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Bodies The Exhibition is a controversial exhibition showcasing preserved human bodies dissected to display bodily systems. That's a real human body in the picture.

You may want to read this from:

mysite.verizon.net/vzexqyla/anti-bodies-virtual-picket-li...

You may be convinced that BODIES...the Exhibition is immoral, unethical and surrounded by murky issues. But some people may be difficult to persuade. Below is a list of incorrect / misleading / worrisome statements that you may hear, followed by explanations of the truth regarding these topics.

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Incorrect information: All of the people in the exhibit gave their consent and/or donated their bodies to science.

The truth: None of the people in BODIES...the Exhibition gave their consent to be exhibited or plastinated. None of them donated their bodies to 'medicine' or to 'science'.

Most people do not realize that there are several different plastinated corpse exhibits traveling around the world. While each presents bodies in a similar way, the source of the bodies for each exhibit is not the same.

Gunther von Hagens (BODYWORLDS' creator) states that all of the people displayed in the BODYWORLDS exhibits gave consent to be plastinated and exhibited. However, top Management members at Premier Exhibitions Inc. (promoter of BODIES...the Exhibition) admit up-front that NONE of the people in BODIES...the Exhibition gave consent to be plastinated or exhibited - this would be an impossibility because the corpses were unidentified and unclaimed and were acquired by the plastination plant from the Chinese police.

For reputable sources regarding this topic, see The Provenance of BODIES' Corpses and the Possible Connections with the Falun Gong section on The Issues page of this website.

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Incorrect information: All of the specimens in the Exhibition were obtained by Premier Exhibitions through the Dalian Medical University plastination laboratories in the People's Republic of China.

The truth: All of the specimens are controlled or leased by Dalian Hoffen Bio Technique Company Limited.

According to Premier's 2006 annual report,

"THIS EXHIBITION TOUR AGREEMENT is entered into as of the 24th day of January, 2006 by and between Premier Exhibitions 2005-ATL, Inc. (a corporation organized under the laws of the State of Nevada and having its principal place of business at 3340 Peachtree Rd. NE, Atlanta, Georgia 30326 (“PREMIER”), and Dr. Hong-Jin Sui (“Dr. Sui”), a designer and supplier of all specimens referred to herein, and Dr. Shuyan Wang President of Dalian Hoffen Bio Technique Company Limited collectively referred to as (“DHBTL”) having a place of business in Dalian, China."

To read the full agreement, see: www.secinfo.com/dsvr4.v71s.d.htm

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Misleading Information: The identity of each human body displayed in the exhibition is strictly confidential.

The Truth: In fact, the bodies displayed in the exhibition are unidentified.

The term 'confidential' implies that someone knows the identities of the bodies. Premier Exhibitions, Inc. has consistently stated up-front that all of the bodies displayed in the exhibition were unidentified and unclaimed. Premier is renting the cadavers and organs from China's Dalian Medical University, which acquired the unidentified, unclaimed corpses from police.

This fact is particularly troubling because in China, people who practice Falun Gong (a spiritual practice that is banned by the government) often refuse to reveal their names when arrested, in order to protect their families. Therefore, there is a large prison population of unidentified people, who remain 'unidentified' after death.

For reputable sources on this topic, see The Kilgour-Matas Reports and The Provenance of Bodies' Corpses sections on The Issues page of this website.

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Incorrect information: It is standard practice throughout the United States for unclaimed and unidentified bodies to be used by medical schools for educational purposes.

The truth: The majority of bodies used by medical schools come from consenting donors.

The use of unidentified bodies in U.S. medical school anatomy labs is not regulated at the Federal level. Therefore, there are few national statistics available with respect to this topic. However, a 2004 article in JAMA (the Journal of the American Medical Association), states that only 20% of US and Canadian medical schools still used unclaimed bodies in their anatomy laboratories.

Some states have laws which require all unidentified / unclaimed corpses to be buried.

For reputable sources regarding this topic, see The Legality of Plastinated-Corpse Exhibits section on The Issues page of this website.

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Worrisome Statement: Sworn affidavits, taken in the United States, have been provided declaring the legal and moral acquisition of the specimens within BODIES…The Exhibition. Affidavits have been provided by both Dr. Roy Glover, Chief Medical Advisor for BODIES…The Exhibition; and Dr. Hong Jin Sui, professor of anatomy and President of Dalian Medical University Plastination Co. LTD.

The Truth: There has been no independent investigation regarding the provenance of the corpses in BODIES...the Exhibition. The affidavits that Premier presents as assurances with respect to the corpses' origins are provided by the following two men:

Roy Glover - Roy Glover is not a medical doctor although, in this context, he is almost always referred to as "Dr. Roy Glover, Chief Medical Advisor." Glover holds a Ph.D. in Anatomy and is currently working as the Spokesman for the BODIES exhibit. He states that "the head of the lab at Dalian [Sui Hong Jin] is a longtime, trusted friend."

Sui Hong Jin - Sui Hong Jin is a former business associate of Gunther von Hagens, the inventor of the plastination process and the creator of the BODYWORLDS exhibits. Sui has faced allegations in the past of providing von Hagens with prisoners' corpses. He is currently the President of Dalian Medical University Plastination Co. LTD. which is supplying the plastinated corpses to Premier for their exhibits.

For reputable sources on this topic, see The Corpse Supplier and The Provenance of BODIES' Corpses sections on The Issues page of this website.

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Misleading information: The human bodies are being used appropriately, in accordance with domestic and international law.

The truth: There are virtually no international, U.S. federal or state laws regulating this type of exhibit.

Even where there are relevant laws, it is not clear that they are being followed. In Tampa FL, Premier Exhibitions, Inc. and the Museum of Science and Industry disregarded the rulings of the state Anatomical Board and the state Attorney General that would have prevented the exhibit from opening, and opened the exhibit two days early, before the ruling could be enforced.

If 'domestic law' refers to Chinese domestic law, note that the term 'law' in China has a very different connotation than it does in the U.S. Also note that BODIES has been touring since 2005. Until July of 2006, selling organs was legal in China. Organ transplantation is an extremely lucrative industry in China. Those who are profiting the most via the organ-trafficking trade are often directly connected to the Chinese government / military. Selling organs was deemed illegal specifically to placate the International Olympic Committee - China will be hosting the Olympics in 2008 - but the new regulations are not enforced.

For reputable sources regarding this topic, see The Legality of Plastinated-Corpse Exhibits and The Kilgour-Matas Reports sections on The Issues page of this website.

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Misleading Statement: None of the people displayed in the exhibit were killed specifically to be displayed in the exhibit.

The truth: This is not a 'fact' in the scientific sense - it may be true, but there is no proof that it is true. Again, no one really knows where the bodies in the exhibit come from. Staff members at a Falun Gong detention center in the same Chinese province as Dalian Medical University have admitted to 'supplying' organs for transplantation. (These organs were removed from live Falun Gong prisoners). It is not completely unbelievable that they might also supply them for exhibit purposes.

For reputable sources on this topic, see The Kilgour-Matas Reports and The Provenance of BODIES' Corpses sections on The Issues page of this website.

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Misleading Statement: "Educational tools that can teach children." - New York Times (source: Carnegie Science Center advertisement) Note: As of the end of November, this quote was removed from the ad.

The truth: This quote suggests that the NY Times endorses the exhibit, however the quote is taken out of context.

The statement above is taken from the 11/18/05 NY Times article, "Cadaver Exhibition Raises Questions Beyond Taste" articles.news.aol.com/news/_a/cadaver-exhibition-raises-q...

Andrew Jacobs, the author of the article, is quite critical of BODIES...the Exhibition, discussing the Chinese government's history of "recycling the organs of executed prisoners" and Dalian University's history of supplying questionably-obtained corpses to other exhibits. The quote used in the advertisement comes from the following sentence: "Playing down the sensationalism, Premier executives use the word 'specimen' to describe the exhibits and emphasize their value as educational tools that can teach children about human physiology and help adults learn how to lead healthier lives."

Dean Torrence - Photo taken 1987 Concert at Wasaga Beach,Ontario,Canada by Los Toros

2

Photos taken of Jan and Dean taken June 1987 at the Dardenella Bar at Wasaga Beach

After concert Jan signed autographs for concert goers.In 2004 Jan Berry

died. Today Dean Torrence still tours.

For more information on Jan and Berry check websites below :

www.jananddean-janberry.com/main/

www.surfcityallstars.com/torrence.html

JAN AND DEAN

Jan Berry and Arnie Ginsburg decided they had what it took to be a music act. How hard could it be? Seems Arnie had come up with a song based on a real person...a stripper named Jennie Lee, "The Bazoom Girl," charter member of the "League of Exotic Dancers." Arnie, 18 years old and sowing a few wild oats, had caught her act at an L.A. burlesque club. It was 1958; Jan was still in high school and missed out on Arnie's "adult" excursion. The guys got together in the garage at Jan's home in Westwood with an Ampex reel-to-reel recorder Jan's dad had gotten him and began harmonizing, doo wop style, while another friend, Donald Altfeld, supplied makeshift percussion (banging on sticks). A primitive, echo-drenched version of "Jennie Lee" was the result.

It didn't take much effort on the part of Jan and Arnie to get the song released on Arwin Records, owned by Doris Day's husband Marty Melcher. Joe Lubin, A&R man for the Hollywood-based label, heard the tape and felt strongly enough about its potential that he got together with the guys do a more polished version, but insisted on duplicating the sound he heard on the tape. An all night session with Lubin in Jan's garage produced a second take as well as "Gotta Getta Date," written on the fly by the three and recorded in the early morning hours for use as the single's B side. Back in the studio, Lubin hired the best session men in town (guitarist Rene Hall, saxophonist Plas Johnson, pianist Ernie Freeman and drummer Earl Palmer) and overdubbed the band for the finished product. It was an unconventional way to make a record...but not all that uncommon in the early rock and roll environment of the late '50s.

The song caught on, hit big (top ten in June '58), and Berry and Ginsburg found themselves appearing onstage doing rock shows with some of the hottest names of the era in a blur of bright lights and adoring female fans that began to affect Arnie in a stressful, emotional way. Not everyone, it seems, is cut out for instant stardom. Jan was fine with it. The follow-up, "Gas Money" (Altfeld shared writer credit with Berry and Ginsburg on this one), hit the charts less impressively while hinting at a car-and-hot-rod direction the act (or Jan at least) would explore more deeply in the future. The third Arwin single didn't sell and the duo appeared to be done, which was okay by Arnie, mentally and physically drained and ready to move into a less manic vocation. He quit to attend the University of Southern Cal, leaving Jan, wound up and ready for more, with the task of finding another singing partner.

An old football buddy, Dean Torrence, had just returned from six months' initial training with the U.S. Army Reserve and was game to take over where Ginsburg left off. The two had met at Emerson Junior High in Westwood several years earlier, playing on the school football team there and at University High School right up through graduation. Locker room harmonizing had become a regular routine with other school athletes joining in; roughhousing on the gridiron, singing in the showers. A school club called The Barons, counting Jan, Dean, future actor James Brolin and pounding-drum devotee Sandy Nelson among its members, did some impromptu singing as well. It was a no-brainer in 1959 for Jan and Dean to attempt to continue what Jan and Arnie had begun.

Budding record industry everyman Kim Fowley, another classmate of Jan, Arnie and Dean at University High, recommended the new duo to Lou Adler and Herb Alpert, producers at Los Angeles label Dore (upon meeting them, Adler said they had a "very California look" in contrast to the Philadelphia breed of teen idols saturating the biz at the time). For "Baby Talk" (penned by Melvin Schwartz), a recent release by Brooklyn doo wop group The Laurels, Jan and Dean put more emphasis on the song's nonsense baby syllables; their version hit the national top ten in September 1959. Several follow-up singles on Dore appeared on the charts in '59 and '60: Alpert and Adler's "There's a Girl," the oldtime standard "Clementine" (eclipsed by Bobby Darin's rendition, released at about the same time) and two older R&B hits-turned-teen-tunes, The Moonglows' "We Go Together" and The Crows' "Gee."

With a solid track record, Jan and Dean approached Liberty, one of L.A.'s top record companies, in the hopes of working with the label's bigtime hitmaking team and securing longer-term success. A demo of Hoagy Carmichael and Frank Loesser's 1938 tune "Heart and Soul" done up J&D style was rejected by the label, though they were interested in signing the duo. The two instead took the song to Gene Autry's Challenge Records, relying on their gut instinct that it would be a hit (even though a version by The Cleftones was already scaling the charts). It was; number one in Los Angeles in June '61 and a top 30 hit nationally (the markedly different-sounding Cleftones record did reach the top 20 a few weeks earlier, winning the overall competition). After one other Challenge 45, "Wanted, One Girl," Jan recorded a solo single, "Tomorrow's Teardrops," released by Alpert and Adler on a "just for fun" label, Ripple Records. In late 1961, Jan and Dean signed a long-term contract with Liberty.

Early Liberty efforts were a bit directionless as they stayed with the previously established formula. "A Sunday Kind of Love" (a Louis Prima standard best known through Jo Stafford's 1947 hit and a 1953 R&B version by New York group The Harptones) hit the charts briefly in early 1962. "Tennessee," with a doo wop hook not unlike the ones in "Jennie Lee" and "Baby Talk," had a slightly better run a few months later. "Linda," written in the '40s by Jack Lawrence, showed promise when adjusted to Jan and Dean mode in spring 1963, a top 40 hit but just the third overall among more than a dozen releases since '59.

The Beach Boys had been together for two years and were really heating up at about this time, opening for Jan and Dean in concert and serving as the duo's backing band onstage. Jan began writing songs with the group's leader Brian Wilson and their composition of "Surf City" opened the world of surf music to J&D and hit number one on the charts in July '63. Suddenly Jan and Dean and the Beach Boys were competing with one another...and the leader of the latter was consorting with the enemy! Of course it was a friendly rivalry and Wilson continued to contribute songs, usually in collaboration with Berry and Roger Christian, a songwriter and well-known Los Angeles disc jockey. "Honolulu Lulu," a Berry-Christian-Spunky song ("Spunky" being another case of Lou Adler just "having fun"), was a fall '63 hit in the surf-and-beach vein, then Jan and Dean took the next logical step into the drag race craze (as the Beach Boys had done on the B sides of their last few surf hits) with the first of several hot rod and/or car songs. "Drag City," written by Berry, Christian and Brian Wilson, went top ten in January 1964.

Jan Berry began writing and producing outside acts, among them The Matadors, who backed Jan and Dean on many of their studio recordings. He and Art Kornfeld composed The Angels' 1963 hit "I Adore Him" and with Christian he contributed "Three Window Coupe" to The Rip Chords' run of car song smashes in '64. Dean Torrence went in another direction during what little free time he had, attending USC and studying a number of subjects, including architecture and science. At the start of 1964, the guys came up with a song that crossed the car craze with the "teen death" movement going strong since the start of the decade: "Dead Man's Curve" (the nickname of an actual stretch of Sunset Boulevard) was deemed a bit dark by Liberty Records brass, so they made sure it was backed with a "happy" song, "The New Girl in School," promoting the record as a double A side. Both songs were hits, but "Dead Man's Curve" was bigger and landed them back in the top ten. The song's impact didn't end there, though; in a couple of years it would become a permanent, and tragic, part of the Jan and Dean story.

Donald Altfeld turned a possible hallucination into a major hit for his longtime pals. One night while driving down Colorado Boulevard in Pasadena, he swore he saw a little old grandmother-type in a hot, souped-up rod speed past him. The illusion became reality after that, when he and Roger Christian wrote "The Little Old Lady (From Pasadena)," another top ten for Jan and Dean during the summer of '64. At the same time, the Dodge Dealers of Southern California came up with a series of TV commercials with actress Kathryn Minner as a Granny in '...a brand new shiny red Super Stock Dodge,' as the song described. The spots were popular and Minner became a star, causing a sensation at personal appearances and even appearing with Jan and Dean on the cover of their album titled after the hit song.

