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Shibu Onsen is a historic and attractive hot spring town in Yamanouchi, which has retained a traditional atmosphere. Nestled in a small valley, Shibu Onsen is spread out on a gentle slope beside the Yokoyugawa River, with Yudanaka Onsen located below and the Jigokudani Monkey Park above.

 

During its long history, the area has been visited for its hot spring water by a lot of people, including priests, samurai and poets. Some of the ryokan (Japanese style inns) that line Shibu's narrow streets, date back over 400 years, adding greatly to Shibu's atmosphere. Guests of the ryokan are encouraged to take a stroll around town in the traditional onsen clothing of yukata robes and geta sandals.

 

One incentive to walk around the town is to make use of the public bath houses, of which there are nine. The public baths are locked and, except for one, only accessible to locals and overnight guests, who are provided with a master key by their ryokan. The bath houses are small buildings, divided into a women's side and a men's side, and the baths themselves are quite simple. The bath houses are numbered, but also have special names and cure different ailments. Source: www.japan-guide.com

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Yamanouchi is a municipality in northern Nagano Prefecture with a variety of tourist attractions. The area's Jigokudani Monkey Park draws many visitors because of its unique wild monkeys, who bathe in the park's natural hot springs. The monkeys are not the only ones enjoying the water, as the nearby towns of Shibu Onsen and Yudanaka Onsen are centered around the bathing experience.

 

The largest ski resort in Japan, Shiga Kogen, is also located within Yamanouchi. One single ticket gives skiers and snowboarders access to dozens of runs, some of which hosted events during the 1998 Nagano Winter Olympics. Shiga Kogen and other parts of Yamanouchi are part of the Joshinetsu Kogen National Park, which offers hiking and other outdoor activities when there is no snow on the hills. Source: www.japan-guide.com

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

 

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

 

NOTES

 

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

 

REFERENCES

 

R. Minutolo 2024: Battle of Pelennor Fields.

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

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

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

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

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

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

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

B. Bates 2002: The real Middle-earth.

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

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

 

Quenta Silmarillion EldalambenenEagles in Middle-earthWHL0137-LSonomasticsnomix.it

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

 

www.andynoise.com/fallbtchalf08.html

 

Place Name Time Pace Div/Tot Sex/Tot Div

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549

137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319

138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529

139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529

140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044

141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054

142 carol montez 2:29:10 11:24 7/12 52/73 F4549

143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549

144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529

145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529

146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044

147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549

148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099

149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559

150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549

152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054

153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044

154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559

155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034

156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044

157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044

158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034

159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044

160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529

161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549

162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024

163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559

164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054

165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539

166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054

167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549

168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034

169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034

170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034

171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539

 

©2008 Bakersfield Track Club

 

[for the full Inauguration story, visit my blog]

 

Emerging into the lower levels of Union Station's Metro stop, the only way to go was outside – all the direct accesses into the main part of the station were closed off. So I went outside and hooked left to head up to the main entrance. A large crowd was amassed here full of would-be train riders – some destined for Amtrak, some for MARC, some for VRE, and others trying to get to Metro. Police officers walked the banisters calling out information.

 

It was a bit aggravating as people tried to figure out where which groups were supposed to go. It ultimately ended up that Amtrak went one way and MARC / VRE went another way. Metro folks were out of luck: this station was exit-only and was closed to people trying to get on. It was a bit crazy at first just trying to figure out which mass of people I was supposed to be standing in... and we were all trying to figure that out together. Once we started getting into the right groups, one of the officers led the MARC group in a chant: "MARC! MARC! MARC!" to get other would-be riders to take heed.

 

There was one slip-up where a guy carrying large signs reading “MARC” with an upward-pointing arrow went walking away from the crowd… and like chasing after the Pied Piper, I and many other would-be MARC riders followed. It was when he kept walking away from the train station and stopped to chat with some police officers when I inquired whether we were supposed to be following the sign, or if he was just moving it about. It was the latter… I really didn’t quite expect that answer, but I was glad I asked.

 

This event was a blessing in disguise. Seconds later, they started letting some people into the station (the officers were metering entering traffic so it didn’t get too crowded). With me approaching at a different angle, a police car and porta-potty formed a pick and I had almost a clear shot into the now-moving crowd. In all I waited perhaps 10 minutes to get inside, and then another 10 minutes or so inside. It wasn’t bad – I generally felt like I was moving most of that time. With much of the day gone by, the crowd itself was still in good spirits, and almost every person thanked & praised the police staff & volunteers.

 

Rightly so. Considering the pressure of maintaining security, controlling crowds, and offering directions – all at the same time – I’d say that they really did do a stellar job (except for that hiccup when I first arrived that morning). The force could’ve used some more officers and volunteers to provide & reiterate information, as it was often difficult to hear instructions over the wail of the crowd. Additionally, I found that the volunteers tended to be a bit lacking in information… I suspect they were trained moreso in maintaining their specific locations and duties than offering directions, and I’m sure many came from areas far beyond DC.

 

It would have also been immensely useful had there been better maps available. WMATA, which runs the Metro services, has an excellent base map, but all they did with it was plot a couple concentric circles to show how far things were – 1 mile, 2 miles, 3 miles. All the other maps coming from the Inauguration Committee or the District were absolutely useless, often so cluttered with information in a jack-of-all-trades map that they became inundated with too much information. Some of the news stations prepared their own maps, but the informal Google Maps mashups just didn’t cut it for the level of detail that was needed. I hope that next time the District and committees make use of WMATA’s map as a base and then tailor-make several maps geared toward specific audiences.

 

The lines moved more quickly thanks to the fact that the officers & volunteers were just putting people on trains... any trains... You got separated out by Amtrak, VRE, MARC Penn Line, and then MARC Brunswick / Camden Lines. After that, you just boarded whatever train was waiting... didn't matter what train your ticket was for, so long as you were going in the right direction.

Biennalist

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

  

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

  

www.emergencyrooms.org/formats.html

  

www.colonel.dk/

  

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi

 

faizakhalida.blogspot.com.br/2008/09/denncia-annima-finan...

 

Na primeira reunião, no início de 2008, com os professores, a reunião de PLANEJAMENTO 2008, o professor Paulo me dava recados diretamente, fazia deboches, chacotas, risos, e repetidamente durante a reunião me perguntava se eu conhecia o funcionário de cor escura, negro, da Secretaria de Segurança de Belford Roxo porque ele era matador. O professor Paulo me dizia que à noite esse funcionário cantava com voz fina de TETÊ ESPÍNDOLA a música "VOCÊ PRA MIM FOI O SOL DE UMA NOITE SEM FIM". Dizia repetidamente para mim que ele era matador. Que ele fazia os serviços (assassinatos) na área do PANTANAL em Duque de Caxias, e, fora do trabalho ele matava pessoas. E insistentemente me perguntava novamente se eu conhecia esse matador. Eu já me encontrava muito abalada porque inclusive eu acreditava realmente que eu iria morrer depois que a orientadora pedagógica Maria da Conceição da Silva Pereira (Conceição) me chamou na sala dela na escola onde eu lecionava e me disse que eu ía tomar um tiro. Eu acreditava que estava marcada para ser assassinada.

  

FOTO: orientadora pedagógica Conceição

 

(Maria da Conceição da Silva Pereira)

  

Depois que a orientadora Conceição (Maria da Conceição da Silva Pereira) me ameaçou de morte na escola, eu passei a temer estar dentro da Escola Municipal Jorge Ayres de Lima. Tinha dias que eu não conseguia entrar na escola. Em um dia, a coordenadora da tarde da Escola Municipal Julio César de Andrade Gonçalves e que já tinha sido inspetora de alunos da tarde da escola municipal Jorge Ayres de Lima, a Joelma, me viu parada na frente da escola chorando não conseguindo entrar para trabalhar. Ela mesma me ajudou a entrar nesse dia na escola, me colocou na sala dos professores e ficou um tempo comigo lá antes de ir embora conversando com a coordenadora Cássia dizendo que eu não estava bem. Tinha dias também que eu não conseguia pegar o ônibus para ir trabalhar e tinha dias que não conseguia sair de casa. Sentia sempre o perigo e o pavor no meu percurso para trabalhar na escola. Percebia que poderia morrer a qualquer momento e que isso poderia ser ao virar de uma esquina.

