523 523 Victoria Valos So F STOC

13. 15:00 268 268 Liset Perezchica Fr F MCFA

14. 15:03 249 249 Katelynn Webb Fr F Inde

15. 15:20 135 135 Mari Escuedero So F FTHL

www.salkantay-trek.com

SALKANTAY TREK 5 DAYS AND 4 NIGHTS WITH CAMP AT LLACTAPATA - MACHU PICCHU TOUR PERU

This trek takes you around the stunning Mount Salkantay, which is the second largest mountain in Cusco region (6,277m / 20,577ft). On your first night, you will camp within the clear sight of the snowcapped peak of Salkantay Mountain. Second day will be the longest day of the trek, the most challenging, and you will climb a bit harder. However, the view at the top is stunning and unique.

The walk to the famous Apacheta pass which is at 4650m/15,088ft is not strenuous nor very steep. Afterward, it is mainly a descent into more tropical area passing Andenes and Chaullay. On your third night, you will camp at LLACTAPATA (2,700m/9,157ft) while enjoying the great views of Machu picchu,Wuayna Picchu mountains and the Inca citadel of Machu Picchu (Inca city). Ending at the most important mystic center of the world: Machu Picchu.

Program Itinerary

Day 1: Cusco - Mollepata - Marcco Ccasa - Soraypampa – Salkantaypampa

At 5:00am (Time in Peru), we pick you up from your hotel, then we drive in our private bus to Mollepata (2,850m/9,407ft) for 3 hours. Along the way there are spectacular views of villages such as: Iscuchaca and Limatambo, stunning valleys and snow-capped mountains such as: Salkantay, with a stop for breakfast at Mollepata. Then we continue by bus to Marcoccasa (3200m/10,557ft), where we meet our horsemen, horses and pack all our equipment onto the horses. Afterwards we start the gradual climb of 527 meters by walk through pristine Andean valley landscapes for about 3.5 hours before arriving to Soraypamapa (3850m/12,700ft) for lunch. After lunch, we continue gentle climb for 2 hours through more unspoiled Andean valley to our first campsite at Salkantay Pampa located at 4100m/13,527ft.

Meals: Breakfast, Lunch & Dinner

Accommodation: camping facilities.

Maximum Altitude: 4100m/13,527ft.

Minimum Altitude: 2850m/9,497ft.

Walking distance: 12km approx

Difficulty: Moderate.

Day 2: Salkantaypampa – Collpapampa

After an early delicious breakfast, we start trekking with a moderate climb for 3 hours to reach the Apacheta pass (4,650m/15,367ft). From here, we can enjoy the spectacular views of snowcapped mountains such as: Salkantay (6,277m/20,717ft), Humantay, Huayanay, white rivers, and small lakes.

At the Apacheta Pass, you can leave a piece of rock carried from the bottom as a present to the Apu Salkantay(Mountain god), During Inca times, the walkers used to leave their shoes, clothes, jewels or simply piece of rock as an offering. We continue walking for 2 hours downhill for lunch at Huayracmachay. Then depending on the group's trekking ability, weather and walking conditions, we will decide whether to walk for 2 to 3 hours downhill to reach to our second campsite at Colpapamapa (2,877m/9,497ft).

Meals: Breakfast, Lunch & Dinner

Accommodation: camping facilities

Maximum altitude: 4,650m/15,367ft.

Minimum altitude: 2,877m/9,497ft.

Walking distance: 19km approx

Difficulty: Challenge.

Day 3: Colpapampa - La Playa – LLACTAPATA

On this day we walk for 3 hours through the beginnings of the rainforest; enjoying a myriad of flora and fauna including orchids, birds, coffee, cacao and fruit plantations. We arrive at La Playa (2,060m/6,797ft) for lunch, with free time to rest before climbing uphill for 3 hours through the Andean cloud forest to the Puncuyoc pass and then onto LLACTAPATA which is located at 2,700m/8,907ft (an Inca site located straight in front of the citadel of Machu Picchu), which is our third evening´s campsite.

The panoramic view from our campsite is breathtaking; you can enjoy a different angles view of Machu Picchu, the Huanay Picchu Mountains, the citadel of Machu Picchu and the Aobamba canyon, where another Inca trail can be seen as well. We trek off the beaten track exploring places no one else does and we are the ONLY one camping at LLACTAPATA.

Meals: Breakfast, Lunch & Dinner

Accommodation: camping facilities

Maximum altitude: 2,850m/9,407ft.

Minimum altitude: 2,000m/6,600ft.

Difficulty: Moderate.

Day 4: LLAQTAPATA – Hidroelectrica - Aguas Calientes.

After a late breakfast enjoying the spectacular views of Huaynapicchu, Machu Picchu Mountains and the citadel of Machu Picchu, we start walking downhill for 2 hours to Hidroelectrica for lunch. After lunch we walk to Aguas Calientes town through the national park of Machu Picchu, enjoying the surroundings of the iconic Machu Picchu and the wall which surrounds the Inca Citadel.

Meals: Breakfast, Lunch, & Dinner

Accommodation: Private hostel.

Maximum Altitude: 2,700m/9,157ft.

Minimum Altitude: 1,870m/6,177ft.

Walking distance: 12km approx

Difficulty: Moderate.

Day 5: Aguas Calientes - Machu Picchu - Cusco

Rise early to take advantage of viewing Machu Picchu in the early morning light. This is the best time to view the 'Lost City of the Incas'. Join our local guide for a detailed interpretation of the site and Inca history without the pressure of other tour groups that arrive at midday with a lot of time for further exploring, photos and climb to Huanaypicchu or up to the Sun Gate. Then we head back to Aguas Calientes for buffet lunch. Later in the afternoon we return by train to Ollantaytambo or Poroy and will then be transferred by van to Cuzco, arriving in the evening.

Meals: Breakfast & Lunch

Maximum altitude: 2,440m/7,937ft.

Difficulty: Easy.

WHAT IS INCLUDED?

Pre-trek briefing with your tour guide.

Collection from your hotel in the morning of the trek departure.

Private transport from Cusco to Mollepata-Marcoccasa (starting point of the trek)

Entry fee to Machu Picchu

English speaking, experienced professional guide

Comfortable tents (sleeping 2 people in a 4 person tent)

Meals as indicated in the itinerary (optional vegetarian food with prior request)

All camping equipment such as: dining tent, table, chairs, kitchen tent and toilet tent

Bus ticket from Aguas Calientas to Machu Picchu and return

First Aid kit including emergency oxygen bottle

Train ticket from Aguas Calientes to Poroy - Cusco

Private transport from Ollantaytambo to your hotel in Cusco

Celebration dinner in Aguas Calientes (touristic restaurant )

Lunch in Aguas Calientes on the last day

Hostel in Aguas Calientes with private room and bathroom

Mules and horses (for equipment and personal items) including horsemen - 7 kilos of your personal items such as extra clothes, sleeping bag will be carried by our mules

Provision of a horse in case of emergency such as illness, to ensure trek can be completed by all participants

Basic foam sleeping mattress

Guided tour within Machu Picchu

Boiled water for drinking and washing purposes

WHAT IS NOT INCLUDED?

Walking sticks (rentable)

Sleeping bag adequate for temperature of minus 10°C (rentable for $20 for duration of the trek)

Dinner on the last day

Entry to Huanapicchu ($10)

Extra activities such as zip line and barbecues.

Additional horses for extra personal luggage above that of the personal item allowance.

Optional up - grades (train and hotel)

Tips for the cook, horsemen and guide (Every Salkantay Trek staff receive a fair and decent payment immediately after they end their trip. However tips are optional and a great gesture of appreciation for them)

WHAT YOU SHOULD BRING?