Next up was the theme from the summer film "Ride the Wild Surf" starring Fabian and Shelley Fabares, backed with "The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review and Timing Association," the logical follow-up to "Little Old Lady," featuring an entire group of Grannies hipper than yourself. "Sidewalk Surfin'" made sure skateboarders weren't overlooked; it used the melody of Wilson's Beach Boys tune "Catch a Wave."

The T.A.M.I. Show was a big event for rock music fans, hosted by Jan and Dean during two nights of filming in October 1964 at the Santa Monica Civic Auditorium. Shot on videotape and later transferred to film for a theatrical premiere in December, the all-star concert featured James Brown, The Rolling Stones, Lesley Gore, The Supremes, J&D partners-in-crime the Beach Boys and many others. The film's theme, "(Here They Come) From All Over the World," was written by P.F. Sloan and Steve Barri (of The Fantastic Baggys, another sometimes-backup band for Jan and Dean) and a live performance by the duo was released as a single, even though the version heard at the beginning of the film was a studio recording.

Following the high of hosting one of the all time great, star-studded music movies, Jan and Dean's singles began showing sings of weakness. Like Brian Wilson, Berry and Torrence were huge fans of producer Phil Spector; "You Really Know How to Hurt a Guy" was produced by Jan in a Spectoresque "Wall of Sound" style and hit the top 40 at the start of summer 1965. Sloan and Barri's "I Found a Girl" had more in common with their early recordings and was also a top 40 hit. Jan released another solo single, his one attempt at a protest song, "The Universal Coward" (a takeoff on "The Universal Soldier," a fall '65 hit for both Donovan and Glen Campbell), but like the earlier Berry single, it didn't catch on. Meanwhile, Dean sang on the early 1966 Beach Boys hit "Barbara Ann." When the Batman TV series premiered on ABC-TV in January and immediately dominated in the ratings, the duo released their own "Batman" single (with no similarities to the show's theme by Neal Hefti), a cartoonish take on Gotham City's dependancy on the Caped Crusader.

If the best days were behind them, any chance of a resurgence was extinguished in April 1966 when Jan Berry ran into a parked truck while driving his Corvette Stingray not far from the location detailed so morbidly in "Dead Man's Curve." He suffered brain damage and paralysis resulting in limited use of his limbs, including his legs (doctors diagnosed that he would never be able to walk again). The likelihood of his making records or performing in the future was slim, but Dean Torrence continued solo, releasing several singles under the name of the duo. Their contract with Liberty had expired and the label released a few older recordings as singles, including the act's last top 40 hit that summer, "Popsicle" (a remix of a 1963 recording, "Popsicle Truck"). Dean formed the J&D label and licensed one track, "Yellow Balloon," to Columbia Records (competing in the spring of '67 with a version by a band named The Yellow Balloon, which became the hit). He also started his own company, Kittyhawk Graphics, geared specifically toward creating logos and cover art for music acts and, with artist Gene Brownell, won a Grammy Award in the category of Best Album Cover for designing the cover art for the 1971 release by the band Pollution.

There were no further chart appearances for the duo after 1967. Berry rehabbed successfully enough over the next few years to return to studio recording and the two worked together off and on. Live appearances were trickier, as Jan's struggles were all too obvious to concertgoers, but they kept at it and made regular appearances in the '70s and '80s as headliners (with a new backup band, Papa Doo Run Run, named after a variation on the lyrical intro of "The New Girl in School") and as an opening act for longtime colleagues The Beach Boys. Jan Berry passed away in 2004 at the age of 62. Dean Torrence still performs occasionally under the name The Jan and Dean Show in memory of his close friend and musical other half. Music fans will always keep that image of two guys with a "very California look" in their minds and hearts.

- Michael Jack Kirby

NOTABLE SINGLES:

Jennie Lee - 1958

by Jan and Arnie

Gas Money - 1958

by Jan and Arnie

Baby Talk - 1959

There's a Girl - 1959

Clementine - 1960

We Go Together - 1960

Gee - 1960

Heart and Soul - 1961

Wanted, One Girl - 1961

Tomorrow's Teardrops - 1961

by Jan Berry

A Sunday Kind of Love - 1962

Tennessee - 1962

Linda - 1963

Surf City - 1963

Honolulu Lulu - 1963

Drag City - 1963

Dead Man's Curve /

The New Girl in School - 1964

The Little Old Lady (From Pasadena) - 1964

Ride the Wild Surf /

The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review

and Timing Association - 1964

Sidewalk Surfin' - 1964

(Here They Come) From All Over the World - 1965

You Really Know How to Hurt a Guy - 1965

I Found a Girl - 1965

The Universal Coward - 1965

by Jan Berry

A Beginning From an End - 1966

Batman - 1966

Popsicle - 1966

Fiddle Around - 1966

Yellow Balloon - 1967

The Witch by Moor and Wood and Shore by Giles Watson

27 9

troybooks.co.uk/a-witch's-natural-history.html

CHAPTER 12:

THE WITCH BY MOOR AND WOOD AND SHORE

The “secret, black and midnight hags” are waiting. He alights from his horse, his heel squelching into boggy ground. Behind him, a mosaic of moss and peaty pools stretches away to the horizon, buffeted by wind. There is not a tree in sight; the acid soil and exposure forbid the growth of anything above knee-height. Beside the pool at his feet, the moss draws water, a thirsty sponge plastered over the stone, inches thick, the air above it slick with moisture. Further out into the water, flowers hang above the surface like heads of nodding puppets, the stems blushing as if freshly bruised. Beneath the water, the plant bears little bladders, like shed reptiles’ scales adhering to the leaves. Crustaceans swim between the submerged stems, and the bladders gape like mouths, toothed with bristles. One touch of a branched antenna, and the valve trap springs and expands. Sucked inside, the crustacean struggles in vain as the sealed door slams, its prison walls exuding the juice of death. It may share its death-cell with an assortment of other partially digested insects and crustaceans, some of them still alive and threshing their appendages ever more slowly. The man knows nothing of these struggles between microscopic titans; he turns up the hill towards drier ground, where the first clumps of heather struggle to retain a foothold. His eyes are set on a triple cairn at the top of the hill, so he does not notice the plant underfoot, with its pale, curling leaves, sticky with their own exudations. Midges convulse in their death throes, their wings hopelessly glued to the surface of the leaves. There are other diminutive plants here too, with spatulate leaves bristling with appendages, all oozing a substance as sticky and seductive as toffee. A fly struggles on one of them, adhering haphazardly by one of its bulging compound eyes, doomed to buzz itself into its own minor oblivion. As it does so, the other tentacles on the leaf bend inwards to further ensnare the victim. The man pays them no heed, for he is heading up to the higher, drier heath, his mind reeling with the import of his meeting with the minions of Hecate. A wildcat yowls and bares its teeth at him, arching its back and twitching its grey bushy tail, before disappearing amongst the ling; no domestic cat – perhaps it is Graymalkin. He is Macbeth, King of Scotland, bent on his own struggle for survival, anticipating his assignation with three witches, who have already divined that they will meet him on this “blasted heath”.

Had Macbeth not been so oblivious to these struggles on a smaller scale, he might have knelt, and learnt much from the wortlore of bogland plants. The spasmodic death throes of their insect victims might have led him more quickly to his nihilistic conclusion that life “is a tale told by an idiot, full of sound and fury, signifying nothing.” The crustacean-devouring water plant was Bladderwort (Utricularia), and its terrestrial cousin with the scroll-like leaves was Butterwort (Pinguicula), so named because the digestive juices exuded by the leaves are a sort of herbal rennet. Indeed, the leaves may be added to cream in order to form butter, provided, of course, one picks the dying flies off them first. Beside this was the Sundew (Drosera), perhaps the most easily recognisable of the bogland carnivorous plants. Moorland folklore insists that the Sundew and Butterwort, together with the liliaceous, yellow flowered Bog Asphodel, are injurious to sheep and cattle, causing weakness in the bones. Although the latter is indeed poisonous to cattle, it is probably the moorland environment itself which causes the problem, since the soil, and everything that grows upon it, is calcium deficient. Paradoxically, it is also said on Colonsay that cows that have eaten Butterwort are safe from supernatural maladies and elvish arrows, and they have at times been used in conjunction with whin and juniper as a charm against maleficient witchcraft. On the Isle of Man, Sundew is traditionally used as a love-charm by hiding the sticky rosettes in the clothing of one’s intended lover, but the token might just as easily be used as a signal for a clandestine assignation. Another plant of the upland bogs, the Bog Myrtle is used as an insect-repellant, emetic and vermifuge, and in the 1860s it will figure as the main ingredient of a regenerative beer made by the landlady of the ‘Black Horse’ in Ampleforth, Yorkshire. The glands in its leaves secrete a wax which can be made into fragrant candles.

Macbeth will not pause on his way up the hill to chew on the stalk of the Heath Rush, for he is reliably informed that it causes hare-lips. Nor will he stoop to rip up the “tormenting root” of Tormentil, which jilted lovers burn at midnight on Friday to compel their lovers to return. He is soon knee-deep in heather, whose pink or purple flowers are said to be stained with Pictish blood shed in battle. It has long been used for tanning leather, it makes a refreshing dry ale, and its bell-shaped flowers are tempting to bees. Robert Graves makes an obscure and tantalising reference to an Irish tale of the goddess Garbh Ogh, collected by Dean Swift at Lough Crew. She haunted the heather moors, riding in a cart drawn by elks, accompanied by ten giant hounds, all with birds’ names, and she subsisted on venison milk and eagles’ breasts. Perhaps she was a winter goddess, for with the flowering of the heather, she built herself a triple cairn of stones and settled amongst the blooms to die, like a spent queen bee. Other parts of the moor may be covered with Bilberries, also known as Blueberries or Whortleberries, a delicacy picked in Ireland in anticipation of the feast of Lughnasadh.

The calcium deficiency in these acid soils limits the range of fauna Macbeth is likely to encounter. A stag may cross his path, the whites of his eyes visible as he hurls himself away from the likely hunter. A hen harrier may wheel overhead. There are other moorland birds too: the “treacherous” lapwing, as Chaucer called her, roused from her nest into flop-winged flight. She lets out a succession of pies and weeps the further she flies, the wan sky catching her silhouette. Now she wings a lap around the lone man, leaving her little ones behind and tempting him to follow her. Should he tread amongst them, they will scatter, spindle-shanked and peeping, with eggshells on their heads. In the distance, there may be the cackle of a grouse, prey to the hen harrier. At another time, Macbeth might have come upon the “lek”, a communal display ground used by the polygamous male grouse to attract mates. For now, the grouse pecks at the heather, scuds over sodden sphagnum bogs, bubbling and crooning to himself, and eluding the shadow of man. Since the reign of the gun-hung gamekeeper has not yet begun, he must also elude the tooth and claw of the native wildcat if he is to dance in his lek next year.

When Macbeth reaches the cairn on the flattened summit, the witches will ply him with a hallucinogenic brew. The ingredients sound disgusting, but most of them are code-words for herbs gathered somewhere in the lowlands. Shakespearean tragic heroes are fond of such places in a crisis: King Lear and his Fool came to such a place when he was insane, and learned wisdom. On his way back down the hill, a less preoccupied man might stop at a solitary rowan tree by a stone wall – the only standing tree for miles. He has need of it, for its white flowers and red berries make it a goddess tree, a tree of inspiration. He might need to pick his way through the gorse, for here it has not been piled and burnt, and were he of more tender disposition, he might repeat the old adage, “Kissing’s out of fashion when the gorse is out of bloom.” Little does he know that the witches themselves will retire to this thorny bower if ever they are pursued. But his thoughts are on matters of state: trivial, irrelevant questions to bring to this ageless place. Of course, in the end, the witches tell Macbeth nothing that the bladderwort in the bog, the wildcat in his path, the harrier in the welkin, or the bleak and pitiless moor itself could not have told him: the truth about himself.

*

Of course, she is quite as beautiful as all of the other young Russian girls throughout history who have one day become wives to a Tsar: a simple, uncomplicated beauty which is scorned in her own house, but would be sufficient to light up the throne room in her future palace. But today, her brow is knitted in furrows and her body trembles as she runs. In her hand she clutches a little wooden doll, her magical saviour in times of crises, and her knuckles whiten for fear of losing it. In the distance, dimly visible between the moonlit boles of the birches, there glows a great arc of paired lights: a dull, greenish glow that sets her teeth on edge. Everything within her is telling her to seek the safety of darkness in the woods rather than hurry towards the ring of light, for she knows why the lights glow from paired orbs: they are human skulls, glowing in the sockets with a magical luminescence. Beyond the skulls, which are mounted on stakes around the perimeter of a fence knitted from human bones, there stands a wretched little hut – or rather, it doesn’t stand exactly – it prances and scratches about in the dust, for it is mounted on a pair of grotesquely oversized hen’s legs. A thin plume of smoke rises from the chimney of this hovel, and momentarily obscures the moon, for its occupant is at home. She is the Baba Yaga, a hideous hag who always puts her guests to the test, and eats them if she finds them wanting. No doubt she is also the lingering folk memory of a dark goddess, for when she is not flaying the skin from warriors’ backs, she teaches her initiates the hard way, and they return to their own land filled with arcane wisdom. The young girl catches at the stitch in her side with her spare hand, and looks ahead in fear. She is Wassilissa the Beautiful, and whether she likes it or not, she is the Baba Yaga’s next initiate into the mysteries of the forest – or, if she is unworthy, into the mysteries of the cauldron, as viewed from the inside.

When Wassilissa overcomes her fear and presents herself to the Baba Yaga, she is taken into the squalid hut and imprisoned there. On successive days, she is given a series of increasingly absurd and impossible tasks which need not concern us here, and whilst her magically animated wooden doll is wiping away Wassilissa’s tears and solving all her problems, the Baba Yaga has locked the door behind her, climbed into her giant iron mortar, and is now flying out across the woods, rowing along through the air with her pestle, and sweeping away her trail with her kitchen broom. Some say she is off to fight magical battles in the chthonic underworld, but more likely she is off to seek her own wisdom from the woodlands that surround her home – or, given her novel mode of transvection, those farther afield.

Any normal mortal who explores a wood is likely to begin by searching for helleborines, twayblades or wood anemones in the spring and summer, or fungi in the autumn. However, for the Baba Yaga, like many other denizens of the forest, the odyssey starts not on the woodland floor, but in the treetops. Many of the birch trees in her own woodland carry “witches’ brooms” – bunched and twiggy growths which hang from the branches. To the uninitiated, these look like clumps of mistletoe; in fact, they are galls caused by a fungus which persists from year to year, sometimes producing brooms a metre in diameter, and comprising three or four hundred twigs. A single birch tree may carry nearly a hundred such excrescences at the end of its comparatively short life span of a century. Amongst the plethora of galls which afflict the neighbouring, longer-lived oak trees, one of the commonest is the “oak apple”: a rose-pink or yellow spongy ball of abnormal plant tissue which is the tree’s defensive response to the insertion of parthenogenetic eggs into the developing bud by a wingless female cynipid wasp. Every oak apple is pleurilocular, containing around thirty chambers, each a cradle for a developing grub which gorges its bloated body on juices from the tree. In late summer, the imagoes gouge their way out, leaving the oak apples riddled with tiny holes. In Britain after the Restoration of Charles II, these curious plant-tumours were worn by Royalists on May 29th, Oak Apple Day, to commemorate his birthday and return from exile. In school, children who failed to wear the regulation oak-sprig were whipped with nettles. The oak was the ideal tree to symbolise the Royalist cause, given the popular rumour that the king hid himself from his Puritan pursuers inside a hollow oak tree at Boscopel. Although the fashionably sceptical Professor Ronald Hutton has persistently denied that the celebrations might pre-date the Civil War, many have concluded that Oak Apple Day is the remnant of a pagan fertility rite. Certainly, it has gained its own neo-Pagan associations in recent centuries. When Roger Deakin attended Oak Apple Day in the Royal Forest of Grovely in Wiltshire, he found a whole range of contradictions in the involvement of conservative country people in obviously pagan rituals, apparently supported by the church, and despite the Royalist history of the rites, deeply influenced by socialist responses to the Enclosure Acts. Oak Apple Day was an “annual reassertion of rights to collect wood” on common land. In the midst of this controversy, however, no one appears to have asked the obvious question, which is why oak apples specifically should be worn. It seems a strange – or, for those with republican sympathies, oddly appropriate – symbol of monarchy: a sham fruit, a spongy cancer writhing inside with parasitic grubs. As a symbol of fertility, however, it is potent: it reminds me of nothing so much as the ontological eccentricities of the sixteenth century miller Menocchio, resurrected for posterity by that admirable historian Carlo Ginzburg, who maintained that the origin of the universe lay in putrefaction: the world was a piece of cheese from which worms spontaneously arose. In any case, it is doubtful whether the Royalists realised that the wasps responsible for this ambiguous symbol have a curious and cryptic double life-cycle. In July, the winged imagoes mate, and the females penetrate the soil, for the next generation will be infants suckling on subsided sap, parasites not of growing buds, but of hidden roots in the humus. A descent into the underworld indeed.