  

DECLARAÇÃO MÉDICA

 

20/08/2007

 

A Sra. FAIZA KHÁLIDA FAGUNDES COUTINHO apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos, insônia, ansiedade, cefaleias frequentes e dificuldades para cumprir suas tarefas no trabalho.

 

20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

A primeira vez que eu fui ameaçada de morte no meu trabalho como professora efetiva da rede municipal de Belford Roxo foi em 2002, na SEMED, Secretaria Municipal de Educação, dentro de uma sala fechada, pela Subsecretária de Educação Rosângela Maria Gonçalves de Oliveira que me disse que se eu não fizesse tudo o que ela estava me mandando fazer que ela me matava e acabava com a minha vida.

  

FOTO: subsecretária de educação

 

Rosângela Maria Gonçalves de Oliveira

  

Em 2002 também um amigo professor de Geografia que tentou me defender desse assédio moral e homofobia da Subsecretária de Educação Rosângela Maria e da diretora municipal de Belford Roxo Vera Lúcia Castelar, na época gestora da Escola Municipal São Bento, foi assassinado, segundo informação, com diversos tiros no rosto. Então quando esses professores da Escola Municipal Jorge Ayres de Lima faziam essa pressão psicológica, inclusive me falando sobre matadores, mortes, se eu estava ciente disso, me perguntando o que ocorreria se eu fosse assassinada, se haveria alguma retaliação dos matadores de onde eu moro, todas essas conversas me abalavam ainda mais psicologicamente.

  

FOTO: diretora Vera Lúcia Castelar (mat. 53165)

  

Eu comecei a sentir DEPRESSÃO PROFUNDA por causa do trabalho mesmo em 2002, após a ameaça de morte da Subsecretária de Educação do Município Rosângela Maria Gonçalves de Oliveira. Ela me ordenou que eu ficasse quieta em casa e não tivesse contato com ninguém. Eu ficava em DEPRESSÃO PROFUNDA no meu quarto. Mas foi só no ano seguinte em 10 de julho de 2003 que eu consegui pedir ajuda MÉDICA quando estive na Emergência do Centro Psiquiátrico do Rio de Janeiro começando a fazer uso de medicação psicotrópica.

  

FORMULÁRIO DE EMERGÊNCIA DO CENTRO PSIQUIÁTRICO CONSTA DE DIVERSOS PROCESSOS ADMINISTRATIVOS DE 2003

 

O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Desde o ano de 2003 então eu passei a usar e a depender de medicação psicotrópica para conseguir trabalhar, eu trabalhava à base de remédios.

  

Medicamento / remédio psiquiátrico DIAZEPAM prescrito no Centro Psiquiatrico do Rio de Janeiro para a professora transexual Faiza Khálida em 10 de julho de 2003 após depressão profunda causada por discriminação no trabalho na educação de Belford Roxo de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

RECEITUÁRIO DE CONTROLE ESPECIAL CENTRO PSIQUIÁTRICO RIO DE JANEIRO PRESCRIÇÃO AMITRIPTILINA 10/07/03. OS PRIMEIROS TRATAMENTOS PSICOLÓGICOS APÓS VIVÊNCIAS TRAUMÁTICAS NO TRABALHO e INÍCIO DO USO DE MEDICAMENTOS PSICOTRÓPICOS PARA CONSEGUIR TRABALHAR. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

RECEITUÁRIO DE CONTROLE ESPECIAL PASSADO PELA MÉDICA PSIQUIATRA TÉCNICA DO CAPS DE DUQUE DE CAXIAS - MEDICAMENTO PARA DEPRESSÃO (17/07/2003) Professora transexual de Belford Roxo Faiza Khálida após relato de tratamento discriminatório no trabalho. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Nesse ano, em 2003, eu relatei para a Prefeitura Municipal de Belford Roxo, em processo que eu precisava de ajuda médica e psicológica e pedi , pelo amor de Deus, por Jesus Cristo, que a Prefeitura Municipal de Belford Roxo custeasse e promovesse um tratamento para mim.

  

PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Na Escola Municipal São Bento, as pessoas entravam dentro da escola, me jogavam coisas e me ofendiam enquanto eu estava dando aula para os alunos. As pessoas me jogavam coisas pelos buracos das paredes das salas de aula, xingavam, diziam e gritavam palavras homofóbicas para mim. Era chamada de viadinho e me colocavam apelido. A diretora Vera Lúcia Castelar não tomava providência, quando via, virava as costas para a situação e, quando eu pedia a ela providência e posicionamento, ela me dizia que aquilo acontecia porque eu tinha esse jeito de ser. Eu ouvia risos, chacotas, escárnios mesmo durante o meu deslocamento dentro da escola e até sobre o modo como eu andava.

  

Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

A Subsecretária de Educação Rosângela Maria Gonçalves de Oliveira e a diretora Vera Lúcia Castelar não me aceitavam mais na Escola Municipal São Bento. Como a Subsecretária de Educação Rosângela Maria não conseguiu me demitir porque 8 supervisores Educacionais enviados por ela para a escola não permitiram, ela tentou que eu fosse trabalhar no lugar onde seria o fim do mundo para mim, ou seja, no lugar onde fosse mais longe, onde eu demorasse mais para chegar, tivesse o pior acesso e onde eu teria de pegar mais conduções que na opinião dela era Nova Aurora. Mas a Subsecretária de Educação Rosângela Maria também não conseguiu me mandar para lá também porque a professora que teria que sair de lá não quis. Assim, ela decidiu me mandar para a Escola Municipal Jorge Ayres de Lima porque tinha um professor chamado "André Aza" que era gay e penava perdendo o senso e o controle de si mesmo em diversas situações antes de ser assassinado.

  

Quando eu entrei na escola municipal Jorge Ayres de Lima, o futuro diretor José Carlos Neto Filho, que na época era um dos professores que eram sempre beneficiados com a distribuição e o recebimento do pagamento de dobras, aulas extras, já me tratava com discriminação. Não tinha educação nem ética profissional, fazia chacotas, deboches e brincadeiras homofóbicas. Não me respeitava nem na frente dos alunos.

  

PROCESSO 04/3977/06

 

"Esse diretor já me fez passar por inúmeros constrangimentos sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido".

 

FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Não era só comigo. Havia outro professor chamado Irani, de Educação Física, que ele falava muito mal por trás debochando, ridicularizando e menosprezando como se ele fosse homossexual e quando se tornou diretor, o mandou embora. Ele também debochava de aluno homossexual e passava a mão na perna de aluna da escola, mas os outros professores que também eram favorecidos com recebimento de salários de dobras como os professores Luis Pedreti (de matemática), Paulo e Fernando, participantes das situações de escárnios, ajudavam a enrolar a mãe da aluna abusada sexualmente abafando este e outros casos graves que ocorriam, como homofobia e racismo. Um protegia o outro das reclamações dos alunos e pais de maus-tratos, assédios, homofobia e racismo cometidos por eles na escola.

  

Existem

 

"Existem quem pouco se importa

 

com o sentimento das pessoas

 

Existem aqueles que não têm amor pelo ser humano

 

Existe a pobreza de espírito

 

Existe quem planta espinhos

 

Existe quem usa de violência pela violência"

  

Os professores Luis Pedreti e Fernando ficavam me falando que tem que ter um poder paralelo se não vira bagunça. Que isso é necessário na sociedade. Que tem que ter os marginais para botar ordem. O professor Luis Pedreti de matemática também me perguntava se haveria retaliação dos marginais da minha localidade caso eu fosse assassinada por alguém de lá, o que aconteceria depois se acontecesse isso comigo. Essas conversas me deixavam apavorada. Eu passei a relatar na internet coisas que eu sentia. Eu sentia e acreditava que iria morrer. O professor Luís Pedreti do grupo de professores beneficiado com dobras, aulas extras me dizia que ele era amigo de hacker e que ele poderia saber a senha do meu orkut e dos meus blogs onde eu escrevia.