A lightweight, waterproof day pack with change of clothes for the whole period of the trek (must not exceed 7 kilos)

Sleeping bag adequate for temperature of minus 10°c (rentable for $20 for duration of the trek)

Sturdy hiking boots

Warm clothes and trekking pants (trousers)

Layers of clothes, include thermals, for variable temperatures especially at night

Head torch with spare batteries

Camera with extra film and batteries

Sun protection: sunscreen, sunhat, sunglasses

Woolen socks, gloves, scarf, woolen hat for cold nights

Insect repellent

Extra plastic bags, especially in the wet season

Waterproof clothing or a rain poncho

Water bottles and water purifying tablets - Optional

Personal medical kit with a simple whistle

Extra money for souvenirs, drinks, tips

Walking sticks (rentable)

Favorite snacks

Inflatable mattress

Toilet paper

Sandals or flip-flop

Swimming costume

Original passport and ISIC card if is applicable.

ITENERARY NOTED

The time stated within this program is approximate and walking time may differ dependent upon the group´s capability and progress and as such the guide may change the lunch spot and campsite if it is required. Each guide has his or her own preferred route and it may not follow exactly the schedule described here. However all items listed within the above schedule will be covered.

 

Trek conditions also vary according to the season. In the dry season ( May - September) the trail can be very dusty and hot in the day time, in the wet season (Octomber - March) it can be slippery and muddy and during the shoulder season the conditions can be variable. All year round in the mountains the stone sliding can happen at any time, particularly after heavy rains. Salkantay-Trek takes no responsibility for trail condition.

 

This Trek is adventurous and challenging experience, crossing several high passes and some rivers do not have a substantial bridge and can be dangerous to cross in periods of heavy rain. This region is not frequently visited by tourists, therefore tourist infrastructure is limited. Visitors should be aware that things change, or may not go to plan. This is all part of the adventure! We can change the date of your train ticket to the following day. Hotels costs and costs associated with returning to Machu Picchu the following day are additional to trek costs. Please also note that your entry ticket to Machu Picchu is valid for one day only, if you wish to visit the ruins on a second consecutive day you will need to purchase the ticket again. Please bring an open mind, flexibility and a good sense of humor.

   

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

--------------------------------------------------------------------------------------------------------------------------------------------

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

--------------------------------------------------------------------------------------------------------------------------------------------

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.

--------------------------------------------------------------------------------------------------------------------------------------------

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

 

----------------------------------------------------------------------------------------------------------------------------------------------

Encyclopedic Palace is curated by Massimiliano Gioni

---------------------------------------------------------------------------------------------------------------------------------------------------------------

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

 

Fonte dell'immagine: La Chiesa di Dio Onnipotente

 

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

  

Sfuggi all’influenza delle tenebre e verrai guadagnato da Dio

 

Cos’è l’influenza delle tenebre? È l’influenza di Satana che inganna, corrompe, incatena e controlla le persone; è un’influenza che ha un’aura di morte. Tutti coloro che vivono sotto il dominio di Satana sono destinati a perire.

 

Come puoi sottrarti all’influenza delle tenebre dopo aver ottenuto la fede in Dio? Dopo aver sinceramente pregato Dio, volgi il tuo cuore a Lui completamente. A questo punto, il tuo cuore è mosso dallo Spirito di Dio, sei disposto a dare tutto te stesso e, in questo momento, sei sfuggito all’influenza delle tenebre. Se tutto ciò che l’uomo fa piace a Dio e risponde alle Sue richieste, allora costui è qualcuno che vive dentro le parole di Dio, e qualcuno che vive sotto la cura e la protezione di Dio. Se gli uomini non sono in grado di mettere in pratica le parole di Dio, ingannandoLo continuamente, agendo in modo superficiale con Lui e non credendo nella Sua esistenza, tali uomini vivono tutti sotto l’influenza delle tenebre. Gli uomini che non hanno ricevuto la salvezza di Dio vivono tutti sotto il dominio di Satana, cioè vivono tutti sotto l’influenza delle tenebre. Coloro che non credono in Dio vivono sotto il dominio di Satana. Persino coloro che credono nell’esistenza di Dio possono non necessariamente vivere nella luce di Dio, poiché coloro che credono in Lui possono non necessariamente vivere dentro le parole di Dio e possono non necessariamente essere uomini in grado di obbedire a Dio. L’uomo si limita a credere in Dio e, a causa della Sua incapacità di conoscere Dio, egli vive ancora dentro i vecchi precetti, dentro parole morte, in una vita che è oscura e incerta, non pienamente purificato da Dio o completamente guadagnato da Dio. Pertanto, mentre è scontato che coloro che non credono in Dio vivono sotto l’influenza delle tenebre, persino coloro che credono in Dio possono comunque vivere sotto la loro influenza, poiché lo Spirito Santo non ha svolto alcuna opera su di loro. Coloro che non hanno ricevuto la Grazia di Dio o la misericordia di Dio, e coloro che non riescono a vedere l’opera dello Spirito Santo, vivono tutti sotto l’influenza delle tenebre; coloro che si limitano a godere della grazia di Dio ma non Lo conoscono, vivono anch’essi sotto l’influenza delle tenebre per la maggior parte del tempo. Se un uomo crede in Dio eppure spende la maggior parte della propria vita sotto l’influenza delle tenebre, allora l’esistenza di quest’uomo ha perso il proprio significato, per non parlare di coloro che non credono nell’esistenza di Dio.

 

Tutti coloro che non riescono ad accettare l’opera di Dio, o che la accettano ma non sono in grado di soddisfare le Sue richieste, vivono sotto l’influenza delle tenebre; solo coloro che cercano la verità e sono in grado di soddisfare le richieste di Dio riceveranno benedizioni da Lui, e solo loro sfuggiranno all’influenza delle tenebre. Gli uomini che non sono stati affrancati, che sono sempre controllati da certe cose e incapaci di dare il loro cuore a Dio, sono uomini sotto il giogo di Satana e che vivono sotto un’aura di morte. Coloro che non tengono fede ai loro doveri, che non assolvono ai compiti assegnati da Dio, e coloro che non svolgono la propria funzione nella Chiesa, vivono sotto l’influenza delle tenebre. Coloro che deliberatamente disturbano la vita della Chiesa, che deliberatamente distruggono i rapporti tra i fratelli e le sorelle, o formano le proprie bande, vivono ancora più profondamente sotto l’influenza delle tenebre; vivono sotto la schiavitù di Satana. Coloro che hanno un rapporto scorretto con Dio, quelli che hanno sempre desideri stravaganti, che vogliono sempre ottenere un vantaggio e che non cercano mai di trasformare la propria indole, sono uomini che vivono sotto l’influenza delle tenebre. Coloro che sono sempre sciatti, che non sono seri nella loro pratica della verità, e che non cercano di soddisfare i desideri di Dio ma solo quelli della propria carne, anche costoro sono uomini che vivono sotto l’influenza delle tenebre e avvolti nella morte. Coloro che praticano la disonestà e l’inganno quando svolgono il lavoro per Dio, che trattano Dio in modo superficiale, che ingannano Dio e che pensano sempre a se stessi, sono uomini che vivono sotto l’influenza delle tenebre. Tutti coloro che non riescono ad amare sinceramente Dio, che non cercano la verità, e che non si concentrano sulla trasformazione della propria indole vivono sotto l’influenza delle tenebre.

 

Se vuoi essere apprezzato da Dio, devi in primo luogo sottrarti all’influenza delle tenebre di Satana, aprire il tuo cuore a Dio e volgerlo completamente a Dio. Le cose che stai facendo ora sono apprezzate da Dio? Hai rivolto il tuo cuore a Dio? Le cose che hai fatto sono state quelle che Dio ti ha richiesto? Sono conformi alla verità? Devi interrogare te stesso in qualsiasi momento, concentrarti sul nutrirti delle parole di Dio, spiegare il tuo cuore davanti a Lui, amarLo con sincerità e spenderti con dedizione per Dio. Uomini siffatti riceveranno sicuramente l’apprezzamento di Dio.