In late July, the oak leaves are heavily mined by tiny caterpillars which live beneath the epidermis, most of them larvae of micro-moths. The Baba Yaga’s flight through the canopy is the more pleasurable because of the Purple Emperor butterflies, largest of the Lepidoptera in northern climes. The male will choose the tallest oak for his throne, and will only be tempted to the forest floor by things white and glittering, or by rotting carcasses which he can probe with his hungry tongue. Perhaps the Baba Yaga will follow him: he is unlikely to find the carcase of a badger, for they like to intern their dead within their own setts, until their skulls, forever interlocked with their jawbones, are carelessly unearthed when the dwellings require extension. It is too late, too, for the flowers of the early purple orchid, whose tubers were once the source of the invigorating, semen-thick, starchy drink known as salop, a favourite refreshment of Victorian labourers, and a renowned aphrodisiac. It was once said that there were enough purple orchids growing in Cobham Park to pleasure every seaman’s wife in Rochester. Perhaps this was another form of sympathetic magic: the twin tubers of orchids look like bollocks. The Purple Emperor flits on, over those withered stems, and alights instead on the corpse of a roebuck, already rotting. Its juices are rank and leaching into the soil, attended by burying beetles and maggots; the eye sockets are sunken. As the butterfly’s tongue begins to probe, the Baba Yaga surely pays her respects to this horned one of the woods. Modern humans think of deer as the enemies of the forest, for they chew the shoots of newly coppiced trees. Whilst this is certainly true, there ought to be room for gratitude: a deer-filled wood is a bluebell wood, for the deer clear enough foliage for these plants to gain their requisite sunlight. More importantly, in the Middle Ages, when forests were royal preserves, the trees were maintained as cover for the deer; without the deer, the woods would have been felled for pasture, and there would have been nowhere for Robin Hood to hide.

At the edges of the clearings in our wood of oak and birch, the smaller trees flourish. A hazel bends over a stream, waiting to drop its wisdom-filled nuts into the water, where, perhaps, the salmon of knowledge may swallow them. The spindle tree grows here too, and when all is gaunt in winter, her rose-pink, poisonous berries will shrink to reveal orange seeds: joyful punctuations of the prevailing gloom. No doubt the Baba Yaga has cut the spindle to make wands, for its white and lightweight timber is admirably suited. Indeed, it is said that a despairing seamstress who thrusts her spindle (derived from this tree) into the ground, will soon be delighted to perceive it taking root, producing greenish-white flowers and fruit as red as roses. No wonder the archetypal witch is often depicted with distaff and spindle.

These woods are the haunt of mustelids: not just the badger, but also the stoat and weasel. In winter, the stoat becomes the ermine, whose snow-white coat is a long and undulating sentence ending in a black full-stop: the tip of the tail. These tail tips, sewn with alarming profusion into trimmings of royal gowns, are the black wisps in the fluffy whitenesses which adorn the necks of mediaeval kings and queens, but in its natural state, the stoat is a wily creature with whom any witch should identify. Gamekeepers hate them, and cleave their skulls whenever they can find them, for they are crafty of mind and supple of body, and can take down creatures many times their size. The weasel is even smaller: a beady-eyed, ripple-bodied killing machine with teeth like needles. The late twelfth century Breton poet, Marie de France, who was a champion of misunderstood lovers and werewolves alike, has been one of the few authors (even the enlightened Kenneth Grahame fails in this regard) to ascribe noble qualities to the weasel. In her extraordinary lay known as Eliduc, the hero’s lover lies dead, and his longsuffering wife feels for him in his despondency. She sits weeping beside the bier of the woman who has been bedding her husband, when all at once, a weasel runs past, only to be struck dead by a stick-throwing servant standing nearby. Moments later, a second weasel, the first one’s mate, comes and finds her dead. He runs outside and picks a flower with his teeth, and uses it to revive her. In what must qualify as one of the most selfless acts in all romantic literature, Eliduc’s wife retrieves the flower, resurrects her husband’s adulterous lover, and graciously retires to a convent, and the weasels, one hopes, live on to perpetuate their species.

The mixed woodlands of oak, birch and ash lie in the lowlands. The beechwoods of the chalky uplands are quite different, and the Baba Yaga would fly far to find them. Mature beeches allow little sunlight to filter down to the forest floor, and as a result, the vegetation is sparse. One flower, however, has found a niche, and its perspicacity must arouse the admiration of any witch. The bird’s nest orchid contains no chlorophyll, and as a consequence, it is not green, but yellow and fleshy, with a purplish tinge. The flowers are not gaudy, but brown, designed to attract flies, and the plant does not photosynthesise, for it is saprophytic, deriving its nutrients not from the sun but from an underground fungus with which it shares a symbiotic relationship – and the fungus, in turn, is dependent on the humus provided by the rotting foliage of the beeches. Every year, the orchid flowers by the bole of the beech, unless perchance its underground rhizomes encounter a stone. Should they do so, the plant will flower underground. A model of perverse and persevering persistence, it is surprising that the bird’s nest orchid does not play a bigger role in folklore; indeed, the only explanation for this is the fact that it is hardly ever noticed, for without green colouration, plants are nearly always presumed to be dead.

It would be impossible for the Baba Yaga to frequent these woodlands without encountering a fox, and it would be unlikely indeed that she should fail to identify with him. Since the Middle Ages, the French have understood the fox most intimately, immortalising him as Reynard, the trickster who always has the last laugh. Sometimes he disguises himself as a monk, tonsuring the unsuspecting wolf with a cauldron of boiling water. On other occasions, he shams his own death, enticing birds within reach of his snapping jaws. Chaucer lets him sink his teeth into the neck of the narcissistic cockerel Chantecler, and in the mediaeval French romances, he even creates a martyr, Coupée the chicken, whose earthly life was so cruelly cut short. He presides laughingly over the castration of his rival Tybert the cat by a fornicating priest, and personally engineers the trapping of Bruin the Bear inside a cleft oak. Ever victorious, Reynard is the archetypal guiser. If you don’t believe it, seek him out yourself in a summer glade where the rabbits are chewing cowslips: he sidles along, respectfully distant, and all at once he is turning somersaults as though he has gone mad, biting the dirt and threshing at his own tail with his hindlegs. The rabbits are mesmerised by this vision of a predator turned insane; slowly they creep closer. Reynard’s game is an eloquent essay in predatory hypnosis. One rabbit strays too near, and the muscles ripple on the fox’s muzzle, the canines bared. The pupils in the yellow irises congeal into sharp lozenges of dark. Suddenly, the fox-fool is a lethal machine, and the rabbit curls, screaming in agony in the fox’s jaws. The Baba Yaga is not dissimilar in her dealings with her own victims.

When winter comes, the broadleaved woods are bare, and only hollies and the occasional yew can relieve the monotony. At this time, no doubt, the Baba Yaga steers for the coniferous woodlands, eschewing only those of larch, which alone among the cone-bearing trees are deciduous. She seeks a creature every witch should revere. Of course, if we have had any contact whatever with modern environmental movements, we in Britain are immediately sure what creature she is after. It must be the red squirrel – that totemic creature whose imprint ensures fundraising success for every wildlife charity. Ousted from the woodlands of the south of our islands by the American grey – so this myth insists – the red squirrel persists in the Scotch Pines of the Highlands, staunch to the end like some latter-day Dad’s Army. We conveniently forget that it is we who introduced the grey squirrel, so that we can demonise it, and that it is we in our unprecedented population explosions of the twenty-first century who turn our woodlands into minute islands in the sea of homogeneity, dooming the less resilient species to extinction. But the Baba Yaga does not seek the red squirrel. She is after something far more elusive: a lissom-limbed creature whose every movement is sinuous, smearing pungent scents on the bark of the pine bough. His pelt is the warmest brown: dark chocolate laced with white, and had he not been persecuted to near extinction in our country, the grey squirrel would never have extended its range. Should the fresh meat run out, he is resilient enough to resort to caterpillars, or even bilberries. These days, it takes a witch to find him, led onward by the pricking of her thumbs, and even then she must crane her neck, or mount once more to the treetops in her mortar, for this creature scampers where most men scorn to look. Furtive, trembling with the pulse of a hungry metabolism, the pine marten claws the bough. Like the eyes of Wassilissa’s doll, its pupils are aglow.

*

The path beneath my feet is an ancient wickerwork of the roots of elms, and the ivied trunks beside me are columns in a cathedral of green, for Dutch Elm Disease has never ravaged the trees on the Isles of Scilly. Chiff-chaffs and wrens, roof-boss creatures come to life, peer between the leaves with beady eyes, and beside the raised path the little fenland supports a hundred tiny chapels of hemlock water dropwort, twinkling woodbines, and green and fleshy liverworts on gleaming walls of soil. A choir of hoverflies is singing, a tracery of elm twigs arching above them. I am on my way through the shrine to nature known as Holy Vale, heading towards Porth Hellick, a bay gouged into the granite on the eastern side of the island of St. Mary’s. As I emerge from the fenland, where herons and egrets curl their harpoon-headed necks like question-marks, the dromedary-shaped geological feature known as Camel Rock looms in front of me. Shallow sea-water laps over the bladder-wrack as I make my way past it, and out in the deeper water, I glimpse the arched Roman-nose of a grey seal, his nostrils flared to drink in the air. Suddenly, he submerges, and I time the interval before his re-emergence, not daring to hold my own breath. He has exhaled before diving, every pocket of air expelled from shrunken alveoli, his bloodstream constricted, for this reduces his buoyancy. His blood is almost black in colour, for it is packed with haemoglobin in order to carry additional reserves of oxygen during the dive. Three, four, five minutes, and his head is bobbing up ahead, like a stub-nosed buoy with whiskers. Gulls skim the sea’s dark undulations. A cormorant dives, and turnstones cry. The sun turns the sea mercurial, and the shoreline is a mirror with a glazed meniscus. As the old seal breasts the surge, I almost hear the slop of mercury, and then the sun shifts, the sea a green glaze crusted with foam. The boulders beside the path are mounded with unsalvaged disjecta: a winkle, a pebble, a cormorant’s skull.

Beyond Camel Rock, an ancient stairway has been cut into the stone. Ahead of me, the cliff forms a great overhang, known locally as Clapper Rock. One can imagine it rapping like a gargantuan castanet on a windy night, and in the past I have taken children here on bivouacs, and they have scared each other sleepless with tales of the ghosts of suicides. As I mount the stairs, the light intensifies; the stones seem to be vibrating. Spectral figures climb the stairs ahead of me, shawled and murmuring, disappearing behind a curve in the rocky cleft. I know who they are. In 1750, Robert Heath wrote the first ever book about the Isles of Scilly, and in it he described a collective of Healing Aunts whose traditions had been handed down from time immemorial. “They are all good Botanists,” he tells us, “and have added a great many Herbs to their Catalogue… Their Systems and Hypotheses are to help those in Distress for Pity’s sake rather than for Profit.” In 1750, the most senior amongst them was Sarah Jenkins, a wise-woman and midwife of considerable local standing. That she was also a witch seems very likely: in her youth she certainly knew of the fairies which inhabited the chambered cairn of Buzza Hill near Hugh Town, whose “nightly Pranks, aerial Gambols, and Cockel-shell Abodes are now quite unknown.” Supposedly, they were “charm’d” or “conjur’d out of the islands” by cunning-men from Cornwall, but surely I have seen them myself, belted with leather of Laminaria, their menfolk in britches of kelp, their women skirted with Porphyra, with purses of bladder-wrack, stitched with strands of Chorda. I am sure that to this day they dance to tunes of fiddles fashioned out of the skulls of guillemots, and beat on urchin drums.

I think I know where the ghosts of the Healing Aunts are going. They are heading across the heath towards the beach of Pelistry, beyond which lies Toll’s Island, a grassy clump of rock connected to the beach by a sand-bank at low tide. In the eighteenth century, Toll’s Island would have hung under a pall of noisome smoke, for it was covered with kelp-pits tended by wizened old ladies puffing perversely on blackened clay pipes. The kelp was burned to a fine ash and then exported for use in glass-making, a meagre source of revenue for the poverty-stricken island folk. Beyond the kelp-pits stands Pellew’s Redoubt, a relic of the Civil War, from which not even these islands, twenty-eight miles into the Atlantic, were entirely free. At the far end, the sea slops and gurgles against the rocks, and it is here, I am sure, that the Healing Aunts are heading. The rockpools here are a candy-shop of colours: Coralina plants, articulated like puppets and pink as musk, kelps, oar shaped, made of chocolate leather, and edible sea lettuces, pistachio green. I bend down and dip my hands in the water. There is the sideways scuttle of a retreating crab, a frightened goby’s blinkless eye, the urchin’s serried army bristling. There are limpets and pixie cups and slowly moving snails clearing trails in sand. Despite the turmoil and pounding of the sea, delicate anemones spread their tentacles, or lie above the waterline like globules of blind red jelly.

Here the Healing Aunts will find Dillisk, a membrane-thin ribbon of red seaweed known to the Scots as Dulse, Rhodymenia palmata. Shawled in ragged wool, Sarah Jenkins bends hunchbacked over the rocks, plucks with scrabbling fingers the limp Dillisk from the stone, or rolls up her grubby sleeve, and picks it where it swells in swirling ribbons underwater. It clings to her skin as though it has been smeared with bacon grease. Rich in iodine, Dillisk has long been an essential component of the diet of coastal peoples, and during the Irish potato blight, it doubtless saved lives. Hanging in the kitchen, it withers at the edges, grows a powdery crust of salt, and stiffens like red parchment, until wet weather leaves it hanging flaccid: it is, in fact, the world’s first barometer. Combined with sea lettuce and mixed with oatmeal, it is fried to make nutritious cakes. The seaweed known as “Irish moss” grows here too, its fronds rainbowed with bioluminescence under water. Medicinally, it is an anticoagulant, and a treatment for bronchitis, bladder infections and kidney irritation; it is also an effective gelling agent. The seaweeds are used here for fertilisers too, and wrack-cutters were equipped with special scythes for the purpose of harvesting the larger plants. Other seaweeds had folkloric significance: Viking descendents on Iceland were afraid of a hideous child-eating troll-woman named Grýla, whose coat was made of seaweed, and whose fifteen tails were made of the knotted wrack, Ascophyllum nodosum. In addition to her child-devouring cat, she had a string of husbands, none of whom could bear her carnivorous habits for very long, until at last she found a sort of happiness with Leppalúði, who was able to quell his nausea for long enough to father a multitude of offspring upon her, all of whom preyed upon human children. Similarly, Norse burial grounds on the Orkneys were later identified as homes of the Trows, semi-aquatic monsters who preyed on human souls. According to Jo Ben, writing in the early seventeenth century, the Stronsay Trows “very often go with the women there”, and they are clad in red seaweed, with horse-like bodies. A Trow’s penis, too, “is like that of a horse”, and the testicles are particularly large. At the opposite extreme of Britain, Scilly too is covered with cairns and tombs, and it seems reasonable to suppose that in former ages, these also had their fair complement of seaweed-clad monsters. On a windy night on Scilly, it is difficult to believe that they do not exist.