  

2006

 

"Preciso ser respeitada em meus direitos como pessoa e funcionária pública"

 

Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Dentro da escola e na sala dos professores eu ficava com esses professores o tempo todo me fazendo pressão. Eles falavam alto, falavam o tempo todo chamando a atenção, falavam todos juntos quando era o caso, chegavam a gritar, para mim era muito perturbador. Quando eu chegava na sala dos professores e ela estava vazia, eu percebia que imediatamente eles largavam as turmas deles e íam ficar na sala dos professores me fazendo pressão emocional e psicológica.

  

"Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio".

 

Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Eu escutava que eu não deveria ser professora. Que eu deveria trabalhar fazendo shows em boates gays ao invés de dar aulas. Era realizado reuniões e abaixo-assinado para eu sair da escola. Relatório, reunião e ocorrência eram feitos para a promoção de inquérito e punição disciplinar. Escutava sobre o comportamento de mulheres lésbicas que não tinham vergonha de "agredir a sociedade" e beijar uma outra mulher em um ambiente público. Debochavam de personalidades LGBTs. Me traziam alunos homossexuais da escola municipal Jorge Ayres de Lima e humilhavam os alunos na minha frente, faziam coisas que me deixavam revoltada. Era proibida de dar aula para determinada turma da escola que me aceitava bem e testemunhava em meu favor no meu trabalho. Parecia que o que eles queriam era que eu me exaltasse, depois me indispusesse, ficasse nervosa, perdesse o controle e o estado emocional porque as conversas e situações íam sempre nesse objetivo.

  

IEDE

Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho".

 

Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Eu não conseguia ir a Belford Roxo, achava que todos estavam contra mim. Achava que todos estavam unidos para me prejudicar e me agredir. Que eu era perseguida por toda a organização da Prefeitura Municipal de Belford Roxo, os seus funcionários e que eu estava marcada para morrer. Meu estado de saúde mental evoluiu para um estado preocupante. Em maio de 2008, quando eu iniciei o tratamento com a médica psiquiátrica, eu me apresentava muito DEPRIMIDA e ANSIOSA e tinha MEDO de sofrer agressão. Além disso eu estava, NERVOSA, APÁTICA, DESMOTIVADA. Eu sentia que era PERSEGUIDA PELOS COLEGAS DE TRABALHO. A médica atestou que eu FALTAVA porque eu estava DOENTE e as faltas haviam ocorrido por essa JUSTIFICATIVA.

  

(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo , matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)

  

Bendito é o preciosíssimo sangue do Senhor Jesus

  

Jesus é o caminho

 

Louvado o Senhor Jesus Cristo para sempre.

  

1- Secretaria de Educação e Procuradoria Municipal de Belford Roxo me puniram por escrever nos diários de classe que tinha fortes dores de cabeça na escola e que a escola para mim era um lugar de traumas emocionais e profissionais.

  

2- Havia descaso com meu estado psicológico e mental.

  

3- Procuradores de Belford Roxo não levavam em conta meu estado mental.

  

4- A perturbação mental começou em 2002 quando fui ameaçada de ruína e morte pela subsecretária de educação de Belford Roxo após anos sofrendo homofobia em escola municipal.

  

5- Nova ameaça de morte em escola em 2007 piorou meu quadro psicológico e mental.

  

6- Roubo dos meus 2 aparelhos portáteis que eu utilizava para dar aulas contribuiu para meu estado de abatimento, desânimo, desmotivação e depressão.

  

7- Relatório técnico sobre meu desempenho em 2002 me trouxe danos profissionais e pessoais.

  

8- Primeira parte - sobre danos gerados pelo relatório técnico de 2002.

  

9- Segunda parte - sobre danos gerados por relatório técnico de 2002.

  

10- Procurador de Belford Roxo LORIVAL ALMEIDA DE OLIVEIRA mentiu dizendo que eu havia recebido cópia de processo para ter como me defender. Na ESCOLA MUNICIPAL JORGE AYRES DE LIMA não me deram cópia de nada e de nenhum processo. Não me deixaram ler o processo ou tirar cópia dele.

  

11- Orientadora se mobilizava para me tirar de escola municipal de Belford Roxo e me prejudicava, exclusão e isolamento.

  

12- Em 2009, o subsecretário municipal de Educação de Belford Roxo Miguel de Sousa Ramiro que prometeu mandar a minha frequência pelo período coberto pelo LAUDO MÉDICO PSIQUIÁTRICO, 2 semanas depois disse para mim que havia esquecido de tudo inclusive do MEU LAUDO MÉDICO mediante a pressão do supervisor educacional, consultor e assessor jurídico Jorge Silva (mat. 54368). OFÍCIOS REFERENTES A MIM FORAM EXTRAVIADOS NA SEMED (secretaria municipal de educação de Belford Roxo).

  

13- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.

  

14- 2002 foi o ano em que pela primeira vez eu senti que havia ficado doente por causa do trabalho.

  

15- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.

  

16- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.

  

17- Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento.

  

Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

18- Em processo administrativo de 2003 arquivado pela PROCURADORIA eu pedi socorro e registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo sintomas psiquiátricos pedindo em nome do Senhor Jesus Cristo ajuda médica e psicológica ".

  

PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

19- O PROCESSO ADMINISTRATIVO DA PREFEITURA MUNICIPAL DE BELFORD ROXO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade.

  

Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

20- Processo Administrativo 04/001497/03 - Data 04/06/2003 - HOMOFOBIA - " Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professora não aguentei. Fui humilhada muitas vezes. Me disseram que eu teria de ser perfeita se quisesse continuar a ser professora ".

  

Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

21- A falta de aceitação social, intolerância, maldade e preconceito me causavam sofrimento.

  

REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

22- Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 - Esse diretor já me fez passar por inúmeros constrangimentos sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade que não diz respeito a ele. Esse diretor proibiu até onde pôde de assinar o meu nome Faiza Khálida no ponto da escola e inclusive me proibia de trabalhar usando saia ou vestido outra situação ridícula e fica debochando da foto em meus assentos funcionais que se encontra na SEMED.

  

FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

23- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.

  

Registro de ocorrência na Delegacia de Polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da prefeitura municipal. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Segunda parte do registro de ocorrência na delegacia de polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da Prefeitura Municipal de Duque de Caxias. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

24- Meu estado psicológico e mental era ignorado como se me ver mal e transtornada fosse justamente o que se desejasse.

  

20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

25- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transgêneros, travestis e transexuais.

  

Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Procurador Municipal e Presidente da Comissão Permanente de Inquérito Administrativo José Domingos Lucena (mat 11/20.972) diz no processo 04/002743/03 em 24/10/2005 que a professora Leila Bonine deve ser convidada a ler a lei antidiscriminatória from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

26- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.

  

Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

27- Em 1/10/2005 o Jornal O DIA informava na sua reportagem que eu havia começado a tomar hormônios em 2002 e a fazer procedimentos como o laser, que eu enfrentava um processo transexualizador e que eu necessitava inclusive da adequação burocrática e administrativa. O jornal O DIA também informava que eu fazia acompanhamento com psicólogos e tomava remédios como calmantes e antidepressivos por determinação médica.

  

Por que me julgas se desconheces o que sofro?

Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)

In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .

He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "

www.emergencyrooms.org/biennalist.html .

at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum

www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

 

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

 

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Encyclopedic Palace is curated by Massimiliano Gioni

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

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

---------------------------------------------------------------------- -

in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?