 

Tutti coloro che credono in Dio eppure non perseguono la verità, non hanno modo di sfuggire all’influenza di Satana. Tutti quelli che non conducono la propria vita con onestà, che si comportano in un modo di fronte agli altri ma in un altro alle loro spalle, che offrono un’apparenza di umiltà, pazienza e amore mentre in sostanza sono subdoli, scaltri e non hanno alcuna lealtà verso Dio, tali persone sono l’esempio tipico di coloro che vivono sotto l’influenza delle tenebre. Sono della stessa specie del serpente. Coloro la cui fede in Dio è sempre a proprio vantaggio, che sono sicuri di essere nel giusto e arroganti, che si mettono in mostra e proteggono la propria condizione, sono quelli che amano Satana e si oppongono alla verità. Resistono a Dio e appartengono completamente a Satana. Coloro che non sono attenti ai fardelli di Dio, che non servono Dio con tutto il cuore, che si preoccupano costantemente dei propri interessi e di quelli della loro famiglia, che sono incapaci di abbandonare tutto per spendersi per Dio, e non vivono mai secondo le Sue parole, vivono fuori dalle parole di Dio. Tali uomini non possono ricevere l’apprezzamento di Dio.

 

Quando Dio ha creato l’uomo, l’ha fatto perché questi godesse delle Sue ricchezze e Lo amasse in modo sincero; in tal modo, l’uomo vivrebbe nella Sua luce. Oggi, tutti coloro che non sono in grado di amare Dio, che non sono attenti ai Suoi fardelli, che sono incapaci di dare tutto il loro cuore a Dio, incapaci di considerare il cuore di Dio come se fosse il proprio, incapaci di caricarsi sulle spalle i fardelli di Dio come se fossero i propri – ebbene, la luce di Dio non splende su nessuno di tali uomini e, pertanto, vivono tutti sotto l’influenza delle tenebre. Essi percorrono un sentiero che è diametralmente opposto alla volontà di Dio, e tutto ciò che fanno non ha un briciolo di verità. Sguazzano nel fango con Satana, e sono quelli che vivono sotto l’influenza delle tenebre. Se riesci a nutrirti costantemente delle parole di Dio così come a essere attento alla Sua volontà e a mettere in pratica le Sue parole, allora appartieni a Dio e sei una persona che vive dentro le parole di Dio. Sei disposto a sfuggire al dominio di Satana e a vivere nella luce di Dio? Se vivi dentro le parole di Dio, allora lo Spirito Santo avrà un’opportunità per compiere la Propria opera; se vivi sotto l’influenza di Satana, allora lo Spirito Santo non avrà nessuna opportunità di realizzare alcuna opera. L’opera che lo Spirito Santo compie sugli uomini, la luce che Egli fa splendere sugli uomini e la fiducia che Egli concede agli uomini durano solo per un momento; se essi non sono attenti e non prestano attenzione, l’opera realizzata dallo Spirito Santo passerà senza che se ne accorgano. Se gli uomini vivono nelle parole di Dio, allora lo Spirito Santo sarà con loro e agirà su di loro; se gli uomini non vivono nelle parole di Dio, allora vivono nella schiavitù di Satana. Gli uomini che vivono con un’indole corrotta non hanno la presenza o l’opera dello Spirito Santo. Se vivi nella sfera delle parole di Dio, se vivi nella condizione richiesta da Dio, allora appartieni a Lui e la Sua opera sarà compiuta su di te; se non vivi nella sfera delle richieste di Dio ma vivi invece sotto il dominio di Satana, allora vivi di certo nella corruzione di Satana. Solamente vivendo nelle parole di Dio e dando il tuo cuore a Lui, puoi soddisfare le Sue richieste; devi fare come Dio dice, devi fare delle parole di Dio il fondamento della tua esistenza e la realtà della tua vita, e solo allora apparterrai a Dio. Se pratichi sinceramente secondo la volontà di Dio, Egli eseguirà la Propria opera su di te e allora vivrai sotto le benedizioni di Dio, vivrai nella luce del volto di Dio, coglierai l’azione che lo Spirito Santo compie, così come proverai la gioia della presenza di Dio.

 

Per sfuggire all’influenza delle tenebre, devi per prima cosa essere fedele a Dio e anelare alla ricerca della verità – solo allora avrai una corretta condizione. Vivere nella corretta condizione è la premessa indispensabile per sfuggire all’influenza delle tenebre. Non avere la corretta condizione significa che non sei fedele a Dio e che non aneli alla ricerca della verità. Quindi sfuggire all’influenza delle tenebre è fuori discussione. Che l’uomo possa sfuggire all’influenza delle tenebre ha fondamento nelle Mie parole, e se l’uomo non riesce a praticare in conformità con le Mie parole, non sfuggirà alla schiavitù dell’influenza delle tenebre. Vivere nella corretta condizione significa vivere sotto la guida delle parole di Dio, vivere nella condizione di essere fedeli a Dio, vivere nella condizione di ricercare la verità, vivere nella realtà di spendersi sinceramente per Dio, vivere nella condizione di amare sinceramente Dio. Coloro che vivono in queste condizioni e dentro questa realtà si trasformeranno gradualmente man mano che entrano più profondamente nella verità, e si trasformeranno con l’approfondirsi dell’opera, finché, alla fine, saranno certamente guadagnati da Dio e giungeranno ad amarLo sinceramente. Coloro che sono sfuggiti all’influenza delle tenebre saranno in grado di afferrare e comprendere gradualmente la volontà di Dio, e di entrare infine in intimità con Dio. Non solo non avranno alcuna concezione riguardo a Dio e nessuna ribellione contro di Lui, ma giungeranno a detestare ancora di più le concezioni e la ribellione che hanno avuto in precedenza, generando un autentico amore per Dio nei loro cuori. Coloro che non sono in grado di sfuggire all’influenza delle tenebre sono concentrati sulla propria carne, e sono pieni di ribellione; il loro cuore è colmo di concezioni umane e di filosofie di vita, così come delle proprie intenzioni e decisioni. Dio richiede l’esclusivo amore dell’uomo e che l’uomo sia totalmente dedito alle Sue parole e all’amore per Lui. Vivere all’interno delle parole di Dio, scoprire ciò che l’uomo dovrebbe cercare nelle Sue parole, amare Dio come risultato delle Sue parole, darsi da fare nell’interesse delle parole di Dio, vivere per le parole di Dio – queste sono tutte cose che l’uomo dovrebbe ottenere. Tutto deve essere costruito sulle parole di Dio, e solo allora l’uomo sarà in grado di soddisfare le richieste di Dio. Se l’uomo non è provvisto delle parole di Dio, non è altro che un verme posseduto da Satana. Valutalo nel tuo cuore – quante parole di Dio hanno messo radici dentro di te? In quali cose vivi in accordo con le parole di Dio? In quali cose non sei vissuto in accordo con le parole di Dio? Se non hanno attecchito pienamente in te, fino a che punto lo hanno fatto? Nella tua vita di ogni giorno, sei sotto il controllo di Satana o sei guidato dalle parole di Dio? Le tue preghiere sono attivate dalle Sue parole? Sei uscito dalla tua condizione negativa attraverso l’illuminazione delle parole di Dio? Prendere le parole di Dio a fondamento della tua esistenza, questo è ciò che ognuno dovrebbe intraprendere. Se le parole di Dio non sono presenti nella tua vita, allora vivi sotto l’influenza delle tenebre, sei ribelle a Dio, opponi resistenza a Dio e stai disonorando il Suo nome – la fede di tali uomini in Dio è solo danno, un intralcio. Quanta parte della tua vita è stata vissuta secondo le Sue parole? Quanta parte della tua vita non è stata vissuta secondo le Sue parole? Quanto di ciò che le parole di Dio ti hanno richiesto è stato realizzato in te? Quanto è andato perso in te? Hai esaminato con attenzione tali cose?

 

Per sfuggire all’influenza delle tenebre, un aspetto è che richiede l’opera dello Spirito Santo, e un altro aspetto è che richiede devota cooperazione da parte dell’uomo. Perché dico che l’uomo non è sul retto sentiero? In primo luogo, se un uomo è sul retto sentiero sarà in grado di dare il suo cuore a Dio, un compito che richiede un lungo periodo di tempo per accedervi poiché l’umanità è sempre vissuta sotto l’influenza delle tenebre ed è stata sotto la schiavitù di Satana per migliaia di anni. Pertanto questo accesso non può essere ottenuto in un giorno o due. Ho sollevato tale questione oggi così che gli uomini possano comprendere la propria condizione; riguardo a ciò che significa l’influenza delle tenebre e a ciò che significa vivere nella luce, tale accesso diventa possibile quando l’uomo è in grado di discernere tali cose. Questo perché devi sapere quale sia l’influenza di Satana prima di potervi sfuggire, e solo allora avrai il percorso per liberartene gradualmente. Per quanto riguarda cosa fare da quel momento in poi, questa è faccenda dell’uomo stesso. Devi sempre accedere da un aspetto positivo e mai aspettare passivamente. Solo in questo modo sarai guadagnato da Dio.