No doubt the Healing Aunts did not confine their ministry to St Mary’s. There are five inhabited islands in Scilly today, but in their day, Samson too was inhabited by two wind-worn families, the Woodcocks and the Webbers, who eked out an existence by fishing and kelp-burning before they were evicted in the nineteenth century by the lord of Tresco, Augustus Smith, who built a deer-park on the island, only to find that the deer scorned the place and swam back to Tresco. It is certain that there were magical traditions – not all of them entirely benevolent – on the other islands too, for the well of St. Warna on St. Agnes was once filled with bent pins, each designed to cause a shipwreck, and St. Agnes herself is represented in paintings with a stang, luring tall ships onto the rocks. However, today I will follow the Healing Aunts back to Hugh Town, and take their spectral boat to Samson. On the way, a sandwich tern is above me, slouch-winged and still in the air as a strained lever. All about the boat now, they hover, their necks cocked like flintlocks, their stretched wings bracketing the wind, the watchspring wound, near to breaking. The flintlock springs, and one bird makes a soundless plunge, harpoon-billed and hollow boned. For a moment, it is a stab of white cleaving the water. A sand-eel writhes, and the tern bursts shimmer-feathered back into the air. Riding this swell in winter, I might meet the Immer Loon, or Great Northern Diver, a bird whose ancestors once swum with ichthyosaurs.

There is no jetty on Samson: the spectral boat beaches on the sand of Bar Point at low tide. The beach is a white hump, with a single line of weed. At the top, there is dune grass bleached by brine, and in the spring, pyramidal orchids bloom in profusion. On Dune Hill, the first of Samson’s two granite humps, there is a string of cairns from the days when Scilly was known as Ennor. There is yellow furze, gnarled ling, and a petering path, lined with thrushes’ anvils, each with its own snail-shell cairn. Always, there are the wind-flayed sternums of gulls, rock-pipits, and once fearless wrens, the bleached wings still attached. I will follow the Aunts down the hill, towards the spume-worn Neck, and enter this empty, roofless home to my right, stooping beneath the rafter that would have been. There is an uncanny, unfathomable silence. I can almost hear the wheeze of a Woodcock, his clay pipe clenched in stained incisors. The air here is thick, and it is hard to breathe, for there is an emptiness, like the orbs of a gull’s skull. Up the slope towards South Hill, another house beckons me, armpit deep in foxgloves and red-campions, and fringed with nettles - nitrogen-loving plants which frequent the past abodes of human beings. The hard-hewn lintel is perched precarious as a bird, and inside, the low hearth is lichen-bearded. There is the same silence, the same thickness, the same constriction of the throat; I know I am breathing ghosts, not air. I half-hear the sigh of a Webber, worn from kelp-burning, aching to rest her legs beside the fire that would have been. And now I am back out into the vacancies of brown bracken, walking by bluebells, grown wild from some garden long-gone.

The silences of Samson, here at the Atlantic end of the British Isles, hold within them the profoundest lesson a witch can learn. We humans are transitory: we are walking ghosts. Our hearths encrust; our lintels fall. Our clay pipes lie crushed in the strand. Our remnants are chipped flints, stone bottle stoppers, plastic flotsam. Our broken boats encrust with goose-barnacles. The Healing Aunts knew this: they have brought me here so I may know it too. The wounds we inflict on nature are skin deep; it will master us in the end. If you don’t believe me, take the tourist-boat to Samson – the modern Scillonians will gladly take your money. Sit up there on South Hill and listen. Hear their yawls and cries. Glance down at their mottled eggs on the peaty pathways. Samson does not belong to human beings. It is owned by gulls, and the ghosts of all that would have been.

"The Visible Vagina" at Francis M. Naumann Fine Art & David Nolan Gallery, January 28 - March 20, 2010 - Flyer - Front by Miki

5

www.francisnaumann.com/EXHIBITIONS/VV/index.html

“THE VISIBLE VAGINA”

FRANCIS M. NAUMANN FINE ART

and DAVID NOLAN GALLERY

January 28 – March 20, 2010

Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art

Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery

THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.

As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.

The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.

The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.

PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.

FRANCIS M. NAUMANN FINE ART

24 West 57th Street, Suite 305

New York, NY, 10019

Telephone: 212.582.3201

LHOOQ@FRANCISNAUMANN.COM

www.francisnaumann.com/

Memorial Sermon for Arthur Morson by Robert of Fairfax

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[As transcribed by RGK1958, 14 March 2007. Anything in brackets [..] our my own notes to clarify or add historical context.

Mamee kept a copy of this sermon with her her entire life. So, it must have been truly sentimental to her.

The Mississippi Confederate Grave Registry indicates that Arthur Alexander Morson (20 Jun 1846 - 7 Oct 1914) is buried at Cedarlawn cemetery in Jackson, MS.

Name: Morson, Arthur A.

Born: Jun 20, 1846

Died: Oct 8, 1914, Van Winkle, MS

Rank & Unit: Pvt; Co. E, 3rd MS Inf

Cemetery, City, type Marker: Cedarlawn, Jackson, MS, Private

Enlisted: May 21, 1861

Discharged: Apr 26, 1865

County Contributor: Hinds

Cedarlawn cemetary is located at 2434 West Capitol Street, Jackson, Mississippi just south of Hawkins Field and east of Jackson Zoological park.

Based on the following transcription, the sermon was held in a little school house in Van Winkle. This could possible be Van Winkle Elementary School, 6 miles from Cedarlawn cemetery. It will be interesting to do further research to confirm the location.

]

I N M E M O R I A M

A. A. MORSON

[Arthur Alexander Morson, 1846 - 1914]

--o--

SERMON PREACHED AT MEMORIAL SERVICE

SUNDAY, OCTOBER 18, 1914

at

VAN WINKLE, MISSISSIPPI

By

REV. DR. E. T. EDMONDS

--o--

I want to read the Ninetieth Psalm:

"Lord, thou hast been our dwelling place in all generations.

Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God.

Thou turnest man to destruction; and sayest, Return, ye children of men.

For a thousand years in thy sight are but as yesterday when it is past, and as a watch in the night.

Thou carriest them away as with a flood; they are as a sleep: in the morning they are like grass which growth up.

In the morning it flourisheth, and growth up; in the evening it is cut down, and withereth.

For we are consumed by thine anger, and by thy wrath are we troubled.

Thou hast set our iniquities before thee, our secret sins in the light of thy countenance.

For all our days are passed away in thy wrath: we spend our years as a tale that is told.

The days of our years are threescore years and ten; and if by reason of strength they be fourscore years, yet is their strength labour and sorrow; for it is soon cut off, and we fly away.

Who knoweth the power of thine anger? Even according to thy fear, so is thy wrath.

So teach us to number our days, that we may apply our hearts unto wisdom.

Return, O Lord, how long? And, let it repent thee concerning thy servants.

O satisfy us early with thy mercy; that we may rejoice and be glad all our days.

Make us glad according to the days wherein thou hast afflicted us, and the years wherein we have seen evil.

Let thy work appear unto thy servants, and thy glory unto their children.

And, let the beauty of the Lord our God be upon us: and establish thou the work of our hands upon us; yea, the work of our hands establish thou it."

UNQUOTE

Let us pray.

Almighty God, we come into Thy holy presence at this time, feeling very much our sense of need and our deep and great dependence upon Thee; that in Thee we live and move and have our being, and that from Thee cometh life, and breath, and all things.

Oh, God, we know not what the day or the hour may bring forth. We are in Thy hands and our destiny is with Thee, and we pray Thee, Father, to make us faithful to the duty and service of life, and so by faith to follow the leading of Thy providence, and we pray that we may be thoroughly guided by Thy spirit, and walk in the ways of peace and righteousness. Our hearts are very sad today, our Father, and very lonely, and we feel that at this hour we miss the dear one, who has left us very much; and we pray, Father, that his spirit may be with us today and worship with us, and we pray that his kind and gentle life may linger with us as a gracious fragrance and a blessed memory; and that his beautiful example may ever before the people of this community; and that others, the men of this community especially, may realize how much his life has meant, that they too may make their lives fruitful in the service of the Lord and of our Christ. And, Father in Heaven, we pray for the dear ones who have given up to Heaven the father and the husband. We pray that thou wouldst give them "beauty for ashes, the oil of joy for mourning, and the garment of praise for the spirit of heaviness."

And we pray, Father, that all of us, in our own way, may be faithful to the duty and service of life as he was; and when the hour shall come, if thou shouldst call us home in the morning, or at the midnight hour, we pray that we may be ready, as he was ready, to pass hence into the everlasting bliss beyond.

Oh, God, be with us, bless us, and lead us in Thine own wisdom. Help us to distrust ourselves and trust Thee and love Thee; and may Christ be ever regnant in our very hearts, and through His name and in His name, and by His blood, may we find peace and acceptance before Thee, and may Thy spirit be with us, fill us and possess us, and lead us, Father, to the eternal home, where thee shall be no death and no separation, and where we shall serve Thee world without end, through Jesus Christ. Amen.

Two verses of number five.

At the close of the service we will sing number two hundred eight, "Just as I am, Without One Plea."

I want to call your attention to a phrase in the Book of Isaiah, the sixty-foruth Chapter and sixth Verse: "But we are all as an unclean thin, and all our righteousnesses are a filthy rags, and we all do fade as a leaf; and our iniquities, like the wind, have taken us away."

"We all do fade as the leaf." There are a great many expressions in the Old Testament, especially about the brevity of life, and about the swiftness with which death may summon us to the beyond. We are told that our life is like a weaver’s shuttle; and we are told that death comes upon us like a flood. And we are told so frequently that we are like the grass and the flower of the grass, in the morning flourishing, in the evening cut down and withereth.

This phrase in the Book of Isaiah, "We all do fade as a leaf, "is a peculiarly suggestive expression that has often appealed to me, and especially at this season of the year. All the leaves fade.

I was brought up, friends, as a child and as a boy, until I was about twenty years old, indeed, in a country where the leaves never fade; where the bark changes on the tree, but the leaves are perpetually green---that is, the native trees. Of course imported trees that come from other continents bring with them their own habits. And so I must confess to the wonderment that came to me in the first autumn that I spent in Kentucky and beheld the fading leaves of the forest trees. All of the leaves fade: the leaves of the tiny bramble, and the leaves of the mighty oak. And so "death, with equal pace, knocks at the palace and the cottage gate."

And it is an important reflection, friends, to remember about the fading leaves, that they fade when their work is done. There is a very important office, if I may use that word, in the life and foliage of our trees. The animal creation is always pouring out a great tide of poisoned air from the lungs, taking out of the great animal economy all of the poison that, if left, would really destroy the bodies of all animal life, and the leaves through the hot summer continually absorb all those poisons; but when the summer season has ended, and the touch of frost has come to tell us of the coming winter, then the leaves fade when their work is done. And I think, friends, it is so beautiful for us to think of life that way, as fading when our work is done. And God only knows, beloved, when our work is done.

I remember when President Garfield was shot [July 2, 1881] in Washington, D. C., how the nation prayed for his recovery, and the whole world seemed to be in sympathy with the nation that was in grief. And yet he died. And yet, somehow, I think his death was wonderfully blest, for he died in the hope and triumphant expectation of Christian faith, and in the day when Ingersol was preaching his doctrine of materialism and opposing Christian hope. It was a great thing for us when he died to have a Christian die in public life, and in a public way, and in a public place. It helped the world to see the confidence of one’s faith in God.

I don’t know, friends, about the apostle Paul, --what I covet most about him. I think, you know, that he exemplified more of the Christian faith than any other man whose life is found upon the pages of the New Testament. You know he was in prison for a long time, and then he was let out of prison, and then when fierce persecution came, he was arrested and put in prison, [and] condemned to die. I love to think of Paul’s letters so much. I was writing to my brother the other day in Washington, D. C. I have not seen him for many years. But after I had written the letter on the typewriter, I thought of some little message, a little personal message. And I wrote that with a pen. I said to myself, "Now, he will think this is the dearest part of this letter, this little foot note." And that is true. In the very foot notes of Paul’s letters, friends, I find such beautiful things. In that love letter to Phillipians [Philippians] we find a beautiful story. Onesiphorus, who brought to Paul a gift from the Phillipians [Philippians], had been sick and had gotten well. Paul was sending him back. He wrote that beautiful letter to the Phillipians [Philippians], ---Paul’s love letter. At the bottom of the letter, I find this postscript: "All the saints salute you, chiefly they of Caesar’s household." The very soldiers that guarded Paul had become his own brethren. And when Paul wrote that letter he told them how much, how much he loved them. And so Paul added at the end of the letter, "All the saints salute you, chiefly those of Caesar’s household." And then when he was going to die, his life was fulfilled as God’s providence would seem to have it fulfilled. He wrote that final letter to Timothy---Timothy, that wonderful preacher, that young man Paul loved as he loved no other man.

You can tell a whole lot by a man’s friends, the kind of people who are his friends. I like to think of Paul’s friends. Paul’s friends are interesting. Timothy was one of them. He wrote this final message to Timothy. "I am now ready to be offered, and the time of my departure is at hand." He wrote, "I have fought a good fight, I have finished my course, I have kept the faith. Henceforth, there is laid up for me a crown of righteousness which God, the righteous judge, shall give me at that day, and not to me only, but to all of them also that love his appearing."

I was in the city of Rome in 1896 and went to the prison in which Paul very likely wrote this beautiful letter. Leaving the bright sunlight of Italy, on an August day, I went into a dungeon and there was just enough light to dimly light it up. Then the tonsured monk lighted a little taper, and we went down into a lower dungeon that has been there for centuries and centuries. And I thought of Paul in that dark dungeon writing this beautiful letter: "I am now ready to be offered and the time of my departure is at hand. I have fought a good fight, I have finished the course, I have kept the faith." And it seems to me, friends, that the very light of Heaven must have come in a flood into that dark dungeon in which he was writing. And so he added: "Henceforth there is laid up for me a crown of righteousness which God, the righteous judge, has given to me, and not to me only, but unto all of them also that love his appearance." It is a great thing to finish life with our work done, and well done.

I thought I was going to die some years ago, friends, and there were perhaps six doctors, in the next room talking about my condition, and the doctors said I was in a very dangerous condition. I did not think so, but the doctors said so. But do you know the things that worried me as I thought of dying,--it was the unfinished tasks, the incompleted [uncompleted] things that I had started and had not finished. I was building a great church, a stone church. I had set my heart upon its completion. And Oh, I did pray to the Lord that I might finish that at least, and I did. And, you know, I think when we come to die, we will think very much of the things that are unfinished, the unfinished tasks of life; and Oh, I try now, friends, as I get older to hurry to completion everything I undertake, and leave it completed and finished. "I have fought a good fight, I have kept the faith, [and] I have finished the course." Oh, for a completed life, and Oh, for a satisfied sense of completed service when the Master calls us home.