цокольный сайдинг цена на sotdel.ru/sajding-cokolnyj-nailite.html Цокольный #сайдинг #sotdel в продаже 74 вида товаров. Доставка по Москве и регионам. www.facebook.com/Sotdel/photos/a.1094493913917449.1073741...

 

www.sotdel.ru

 

Продажа стройматериалов для внешней и внутренней отделки. Прайс-листы. Возможность онлайн-заказа продукции. Сведения о скидках и акциях.

 

Сухие смеси для ремонта www.sotdel.ru/suhie-stroitelnye-smesi/

 

Кухонный фартук www.sotdel.ru/fartuk-dlya-kuhni.html

 

Пиломатериалы для дома www.sotdel.ru/fartuk-dlya-kuhni.html

 

Кровельные материалы www.sotdel.ru/krovelnye_materialy.html

 

Москва ул. Верхние Поля, 48а

 

пн–пт 09:00–18:00; сб 09:00–15:00

 

+7 (495) 258-62-08

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

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

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

  

Description

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

 

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

 

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

 

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

 

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

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

 

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

 

FASHION SHOW BY "LIVE FAST" NYC

 

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

 

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

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

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

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

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

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

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

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

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

<a href="https://en.wikipedia.org/wiki/El_Paso,_Texas" El Paso, TX, est. 1873, pop. (2015) 679,000 • Ciudad Juarez, Chihuahua, Mexico, est. 1659, pop. 1.4MM) • El Paso-Juárez Metropolitan Area, pop. 2.7 MM • Life on the Line, NY Times Magazine

 

Marker: "Hotel Cortez. Alzina DeGroff bought the Vendome Hotel at this site in 1899, renaming it hotel Orndorff after her first husband. Noted architect Henry C. Trost designed a new building for her, which opened in 1926. Renamed Hotel Cortez in 1935, this brick structure reflects a Spanish eclectic style, featuring prominent cast-relief, terra cotta detailing with busts of conquistadors. Guests included President John F. Kennedy, who stayed here in 1963. The hotel closed in 1970. It was converted into offices in 1984, and the first and 10th floors were historically restored."

 

• the lot now occupied by the Cortez Building was purchased in 1881 by Massachusetts-born Francis A. Parker (1827-1920), El Paso's first resident photographer [photos] • aka Francis Parker, F. Parker & erroneously, Francis F. Parker, Francis W. Parker • tore down existing adobes on the lot to erect a building for his studio & home, completed in 1883 • unused rooms became a bording house, known locally as the "Parker House" • he also let commercial space on the ground floor

 

• Francis wasn't the only member of the Parker family who chose photography • during the Civil War his brother, Joseph Chamberland Parker (1834-1910), opened a photo gallery (studio) in Pekin, IL, which operated from 1862 to 1872 • Francis owned galleries in Los Angeles in the late 1860s to early 1870s & later, with Joseph, in San Francisco, 1871-1873

 

• bought out by his brother, Francis moved back to LA • established Parker & Co. • from 1877 to 1880 the "genial photographer" operated a gallery at the Downey Block, No. 65 Main St. • by the end of 1880 he had moved once again, establishing residence in Tombstone, Arizona Territory • thus, he was a well-traveled veteran photographer when, in 1881 at age 54, he arrived in El Paso

 

• while Francis was establishing himself in EP, Joseph worked out of San Diego, remaining there from 1873 to 1889 • formed a partnership — Parker & Parker — with his son, Wallace Brown (W.B.) Parker (b. 1861) • briefly moved to Yuma, Arizona in 1884, then settled in Tucson c. 1900 - 1910 before making his final move to LA • all of the Parkers were known not only for their images of the Old West, but also for their fondness of stereoscopyJoseph C. Parker in Northern Arizona, Taylor & Francis Online

 

• in 1885, Francis replaced Parker House with a new hotel — the Vendome — & 5 yrs. later added 42 rooms • among the early guests were Joseph Pulitzer, publisher of the NY World & St. Louis Post Dispatch, and a 5'3", 100 lb. Bostonian who was one of the hottest celebrities of the day...

 

"Armed with only a [pearl handled, 38 calibre] revolver, a change of undergarments and a bicycle, Annie Londonderry embarks on an epic around-the-world adventure in 1894..." —The Renegade Rider of 1894, Narratively

 

• Annie Cohen Kopchovsky (1870-1947), a Jewish immigrant from Latvia better known as Annie Londonderry [photo], was the first woman to cycle around the world (1894-1895) • the trip was reportedly the result of a wager: to win $10,000, Annie was required to 1) circle the earth by bicycle 2) cover at least 10,000 miles in 15 months or less & 3) earn at least $5,000 ($125,000 in 2016 dollars) during the journey

 

• the 24 year old mother of three struck a deal with Nashua New Hampshire's Londonderry Lithia Spring Water Co. to affix the sponsor's placard to her bike & change her name to Annie Londonderry, in exchange for $100 [ad] • she earned money en route by displaying ads, giving lectures, working in stores & accepting contributions raised by local bicyclists • accompanied her lectures with magic lantern slides ostensibly depicting her adventures, but in fact were images she either purchased or staged for a photographer [photo]

 

“I thought the story I was pursuing was the story of a woman who rode her bike around the world. I thought she should receive the recognition. As things didn’t add up, I was sort of disappointed.

 

“Then I embraced Annie as a 'snake oil salesman,' a public relations genius. What kind of woman would undertake this venture? It's a more complicated story than this around-the-world adventure. How did she connive to pull this whole thing off?" —Author tracks down Annie Londonderry's bike ride, Biking Bis • Chasing Annie, Bicycling, May, 2005

 

• on the final leg of her journey, Annie approached El Paso from the west [map] • she was met at Strauss, NM by five male "wheelmen," who escorted her to town where, around June 27, 1895, she checked in to the Hotel Vendome • the proprietors, Messrs. Sweeney & Hawley, gave her a discounted rate of 5 cents per day

 

• Annie's odyssey occurred at height of the bicycle craze of the 1890s • a crowd of about 100 showed up at El Paso's McGinty club on Sat., Jun 29 to hear her speak • outlaw John Wesley Hardin was reported to have been in the audience • 6 weeks later Hardin was dead & Annie was in Chicago collecting her $10,000 (~$250,000 in 2016 dollars) —Texas Mountain Trail

 

• in 1886 Mr. S. Leipziger leased the Vendome, remodeled the interior, brought in a chef from Chicago & opened 18 May • served as host & proprietor • Leipziger was formerly manager of El Paso's Grand Central Hotel & prior to that, of the entire Harvey House chain of hotels & restaurants along the entire Santa Fe RR line [map]

 

• Harvey's is considered the first restaurant chain in the U.S. • servers called Harvey Girls [photo] became the chain's signature • over the years, ~100,000 women worked as Harvey Girls, agreeing to remain single for their first year • supervised housing was provided adjacent to the restaurants, with enforced curfews & chaperoned male visits • as many as 20,000 Harvey Girls married, thus helping to both civilize & populate the predominantly male Wild West • trailer for The Harvey Girls movie (1946)

 

La Castañeda Hotel (1898), Las Vegas, NM, was the first of the Harvey House chain's 3 trackside anchor hotels • the interior was designed by architect/designer Mary Elizabeth Jane Colter (1869-1958), a frequent contributor to Harvey House design which in turn influenced the emerging Southwestern architectural style • Harvey House [photos], Pinterest • Leaving a Legacy, Western Art & Architecture

 

• after his 1889 marriage to Pauline Sanger in Crawford, AR, Francis Parker returned to his photography business in El Paso • his gallery at Texas & Mesa burned in 1891 • in 1902 he opened a new "Fotograf Gallery" at 217 San Antonio St, offering "portraits, the latest styles, in silver or platinum" [newspaper ad] • the studio was located a few doors down from the Acme Saloon, where gunslinger John Wesley Hardin was shot & killed in 1895 • in 1910 Parker sold off his local real estate &, at age 83, removed to San Diego with Pauline, where he continued making photos • he died in 1920, age 93