  

www.kingdomsalvation.org/it/escape-from-the-influence-of-...

Collaboration beetween Biennalist and Ultracontemporay

  

Art Format

www.emergencyrooms.org/formats.html

 

en.wikipedia.org/wiki/Thierry_Geoffroy

  

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

 

PETER SLOTERDIJK Por ADOLFO VÁSQUEZ ROCCA

 

DR. ADOLFO VÁSQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

VÁSQUEZ ROCCA, Adolfo

 

Doctor en Filosofía

 

Domicilio

 

Valparaiso, Chile

 

Adscripción Académica

 

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Universidad Complutense de Madrid

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

dialnet.unirioja.es/servlet/autor?codigo=1053859

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca

  

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

   

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1

 

Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,

 

- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

INVESTIGACIÓN:

2009 - 2010

 

Proyecto de Investigación N° DI-10-09/JM - UNAB

 

“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

 

Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB

  

2011 - 2012

 

- Proyecto de Investigación N° DI-08-11/JM - UNAB

 

- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.

 

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

 

Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello

  

Asistente de Investigación:

Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.

 

– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM

Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/

 

(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso

 

(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.

 

(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.

 

(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB

 

(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV

 

(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB

 

(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB

 

(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM

 

(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP

 

(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV

 

(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM

 

(2009-2010) Profesor visitante Florida Christian University USA

 

(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH

 

(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.

 

(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.

 

(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".

 

2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"

 

2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"

 

2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"

 

2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.

  

ENTREVISTA:

 

“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.

www.alcances.cl/ver-articulo.php?id=81

 

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.doaj.org/doaj?func=abstract&id=1160879&recNo=...

  

Vásquez Rocca, Adolfo, “El Género Bowie: Andrógino, New romantic y Glam-rock”, Sección Cultural 'Mujer', La Tercera, Periódico, Santiago, 2012.

mujer.latercera.cl/2012/02/26/01/contenido/19_3278_9.shtml

  

Vásquez Rocca, Adolfo, "Sloterdijk; secretos bizarros de Freud, discretas obsesiones telecomunicativas y primeras formaciones de psicología profunda europea", En Revista LA LÁMPARA DE DIÓGENES, Año 12, números 22 y 23, Volumen 12 ISSN: 1870-4662; BUAP – MEX – PHILOSOPHER'S INDEX – 2012

www.ldiogenes.buap.mx/revistas/22/165.pdf

  

Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.

www.tendencias21.net/La-modernidad-liquida-podria-licuar-...

  

Vásquez Rocca, Adolfo, "Ontología y Fenomenología del Cuerpo en Jean-Luc Nancy: los nuevos escenarios de la corporeidad y la apostasía de los órganos", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm

  

Vásquez Rocca, Adolfo, "Nicanor Parra: Antipoemas, parodias y lenguajes híbridos. De la Antipoesía al lenguaje del Artefacto", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)] pp. 213 - 231

www.ucm.es/info/nomadas/americalatina2012/adolfovasquezro...

  

Vásquez Rocca, Adolfo, "La crisis de la noción de sujeto y las psicopatologías del yo", En Revista ESPIRAL Nº 38 – 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, México.

www.revistaespiral.org/espiral_38/filosofia_adolfo.html

  

Adolfo Vásquez Rocca, "Jean-Luc Nancy: Téchne de los cuerpos y apostasía de los organos; El intruso, ajenidad y reconocimiento", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm

  

Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– citando op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca en Margen Cero; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.

www.tendencias21.net/La-modernidad-liquida-podria-licuar-...

  

Vásquez Rocca, Adolfo, "Jean Baudrillard; de la metástasis de la imagen a la incautación de lo real", En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – www.arqchile.cl/baudrillard.htm

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk y Walter Benjamin; Air Conditioning en el Mundo interior del Capital", En EIKASIA, Revista de Filosofía, Nº 25 - ISSN 1885-5679 - SAF -Sociedad Asturiana de Filosofía, Oviedo, España, pp. 25-38. Archivo: Academia.edu paper: www.academia.edu/1614097/Peter_Sloterdijk_y_Walter_Benjam...

  

Vásquez Rocca, Adolfo, "El Valor Cognoscitivo de la Ficción o la Experiencia Estética como Simulación Gnoseológica: de Duchamp a Feyerabend", En ESPIRAL Nº 39, Revista de Pensamiento y Cultura Contemporánea, Tijuana, México

www.revistaespiral.org/espiral_39/filosofia_adolfo.html

  

Vásquez Rocca, Adolfo, "El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos", En Almiar, MARGEN CERO, Madrid, mayo, 2012, www.margencero.com/almiar/arte-galeria/

Versión ampliada, de la Publicación original: Vásquez Rocca, Adolfo, "El arte abandona la galería ¿Adónde va? En torno a Beuys y la reconstrucción del Museo como proyecto ilustrado", DEBAT'S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.

  

Vásquez Rocca, Adolfo, Artículo Conferencia: “Del 'Humanismo' de Sartre al 'Anti-humanismo' de Heidegger", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Paraninfo Facultad de Filosofía y filología, Universidad Complutense de Madrid, 2012. En Manuscritos Transversales ©, UCM, 2012.

www.slideshare.net/AdolfoVasquezRocca/del-humanismo-de-sa...

  

Vásquez Rocca, Adolfo, “El Futuro de la Universidad Pública y la Crisis de la Educación en Chile”. En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – Sección PEP Publicación Educación Pública.

www.arqchile.cl/publicacion_educacion_publica.htm

  

Vásquez Rocca, Adolfo, “Lógica Paraconsistentente, Mundos Posibles y Ficciones Narrativas. La Ficción como campo de proyección de la Experiencia”, Reedición Ampliada en Revista de la Sociedad de Estudios Filosóficos de Madrid, Post-scriptum de A Parte Rei, 2012.

serbal.pntic.mec.es/~cmunoz11/vasquez38.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo" En Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas Universidad Complutense de Madrid | 32 (2011.4) NÓMADAS. 32 - Julio-Diciembre. 2011 (II), pp. [102-125]

www.academia.edu/1614355/_Sloterdijk_y_Heidegger_Normas_p...

  

VV.AA., Vásquez Rocca, Adolfo, Del Arco Carabias, Javier PHD. - Université Paris X Nanterre, “Sloterdijk Espumas: De la masa líquida a la masa espumosa: el advenimiento del temor”; sobre textos de Sloterdijk y Bauman y reflexiones de Adolfo Vásquez Rocca, En TENDENCIAS 21 –Revista Asociada al Capítulo español del Club de Roma y al Master en Bioinformática de la Universidad Complutense de Madrid–; y al Instituto de Ingeniería de España, Sección: Filosofía de la Ciencia y Tecnología ISSN 2174-6850

www.tendencias21.net/biofilosofia/De-la-masa-liquida-a-la...