And the leaf, friends, is brightest when it fades. You know a great many people think that spring time is the joy of life, that when these branches that have been singing their miserere [misery?] through the weary months of winter, put on their new foliage and every hillside has its carpeting of green, and the first flowers come and are sending out upon the passing breeze their fragrance, and giving color against the green patches of grass, that the spring time seems to be the welcome time of the year. But, you know, I love the fall of the year, I love the autumn, I love the season of the fading leaves. Walking from the station over here this afternoon, I felt I would have fifty times preferred to walk rather than to ride; to feel the joy of coming through the forest on an autumn day. There is a stillness, friends, about the woods, there is a stillness about the air, there is a carrying quality about the atmosphere in the fall of the year that I miss in every other season. And then, friends, I used to love, when I was in Arkansas, to go up into the Ozarks, in the fall of the year. As the train traveled up from the river level, up the mountain side, up and up, arising to an ascent of about sixteen hundred feet above the sea level, and then we could climb to a two thousand foot level. It was something worth while to look down upon the mountain when the first frost had tinted the leaves, and to behold that marvelous sunset of color, all the yellow and gold, and the green and all the mingling colors. That great mountain side seemed to me to be more beautiful than the sunset upon the Mediterranean Sea. That is the time, friends, when the appealing voice in the fading leaf somehow speaks to me a great message from the Father. The leaf is brightest when it fades. I think that is the way of life, friends; it ought to be.

Oh, it is sweet to take a little baby with its eyes of blue, its unfathomed mysteries as you look into the light of its eyes. There must have been, for Jesus took a little child and set him in the midst and said unless you become converted and become like this little child you cannot enter the Kingdom of Heaven. The purest thing under the canopy of Heaven, Jesus said, is a little child, that precious thing. But I love to think of life, friends, not in its childhood or youth, but as it is fading out; and as we are leaving behind the life of flesh and blood, the soul life, the divine life and the God life are speaking out their mysterious, wonderful something through the eye and through the hand, speaking to us of that life that is beyond, when we shall be transformed into the likeness, the image of Jesus Christ. It is brightest when it fades. And so, friends, as the fires of life dies, as the passions fade out, as the great physical powers are sinking, there seems to come up out of the soul, out of the inmost life, there seems to come up the likeness of the very Christ, and so out of the "muddy vesture of decay" we see the developement [development] of that spiritual life that is to find its home in glory. And then friends, the leaf fades in hope, in hope, in hope.

Next spring these dry, withered leaves, rattling through winter’s weary months, with every passing breeze, upon these oak branches---you will not have to cut them off; the swelling bud will push them off. They will fall to the ground. And so this life friends, fades in hope. And so the Christian fades in hope; and thus he passes away with the assurance and expectation of the joy that is beyond, "where never fading spring abounds and never withering flowers."

I never can forget, friends, an experience I had in traveling in Switzerland in the month of August, a few years ago, near the place where the river Rhone rises under a great glacier and flows into the great southern reaches of France. And I remember the night I was there. It was freezing a little all night. And early in the morning we got up and went to the Rhone glacier, and walked over a great bed of ice that had been there for centuries and centuries and centuries; and through the great crevasses we could hear the flowing stream and trickling drops, the beginning of the great Rhone river [River]. And then as the sun came up, what a glory! There was a great encircling range of mountains capped with eternal snow, and as the sun came up the peaks were crimsoned with the new light of day. After we had had breakfast, we walked over to the station, or traveled in a carriage, then too the train. Under the mountains there is a very long tunnel between eight and nine miles long. We went into the darkness of that tunnel. The difference between the elevation of the mountain and the valley below is so great that the descent would be too great to go straight down, so the tunnel winds around like a corkscrew and lets you down in that sort of way. And for twenty minutes we were in that darkness. It was almost as much as I could endure to live through those twenty minutes. I think it was the longest twenty minutes of my life. And yet there came all in a moment, as we left the tunnel at the other end, into a valley of Italy, there came the bright glory and glad sunshine, the flowers, the songs of the birds, and the leaping streams down the mountain sides. I said it is wonderful, it is wonderful. This, it seems to me, is what death means. We leave behind the sin and winter and the bitterness, and the momentary darkness is perhaps the experience of death, and then we are ushered into the glad light, into the eternal sunshine, into the never-fading glory of that world beyond that is so beautiful. We know not what we shall be, we do not; but we know that when he shall appear, "we shall be like Him, for we shall see Him as He is."

Beloved friends, I do not want to start anew the fountain of tears. I would not make the aching heart sore again. Rather would I heal it.[?] Yet, I must confess to you that an awful sense of loneliness and loss came over me as I came into this little school house [This appears to be a metaphor for the church the Reverend was speaking in. However, read on.] this afternoon; an awful sense of depression. I felt as if one had left us whose face was always here; whose glad hand was always ready with its manly greeting and whose voice was always vibrant with truth and righteousness,--a manly Christian. And what a good man dear Brother Morson was! I think of him, friends, so much, as a man, as a good man. I was talking a moment ago at the Edwards House to a young man, and we were talking about a merchant, and I said, "He has a good stand for business," but he said, "That isn’t much of a stand," he said, "It is the man that is getting the business, it isn’t the stand at all." Do you know, friends, I have come to look at life that way very much indeed. Back of every contract I make I want to see the man. Back of every piece of goods I buy I want to see the man. Back of every promise and pledge I want to see the man. When I feel there is a man behind every transaction, I am not so particular about how the contract reads, or how the goods look; if I have the pledged word of the man, it means so much. Friends, the greatest thing we are doing in America is making men, making men, and our republic will never die and go into decay as long as we are rearing God-fearing men an women and have in every community such a citizen as this good man was, with the life that was always breathing the very spirit of Christ. What a valuable citizen he was! Why, they tell me in Jackson, when they had one of the meetings for this projected creamery [According to my Dad, A. A. Morson was in the Creamery business], after everybody had spoken, this modest man sat in the corner and said nothing. Somebody called on him to speak and they said he told them more about it than they had ever known about this enterprise. His few words of wisdom revealed a lifetime of experience tersely and clearly put and he sat down as the accepted authority upon the question.

I always felt, friends, that I wanted to know Brother Morson better, I knew him so slightly. You know, there are some people you meet and you do not want to meet them intimately again. And there are some people you meet, and the more you meet them the more you feel their faults and failings. And yet there are some other people the more you meet them the more you like them, and he was the kind of a man to me; the more I knew him the more I loved him, and the more I wanted to know him. He was one of those wonderful men, so simple, so modest, so true, and yet so wonderfully wise, I felt as if I wanted to know him and take him to my heart to love. I have never known a man for such a brief time, who made a deeper impression on my heart than he made. And I am sure you will miss him. You will miss him so much. But I am persuaded that his example and his life will remain in this community of years as a blessed fragrance of the Christ.

And then what a father he was! I have thought so much of this family of children that he and his dear wife [Bessie Eppie Dameron, 1860 - 1835] have brought up. These thirteen children [See list below]. And I have thought of these children, how they have developed, how they have gone out into life to find their place and reflected honor and credit upon their mother and father. And wherever they have gone they have carried his good name unsullied. I think it is a great thing.

[

Along with their mother, all thirteen living children attended the ceremony:

Name, DOB - DOD, age in 1914

Bessie Eppie Dameron, 1860 - 1935, 54

Louis Alexander Morson, 1879 - 1879, would have been 35

Arthur James Morson, 1880 - 1950, 34

Mildred Berry Morson (Youngberg), 1881-1934, 33

Robbie Mae Morson, 1882 - 1883, died

Hallie Taylor Morson (Kennington), 1884 - 1967, 30

Elizabeth Kate "Bessie" Morson (Greene), 1885 - 1971, 29

John Andrew Morson, 1886 - 1962, 28

Rosalie Vere Morson (Emerson), 1888 - 1962, 26

Julie Dameron Morson, 1889 - ???, 25

Hugh Blair Morson, 1891 - 1925, 23

Sara Francis Morson (Boteler), 1893 - 1982, 21

William "Willie" Todd Morson, 1895 - 1943, 19

Phillip Hull Morson, 1897 - 1960, 17

Margaret Priscilla Morson (Hood), 1900 - 1978, 14

Mary Roberta Alexander Morson (Sexton), 1903 - 2002, 11

]

You remember the old story in the Roman history we used to learn when we were children. The story of the Graechi,--the mother who lived in a great mansion, beautiful home,--her husband was an illustrious senator. Somebody said to her, when she had shown them everything, "Now, madam, where are your jewels?" She brought her two boys,[;] she said "These are my jewels." I tell you, fathers and mothers, it does not matter how many acres you own, how much bank stock you have, there is not anything that will give you credit quite as much as your noble sons and your splendid daughters,--your children, your children, who grow up to be noble men and women, to do Christ’s work, serve God, and their country. I am sure these children loved this dear father. I am sure they will love his memory. And I am sure our very heart goes out in sympathy and affection and love to this home that has lost the father, the husband and brother, and to this community that has laid away this noble citizen.

I am interested in what you are doing here. I pray that these men, noble men they are, may take up this work and carry it forward, and Van Winkle may feel the influence of the holy work you are doing in this little school house [this confirms it really was a school house and not a church]. And when your daughters and sons have gone forth into the world, may they look back to this place and say, "Right here in this little school house in Van Winkle, it is here I found God and came into the possession of the new life, and there was formed the might resolutions that made my character." I pray that God may bless you all in what you are doing.

Now, we are going to sing this beautiful hymn, "Just As I Am, Without One Plea;" we are going to sing just two verses, the first and last verses.

And I want to say this; if there are those here today who are not Christians, who have never given themselves to the Lord Jesus, while we sing these two verse if you feel you want to declare your faith in Christ, you may come forward and give me your hand and the Lord your heart.

And now may the God of Peach, that brought again the Lord Jesus from the dead, that great Shepherd of the Sheep, through the blood of the everlasting Covenant, make you perfect in all things to do His will, working in you that which is well pleasing to His will, through Jesus Christ, the Lord Amen.

Gina's keepsake jewelry - earrings Blogged about this set of polymer clay WIP Earrings here... http://palumbojewelry.blogspot.com/2010/07/gina-keepsake-jewelry-special-jewelry.html . by Jill Palumbo

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I have a tutorial for the matching bracelet on my blog at palumbojewelry.blogspot.com/2010/07/keepsake-jewelry-bead...

Orecchini Html by lafra

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Visto su Sdamy

Unsung Joe - extra by angus mcdiarmid

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As a supplement to the Unsung Joe piece on Franklin Parker, a bit-part actor who had tiny roles as newspaper reporters in 30 or so films in the 30s and 40s, here's a front-page news story from 1938 that he featured in, which represents the peak of his fame.

The movie star of the headline is Lyle Talbot, a B-movie actor who you probably haven't heard of (I certainly hadn't). He was in "Plan 9 From Outer Space" (1959), though, so he probably counts as one of Hollywood's immortals.

Franklin and Lyle, both Nebraska boys, had met when Lyle was the leading man in the stock theatre company in Lincoln, Nebraska. Their friendship survived the transition to Hollywood and the fact that Lyle got plenty of decent work while Franklin made do with walk-ons.

Here's what appeared under that headline in the October 25, 1938, edition of the Centralia Daily Chronicle:

"BEVERLY HILLS, Calif -- Trapped by fire on the second floor of his pretentious home here early today, Lyle Talbot, handsome leading man of the films, and his house guest, Franklin Parker, also an actor, leaped to safety early today.

They were taken to the Beverly Hills receiving hospital suffering painful burns. Their condition was declared by attendants to be serious."

Did 'pretentious' have a different meaning in 1938? If not, that would seem to be a needlessly harsh thing to say about the house of a guy who's lying in hospital with serious burns. The article continued:

"Talbot's hair was burned from his scalp and Parker's back was severely burned. The house was nearly demolished by the flames after the pair made their 20-foot leap ... Police theorized the fire may have been started by a burning cigarette, left in the living room. Talbot had entertained last night, authorities said they had learned, but all of the guests except Parker had left the home when the fire broke out."

The following day's papers carried another AP wire story about Parker and Talbot, to which the Galveston Daily News gave the headline: "Burns Inflicted Rescuing Friend From Fire May End Talbot's Screen Career". The story read:

"The red badge of courage belonged tonight to Screen Actor Lyle Talbot, hero of a fire that destroyed his $50,000 home, but the penalty of his heroism probably is a blighted screen career.

Talbot's hands, neck, arms and head were burned so severely he may never appear again before the cameras. He saved the life of his house guest, Franklin D Parker, also an actor, by dragging him from a fiery, smoke-filled bedroom to a second-storey ledge and safety.

Witnesses saw Talbot, trapped on the second floor by flames that started at ground level, trying desperately to drag Parker's unconscious form out on a porch roof from a bedroom. Talbot, choking with smoke, his pajamas aflame, finally got Parker to safety and then leaped 20 feet to the ground to assist firemen who had been summoned by neighbors.

The condition of both men was critical, said physicians at Cedars of Lebanon Hospital."

The story went on to say that Talbot's wife was staying with a friend whose husband was out of town (so perhaps the party at Talbot's house had been a sort of gals-free stag-do sort of affair) and then recounted Talbot's career to date, noting that his last role was in "I Stand Accused" (1938), in which he played a gangster "and met the usual screen death at the hands of the law."

Of Franklin, it said only: "Parker played on the New York stage several years ago. He has had several bit roles and a few featured parts since coming to Hollywood."

Franklin Parker: even when he makes the front page, it's in a bit part.

It seems that the pair's burns were less serious than they appeared to be, because they both continued to work as steadily as they had ever done, and photographs of Lyle Talbot in later years show him with a full head of hair and no visible scars.

Franklin died of a heart attack in 1962, at the age of 60, and Lyle lived until he was 92, in 1996, when he died of 'natural causes'.

Exctracteur Format @Venice Biennale 2011 . by Biennalist by Thierry Geoffroy / Colonel : Artist

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

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

Way up there 01 by Carla Francisco

4 21

Basílica de Santa Luzia

"Situada no alto do monte de Santa Luzia, a basílica foi construída no início do século XX copiada do Sacré Couer de Monmartre, em Paris. Ex-libris da cidade de Viana do Castelo, é uma visita obrigatória pela beleza da igreja e pela extraordinária vista que dali se pode observar sobre o estuário do rio Lima, a cidade e o mar.

Se não sofrer de vertigens, não hesite em subir ao zimbório no interior da basílica. No topo da igreja tem uma pequena varanda de onde terá uma visão assombrosa de toda a região. Em dias limpos, vê-se até Ponte de Lima, para o interior, Póvoa de Varzim para sul, e o monte de Santa Tecla já em Espanha, para norte.

Junto à basílica encontra-se a Pousada do Monte de Santa Luzia, em local privilegiado, e a Citânia de Santa Luzia, a primitiva cidade de Viana.

Uma boa ideia para chegar ao alto do monte, é usar o elevador, que liga a cidade à basílica, embora apenas funcione nos meses de Verão."

Basilica of Santa Luzia

"Located at the top of the Santa Luzia hill, this basilica was built in the beginning of the 20th century based on the Sacré Couer of Monmartre, in Paris. A must-see in a Viana do Castelo tour, for its beauty and the view over the town, the river and the sea.

If you have no problems with heights, you can climb up to the top of the church by an interior stairs. From there one can see a fantastic view in every direction.

Near the basilica, the Pousada do Monte de Santa Luzia is a charming hotel for a unique stay in Viana, and in the back the primitive town, the Citania."

मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है by इरादा

2

hi.kingdomsalvation.org/gospel/son-of-man-is-lord-even-of...