 

• the Vendome was purchased in 1898 by Alzina Orndorff DeGroff (1859-1926), who had moved to EP after selling her hotel in Tucson • she painted the bldg. red, renovated the interior, added basement reading rooms, billiard rooms & a barber shop • renamed it Hotel Orndorff [photo] after her first husband, Lee H. Orndorff, whom she had married at age 17 • manager was husband Charles DeGroff, with help from son Burt & later from sons Lee & Seth • opened, 1901 • remodeled, 4th floor added, 1902 —El Paso Herald, 17 Sep, 1898

 

• in 1925 Mrs. DeGroff had the Orndorff demolished • borrowed $825,000 (~$11MM in 2016 dollars) to construct the current building, designed by Henry C. Trost (1860-1933), Trost & Trost, El Paso • final cost: $1.5MM (~$20MM in 2016 dollars) • interior design/decoration by Mitchel & Halbach, Chicago reportedly cost $4.5MM (~$60MM in 2016 dollars) • the façade of the new Orndorff Hotel featured portrait heads of conquistadors • was advertised as a “Castle of Old Spain on the Plaza of El Paso” • on 11 Aug, 1926, amid the build-up to the grand opening, Alzina Orndorff DeGroff died • 2 wks. later, the first guests checked in to her landmark Spanish Castle

 

• purchased by Hussman Hotel Co., 1926, renamed Hotel Hussman • ~$700,000 dollars spent to expand the hotel to 300 rooms w/convention hall & addl. dining facility • when completed was the largest hotel between Dallas & LA • 2 stories, known as the aviation headquarters, added in 1929 • provided offices for air transportation & aviation companies

 

• Alzina's son Lee retained his stake in the company & stayed on as manager • in a 1935 contest won by prominent lawyer Thornton Hardie, the Orndorff was renamed Hotel Cortez after the controversial Spanish conquistador, because the judges felt that the name complimented the décor & architectural theme • ceased operations, 1970 • the Job Corps took over ownership & conducted training courses in the building —EPCC Libraries

 

• Recorded Texas Historic Landmark - 2002 # 12881 • National Register # 80004105, 1980

Inwijding Café-Restaurant Krasnapolsky op 13-7-1880; de firmanten waren Adolph Wilhelm Krasnapolsky (1834-1912) en August Volmer (1844-1920).

De architecten Johann Stillmann, geb. Kopenhagen 10-5-1856, en Friedrich Ebert, geb. Ruchsen 30-8-1851, werkten o.l.v. architect G.B. Salm.

Archief van G.B. Salm en A. Salm Gbzn:

archief.amsterdam/inventarissen/overzicht/1315.nl.html

bonas.nl/archiwijzer/archiwijzer.htm

Collectie Stadsarchief Amsterdam: tekeningen en prenten:

archief.amsterdam/inventarissen/inventaris/10097.nl.html

Architect Johann Stillmann, geb. Kopenhagen 10-5-1856, zoon van architect Johan Andreas Stillmann (1822-1875) en Laura Jamine Henriette Stramboe, tr. Amsterdam 9-5-1882

Maria Theresia Alberdina Greiner, geb. Amsterdam 27-7-1863, dochter van Albert Greiner, fotograaf, en Antonetta Geertruida Storm. Zij woonden op de Nieuwendijk 60, 88 en 121, en in de Eerste Parkstraat 438. Zijn gezin werd op 14-10-1887 ambtshalve uit het Bevolkingsregister van Amsterdam uitgeschreven:

zoeken.hetnieuweinstituut.nl/nl/publicaties/detail/05f555...

beeldbank.amsterdam.nl/afbeelding/5221BT912083

Het gezin van architect Friedrich Ebert, geb. Ruchsen 30-8-1851, ovl. Heidelberg 23-12-1914, en echtgenote Caroline Grimm, geb. Turlau 16-8-1854, woonachtig op het Damrak, werd op 7-12-1886 ambtshalve uit het Bevolkingsregister van Amsterdam uitgeschreven.

Friedrich Ebert had samen met Johan Friedrich Henkenhaf, geb. Heidelberg 2-4-1848, en zijn broer Jakob Henkenhaf (1855-1927), het Architectenbureau Henkenhaf & Ebert. Zij zijn de architecten van het Kurhaus in Scheveningen. Henkenhaf is de architect van het Victoria Hotel aan het Damrak, hoek Prins Hendrikkade in Amsterdam.

"Op zoek naar Henkenhaf & Ebert. Het Amsterdam van Thomas Rosenboom":

www.onsamsterdam.nl/component/content/article/15-dossiers...

cultureelerfgoed.nl/monumenten/518423

cultureelerfgoed.nl/monumenten/17514

beeldbank.amsterdam.nl/afbeelding/BMAB00017000073_003

zoeken.hetnieuweinstituut.nl/nl/personen/detail/a51e16b2-...

zoeken.hetnieuweinstituut.nl/nl/personen/detail/4c7a84bc-...

zoeken.hetnieuweinstituut.nl/nl/publicaties/detail/5f4775...

beeldbank.amsterdam.nl/afbeelding/010056918209

beeldbank.amsterdam.nl/afbeelding/5221BT904700

 

De muurschilderingen op de timpanen, onder de beide bogen, onder het glazen dak, zijn van de hand van vader Jean Baptiste en zoon Pierre Tetar van Elven

De schilderingen geven een "aanschouwelijk beeld van Schilder-, Dicht-, en Toonkunst, onder de schutse der Nederlandsche maagd, die het Rijkswapen omklemd houdt":

rkd.nl/explore/artists/76908

rkd.nl/explore/artists/76911

www.collectienederland.nl/search/?q=Tetar

 

Mej. Tetar van Elven, "dochter van onze grijzen stadgenoot, die in vereeniging met zijn zoon...", schilderde de bloemstukken op de paneelvlakken onder de boogvormige houten bekapping.

Een andere krant spreekt over "schilderwerk van de heeren Tetar van Elven en P. Tetar van Elven, terwijl de bloemstukken en de medaillons in de biljartzaal van de hand van mejuff. Tetar van Elven zijn".

En volgens nog een andere krant schilderde Mej. Marie Tetar van Elven, de jeugdige dochter van de schilder Tetar van Elven, medaillons op het plafond van de biljartzaal, gelegen naast de Wintertuin.

Mogelijk is zij Angela Maria Seconda, geb. Turijn 19-10-1859, dochter van Petrus Theodorus Henricus (Pierre) Tetar van Elven, kunstschilder, geb. Sint-Jans-Molenbeek (Brussel) 30-8-1828, ovl. Milaan 5-1-1908.

 

beeldbank.amsterdam.nl/afbeelding/BMAB00007000052_004

 

De landschaps- en boomschilderingen (palmen) langs de galerijen zijn van schilder, decoratieschilder, wandschilder Auguste Jean Baptiste Graux (1831-1889):

rkd.nl/explore/artists/33420

Overlijdensbericht A.J.B. Graux in Het nieuws van den dag: kleine courant van 9-11-1889: resolver.kb.nl/resolve?urn=ddd:010138272:mpeg21:a0008

www.willetholthuysen.nl/blog/decoratiën-en-bloemenschild...

De muurschilderingen van Auguste Graux zijn niet bewaard gebleven. Bij de restauratie van de Wintertuin in 1990 heeft Carolien van der Donk nieuwe muurschilderingen aangebracht. "Golden Tulip Grand Hotel Krasnapolsky 1866-2001. 135 years of tailer-made hospitality in Amsterdam, The Netherlands", Paul Postema, Golden Tulip Grand Hotel Krasnapolsky 2001 (ISBN 90 9015319-5).