  

Vásquez Rocca, Adolfo, “Poética del Ajedrez; Composición y escritos tácticos”, En Revista Almiar, MARGEN CERO ©, Madrid 2012, Revista Fundadora de la Asociación de Revistas Culturales de España, www.margencero.com/articulos/articulos2/poetica_ajedrez.htm

  

Vásquez Rocca, Adolfo, 'LE NÉANT DANS LA PENSÉE CONTEMPORAINE', Livre, Bès Editions , París, © 2012

Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012, ISBN: 978-2-35424-151-3

Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: "Le Néant Dans la Pensée Contemporaine", Bès Editions © 2012

  

Vásquez Rocca, Adolfo, “La crisis de las Vanguardias Artísticas y el debate modernidad - postmodernidad”, En, NÓMADAS Nº Especial –Revista Crítica de Ciencias Sociales y Jurídicas | - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº Especial , pp. 259 – 272

pendientedemigracion.ucm.es/info/nomadas/12/avrocca2.pdf

  

Vásquez Rocca, Adolfo, “La Fotografía y las formas del olvido; del furor de la imagen al frenesí de lo real”, En Revista Almiar, MARGEN CERO © , Madrid 2012, Revista Fundadora de la Asociación de Revistas Digitales de España. www.margencero.com/articulos/articulos2/foto_olvido.htm

  

Vásquez Rocca, Adolfo, "Individualismo, modernidad líquida y terrorismo hipermoderno; de Bauman a Sloterdijk", En ERRANCIA, La Palabra Inconclusa– Revista de Psicoanálisis, Teoría Crítica y Cultura, Nº 3 © 2012, Universidad Nacional Autónoma de México UNAM

www.iztacala.unam.mx/errancia/v3/errancia_3.html

  

Vásquez Rocca, Adolfo, “Sloterdijk y Heidegger: las Repúblicas del saber, graneros y cultivos de la verdad; sobre la(s) historia(s) de la verdad o ‘economía política de la verdad’”, En Espiral Nº 41 - 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, BC. México.

www.revistaespiral.org/espiral_41/filosofia_adolfo.html

  

Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.

www.revistadefilosofia.com/44-04.pdf

  

Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.

dialnet.unirioja.es/descarga/articulo/4052835.pdf

  

Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32

www.revistadefilosofia.com/46-02r.pdf

  

Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.

www.revistadefilosofia.com/46-02.pdf

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.

www.doaj.org/doaj?func=fulltext&aId=1320292

  

2013

  

Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...

  

Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.

cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...

  

Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Madrid, 2013.

www.margencero.com/almiar/limites-medicina-concepto-muert...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712

www.observacionesfilosoficas.net/sloterdijkensayosdeintox...

  

Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.

rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...

 

Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.

rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:

www.observacionesfilosoficas.net/download/Peter-sloterdij...

 

DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL

dialnet.unirioja.es/servlet/autor?codigo=1053859

  

ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN

 

www.danoex.net/adolfovasquezroccainvestigacion.html

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

 

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

  

ADOLFO VÁSQUEZ ROCCA

  

Pontificia Universidad Católica de Valparaíso

Universidad Complutense de Madrid

Universidad Andrés Bello UNAB

 

E-mail: adolfovrocca@gmail.com

----Image from the H. Edwin Morrow Collection. Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum

· 366project2012.es · Facebook · Twitter · Instagram

 

· Canon EOS 5D Mark II + MC Rokkor-PF 55mm f/1.7

blog.

 

This is a drawing that I did, a couple of weeks ago, of the beautiful Miranda Kerr (hopefully you can see some resemblance?) :) it took me about 10-12 hours (I'm not entirely sure, I got so lost in concentration) and you should know that a good 4-5 hours of that was actually just drawing her hair... :| oh. my. goodness. it took me forever! haha But never mind, I think it was worth it in the end! It really is wonderful getting back into my arty-side and picking up a pencil/paintbrush and just going with the flow and creating whatever comes along with a burst of inspiration! I just thought it'd be nice to share this side of me with you all as well, so that I can add something different, some artistic variety, and not bore you with my photos all of the time... I hope you like it; I'm actually really proud of this, which is a pretty big thing for me! :D ♥

Well, I'll shut up now and let you get back to enjoying your day. I hope you're all having a nice day/evening and that you're having a lovely week so far, too ♥ love, Mari-ann xxx

.........

innisfreegarden.org/garden.html

 

We arrived at Innisfree as soon as it opened at 10AM one mid-August morning when the entire Northeastern US was in the middle of a record heatwave. Despite the heat and humidity, we were able to make a quick 1.5 mile circle on the path around the deep glacial lake at the heart of this 150 acre garden before we wilted and had to return to our air conditioned car. The harsh mid-day light made photography challenging, as you can see. We learned that Innisfree, said by some to be one of the world's Ten Great Gardens, opens at sunrise on three occasions each year, and we are already planning another trip to the Hudson River Valley in the future when we hope we can see and photograph this amazing place under better conditions.

 

"Like the pyramids of Egypt or the Great Wall of China, Innisfree helps us to define what we mean by ‘civilization’. It’s one of the few places in this world that lived up to — nay, exceeded — my expectations."

David Wheeler, Editor, Hortus (2013)

 

"In the late 1920s, Walter Beck and his wife, avid gardener and heiress Marion Burt Beck, began work on Innisfree, their country residence in Millbrook, New York. Walter Beck’s fascination with Asian art influenced his painting, the collecting he and his wife pursued, and their ideas on garden design. In the 1930s, Beck discovered the work of 8th-century Chinese poet, painter and garden maker Wang Wei. Studying scroll paintings of his famed garden, the Wangchuan Villa, Beck observed that Wang created carefully defined, inwardly focused gardens and garden vignettes within a larger, naturalistic landscape. Wang’s place-making technique — christened “cup gardens,” by Beck — influenced centuries of Chinese and Japanese garden design. It is also the principal design motif in the Innisfree landscape. Like his Chinese predecessor, Beck created three-dimensional pictures in the garden, incorporating both rocks from the site and horticultural advice from his wife. Unlike Wang Wei, or perhaps more familiar figures like Lawrence Johnston, who used his cup-like rooms at Hidcote in England to draw one through a sequence of events and create an overall sense of place, Beck focused more on individual compositions. Relating these to each other and to the landscape as a whole was the genius of Lester Collins."

 

The genius of this place lies not so much in the ideas which the designers formulated for the cup gardens, many of which are disarmingly simple, but in the way they have been maintained over the years. Essentially, everything is allowed to settle into the prevailing spirit of the place; if it does not, it is removed. It is this sensitivity, care and attention to the qualities of landscape, natural and made, that make Innisfree such a memorable success.

Tim Richardson, Great Gardens of America (2000)

 

Western gardens are usually designed to embrace a view of the whole. Little is hidden. The garden, like a stage set, is there in its entirety, its overall design revealed in a glance. The traditional Chinese garden is usually designed so that a view of the whole is impossible. [It] requires a stroll over serpentine, seemingly aimless arteries. The observer walks into a series of episodes, like Alice through the looking glass."

Lester Collins, Innisfree: An American Garden (1994)

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

Source: Kadokawa Shoten Guide

Contributor Source: Donated by Mases of Zelda Dungeon & Scanned by Melora of History of Hyrule

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

 

enriqueviolanevado.blogspot.com/2020/05/las-propuestas-de...

____________________________________________________

 

A mediados de octubre de 2019 se publicaron en la página del Distrito Único Andaluz las propuestas de exámenes de cada una de las materias que integran las Pruebas de Acceso del curso 2018-2019, como se puede comprobar en el siguiente enlace:

 

www.juntadeandalucia.es/economiaconocimientoempresasyuniv...

 

En esta tanda de exámenes todas las opciones «A» presentan un ejercicio práctico de geografía humana o económica y un tema de geografía física. Como puede suponerse, las opciones «B» muestran un ejercicio práctico de geografía física y un tema de geografía humana o económica, para satisfacción de los amantes de las ordenadas reverberaciones y las terribles simetrías.

 

En cuanto al vocabulario, se sigue escrupulosamente el listado oficial (el de noviembre de 2018) y los conceptos por referencias siguen igualmente esta relación.

 

En cuanto a los ejercicios prácticos, sólo en un caso (el fotoplano de Barcelona) se repiten documentos aparecidos en propuestas de año anteriores. El resto presenta mapas ya conocidos pero con preguntas nuevas o introduce ejercicios completamente novedosos. Esta avalancha de documentos inéditos no se producía desde los años fundacionales de 2001, 2002 y 2003 y complicó, y de qué manera, el examen de junio de 2019. Por lo demás transforma el preparatorio de la asignatura en el presente curso en un laberinto para el alumno y para el profesor.