1. मत्ती 12:1 उस समय यीशु

2. मत्ती 12:6-8 पर मैं तुम से कहता हूँ कि यहाँ वह है जो मन्दिर से भी बड़ा है। यदि तुम इसका अर्थ जानते, “मैं दया से प्रसन्न होता हूँ, बलिदान से नहीं,” तो तुम निर्दोष को दोषी न ठहराते। मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है।

आओ पहले हम इस अंश को देखें: “उस समय यीशु सब्त के दिन खेतों में से होकर जा रहा था, और उसके चेलों को भूख लगी तो वे बालें तोड़-तोड़कर खाने लगे।”

हमने इस अंश को क्यो चुना है? इसका परमेश्वर के स्वभाव से क्या सम्बन्ध है? इस पाठ में, पहली चीज़ जो हम जानते हैं वह है कि यह सब्त का दिन था, परन्तु बाहर गया और अपने चेलों को अनाज के खेतों में ले गया। इससे ज्यादा “चौंका देने वाली बात” क्या हो सकती है कि वे मकई की “बालें तोड़-तोड़कर खाने लगे।” व्यवस्था के युग में, यहोवा परमेश्वर की व्यवस्था थी कि लोग सब्त के दिन यूँ ही बाहर नहीं जा सकते थे और गतिविधियों में भाग नहीं ले सकते थे—बहुत सी ऐसी बातें थीं जिन्हें सब्त के दिन नहीं किया जा सकता था। प्रभु यीशु की ओर से किया गया यह कार्य उनके लिए पेचीदा था जो एक लम्बे समय से व्यवस्था के अधीन जीवन बिता रहे थे, और इसने आलोचना को भी भड़काया था। जहाँ तक उनके भ्रम और इस बात का संबंध है कि यीशु ने जो किया उसके बारे में उन्होंने किस प्रकार बात की, हम फिलहाल उसे एक ओर रखेंगे और पहले यह चर्चा करेंगे कि प्रभु यीशु ने, सभी दिनों में से, सब्त के दिन ही ऐसा करना क्यों चुना, और इस कार्य के द्वारा वह उन लोगों से क्या कहना चाहता था जो व्यवस्था के अधीन रह रहे थे। यह इस अंश और परमेश्वर के स्वभाव के बीच का संबंध है जिसके बारे में मैं तुमसे बात करना चाहता हूँ।

जब प्रभु यीशु मसीह आया, तो उसने लोगों से संवाद करने के लिए अपने व्यावहारिक कार्यों का उपयोग कियाः परमेश्वर ने व्यवस्था के युग को अलविदा किया था और नए कार्य का प्रारम्भ किया था, और इस नए कार्य को सब्त का पालन करने की आवश्यकता नहीं थी; जब परमेश्वर सब्त के दिन की सीमाओं से बाहर आ गया, तो यह उसके नए कार्य का बस एक पूर्वानुभव था, और उसका सचमुच का महान कार्य लगातार जारी हो रहा था। जब प्रभु यीशु ने अपना कार्य प्रारम्भ किया, तो उसने पहले से ही व्यवस्था की जंज़ीरों को पीछे छोड़ दिया था, और उस युग के विधि-विधानों और सिद्धांतों को तोड़ दिया था। उसमें, व्यवस्था से जुड़ी किसी भी बात का निशान नहीं था; उसने उसे पूर्णत: उतार कर फेंक दिया था तथा उसका अब और अनुसरण नहीं करता था, और उसने मनुष्यजाति से उसका अब और अनुसरण करने की अपेक्षा नहीं की थी। इसलिए तुम यहाँ देखते हो कि प्रभु यीशु सब्त के दिन मकई के खेतों से होकर गुज़रा, प्रभु ने आराम नहीं किया, बल्कि बाहर काम करता रहा। उसका यह कार्य लोगों की धारणाओं के लिए एक आघात था और इसने उन्हें सूचित किया कि वह व्यवस्था के अधीन अब और जीवन नहीं बिताएगा, और यह कि उसने सब्त की सीमाओं को छोड़ दिया है और एक नई कार्यशैली के साथ वह मनुष्यजाति के सामने और उनके बीच एक नई छवि में प्रकट हुआ है। उसके इस कार्य ने लोगों को बताया कि वह अपने साथ एक नया कार्य लाया है जो व्यवस्था से बाहर जाने और सब्त से बाहर जाने से आरम्भ हुआ था। जब परमेश्वर ने अपना नया कार्य कार्यान्वित किया, तो वह अतीत से अब और नहीं चिपका रहा, और वह व्यवस्था के युग की विधियों के बारे में अब और चिन्तित नहीं था। न ही वह पूर्ववर्ती युग के अपने कार्य से प्रभावित था, बल्कि उसने सब्त के दिन में भी सामान्य रूप से कार्य किया और जब उसके चेले भूखे थे, तो वे मकई की बालें तोड़कर खा सकते थे। यह सब कुछ परमेश्वर की निगाहों में बिल्कुल सामान्य था। परमेश्वर के पास अधिकांश कार्य करने के लिए जिसे वह करना चाहता है और अधिकांश बातें कहने के लिए जिन्‍हें वह कहना चाहता है, एक नई शुरूआत हो सकती है। एक बार जब उसने एक नई शुरूआत कर दी, तो वह न तो फिर से अपने पिछले कार्य का उल्लेख करता है और न ही उसे जारी रखता है। क्योंकि परमेश्वर के पास उसके कार्य के स्वयं के सिद्धांत हैं। जब वह नया कार्य शुरू करना चाहता है, तो यह तब होता है जब वह मनुष्यजाति को अपने कार्य के एक नए स्तर में पहुँचाना चाहता है, और जब उसका कार्य एक उच्चतर चरण में प्रवेश कर लेता है। यदि लोग लगातार पुरानी कहावतों या विधि-विधानों के अनुसार काम करते रहेंगे या उन्हें निरन्तर मज़बूती से पकड़ें रहेंगे, तो इसे याद नहीं रखेगा या इसकी प्रशंसा नहीं करेगा। ऐसा इसलिए है क्योंकि वह पहले से ही एक नए कार्य को ला चुका है, और अपने कार्य में एक नए चरण में प्रवेश कर चुका है। जब वह एक नए कार्य को आरम्भ करता है, तो वह मनुष्यजाति के सामने पूर्णतः नई छवि में, पूर्णतः नए कोण से, और पूर्णतः नए तरीके से प्रकट होता है ताकि लोग उसके स्वभाव के भिन्न-भिन्न पहलुओं को और उसके स्वरूप को देख सकें। यह उसके नए कार्य में उसके लक्ष्यों में से एक है। परमेश्वर पुराने को थामे नहीं रहता है या घिसे-पिटे मार्ग को नहीं लेता है; जब वह कार्य करता और बोलता है तो यह उतना निषेधात्मक नहीं होता है जितना लोग कल्पना करते हैं। परमेश्वर में, सभी स्वतंत्र और मुक्त हैं, और कोई निषेधात्मकता नहीं है, कोई लाचारी नहीं है—जो वह मनुष्यजाति के लिए लाता है वह सम्पूर्ण आज़ादी और मुक्ति है। वह एक जीवित परमेश्वर है, एक ऐसा परमेश्वर जो असलियत में, और सचमुच में अस्तित्व में है। वह कोई कठपुतली या मिट्टी की मूर्ति नहीं है, और वह उन मूर्तियों से बिल्कुल भिन्न है जिन्हें लोग प्रतिष्ठापित करते हैं और जिनकी आराधना करते हैं। वह जीवित और जीवन्त है और उसके कार्य और वचन मनुष्यों के लिए जो लेकर आते हैं वे हैं सम्पूर्ण जीवन और ज्योति, सम्पूर्ण स्वतन्त्रता और मुक्ति, क्योंकि वह सत्य, जीवन, और मार्ग को धारण करता है—और वह अपने किसी भी कार्य में किसी भी चीज़ के द्वारा विवश नहीं होता है। लोग चाहे कुछ भी क्यों न कहें और चाहे वे उसके नए कार्य को किसी भी प्रकार से क्यों न देखें या कैसे भी उसका आकलन क्‍यों न करें, वह बिना किसी रुकावट के अपने कार्य को पूरा करेगा। वह किसी की भी धारणाओं या उसके कार्य और वचनों पर उठी अँगुलियों के बारे में, या अपने नए कार्य के लिए उनके कठोर विरोध और प्रतिरोध की भी चिन्ता नहीं करेगा। जो परमेश्वर करता है उसे मापने या परिभाषित करने, उसके कार्य को बदनाम करने, या तितर-बितर करने या उसमें तोड़फोड़ करने के लिए, संपूर्ण सृष्टि में कोई भी मानवीय तर्क, या मानवीय कल्पनाओं, ज्ञान, या नैतिकता का उपयोग नहीं कर सकता है। उसके कार्य में और जो वह करता है उसमें कोई निषेधात्मकता नहीं है, और उसे किसी मनुष्य, चीज़ या पदार्थ के द्वारा लाचार नहीं किया जाएगा, और उसे किसी शत्रुतापूर्ण ताक़तों के द्वारा तितर-बितर नहीं किया जाएगा। अपने नए कार्य में, वह एक सर्वदा विजयी राजा है, और किन्हीं भी शत्रुतापूर्ण ताक़तों और मनुष्यजाति में से सभी विधर्मों और भ्रांतियों को उसकी चरण-पीठ के नीचे कुचल दिया जाता है। इस बात से कोई फर्क नहीं पड़ता है कि वह अपने कार्य के किस नए स्तर पर काम कर रहा है, इसे मनुष्यजाति के बीच विकसित और विस्तारित अवश्य होना चाहिए, इसे संपूर्ण विश्व में तब तक अबाधित रूप से अवश्य कार्यान्वित किया जाना चाहिए जब तक कि उसका महान कार्य पूर्ण नहीं हो जाता है। यह परमेश्वर की सर्वशक्तिमत्ता और बुद्धि, और उसका अधिकार और उसकी सामर्थ्य है। इस प्रकार, प्रभु यीशु मसीह खुलकर बाहर जा सकता था और सब्त के दिन कार्य कर सकता था क्योंकि उसके हृदय में कोई नियम नहीं थे, और वहाँ मनुष्यजाति से उत्पन्न कोई ज्ञान और सिद्धांत नहीं था। उसके पास जो था वह परमेश्वर का नया कार्य और उसका मार्ग था, और उसका कार्य मनुष्यजाति को स्वतन्त्र करना था, उसे मुक्त करना था, उन्हें प्रकाश में बने रहने की अनुमति देना था, और उन्हें जीने की अनुमति देना था। और जो मूर्तियों या झूठे ईश्वरों की पूजा करते हैं वे, सभी प्रकार के नियमों और वर्जनाओं से नियंत्रित, हर दिन शैतान के बन्धनों में जीते हैं—आज एक चीज़ का निषेध होता है, कल किसी दूसरी चीज़ का निषेध होता है—उनके जीवन में कोई स्वतन्त्रता नहीं है। वे जंज़ीरों में जकड़े हुए कैदियों के समान हैं जिनके पास कोई खुशी नहीं है जिसके बारे में वे बात करें। “निषेध” क्या दर्शाता है? यह विवशता, बन्धनों, और दुष्टता को दर्शाता है। जैसे ही कोई व्यक्ति किसी मूर्ति की आराधना करता है तो वह एक झूठे ईश्वर की आराधना कर रहा होता है, वह एक दुष्ट आत्मा की आराधना कर रहा होता है। प्रतिबन्ध इसके साथ आता है। तुम यह या वह नहीं खा सकते हो, तुम आज बाहर नहीं जा सकते हो, तुम कल अपना चूल्हा नहीं जला सकते हो, तुम अगले दिन नए घर में नहीं जा सकते हो, विवाह तथा अन्तिम क्रिया के लिए, और यहाँ तक कि बच्चे को जन्म देने के लिए भी कुछ निश्चित दिनों को ही चुनना होगा। यह क्या कहलाता है? यही प्रतिबन्ध कहलाता है; यह मनुष्यजाति का बंधन है, और ये शैतान की जंज़ीरें हैं और दुष्ट आत्माएँ इन्हें नियन्त्रित कर रही हैं, और उनके हृदयों और शरीरों को अवरुद्ध कर रही हैं। क्या ये प्रतिबन्ध परमेश्वर के साथ विद्यमान रहते हैं? जब परमेश्वर की पवित्रता की बात करते हैं, तो तुम्हें सबसे पहले यह सोचना चाहिएः कि परमेश्वर के साथ कोई भी निषेध नहीं है। परमेश्वर के वचनों और कार्य में उसके सिद्धांत हैं, किन्तु कोई निषेध नहीं हैं, क्योंकि परमेश्वर स्वयं सत्य, मार्ग, और जीवन है।

आओ हम निम्नलिखित अंश को देखें: “पर मैं तुम से कहता हूँ कि यहाँ वह है जो मन्दिर से भी बड़ा है। यदि तुम इसका अर्थ जानते, ‘मैं दया से प्रसन्न होता हूँ, बलिदान से नहीं,’ तो तुम निर्दोष को दोषी न ठहराते। मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है” (मत्ती 12:6-8)। यहाँ “मन्दिर” किस का इशारा करता है? आसान शब्दों में कहें तो, “मन्दिर” एक शोभायमान, ऊँची इमारत का इशारा करता है, और व्यवस्था के युग में, मन्दिर परमेश्वर की आराधना हेतु याजकों के लिए एक स्थान था। जब प्रभु यीशु ने कहा, “कि यहाँ वह है जो मन्दिर से भी बड़ा है,” यहाँ “वह” किसकी ओर इशारा करता है? स्पष्ट रूप से “वह” प्रभु यीशु है जो देह में है, क्योंकि केवल वही मन्दिर से बड़ा था। उन वचनों ने लोगों से क्या कहा? उन्होंने लोगों को मन्दिर से बाहर आने के लिए कहा—परमेश्वर पहले ही बाहर आ चुका था और उसमें अब और कार्य नहीं कर रहा था, इसलिए लोगों को मन्दिर के बाहर परमेश्वर के पदचिह्नों को ढूँढ़ना चाहिए और उसके नए कार्य में उसके कदमों का अनुसरण करना चाहिए। प्रभु यीशु मसीह के इस कथन की पृष्ठभूमि यह थी कि व्यवस्था के अधीन, लोग किसी ऐसी चीज़ के रूप में मन्दिर को देखने के लिए आए थे जो स्वयं परमेश्वर से भी बड़ा था। अर्थात्, लोग परमेश्वर की आराधना करने के बजाए मन्दिर की आराधना करते थे, इसलिए प्रभु यीशु मसीह ने उन्हें सावधान किया कि वे मूर्तियों की आराधना न करें, बल्कि परमेश्वर की आराधना करें क्योंकि वह सर्वोच्च है। इसलिए उसने कहाः “मैं दया से प्रसन्न होता हूँ, बलिदान से नहीं।” यह स्पष्ट है कि प्रभु यीशु की नज़रों में, व्यवस्था के अधीन अधिकांश लोग यहोवा की अब और आराधना नही करते थे, बल्कि मात्र बलिदान की प्रक्रिया से होकर जाते थे, और प्रभु यीशु ने निर्धारित किया था कि यह प्रक्रिया मूर्ति पूजा है। इन मूर्ति पूजकों ने मन्दिर को परमेश्वर से अधिक महान और उच्चतर रूप में देखा था। उनके हृदयों में केवल मन्दिर था, न कि परमेश्वर, और यदि वे मन्दिर को खो देते हैं, तो वे अपने निवास स्थान को भी खो देते हैं। मन्दिर के बिना उनके पास आराधना के लिए कोई जगह नहीं थी और वे बलिदानों को कार्यान्वित नहीं कर सकते थे। उनका तथाकथित निवास स्थान वहाँ है जहाँ से वे यहोवा परमेश्वर की आराधना के झण्डे तले संचालन करते थे, जहाँ उन्हें मन्दिर के टिके रहने और अपने स्वयं के क्रियाकलापों को करने की अनुमति दी जाती थी। उनके तथाकथित बलिदानों को चढ़ाना मन्दिर में उनकी सेवा आयोजित करने के बहाने बस उनके स्वयं के व्यक्तिगत शर्मनाक व्यवहारों को कार्यान्वित करने के लिए था। यही वह कारण था कि उस समय लोग मन्दिर को परमेश्वर से भी बड़ा देखते थे। क्योंकि वे मन्दिर को एक आड़ के रूप में, और बलिदानों को लोगों को धोखा देने और परमेश्वर को धोखो देने के लिए एक बहाने के रूप में उपयोग करते थे, इसलिए प्रभु यीशु ने लोगों को चेतावनी देने के लिए ऐसा कहा था। …