 

Kunstschilder Petrus Theodorus Henricus (Pierre) Tetar van Elven, kunstschilder, geb. Sint-Jans-Molenbeek (Brussel) 30-8-1828, ovl. Milaan 5-1-1908, zijn echtgenote Anna Maria Angela Felicita Fumao, geb. Turijn 20-11-1831, en hun vier dochters Felicina Geoanna, geb. Turijn 23-4-1857, Angela Maria Seconda, geb. Turijn 19-10-1859, Kostanza Angela, geb. Turijn 12-3-1863, en Jeanne Octavie, geb. Parijs 8-1-1869, stonden in Amsterdam ingeschreven op het adres Plantage Muidergracht 33. Zij kwamen uit Parijs en vertrokken op 28-9-1881 naar Italië.

Archivio Storico Della Città di Torino: www.comune.torino.it/archiviostorico/

Le site des Archives de Paris: archives.paris.fr/

 

In "Guida di Torino", printed by Marzorati, you can find "Tetar van Elven, prof. Pietro" under the heading "Pittori e disegnatori", living in "via Finanze 4" from 1859 until 1861 and then in "via Finanze 19" from 1862 until 1864.

Tetar van Elven is mentioned in 6 books from 1859 until 1864.

In 1862 the street names and door numbers were reformed therefore nr 4 and 19 were the same house, nowadays via Cesare Battisti 17. Source: Archivio Storico della Città di Torino.

 

Grand Hotel Krasnapolsky (1879-1880). De Wintertuin,

Warmoesstraat 169/ Dam 9, Rijksmonument:

cultureelerfgoed.nl/monumenten/518313

www.amsterdam.nl/kunst-cultuur/monumenten/beschrijvingen/...

Het nieuws van den dag: kleine courant van 13-7-1880:

resolver.kb.nl/resolve?urn=ddd:010063140:mpeg21:p006

Het nieuws van den dag: kleine courant van 14-7-1880:

resolver.kb.nl/resolve?urn=ddd:010063141:mpeg21:a0036

Algemeen Handelsblad van 11-7-1880:

resolver.kb.nl/resolve?urn=ddd:010104464:mpeg21:a0010

Bataviaasch Handelsblad van 1-9-1880:

resolver.kb.nl/resolve?urn=ddd:110536107:mpeg21:a0046

Java-bode: nieuws, handels- en advertentieblad voor Nederlandsch-Indie van 27-8-1880:

resolver.kb.nl/resolve?urn=ddd:010485467:mpeg21:a0034

Java-bode: nieuws, handels- en advertentieblad voor Nederlandsch-Indie van 9-9-1880:

resolver.kb.nl/resolve?urn=ddd:010485478:mpeg21:a0026

"Een nieuw bierpaleis". De Tijd van 14-7-1880:

resolver.kb.nl/resolve?urn=ddd:010283105:mpeg21:a0005

De Gooi- en Eemlander van 17-7-1880:

resolver.kb.nl/resolve?urn=ddd:011164130:mpeg21:a0006

 

Schilderij "IJsgezicht bij maanlicht" Jan Baptist Tetar van Elven (Amsterdam 1805-Voorschoten 1889) te koop bij Simonis & Buunk:

www.simonis-buunk.nl/kunstwerk/tetar-van-elven-j-b/20900/

 

Petrus Theodorus Henricus (Pierre) Tetar van Elven, kunstschilder, geb. Sint-Jans-Molenbeek (Brussel) 30-8-1828, ovl. Milaan 5-1-1908, zoon van Johannes/Jean Baptist van Elven, kunstschilder, geb. Amsterdam 11-2-1805, ovl. Voorschoten 27-7-1889, kleinzoon van Henricus Lambertus van Elven, laarsemaker, kommies op wachtgeld (1855), geb. Rotterdam 11-7-1781, ovl. Den Haag 13-5-1855, en van Anne Françoise Felicité Tetar, achterkleinzoon van Martinus van Elven, laarsemaker, en Gerarda Henkelman.

Henricus Lambertus van Elven, geb. Rotterdam 11-7-1781, ovl. Den Haag 13-5-1855, tr. 1. Amsterdam 9-4-1802 Anne Françoise Félicitée Testart, ook Tetar, ged. Franse Kapel Amsterdam 14-2-1776, ovl. voor 13-10-1811, dochter van Jean Baptiste Tetar en Marie Françoise Bossee; tr. 2. Groningen 13-10-1811 Dorothea Carolina de Hosson, geb. Groningen 29-10-1792, ovl. Amsterdam 20-2-1870, dochter van (Bernardus) Franciscus Ignatius de Hosson, kunstschilder, geb. Bad Bentheim 9-12-1757, ovl. Groningen 21-1-1833, en van Joanna Catharina van Ackeren.

Jean Babtist Tetar, van Rouchelle, oud 30 jaar, Rooms, woonachtig in de Peijlsteeg, tr. Amsterdam 19-4-1771 Françoise Boussu, oud 30 jaar, Rooms, woonachtig op de Prinsengracht.

Overlijdensbericht H.L. Tétar van Elven in het Algemeen Handelsblad van 15-5-1855: resolver.kb.nl/resolve?urn=ddd:010256014:mpeg21:a0045

allegroningers.nl/zoeken-op-naam/deeds/5e0ce962-c6bb-7f72...

rkd.nl/explore/artists/76911

rkd.nl/explore/artists/76908

Hij woonde met zijn gezin aan de Plantage Muidergracht 33 in Amsterdam.

Schilderij "Veduta fantastica dei principali monumenti d’Italia" van Petrus Henricus Theodor Tetar van Elven in Genua/Genova:

www.museidigenova.it/it

www.dbnl.org/tekst/kram011leve01_01/kram011leve01_01_0023...

Painting "The Cathedral of our laqdy, Antwerp". Sotheby's, New York 3 juin 2010:

www.sothebys.com/fr/auctions/ecatalogue/lot.213.html/2010...

 

Stadsgezicht met kasteel. Maison de Guttemberg à Mayence (titel op object), Parijs 1865 van Pierre Tetar van Elven in het Rijksmuseum Amsterdam:

hdl.handle.net/10934/RM0001.COLLECT.185232

 

Van Zadelhoff Veilingen in Hilversum bood het schilderij "Doorkijkje in een oude stad (mogelijk Antwerpen)", van Petrus Henricus Theodorus 'Pierre' Tetar van Elven te koop aan: www.vanzadelhoff.nl/portal/auction_lot/85956-petrus-henri...

 

P. Tetar van Elven is met vier doeken aanwezig op de Wereldtentoonstelling in Parijs: De Basiliek te Vicenza, Een stortbui te Riom, in Auvergne, de Groote Opera te Parijs, Een Amsterdamsche Gracht. Rotterdamsch Nieuwsblad van 15-8-1878:

resolver.kb.nl/resolve?urn=ddd:011006275:mpeg21:a0049

 

"De schilder Tetar van Elven, die reeds sedert een vijf en twintigtal jaren buitenlands, hoofdzakelijk te Parijs, verblijf hield, is naar Nederland teruggekeerd, en heeft zich thans te Amsterdam metterwoon gevestigd. Deze bekwame kunstenaar heeft zich verbonden tot het schilderen van de voorstellingen voor het Panoramagebouw , dat in de Plantage opgericht wordt. Reeds is aangevangen met het heiwerk voor dit gebouw. Het tijdstip van de opening dezer inrichting zal omstreeks den zomer van 1880 zijn". Het nieuws van den dag: kleine courant van 2-5-1879:

resolver.kb.nl/resolve?urn=ddd:010062921:mpeg21:a0007

 