 

Si la Ponencia de Geografía está más que preocupada por el escuálido número de escolares que escogen la asignatura para selectividad y por el intolerable porcentaje de suspensos que consiguen en esta prueba, desde luego no lo demuestra multiplicando el número de ejercicios prácticos (que es la pregunta que más se valora). Difícilmente podría haber tomado una medida más contraproducente.

 

Los ejercicios prácticos seleccionados son mapas, mapas de diagramas y un fotoplano. La mayor parte procede de la página en internet del Atlas Nacional de España del Instituto Geográfico Nacional. Se trata de una publicación con una calidad cartográfica excepcional. Pero también se pueden encontrar mapas muy buenos en las distintas versiones del manual de geografía de segundo de bachillerato para el alumno. Y muchas editoriales permiten visualizar su cartografía en formato digital. Buscando los documentos en estas publicaciones darían más oportunidades al alumno estudioso y al profesor que procura prepararlos con esmero. Pero una vez más, estos son los grandes perdedores de la geografía andaluza.

 

Nos queda la pregunta del tema, y de nuevo nos encontramos otro despropósito. El tema nueve (El Proceso de Urbanización de España y el Sistema de Ciudades) aparece en dos pruebas distintas. Si la ponencia ha establecido las unidades temáticas que ha considerado oportuno, será por qué todas son igual de importantes. Reiterar temas en las pruebas desacredita al profesor que insiste en impartir todo el temario y pone contra las cuerdas al alumno que se presenta a la evaluación extraordinaria tras haber suspendido la ordinaria.

 

Una última observación: puesto que el temario ha cambiado por completo, el modelo de examen se adaptará para aminorar los efectos del cierre de institutos y del confinamiento y los ejercicios prácticos llevan ya varios años creciendo de forma inmoderada, la utilidad de estas propuestas para repasar o para realizar pronósticos resultará muy limitada, por no decir nula.

____________________________________________________

 

La obra que hemos escogido como encabezamiento es Velas en la Playa de Valencia del valenciano Joaquín Sorolla y Bastida. Se trata de un óleo sobre tabla pintado en una fecha que oscila entre 1886 y 1889. Sus medidas son 17,4 x 27,5 centímetros.

 

La clasificación de este cuadrito ofrece dificultades al historiador del arte tradicional. No se puede considerar boceto, estudio u obra inacabada. La etiqueta que más se le acerca es la de apunte del natural. El propio Sorolla los llamaba “apuntes”, “manchas”, y “notas de color”. Llegó a pintar más de dos mil óleos de este tipo sobre cartones o tablillas. Los utilizó a veces para ensayar composiciones, pero a menudo como mero ejercicio. Las conservaba en su estudio, sujetas con alfileres, y aunque los hacía figurar en sus exposiciones, no parece que los vendiera, o que ni siquiera su rendimiento económico le interesara. A su muerte pasaron al Museo Sorolla donde se conservan. La que comentamos tiene el número de inventario 228.

 

Para ser pintado en los años de formación y consolidación, Velas en la Playa de Valencia presenta no ya una concepción avanzada, sino rupturista con todo lo que se pintaba por aquel entonces. Sorolla se esfuerza tanto en plasmar lo esencial que el crítico no sabe si señalar que la obra manifiesta un naturalismo exacerbado o simplemente se trata de una composición abstracta.

 

En el 2019 el Museo organizó una exposición temporal de estas obras bajo el título Cazando Impresiones. Sorolla en Pequeño Formato. La pintura que comentamos fue la escogida para presentar la muestra en los medios de comunicación y como portada del catálogo.

 

La imagen procede de la cuenta de twitter del Museo:

 

twitter.com/MuseoSorolla/status/1217843088284098560/photo/1

 

SHIBUYA SKY拍攝地點

 

FaceBook｜Blogger ｜Instagram ｜500PX

 

You can licence images through My Getty image

 

All of My Reviews｜心得文：

 

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

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

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

 

pt.godfootsteps.org/hymns-of-God-s-words/working-in-flesh...

 

Hino da Palavra de Deus

Só operando na carne Deus pode ganhar a humanidade

I

Com a palavra do Deus prático,

as fraquezas e rebeliões do homem são julgadas,

reveladas, julgadas e reveladas.

Então o homem recebe o que precisa.

E vê que Deus veio a este mundo humano.

A obra do Deus prático quer salvar a todos,

todos da influência de Satanás,

resgatá-los da imundície,

do seu caráter corrompido por Satanás.

Ser ganho por Deus

é seguir o Seu exemplo como modelo perfeito.

Siga o Deus prático e viva uma humanidade normal,

guarde Suas palavras e exigências,

guarde tudo o que Ele diz,

guarde Suas palavras e exigências,

obtenha o que Ele pedir,

guarde Suas palavras e exigências,

e então será ganho por Deus.

II

Deus encarnou para que o povo visse os Seus atos.

O Seu Espírito Se fez carne para que

o homem pudesse tocar a Deus,

e para que pudesse ver a Deus e conhecê-Lo.

E só desse modo prático, Deus completa as pessoas.

Os que conseguem viver de acordo com Ele,

de acordo com Ele e seguem o Seu coração,

eles são ganhos por Deus, ganhos por Deus.

Ser ganho por Deus

é seguir o Seu exemplo como modelo perfeito.

Siga o Deus prático e viva uma humanidade normal,

guarde Suas palavras e exigências,

guarde tudo o que Ele diz,

guarde Suas palavras e exigências,

obtenha o que Ele pedir,

guarde Suas palavras e exigências,

e então será ganho por Deus.

III

Se Deus tivesse falado apenas do céu

e não descesse à terra,

como as pessoas O conheceriam?

Só com palavras vazias comunicando Suas obras,

mas não Suas palavras como realidade.

Deus veio como modelo,

para o homem ver e tocar, ver e ser ganho por Ele.

Ser ganho por Deus

é seguir o Seu exemplo como modelo perfeito.

Siga o Deus prático e viva uma humanidade normal,

guarde Suas palavras e exigências,

guarde tudo o que Ele diz,

guarde Suas palavras e exigências,

obtenha o que Ele pedir,

guarde Suas palavras e exigências,

então será ganho por Deus.

 

de A Palavra manifesta em carne

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

 

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

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]

 

----------

 

#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

   

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

 

www.andynoise.com/kernxcinvite08.html

 

Varsity Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

 