आगे, आओ हम पवित्रशास्त्र के इस अंश के इस अन्तिम वाक्य पर एक नज़र डालें: “मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है।” क्या इस वाक्य का कोई व्यावहारिक पक्ष है? क्या तुम लोग इसके व्यावहारिक पक्ष को देख सकते हो? हर एक बात जो परमेश्वर कहता है उसके हृदय से आती है, तो उसने ऐसा क्यों कहा? तुम लोग इसे कैसे समझते हो? हो सकता है तुम लोग इस वाक्य का अर्थ अब समझते हों, परन्तु उस समय बहुत से लोग नही समझते थे क्योंकि मनुष्यजाति बस उसी समय व्यवस्था के युग से बाहर निकली थी। उनके लिए, सब्त से बाहर निकलना एक कठिन बात थी, और सच्चा सब्त क्या होता है इसे समझने का तो ज़िक्र ही मत करो।

यह वाक्य “मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है” लोगों को बताता है कि परमेश्वर का सब कुछ अभौतिक है, और यद्यपि परमेश्वर तुम्हारी सारी भौतिक आवश्यकताओं को प्रदान कर सकता है, फिर भी जब एक बार तुम्हारी भौतिक आवश्यकताएँ पूरी कर दी जाती हैं, तो क्या इन चीज़ों से सन्तुष्टि तुम्हारी सत्य की खोज का स्थान ले सकती है? यह निःसन्देह संभव नहीं है! परमेश्वर का स्वभाव और उसका स्वरूप जिसके बारे में हमने संगति की है दोनों सत्य हैं। इसे भौतिक वस्तुओं की भारी कीमत के साथ भी नहीं तौला जा सकता है और न ही इसके मूल्य की पैसों में मात्रा निर्धारित की जा सकती है, क्योंकि यह कोई भौतिक वस्तु नहीं है, और यह हर एक व्यक्ति के हृदय की आवश्यकताओं की आपूर्ति करता है। प्रत्येक मनुष्य के लिए, इन अमूर्त सच्चाईयों का मूल्य ऐसी किसी भी भौतिक चीज़ से बढ़कर होना चाहिए जिसे तुम अच्छा समझते हो, ठीक है न? यह कथन कुछ ऐसा है जिस पर तुम लोगों को टिके रहने की आवश्यकता है। जो कुछ मैंने कहा है उसका मुख्य बिन्दु यह है कि परमेश्वर का स्वरूप और उसका सब कुछ हर एक व्यक्ति के लिए अति महत्वपूर्ण चीज़ें हैं और इन्हें किसी भौतिक पदार्थ के द्वारा बदला नहीं जा सकता है। मैं तुम्हें एक उदाहरण दूँगाः जब तुम्हें भूख लगती है, तो तुम्हें भोजन की आवश्यकता होती है। यह भोजन सापेक्ष रूप से अच्छा हो सकता है, या सापेक्ष रूप से कमी वाला हो सकता है, किन्तु जब तुम अपना पेट भर लेते हो, तो भूखे होने का वह अप्रिय एहसास अब और नहीं होगा—वह चला जाएगा। तुम वहाँ आराम से बैठ सकते हो, और तुम्हारा शरीर आराम में होगा। लोगों की भूख का भोजन से समाधान किया जा सकता है, किन्तु जब तुम परमेश्वर का अनुसरण करते हो, और तुम्हें यह एहसास होता है कि तुम्हें उसके बारे में कोई समझ नहीं है? तो तुम अपने हृदय के खालीपन का समाधान कैसे करोगे? क्या इसका समाधान भोजन से किया जा सकता है? या जब तुम परमेश्वर का अनुसरण कर रहे हो और उसकी इच्छा तुम्हारी समझ में नहीं आती है, तो तुम अपने हृदय की उस भूख को मिटाने के लिए किस चीज़ का उपयोग कर सकते हो? परमेश्वर के माध्यम से उद्धार के तुम्हारे अनुभव की प्रक्रिया में, अपने स्वभाव में किसी परिवर्तन की खोज करने के दौरान, यदि तुम उसकी इच्छा को नहीं समझते हो या यह नहीं जानते हो कि सत्य क्या है, और यदि तुम परमेश्वर के स्वभाव को नहीं समझते हो, तो क्या तुम बहुत व्याकुलता महसूस नहीं करते हो? क्या तुम अपने हृदय में एक बड़ी भूख और प्यास महसूस नहीं करते हो? क्या ये एहसास तुम्हें तुम्हारे हृदय में शांति महसूस करने से रोकते नहीं हैं? तो कैसे तुम अपने हृदय की उस भूख की क्षतिपूर्ति कर सकते हो—क्या इसका समाधान करने का कोई तरीका है? कुछ लोग खरीददारी करने के लिए बाज़ार चले जाते हैं, कुछ लोग भरोसा करने के लिए मित्रों को ढूँढ़ लेते हैं, कुछ लोग जी भरकर सोते हैं, अन्य लोग परमेश्वर के वचनों को और अधिक पढ़ते हैं, या अपने कर्तव्यों को निभाने के लिए कठिन मेहनत और अधिक प्रयास व्यय करते हैं। क्या ये चीज़े तुम्हारी वास्तविक कठिनाईयों का समाधान कर सकती हैं? तुम लोगों में से सभी इस प्रकार के अभ्यासों को पूर्णत: समझ लो। जब तुम निर्बलता महसूस करते हो, जब तुम परमेश्वर से प्रबुद्धता पाने की दृढ़ इच्छा महसूस करते हो ताकि वह तुम्हें उसकी सच्चाई और उसकी इच्छा की वास्तविकता को जानने की अनुमति दे सके, तो तुम्हें सबसे ज़्यादा किसकी आवश्यकता होती है? तुम्हें जिसकी आवश्यकता होती है वह भरपेट आहार नहीं है, और यह कुछ भले वचन नहीं हैं। उससे बढ़कर, यह देह का क्षणिक आराम और देह की सन्तुष्टि नहीं है—तुम्हें जिसकी आवश्यक है वह है कि परमेश्वर तुम्हें सीधे और स्पष्ट रूप से बताए कि तुम्हें क्या करना चाहिए और तुम्हें इसे कैसे करना करना चाहिए, और तुम्हें स्पष्ट रूप से बताए कि सत्य क्या है। तुम्हारे द्वारा इसे समझ लेने के बाद, भले ही यह थोड़ा सा ही क्यों ना हो, क्या तुम एक अच्छा भोजन कर लेने की तुलना में अपने हृदय में अधिक सन्तुष्टि महसूस नहीं करते हो? जब तुम्हारा हृदय सन्तुष्ट होता है, तो क्या तुम्हारा हृदय, तुम्हारा सम्पूर्ण व्यक्तित्व सच्ची शांति प्राप्त नहीं करता है? इस दृष्टान्त और विश्लेषण के द्वारा, क्या तुम लोगों को अब समझ में आया कि क्यों मैं तुम लोगों के साथ इस वाक्य को साझा करना चाहता था कि, “मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है”? इसका वह अर्थ है जो परमेश्वर से आता है, जो उसका स्वरूप है, और उसका सब कुछ किसी भी अन्य चीज़ से बढ़कर है, जिसमें वह चीज़ या वह व्यक्ति भी शामिल है जिस पर तुमने किसी समय विश्वास किया था और जिसे तुमने सबसे अधिक सँजोया था। अर्थात्, यदि मनुष्य परमेश्वर के मुँह के वचन प्राप्त नहीं कर सकते हैं या वे उसकी इच्छा को नहीं समझते हैं, तो वे शांति प्राप्त नहीं कर सकते हैं। अपने भविष्य के अनुभवों में, तुम लोग समझोगे कि मैं क्यों चाहता था कि आज तुम लोग इस अंश को देखो—यह बहुत महत्वपूर्ण है। सब कुछ जो परमेश्वर करता है वह सत्य और जीवन है। मनुष्य-जाति के लिए सत्य कोई ऐसी चीज़ है जिसकी उनके जीवन में कमी नहीं हो सकती है, जिसके बिना वे कभी कुछ नहीं कर सकते हैं; तुम ऐसा भी कह सकते हो कि यह सबसे बड़ी चीज़ है। यद्यपि तुम उसे देख या उसे छू नहीं सकते हो, फिर भी तुम्हारे लिए उसके महत्व की उपेक्षा नहीं की जा सकती है; यही वह एकमात्र चीज़ है जो तुम्हारे हृदय में शांति ला सकती है।

— “वचन देह में प्रकट होता है” से उद्धृत

स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया

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Ο Θεός λέει:« ... Όταν ο Κύριος Ιησούς έζησε με την ανθρωπότητα, είδε αγρότες να φροντίζουν τα χωράφια τους και ήξερε τι ήταν τα ζιζάνια και το προζύμι· καταλάβαινε πως στους ανθρώπους αρέσουν οι θησαυροί, έτσι χρησιμοποίησε τις μεταφορές του θησαυρού και του μαργαριταριού· συχνά έβλεπε ψαράδες να ρίχνουν τα δίχτυα τους, και ούτω καθεξής. Ο Κύριος Ιησούς είδε τις δραστηριότητες αυτές στις ζωές της ανθρωπότητας, όπως και βίωσε αυτού του είδους τη ζωή. Ήταν όμοιος με κάθε άλλο κανονικό άνθρωπο, βιώνοντας τα τρία γεύματα τη μέρα και την καθημερινότητα της ανθρωπότητας. Βίωσε προσωπικά τη ζωή ενός μέσου ανθρώπου και είδε με τα μάτια Του τις ζωές των άλλων. Όταν είδε με τα μάτια Του και βίωσε προσωπικά όλα αυτά, αυτό που σκέφτηκε δεν ήταν το πώς θα έχει μια καλή ζωή ή πώς θα μπορούσε να ζήσει πιο ελεύθερα, πιο άνετα. Όταν βίωνε μια αυθεντική ανθρώπινη ζωή, ο Κύριος Ιησούς είδε τις κακουχίες στις ζωές των ανθρώπων, είδε τις κακουχίες, την εξαθλίωση και τη θλίψη των ανθρώπων υπό τη διαφθορά του Σατανά, των ανθρώπων που ζούσαν υπό τη σφαίρα επιρροής του Σατανά, που ζούσαν στην αμαρτία. Ενώ βίωνε προσωπικά την ανθρώπινη ζωή, βίωσε επίσης πόσο ανήμποροι ήταν οι άνθρωποι που ζούσαν εν μέσω της διαφθοράς, όπως και είδε και βίωσε την αθλιότητα εκείνων που ζούσαν στην αμαρτία, που ήταν χαμένοι στα βασανιστήρια του Σατανά, του κακού. Όταν τα είδε αυτά ο Κύριος Ιησούς, τα είδε με τη θεϊκή ή με την ανθρώπινη φύση Του; Η ανθρώπινη φύση Του υπήρχε πραγματικά, ήταν ολοζώντανη, έτσι Αυτός μπορούσε να τα βιώνει και να τα βλέπει όλα αυτά, ενώ, φυσικά, τα έβλεπε και στην ουσία Του, στη θεϊκή Του φύση. Δηλαδή, αυτά τα είδε ο Χριστός ο ίδιος, ο Κύριος Ιησούς ο άνθρωπος, και όλα όσα είδε Τον έκαναν να νιώσει τη σημασία και την αναγκαιότητα του έργου που είχε αναλάβει, αυτή τη φορά στη σάρκα.... »

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

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EMERGENCY MOBILE @ warm up for COPENHAGEN ULTRACONTEMPORARY BIENNALE by Thierry Geoffroy / Colonel : Artist

2

3/3/2015 a group of artists exhibited NOW about the NOW as warm up for

COPENHAGEN ULTRACONTEMPORARY BIENNALE

main : copenhagenbiennale.org/

www.facebook.com/CopenhagenBiennale

www.emergencyrooms.org/formats.html

www.emergencyrooms.org/

www.emergencyrooms.org/biennalist.html

--- a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---

check date and place here www.facebook.com/CopenhagenBiennale

meanwhile contemparary art will be shownn by

ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe

ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane

AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo

AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo

ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto

BALOJI, Sammy BARBA, Rosa

BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra

BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian

BONVICINI, Monica BOYCE, Sonia

BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania

BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei

CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany

COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT

DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene

E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun

EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily

FRIEDL, Peter FUSCO, Coco FUSINATO, Marco

GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora

GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina

GULF LABOR GURSKY, Andreas HAACKE, Hans

HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay

HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert

IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya

JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung

KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David

LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim

MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris

MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve

MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar

MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf

OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian

PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE

(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili

RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa

SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi

SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael

SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW

TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala

ALBANIA

Albanian Trilogy: A Series of Devious Stratagems

Armando Lulaj

Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale

ANDORRA

Inner Landscapes

Roqué, Joan Xandri

Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez

Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865

ANGOLA

On Ways of Travelling

António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira

Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810

ARGENTINA

The Uprising of Form

Juan Carlos Diste´fano

Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi

ARMENIA, Republic of

Armenity / Haiyutioun

Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK

Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni

AUSTRALIA

Fiona Hall: Wrong Way Time

Fiona Hall

Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini

AUSTRIA

Heimo Zobernig

Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini

AZERBAIJAN, Republic of

Beyond the Line

Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada

Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949

Vita Vitale

Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie

Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416

BELARUS, Republic of

War Witness Archive

Konstantin Selikhanov

Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145

BELGIUM

Personnes et les autres

Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton

Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini

COSTA RICA

"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".

Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli

Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani

CROATIA

Studies on Shivering: The Third Degree

Damir Ocko

Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina

CUBA

El artista entre la individualidad y el contexto

Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo

Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island

CYPRUS, Republic of

Two Days After Forever

Christodoulos Panayiotou

Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079

CZECH Republic and SLOVAK Republic

Apotheosis

Jirí David

Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini

ECUADOR

Gold Water: Apocalyptic Black Mirrors

Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet

Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701

ESTONIA

NSFW. From the Abyss of History

Jaanus Samma

Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199

EGYPT

CAN YOU SEE

Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud

Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini

FINLAND (Pavilion Alvar Aalto)

Hours, Years, Aeons

IC-98

Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini

FRANCE

revolutions

Céleste Boursier-Mougenot

Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini

GEORGIA

Crawling Border

Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia

Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi

GERMANY

Fabrik

Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini

GREAT BRITAIN

Sarah Lucas

Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini

GRENADA *

Present Nearness

Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi

Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919

GREECE

Why Look at Animals? AGRIMIKÁ.