Panoramadoek in Amsterdam, van P. Tetar van Elven. Het Panoramagebouw stond bij Artis (herschilderd in 1882, sluiting in 1927, sloop in 1935), "daar waar vroeger de Prinsengracht doodliep op de Plantage Middenlaan", en is ontworpen door architect Isaak Gosschalk (1838-1907):

beeldbank.amsterdam.nl/afbeelding/010094000629

beeldbank.amsterdam.nl/afbeelding/5221BT914111

beeldbank.amsterdam.nl/afbeelding/012000009236

Algemeen Handelsblad van 20-7-1880 en 21-7-1880:

resolver.kb.nl/resolve?urn=ddd:010104473:mpeg21:a0010

resolver.kb.nl/resolve?urn=ddd:010104474:mpeg21:a0048

Het nieuws van den dag: kleine courant van 21-12-1880:

resolver.kb.nl/resolve?urn=ddd:010063278:mpeg21:a0045

Rotterdamsch Nieuwsblad van 22-7-1880:

resolver.kb.nl/resolve?urn=ddd:011006774:mpeg21:a0008

Opening van het Panorama van P. Tetar van Elven in Amsterdam. Provinciale Overijsselsche en Zwolsche Courant van 22-12-1880:

resolver.kb.nl/resolve?urn=MMHCO01:000070830:mpeg21:a0005

P. Tetar van Elven begeleidt de Koningin van Zweden en de Prins en Prinses von Wied bij het bezoek aan het Panorama. Het nieuws van den dag: kleine courant 13-6-1881:

resolver.kb.nl/resolve?urn=ddd:010063446:mpeg21:a0066

 

Schilderij "Een bal masqué bij Arsène Houssaye" van Tetar van Elven in Arti in Amsterdam. Rotterdamsch Nieuwsblad van 11-2-1880:

resolver.kb.nl/resolve?urn=ddd:011006638:mpeg21:a0004

 

De schilder Tetar van Elven stelt zijn doek "Place de l'Opéra te Parijs" beschikbaar aan de "Vereeniging tot het vormen van eene openbare verzameling van hedendaagsche kunst te Amsterdam". Algemeen Handelsblad van 21-5-1881:

resolver.kb.nl/resolve?urn=ddd:010104028:mpeg21:a0059

 

P. Tetar van Elven verhuisde eind 1881 van de Plantage in Amsterdam naar Tremezzo, Villa San Lorenzo, Meer van Como, Italië. Het nieuws van den dag: kleine courant van 8-10-1881:

resolver.kb.nl/resolve?urn=ddd:010063562:mpeg21:a0026

 

"De bekende schilder P. Tetar van Elven heeft onze stad metterwoon verlaten, ten einde in Italië een hem opgedragen werk gereed te maken". De Tijd van 11-10-1881:

resolver.kb.nl/resolve?urn=ddd:010266040:mpeg21:a0013

 

Teeken- en Schildercollege van J.B. Tétar van Elven in de Jacob van Campenstraat 21 in Amsterdam:

rkd.nl/explore/artists/76908

Het nieuws van den dag: kleine courant van 27-9-1878:

resolver.kb.nl/resolve?urn=ddd:010061597:mpeg21:a0050

Jean Baptist Tetar van Elven, kunstschilder, geb. Amsterdam 11-2-1805, ovl. Voorschoten 27-7-1889, broer van Martinus Gerardus, halfbroer van Paul, heeft twee zonen en twee dochters: Pierre, kunstschilder, geb. Brussel 30-8-1828, Sophia Henriëtta, geb. Brussel 6-3-1830, Jozef Eduard, geb. Amsterdam 4-2-1832 en Louisa Gerarda, geb. Amsterdam 13-12-1834.

In de periode 1874-1893 woonde met zijn twee dochters in de Huidenstraat 18.

Geveilde schilderijen van Jean Baptist Tetar van Elven (1805 - 1889):

www.mutualart.com/Artist/Jan-Baptiste-Tetar-van-Elven/40F...

www.mutualart.com/Artist/Jan-Baptiste-Tetar-van-Elven/40F...

 

Museum Paul Tetar van Elven in Delft: tetar.nl/

Paul Constantin Dominique Tetar van Elven, geb. Antwerpen 13-9-1823, ovl. in Villa "Ars longa, Vita brevis" in Scheveningen 28-2-1896, jongste zoon van Henricus Lambertus (ook Henri Louis) van Elven, ambtenaar (Amsterdam 1843) en Dorothea Carolina de Hosson. Henricus Lambertus van Elven, geb. Rotterdam 11-7-1781, weduwnaar van Anne Françoise Félicité Tetar, tr. Groningen 13-10-1811 Dorothea Carolina de Hosson, geb. Groningen 29-10-1792, ovl. Amsterdam 20-2-1870, dochter van (Bernardus) Franciscus Ignatius de Hosson, kunstschilder, geb. Bad Bentheim 9-12-1757, ovl. Groningen 21-1-1833, en van Joanna Catharina van Ackeren.

Paul is een broer van Carolina Josephina en een halfbroer van Jan Baptist en Martinus Gerardus: rkd.nl/explore/artists/76910

Overlijdensbericht in de Delftsche Courant van 6-3-1896:

resolver.kb.nl/resolve?urn=MMKB08:000133376:mpeg21:a0007

Paul Tetar van Elven bij het Rijksmuseum in Amsterdam:

www.rijksmuseum.nl/nl/rijksstudio/23487--manon/verzamelin...

 

Mej. Carolina Josephina Tetar van Elven, amateurtekenaar,

vermoedelijk uit liefhebberij (RKD), winkelierster (Amsterdam 1843), geb. Antwerpen 5-3-1814, ovl. Boxtel 19-5-1903, oud 89 jaar, dochter van Henricus Lambertus (ook Henri Louis) van Elven, ambtenaar (Amsterdam 1843) en Dorothea Carolina de Hosson. Henricus Lambertus van Elven, weduwnaar van Anne Françoise Félicité Tetar, tr. Groningen 13-10-1811 Dorothea Carolina de Hosson, dochter van (Bernardus) Franciscus Ignatius de Hosson, kunstschilder, geb. Bad Bentheim 9-12-1757, ovl. Groningen 21-1-1833, en van Joanna Catharina van Ackeren.

Zij is de oudere zuster van Paul en halfzuster van architect Martinus Gerardus en van kunstschilder Jan Baptist:

rkd.nl/explore/artists/414497

rkd.nl/explore/artists/333583

Overlijdensbericht C.J. van Goor-Tetar van Elven in Boxtel. De Sumatra Post van 18-6-1903:

resolver.kb.nl/resolve?urn=ddd:010321028:mpeg21:a0058

Haar echtgenoot

Gijsbert Adriaan van Goor, oud-officier van het Nederlandsche Leger, overleed in Boxtel op 27-2-1902, oud 85 jaar.

 

Architect Martinus Gerhardus Tetar van Elven, geb. Amsterdam 20-1-1803, zoon van Henricus Lamberts van Elven en Marie Françoise Felicité Tetar (ook Testart); beide ouders zijn afkomstig uit Amsterdam en tr. in Amsterdam op 9-4-1802.

Architect M.G. Tetar van Elven, medeoprichter van Arti et Amicitiae in Amsterdam:

Archief: zoeken.hetnieuweinstituut.nl/nl/archieven/details/TETA/ke...

www.amsterdam.nl/kunst-cultuur/monumenten/beschrijvingen/...

Portret van architect M.G. Tetar van Elven bij het Rijksmuseum Amsterdam:

hdl.handle.net/10934/RM0001.COLLECT.311075

beeldbank.amsterdam.nl/afbeelding/010056917411

beeldbank.amsterdam.nl/afbeelding/BMAB00011000017_008

beeldbank.amsterdam.nl/afbeelding/OSIM00003004922

beeldbank.amsterdam.nl/afbeelding/ANWU01608000001

beeldbank.amsterdam.nl/afbeelding/BMAB00017000078_016

"Het Grachtenboek", samenstelling Paul Spies, Koen Kleijn, Jos Smit en Ernest Kurpershoek; SDU Uitgeveriij Den Haag 1993 (blz. 118, 149 en 193).