1. Foothill Chris Schwartz 14:59.76 1 1 1

2. McFarland Alfonso Cisneros 15:33.49 2 2 1

3. McFarland Francisco Nava 15:48.44 3 3 2

4. McFarland Marco Perez 15:48.85 4 4 3

5. Stockdale Curtis Kelly 15:50.33 5 5 1

6. Ridgeview Brian Solis 15:50.81 6 6 1

7. Wasco A. Mendoza 15:51.72 7 7 1

8. Ridgeview Alex Garcia 15:52.70 8 8 2

9. Shafter Chris Handel 15:53.96 9 9 1

10. McFarland Gerardo Alcala 15:54.28 10 10 4

11. Shafter Jesus Villalpondo 16:05.48 11 11 2

12. Highland Colin Lewis 16:06.79 12 12 1

13. Centennial Nathan Vincent 16:08.77 13 13 1

14. Ridgeview Robby Baker 16:13.01 14 14 3

15. McFarland Eduardo Bautista 16:18.69 15 15 5

16. BHS Andrew Ariey 16:21.59 16 16 1

17. Garces Connor O'Malley 16:23.32 17 17 1

18. Stockdale Blair Slaton 16:25.15 18 18 2

19. Ridgeview Jerrio Lewis 16:25.61 19 19 4

20. East Jose Ramirez 16:25.97 20 20 1

21. East Mose Valdez 16:26.30 21 21 2

22. Highland Thomas Turner 16:26.59 22 22 2

23. Golden Valley Daymon Sandles 16:26.91 23 23 1

24. Foothill Jose Lopez 16:27.22 24 24 2

25. Ridgeview Miguel Munoz 16:30.13 25 25 5

26. Wasco G. Linares 16:34.10 26 26 2

27. Shafter Josh Wittenberg 16:34.61 27 27 3

28. Highland Jake Van Zandt 16:36.62 28 28 3

29. East Charlie Zaragoza 16:39.22 29 29 3

30. BHS Andrew Edquist 16:41.12 30 30 2

31. Cesar Chavez Martin Rios 16:45.91 31 31 1

32. Highland Ivan Esquivias 16:47.91 32 32 4

33. BHS Zachary Holt 16:48.98 33 33 3

34. Stockdale Anthony Dao 16:49.30 34 34 3

35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2

36. Wasco O. Mirando 16:50.04 36 36 3

37. Shafter Alex Moreno 16:51.14 37 37 4

38. Wasco E. Sanchez 16:52.02 38 38 4

39. Wasco E. Ramirez 16:53.29 39 39 5

40. East Camilo Mosqueda 16:53.84 40 40 4

41. East Vincente Herrera 16:54.31 41 41 5

42. Foothill Erick Bautista 16:54.82 42 42 3

43. Arvin Ben Orozco 16:57.57 43 43 1

44. Shafter Hector Montoya 17:01.02 44 44 5

45. Garces Jesus Guzman 17:02.28 45 45 2

46. Garces Michael Bedard 17:02.88 46 46 3

47. Frontier Tanner Urmston 17:03.48 47 47 1

48. BHS John Purcell 17:04.08 48 48 4

49. Centennial Ty Heiter 17:04.73 49 49 2

50. Frontier Richard Peralta 17:05.73 50 50 2

51. Shafter Cristian Barrios 17:07.93 51 51 6

52. Centennial Gehrig Smith 17:08.86 52 52 3

53. BHS Christopher Anderson 17:09.32 53 53 5

54. Highland Justin Burnett 17:10.77 54 54 5

55. Wasco J. DeJulian 17:11.97 55 55 6

56. Stockdale Stephen Burke 17:16.30 56 56 4

57. Arvin Juan Calderon 17:16.89 57 57 2

58. Wasco Cesar Patino 17:19.39 58 58 7

59. Cesar Chavez Tim Yanez 17:21.10 59 59 3

60. Highland Ariel Hurtado 17:23.69 60 60 6

61. North Adam Ralls 17:24.02 61 x 1

62. Ridgeview Michael Anseno 17:24.53 62 61 6

63. Ridgeview Jaime Madrigal 17:31.18 63 62 7

64. Foothill Patrick Manrique 17:32.75 64 63 4

65. Frontier Will Beechinor 17:33.57 65 64 3

66. East Alex Estrada 17:38.64 66 65 6

67. Burroughs Jesse Wigfield 17:38.99 67 66 1

68. Centennial Eric Millan 17:39.50 68 67 4

69. Burroughs Daniel Lathrop 17:39.91 69 68 2

70. Shafter Jacob Vasquez 17:40.47 70 69 7

71. Garces David Freed 17:40.91 71 70 4

72. Centennial Jake Howry 17:42.54 72 71 5

73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3

74. Frontier D. Sclafani 17:47.26 74 73 4

75. Stockdale Max Morales 17:48.38 75 74 5

76. Burroughs Eduardo Carrillo 17:51.64 76 75 4

77. Burroughs Keith Christman 17:57.59 77 76 5

78. Golden Valley Jose Salgado 17:59.82 78 77 2

79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4

80. Centennial Brad Hinsley 18:04.58 80 79 6

81. Arvin Yessuri Villsenor 18:05.30 81 80 3

82. Burroughs Nathan Cheadle 18:10.33 82 81 6

83. Foothill Javier Garcia 18:11.22 83 82 5

84. Foothill Ernest Marquez 18:11.57 84 83 6

85. BC Kevin Yarian 18:27.47 85 84 1

86. North Chris Emmett 18:29.51 86 x 2

87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5

88. Tehachapi Corey Torres 18:32.16 88 86 1

89. Frontier Michael Sclafani 18:33.62 89 87 5

90. Garces Patrick Gomez 18:37.52 90 88 5

91. Highland Humberto Ramirez 18:37.98 91 89 7

92. Golden Valley David Gamino 18:40.22 92 90 3

93. Frontier Ricky Gonzales 19:03.13 93 91 6

94. Garces Chris Real 19:06.29 94 92 6

95. Stockdale D. Sherrill 19:08.29 95 93 6

96. Garces Dillon Lyles 19:16.75 96 94 7

97. Tehachapi Christian Torres 19:19.03 97 95 2

98. BC Mark McCutcheon 19:20:78 98 96 2

99. Golden Valley Nick Cruz 19:22.49 99 97 4

100. Golden Valley Daniel Perez 19:25.13 100 98 5

101. Foothill Christian Paredes 19:32.03 101 99 7

102. Arvin Adrian Rodriguez 19:32.67 102 100 4

103. BC Thomas Beard 19:59.04 103 101 3

104. West Michael Branquino 19:59.63 104 x 1

105. BHS Nick Flores 20:04.27 105 102 6

106. Tehachapi Logan Collier 20:07.47 106 103 3

107. Kern Valley C. Woodward 20:22.63 107 x 1

108. Arvin Christian Guerrero 20:31.41 108 104 5

109. Burroughs Daniel Meade 20:41.26 109 105 7

110. Golden Valley Ryan Davis 20:41.26 110 106 6

111. BHS Robby Harris 20:42.01 111 107 7

112. East Hector Fuentes 20:42.57 112 108 7

113. Frontier Alex Blanton 20:56.97 113 109 7

114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6

115. Tehachapi Trent Sherman 21:02.94 115 111 4

116. Tehachapi Shaddi Haddad 21:18.14 116 112 5

117. BC Austin Adee 21:25.45 117 113 4

118. BC Aaron Stephens 21:31.77 118 114 5

119. Kern Valley J. Pistocco 23:15.37 119 x 2

120. Tehachapi Corey Hebron 23:19.78 120 115 6

121. West Kevin Serrano 23:48.05 121 x 2

ROOF HEAT PROOFING COMPANY PROFILE:

  

We would like to introduce ourselves as one of the Pioneer of ROOF HEAT PROOFING in Pakistan. Our company was established in the year 2000.

 

ROOF HEAT PROOFING Family Business Background.

 

Our Business Background is that we are importer of chemicals. When Pakistan got independence our grandfather Mr.Abdul Khaliq Gandhak wala (Late) was the first one to open a chemical outlet in Jodia Bazar Karachi. Every chemical related industrialist and Business men know him really well.

 

What is ROOF HEAT PROOFING Cool Tech?

 

In chemical field, we started ROOF HEAT PROOFING, a new business which fulfills the need of every house, Factory, Office, Hotel, School, Hospital and any other organization. ROOF HEAT PROOFING is the mixture of different types of chemicals, and Sun block chemicals from Pakistan, Korea, China and Germany.

 

ROOF HEAT PROOFING Vision and Mission.

 

After 35 years all over the world such as USA, GULF, Saudi Arabia and Hot region countries Cool Tech brought ROOF HEAT PROOFING facility in Pakistan in 2000. Approx.: 8000sq ft clean Area can be done within a day without any disturbance and noise. You can use your roof conveniently and you can search that type of coating on internet by any search engine like yahoo Google etc. Just mention ROOF HEAT PROOFING. Your Air Conditioner Bill will be deducted around 20 to 30%. Recommended by Engineers and consultant all over the world.

 

WHY ROOF HEAT PROOFING IS NECESSARY FOR ALL TOP FLOORS.

 

ROOF HEAT PROOFING saves your money against high Air conditioner Bills.

Cool Tech Saves your money against high Air conditioner Bills. The best reason to use Cool tech (ROOF HEAT PROOFING) is simply put……..You save Money! How much does it cost? Well, considering reduced electric bills, less wear and tear on air conditioner components, extended roof life, increased comfort and the beauty supplied, it’s almost FREE! Cool Tech will help pay for itself before you know it by enabling you to save 20-30% of your electricity cost. Cool Tech (ROOF HEAT PROOFING) is a high built coating made from highly water-resistant polymers and additives that give flexibility and durability.

  

ROOF HEAT PROOFING Protect your roof against hot sun rays.