Maria Papadimitriou

Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini

BRAZIL

So much that it doesn't fit here

Antonio Manuel, André Komatsu, Berna Reale

Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini

CANADA

Canadassimo

BGL

Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini

CHILE

Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld

Paz Errázuriz, Lotty Rosenfeld

Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie

CHINA, People’s Republic of

Other Future

LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station

Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini

GUATEMALA

Sweet Death

Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe

Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani

HOLY SEE

Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi

HUNGARY

Sustainable Identities

Szilárd Cseke

Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini

ICELAND

Christoph Büchel

Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed

INDONESIA, Republic of

Komodo Voyage

Heri Dono

Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale

IRAN

Iranian Highlights

Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai

The Great Game

Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim

Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio

IRAQ

Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879

IRELAND

Adventure: Capital

Sean Lynch

Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie

ISRAEL

Tsibi Geva | Archeology of the Present

Tsibi Geva

Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini

ITALY

Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale

JAPAN

The Key in the Hand

Chiharu Shiota

Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini

KENYA

Creating Identities

Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center

Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island

KOREA, Republic of

The Ways of Folding Space & Flying

MOON Kyungwon & JEON Joonho

Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini

KOSOVO, Republic of

Speculating on the blue

Flaka Haliti

Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie

LATVIA

Armpit

Katrina Neiburga, Andris Eglitis

Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale

LITHUANIA

Museum

Dainius Liškevicius

Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro

LUXEMBOURG, Grand Duchy of

Paradiso Lussemburgo

Filip Markiewicz

Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052

MACEDONIA, Former Yugoslavian Republic of

We are all in this alone

Hristina Ivanoska and Yane Calovski

Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi

MAURITIUS *

From One Citizen You Gather an Idea

Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer

Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252

MEXICO

Possesing Nature

Tania Candiani, Luis Felipe Ortega

Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi

MONGOLIA *

Other Home

Enkhbold Togmidshiirev, Unen Enkh

Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora

MONTENEGRO

,,Ti ricordi Sjecaš li se You Remember "

Aleksandar Duravcevic

Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

MOZAMBIQUE, Republic of *

Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique

Mozambique Artists

Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale

NETHERLANDS, The

herman de vries - to be all ways to be

herman de vries

Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini

NEW ZEALAND

Secret Power

Simon Denny

Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport

NORDIC PAVILION (NORWAY)

Camille Norment

Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini

PERU

Misplaced Ruins

Gilda Mantilla and Raimond Chaves

Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi

PHILIPPINES

Tie a String Around the World

Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz

Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora

POLAND

Halka/Haiti. 18°48’05”N 72°23’01”W

C.T. Jasper, Joanna Malinowska

Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini

PORTUGAL

I Will Be Your Mirror / poems and problems

João Louro

Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano

ROMANIA

Adrian Ghenie: Darwin’s Room

Adrian Ghenie

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini

Inventing the Truth. On Fiction and Reality

Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice

RUSSIA

The Green Pavilion

Irina Nakhova

Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini

SERBIA

United Dead Nations

Ivan Grubanov

Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini

SAN MARINO

Repubblica di San Marino “ Friendship Project “ China

Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini

Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC

SEYCHELLES, Republic of *

A Clockwork Sunset

George Camille, Léon Wilma Loïs Radegonde

Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora

SINGAPORE

Sea State

Charles Lim Yi Yong

Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi

SLOVENIA, Republic of

UTTER / The violent necessity for the embodied presence of hope

JAŠA

Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie

SPAIN

Los Sujetos (The Subjects)

Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí

Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini

SYRIAN ARAB REPUBLIC

Origini della civiltà

Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha

Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island

SWEDEN

Excavation of the Image: Imprint, Shadow, Spectre, Thought

Lina Selander

Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale

SWITZERLAND

Our Product

Pamela Rosenkranz

Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini

THAILAND

Earth, Air, Fire & Water

Kamol Tassananchalee

Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260

TURKEY

Respiro

Sarkis

Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi

TUVALU

Crossing the Tide

Vincent J.F. Huang

Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale

UKRAINE

Hope!

Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin

Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri

UNITED ARAB EMIRATES

1980 – Today: Exhibitions in the United Arab Emirates

Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar

Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi

UNITED STATES OF AMERICA

Joan Jonas: They Come to Us Without a Word

Joan Jonas

Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini

URUGUAY

Global Myopia II (Pencil & Paper)

Marco Maggi

Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini

VENEZUELA, Bolivarian Republic of

Te doy mi palabra (I give you my word)

Argelia Bravo, Félix Molina (Flix)

Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini

ZIMBABWE, Republic of

Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.

Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro

Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta

ITALO-LATIN AMERICAN INSTITUTE

Voces Indígenas

Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale

ARGENTINA

Sofia Medici and Laura Kalauz

PLURINATIONAL STATE OF BOLIVIA

Sonia Falcone and José Laura Yapita

BRAZIL

Adriana Barreto

Paulo Nazareth

CHILE

Rainer Krause

COLOMBIA

León David Cobo,

María Cristina Rincón and Claudia Rodríguez

COSTA RICA

Priscilla Monge

ECUADOR

Fabiano Kueva

EL SALVADOR

Mauricio Kabistan

GUATEMALA

Sandra Monterroso

HAITI

Barbara Prézeau Stephenson

HONDURAS

Leonardo González

PANAMA

Humberto Vélez

NICARAGUA

Raúl Quintanilla

PARAGUAY

Erika Meza

Javier López

PERU

José Huamán Turpo

URUGUAY

Gustavo Tabares

Ellen Slegers

001 Inverso Mundus. AES+F

Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 31st

Organization: VITRARIA Glass + A Museum

www.vitraria.com

www.inversomundus.com

Catalonia in Venice: Singularity

Cantieri Navali, Castello, 40 (Calle Quintavalle)

May 9th - November 22nd

Organization: Institut Ramon Llull

www.llull.cat

venezia2015.llull.cat

Conversion. Recycle Group

Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)

May 6th - October 31st

Organization: Moscow Museum of Modern Art

www.mmoma.ru/

Dansaekhwa

Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)

May 7th – August 15th

Organization: The Boghossian Foundation

www.villaempain.com

Dispossession

Palazzo Donà Brusa, Campo San Polo, 2177

May 9th - November 22nd

Organization: European Capital of Culture Wroclaw 2016

wroclaw2016.pl/biennale/

EM15 presents Doug Fishbone’s Leisure Land Golf

Arsenale Docks, Castello, 40A, 40B, 41C

May 6th - July 26th

Organization: EM15

www.em15venice.co.uk

Eredità e Sperimentazione

Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia

May 9th - November 22nd

Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova

www.bioarchitettura.it

Frontiers Reimagined

Palazzo Grimani, Castello, 4858 (Ramo Grimani)

May 9th - November 22nd

Organization: Tagore Foundation International; Polo museale del Veneto

www.frontiersreimagined.org

Glasstress 2015 Gotika

Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;

May 9th — November 22nd

Organization: The State Hermitage Museum

www.hermitagemuseum.org

Graham Fagen: Scotland + Venice 2015

Palazzo Fontana, Cannaregio, 3829 (Strada Nova)

May 9th - November 22nd

Organization: Scotland + Venice

www.scotlandandvenice.com

Grisha Bruskin. An Archaeologist’s Collection

Former Chiesa di Santa Caterina, Cannaregio, 4941-4942

May 6th – November 22nd

Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia

www.unive.it/csar

Helen Sear, ... The Rest Is Smoke

Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)

May 9th - November 22nd

Organization: Cymru yn Fenis/Wales in Venice

www.walesinvenice.org.uk

Highway to Hell

Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)

May 9th - November 22nd

Organization: Hubei Museum of Art

www.hbmoa.com

Humanistic Nature and Society (Shan-Shui) – An Insight into the Future

Palazzo Faccanon, San Marco, 5016 (Mercerie)

May 7th – August 4th

Organization: Shanghai Himalayas Museum

www.himalayasmuseum.org

In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia

Dorsoduro, 417 (Zattere)

May 6th - November 15th

Organization: ArsCulture

www.arsculture.org/

www.eyeofthunderstorm.com

Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators

Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)

May 9th – June 30th; September 11st – October 31st

Organization: Italian Art Motherboard Foundation (i-AM Foundation)

www.i-amfoundation.org

www.venicebiennale-italiadocet.org

Jaume Plensa: Together

Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore

May 6th – November 22nd

Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus

www.praglia.it

Jenny Holzer "War Paintings"

Museo Correr, San Marco, 52 (Piazza San Marco)

May 6th – November 22nd

Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia

www.writtenartfoundation.com

correr.visitmuve.it

Jump into the Unknown

Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262

May 9th – June 18th

Organization: Nine Dragon Heads

9dh-venice.com

Learn from Masters

Palazzo Bembo, San Marco, 4793 (Riva del Carbon)

May 9th – November 22nd

Organization: Pan Tianshou Foundation

pantianshou.caa.edu.cn/foundation_en

My East is Your West

Palazzo Benzon, San Marco, 3927

May 6th – October 31st

Organization: The Gujral Foundation

www.gujralfoundation.org

Ornamentalism. The Purvitis Prize

Arsenale Nord, Tesa 99

May 9th – November 22nd

Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015

www.purvisabalva.lv/en/ornamentalism

Path and Adventure

Arsenale, Castello, 2126/A (Campo della Tana)

May 9th – November 22nd

Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau

www.iacm.gov.mo

www.mam.gov.mo

www.icm.gov.mo

Patricia Cronin: Shrine for Girls, Venice

Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)

May 9th – November 22nd

Organization: Brooklyn Rail Curatorial Projects

curatorialprojects.brooklynrail.org

Roberto Sebastian Matta. Sculture

Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)

May 9th – November 22nd

Organization: Fondazione Echaurren Salaris

www.fondazioneechaurrensalaris.it

www.maggioregam.com/56Biennale_Matta

Salon Suisse: S.O.S. Dada - The World Is A Mess

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st

Organization: Swiss Arts Council Pro Helvetia

www.prohelvetia.ch

www.biennials.ch

Sean Scully: Land Sea

Palazzo Falier, San Marco, 2906

May 9th – November 22nd

Organization: Fondazione Volume!

www.fondazionevolume.com

Sepphoris. Alessandro Valeri

Molino Stucky, interior atrium, Giudecca, 812

May 9th – November 22nd

Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin

www.sepphorisproject.org

Tesla Revisited

Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 18th

Organization: VITRARIA Glass + A Museum

www.vitraria.com/

The Bridges of Graffiti

Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)

May 9th - November 22nd

Organization: Associazione Culturale Inossidabile

www.inossidabileac.com

The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice

Palazzo Tiepolo Passi, San Polo, 2774

May 6th - November 22nd

Organization: Fundaciò Artigas; ArsCulture

www.fundacio-artigas.com/

www.arsculture.org/

www.dialogueoffire.org

The Question of Beings

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)

www.mocataipei.org.tw

The Revenge of the Common Place

Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)

May 9th – September 30th

Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)

www.vub.ac.be/

The Silver Lining. Contemporary Art from Liechtenstein and other Microstates

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

October 24th – November 1st

Organization: Kunstmuseum Liechtenstein

www.kunstmuseum.li

www.silverlining.li

The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno

Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)

May 7th - November 22nd

Organization: ArsCulture

www.arsculture.org/

The Union of Fire and Water

Palazzo Barbaro, San Marco, 2840

May 9th - November 22nd

Organization: YARAT Contemporary Art Organisation

www.yarat.az

www.bakuvenice2015.com

Thirty Light Years - Theatre of Chinese Art

Palazzo Rossini, San Marco, 4013 (Campo Manin)

May 9th - November 22nd

Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art

www.globalartcenter.org

www.gdmoa.org

Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice

Arsenale, Castello, 2126 (Campo della Tana)

May 9th - November 22nd

Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council

www.westkowloon.hk/en/mplus

www.hkadc.org.hk

www.venicebiennale.hk

Under the Surface, Newfoundland and Labrador at Venice

Galleria Ca' Rezzonico, Dorsoduro, 2793

May 9th - November 22nd

Organization: Terra Nova Art Foundation

tnaf.ca

Ursula von Rydingsvard

Giardino della Marinaressa, Castello (Riva dei Sette Martiri)

May 6th - November 22nd

Organization:Yorkshire Sculpture Park

www.ysp.co.uk

We Must Risk Delight: Twenty Artists from Los Angeles

Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)

May 7th - November 22nd

Organization: bardoLA

www.bardoLA.org

Wu Tien-Chang: Never Say Goodbye

Palazzo delle Prigioni, Castello, 4209 (San Marco)

May 9th - November 22nd

Organization: Taipei Fine Arts Museum of Taiwan

www.tfam.museum

Xanadu

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Dream Amsterdam Foundation

www.dreamamsterdam.nl

www.nikunja.org/xanadu

Universities and Associations that have joined the project

Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna

Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena

Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale

Bice Curiger Massimiliano Gioni

A Parliament for a Biennale

Paolo Baratta, President of la Biennale di Venezia

Okwui Enwezor the ARENA Karl Marx’s Das Kapital

Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara

Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial

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

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

Puji Tuhan dengan Sepenuh Hati by Lisa Aggie

3

Lagu Pujian dan Penyembahan 2019 - Puji Tuhan dengan Sepenuh Hati 🎧🎧🎧

Kita berkumpul, makan, minum, nikmati

firman Tuhan, t'rima karya Roh Kudus.

Ⅰ

Kita pikirkan Dia, doa, bersekutu,

kita merenungkan, mencari Tuhan.

Hidup dalam firman,

lihat keindahan-Nya.

kebenaran bebaskan kita.

Hidup gereja menakjubkan.

Kita menyanyi, menari puji Tuhan.

Tiada aturan dalam pujian kita.

Pujian tulus buat sukacita.

Bahagia dalam hadirat Tuhan,

kita cintai, taati Dia s'lamanya.

Lihat penyelamatan Tuhan,

kita puji Dia sepenuh hati.

Kita bers'kutu,

dapatkan karya Roh Kudus,

bagi p'ngalaman,

hidup kita bertumbuh.

Ⅱ

Kita s'mua umat kerajaan Tuhan,

dan punya hati yang kasihi Dia.

Satu hati lakukan tugas,

lihat berkat, kepemimpinan-Nya.

Kita disucikan, lihat Tuhan b'nar.

Kita buang kerusakan kita.

Kita hidup s'bagai manusia jujur.

Menyembah Tuhan dalam roh dan kebenaran.

Bahagia dalam hadirat Tuhan,

kita cintai, taati Dia s'lamanya.

Lihat penyelamatan Tuhan,

kita puji Dia sepenuh hati.

Saudara, saudari berkumpul,

kita lewati suka dan duka.

Ⅲ

P'nindasan atas keagamaan keji,

kita d'rita penganiayaan.

Tiada yang goncang tekad kita.

Ini kar'na tuntunan firman Tuhan.

Harga mahal yang t'lah Dia bayar

'tuk kes'lamatan kita tak t'rukur.

Tuhan di antara kita 'tuk membimbing.

Hidup ini sungguh berharga.

Bahagia dalam hadirat Tuhan,

kita cintai, taati Dia s'lamanya.

Lihat penyelamatan Tuhan,

kita puji Dia sepenuh hati.

Bahagia dalam hadirat Tuhan,

kita cintai, taati Dia s'lamanya.

Lihat penyelamatan Tuhan,

kita puji Dia sepenuh hati,

kita puji Dia sepenuh hati.

Rekomendasi：Rekomendasikan untuk menonton lebih banyak video tentang Lagu Rohani Kristen Terbaru 2019

Arnold Arboretum, 18 May 2010: Orange blossoms on a tree at the foot of Bussey Hill by Chris Devers

3

The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.

Pasting from Wikipedia: Arnold Arboretum:

• • • • •

The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.

History

The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).

In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.

Sixteen years after Bussey's death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "...the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs ... either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.

Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.

Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.

Status

The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.

Location

The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.

Hours

The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor's Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.

Area

Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.

Climate

Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July's mean temperature is 73.5 °F (23 °C); January's is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).

Collections (as of September 14, 2007)

At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.

Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.

Collections policy

The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.

Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.

As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.

For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.

Research

Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum's education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives

Plant Records

Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.

Grounds Maintenance

The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).

Nursery and Greenhouse Facilities

The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.

Isabella Welles Hunnewell Internship Program

The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.

As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.

Horticultural Apprenticeship

The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum's living collections to individuals interested in pursuing a career in an arboretum or botanical garden.

The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.

Lilac Sunday

The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:

Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]

Associated Collections

The Arboretum's herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.

Publications

The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.

Institutional Collaborations

The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).

See also

Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson

The Case Estates of the Arnold Arboretum

List of botanical gardens in the United States

North American Plant Collections Consortium

Adams-Nervine_Asylum

External links

Arnold Arboretum Official Website

Arnold Arboretum Visitor Information

Harvard University Herbaria

American Public Gardens Association (APGA)

Flora of China

Virtual Information Access (VIA) Catalog of visual resources at Harvard University.

Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)

Boston's Arnold Arboretum: A Place for Study and Recreation, a National Park Service Teaching with Historic Places (TwHP) lesson plan

The Emerald Necklace: Boston's Green Connection, a National Park Service Teaching with Historic Places (TwHP) lesson plan

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2

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