 

Roof Heat Proofing provides SOLAR REFLECTANCE, which means it reflects most of the infrared and visible light striking the surface of the coating. Over 80% of the light striking Cool Tech (ROOF HEAT PROOFING) is reflected back into the atmosphere and away from your roof. Then Roof Heat Proofing repels over 80% of the heat striking it. It bounces this heat back into the atmosphere. This synergistic effect means that Cool Tech reflects the majority of radiant energy away from the structure while the micro-porous structure of the coating dissipated and blocks any radiation that is absorbed and reduces the energy transmitted to the substrate.

 

ROOF HEAT PROOFING Protect your roof against thermal shocks

 

Roof Heat Proofing also helps prevent thermal shocks. A hot roof can experience thermal shocks when a passing shower of cold rain hits the hot roof causing a rapid and tremendously violent contraction. These violent contractions can rip seams open, pop fasteners out of the roofs substrate, pull flashing out of the imbedding plies and generally destroys your roof. Keeping your roof cool prevents the radical contraction that leads to “ROOF SHOCK”, premature roof failure and costly replacement costs.

  

SOME OF OUR VALUABLE CLIENTS (COMMERCIAL)

 

• BAY VIEW HIGH SCHOOL CLIFTON 2012

• PAK GREASE MANUFAC KEEMARI KARACHI 2013

• BONANZA GARMENTS 2013

• SOUTH SHORE O-LEVEL SCHOOL DHA 2013

• KARACHI GRAMMAR SCHOOL CLIFTON 2011

• SIEMENS PAKISTAN ENGINEERING CO. LTD. SITE 2010

• (FOTCO) FAUJI OIL TERMINAL & DISTRIBUTION Co. Ltd (PORT QASIM) 2010

• OYSTER TECHNOLOGIC (PVT)LTD KORANGI 2011

• THE RESIDENCY HOTEL (LAHORE) 2011

• ARENA KARSAZ (2010)

• ARY DIGITAL NETWORK STUDIO (SITE) 2009

• MERCK (PVT) LTD QUETTA 2011

• CARE LOGISTIC SHARA-E-FAISAL 2011

• PRECISION POLYMERS (PVT) LIMITED 2011

• S. ABDULLAH & COMPANY (K-SHAMSHEER) (DHA) 2005

• MEDICAIDS PAKISTAN PVT LTD (KORANGI) 2011

• ICON TOWER (SITE OFFICE) ADJACENT ABDULLAH SHAH GHAZI MAZAR 2010

• CENTURY 21 TEXTILE (S.I.T.E) 2004

• HAKEEM ABDUL GHAFFAR AGHA (AGHA HERBAL, TARIQ ROAD) 2009

• (FOTCO) GUEST HOUSE (DHA) 2010

• MR. IQBAL.S.MUHAMMAD PARAMOUNT BOOKS PVT LTD 2009

• EDEN ROBE GARMENTS (SITE) 2007

• RAZAQUE STEEL (SITE) 2008

• STAR CNG N.NAZIMABAD 2011

• ST. PETERS HIGH SCHOOL KASHMIR ROAD 2009

• K.N. ACCADEMY (MALIR CANTT) 2003

• HAMPTON SCHOOL (CLIFTON) 2007

• WOODWARDS (PVT) LTD (AMEER KHUSRO ROAD) 2010

• CHAS. A MENDOZA (RAZI ROAD) 2010

• KIRAN HOSPITAL (SAFFORA GOTH) 2004

• USMAN MEMORIAL HOSPITAL (F.B. AREA) 2003

• CIVIL HOSPITAL 2004

• M.M. TOWERS (DHA) (MAIN KHAYABAN-E-ITEHAD) 2004

• LOYA ASSOCIATE (P.E.C.H.S) 2005

• ALI ASGHAR TEXTILE (KORANGI OFFICE AREA) 2010

• OXYHEALTH LOUNGE & RELAXATION CLUB (CLIFTON) 2008

• SHAN SILK (KORANGI) 2011

   

SOME OF OUR VALUABALE CLIENTS (RESIDENTIAL)

 

• MR. FAROOQ (BONANAZA GARMENTS) 2013

• MR. JUNAID JAMSHED DHA 2013

• MR ASHRAF S/O MR. LIAQUT ALI KHAN 1ST PRIME MINISTER OF PAKISTAN

• MIAN NASEER ARCHITECT 2013

• MR. SIKANDER BAKHT (FORMER PAKISTANI CRICKETER) D.H.A 2011

• MR. MASOOD HASSAN (CLIFTON) 2009 M/S. SIEMENS CO. LTD. SITE 2010

• MR. MURAD ALI SHAH MINISTOR OF IRRIGATION AND POWER (DHA) 2010

• MR. IMRAN S. SATTAR OXFORD SWETTERS DHA 2011

• MR. ASGHAR RANGOON WALA (ROYAL RODALE CLUB) (DHA) 2007

• MR YASIN SIDDIQUI CHAIRMAN “APTMA” DHA 2010 (SINDH & BALOCHISTAN ZONE)

• MR. SAJJAD HUSSAIN SHAH “APNA TV CHANNEL” (C.E) DHA 2010

• MR. SARFARAZ HUSSAIN SHAH “APNA TV CHANNEL” (C.E) DHA 2010

• MR. RAFIQ (ORIENT TEXTILE) DHA 2011.

• MS. FATIMA (D/O LATE MR. KAMAL FILM ACTOR) DHA 2011

• MR. BUKSH JUMANI (KHAIRPUR HOUSE) DHA 2011

• MR DANISH KHWAJA (A.R.Y) 2011 D.H.A / MR. NOFEL HUM T.V. 2011

• MR. YOUSUF DEWAN. (DEWAN GROUP OF INDUSTRIES) (DHA) 2003

• MR. HAMZA FAROOQ / MR. ABDUL BAAQI DEWAN. (DHA) 2008

• DR. RAHEEM-UL-HAQ (DHA) (SOUTH CITY HOSPITAL CLIFTON) 2007

• DR. ZEENAT ESSANI D.H.A 2008 / DR. ZAKIR ALVI D.H.A 2011

• MR. A. KARIM PARACHA (C.I.M. SHIPPING COMPANY) (DHA) 2008

• MR. SHAKEEL MASOOD (C.E. DAWN NEWS). (DHA) 2008

• MR ABBAS / MR SHABBIR (ARENA KARSAZ) 2010

• MR. AHMED ZAFAR EMIRATES GLOBAL BANK (DHA) 2010

• MR. POLAD SUZUKI MOTORS DEALER CLIFTON 2010

• MR. IQBAL.S.MUHAMMAD PARAMOUNT BOOKS PVT LTD 2009

• MR SIKANDAR (CAFÉ FLOW) / MR. NADEEM ISLAM (BAYVIEW SCHOOL)

• MR. ALI ADAMJEE / MR. BILAL DAILY AGHAZ NEWS DHA 2010

• MR. HASSAN AKHTER (DHA) (MATRIX COMPANY CLIFTON) 2004

• MR. BILAL (DHA) DAILY AGHAZ NEWS 2009

• MR. NOSHAER (YAZDANI MOTORS D.H.A) 2008

• MRS. ANWAR PIONEER CABLES (D.H.A) 2011

• MR. ASLAM PAKISTAN CABLES (CLIFTON) 2011

• MR. ABDUL HANNAN (KHAS INDUSTRIES) D.H.A 2010

• MR. NAVEED ILLAHI “ALI ASGHAR TEXTILE” (DHA RESIDENCE) 2010.

   

roof heat proofing, roof treatment services, roof insulation pakistan, roof insulation chemical, roof heat protection, heat reflection white coating, heat proof HOME

Roof Heat Proofing for existing roofs to protect your place from heat.

Available in all major cities of Pakistan.

 

For client list and more details.

contact: salman matin

03332284724

02135486688

 

www.cooltechpk.com/videos.html

www.cooltechpk.com

www.facebook.com/cooltech2000

www.facebook.com/roofheatproofing

www.facebook.com/roofheatproofingkarachi

www.roofheatproofing.com ,

www.roofinsulationpakistan.com,

www.roofinsulationchemical.com

www.rooftreatmentservices.com

www.cooltech.com.pk