 

Architect Louis Henri (Paul) Tetar van Elven, civiel ingenieur, werktuigkundige, geb. Péruwelz, Henegouwen (België) 3-5-1830, zoon van architect Martinus Gerhardus Tetar van Elven, geb. Amsterdam 20-1-1803:

zoeken.hetnieuweinstituut.nl/nl/personen/detail/4de1b52b-...

Architect H.M.P.T. Tetar van Elven:

zoeken.hetnieuweinstituut.nl/nl/personen/detail/cde4424a-...

Architect Henricus Martinus Tetar van Elven, geb. Vilvoorde 17-1-1827, zoon van architect Martinus Gerhardus Tetar van Elven, geb. Amsterdam 20-1-1803:

beeldbank.amsterdam.nl/afbeelding/010056917412

 

J.F. Tetar van Elven, 1e Luit. der Infanterie, tr. Samarang 5-12-1870 J.J.J.H. Boudewijns. Bataviaasch Handelsblad van

15-12-1870: resolver.kb.nl/resolve?urn=ddd:110533162:mpeg21:a0015

Mevr. Tetar van Elven-Boudewijns is bewindvoerster van de Stichting Weduwe Hoffman-Boudewijns t.b.v. behoeftige en bejaarde winkeljuffrouwen. Algemeen Handelsblad van 17-8-1908:

resolver.kb.nl/resolve?urn=ddd:010997267:mpeg21:a0014

 

Bouwtekening 1874 van architect/aannemer Jan Cerlijn, geb. Amsterdam 12-3-1854, ovl. Amsterdam 19-5-1909, zoon van Dirk Cerlijn, metselaar, geb. Amsterdam 5-3-1833:

Overlijdensbericht Jan Cerlijn. Algemeen Handelsblad van

22-5-1909:

resolver.kb.nl/resolve?urn=ddd:010336936:mpeg21:a0113

zoeken.hetnieuweinstituut.nl/nl/personen/detail/6ad3df92-...

beeldbank.amsterdam.nl/afbeelding/5221BT906569

zoeken.hetnieuweinstituut.nl/nl/zoeken?category=all&t...

 

Grand Hotel Krasnapolsky, in 1878 gesticht door Adolph Wilhelm Krasnapolsky, geb. Peine (Hannover) 24-5-1834, ovl. Bussum 22-4-1912.

Café Krasnapolsky. Het nieuws van den dag: kleine courant van 4-12-1873:

resolver.kb.nl/resolve?urn=ddd:010060873:mpeg21:a0028

De Standaard van 19-4-1878:

resolver.kb.nl/resolve?urn=ddd:011066770:mpeg21:a0024

Het nieuws van den dag: kleine courant van 18-9-1878:

resolver.kb.nl/resolve?urn=ddd:010061588:mpeg21:a0036

Java-bode: nieuws, handels- en advertentieblad voor Nederlandsch-Indie van 9-9-1880:

resolver.kb.nl/resolve?urn=ddd:010485478:mpeg21:a0026

 

Omstreeks 1880 werden de beroemde Wintertuin en de Serre gebouwd onder architectuur van Gerlof Bartholomeus Salm (1831-1897), de huisarchitect van Artis:

Aanbesteding door G.B. Salm in het Het nieuws van den dag: kleine courant van 22-5-1879:

resolver.kb.nl/resolve?urn=ddd:010062940:mpeg21:a0047

 

In 1882/83 werden panden samengevoegd en verbouwd tot hotel onder architectuur van Friedrich Ebert, geb. Ruchsen 30-8-1852, ovl. Heidelberg 23-12-1914, en Johann Friedrich Henkenhaf, geb. Heidelberg 2-4-1848. Het Architectenbureau Ebert & Henkenhaf heeft het Kurhaus in Scheveningen ontworpen. Johann Friedrich Henkenhaf was in 1882/90 de architect (en directeur) van het Vicoria Hotel aan het Damrak, tegenover het Centraal Station in Amsterdam. Johann Friedrich's broer Jakob Henkenhaf (1855-1927) was ook partner in het architectenbureau Henkenhaf & Ebert in Heidelberg. De Theaterzaal in Krasnapolsky is ontworpen door de Amsterdamse School architect Cornelis Kruyswijk (1884-1935). In 1926 werd het hotel aan de zijde de Warmoesstraat verbouwd onder architectuur van Foeke Kuipers (1871-1954), tevens de architect van het gebouw van de Industriële Club op de Dam 27, hoek Rokin. In 1951/52 vond een grote verbouwing plaats onder architectuur van het bureau Pierre Cuypers & Jonkheer ir. Gijsbert Christiaan Six Baron van Wimmenum (1892-1975); voor het ontwerp van de voorgevel aan de zijde van de Dam werd ir. Albert Johan van der Steur (1895-1963) aangetrokken.

 

Overlijdensbericht Adolph Wilhelm Krasnapolsky in Het nieuws van den dag: kleine courant van 23-4-1912:

resolver.kb.nl/resolve?urn=ddd:010108853:mpeg21:a0081

"A.W. Krasnalosky overleden" in de De Graafschap-bode van 27-04-1912:

resolver.kb.nl/resolve?urn=ddd:011151120:mpeg21:a0095

"130 jaar bouwen aan Krasnapolsky, door Barbara Luigis, Vereniging Vrienden van Stadsherstel, Amsterdam 1998:

zoeken.hetnieuweinstituut.nl/nl/publicaties/detail/28b775...

Architect Johann Friedrich Henkenhaf (1848-1908) en Henkenhaf & Ebert:

zoeken.hetnieuweinstituut.nl/nl/personen/detail/a51e16b2-...

zoeken.hetnieuweinstituut.nl/nl/personen/detail/8c4d5c28-...

Architect Cornelis Kruyswijk (1884-1935):

zoeken.hetnieuweinstituut.nl/nl/personen/detail/db090efe-...

zoeken.hetnieuweinstituut.nl/nl/publicaties/detail/7bdee7...

www.onsamsterdam.nl/component/content/article/15-dossiers...

"De verbouwing van Krasnapolsky". De Maasbode van 16-2-1926:

resolver.kb.nl/resolve?urn=MMKB04:000195136:mpeg21:a0016

Architect Foeke Kuipers (1871-1954):

zoeken.hetnieuweinstituut.nl/nl/publicaties/detail/ebb190...

zoeken.hetnieuweinstituut.nl/nl/archieven/details/KUIP/ke...

www.amsterdamse-school.nl/personen/architecten/foeke-kuip...

"Uitbreiding Krasnapolsky. Een nieuwe tooneelzaal" (door architect Gustaaf Adolf Roobol 1899-1981). Algemeen Handelsblad van 25-10-1935:

resolver.kb.nl/resolve?urn=ddd:010664078:mpeg21:a0309

www.amsterdamse-school.nl/personen/architecten/ga-roobol/

"Grand Hôtel Krasnapolsky" in De Telegraaf van 16-10-1951 (met geveltekening aan de zijde van De Dam):

resolver.kb.nl/resolve?urn=ddd:011140214:mpeg21:a0096

"Grand Hotel Krasnapolsky. Gehoopt wordt in Mei 1952 poorten te openen. Uitbreiding tot 300 bedden. Nieuwe fraaie gevel". De Tijd: godsdienstig-staatkundig dagblad van 5-10-1951 en 16-10-1951:

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resolver.kb.nl/resolve?urn=ddd:011202711:mpeg21:a0105

"Krasnapolsky nam uitbreiding in gebruik. Statler-kamers en bruidskamer - met hemel! - in wat eens Polmanshuis was". Algemeen Handelsblad van 7-5-1952:

resolver.kb.nl/resolve?urn=KBNRC01:000088211:mpeg21:a0043

Collectie ir. Albert Johan van der Steur (1895-1963):

zoeken.hetnieuweinstituut.nl/nl/archieven/details/STEU/ke...

 

Company History Krasnapolsky:

International Directory of Company Histories, Vol. 23. St. James Press, 1998.

web.archive.org/web/20150920233003/http://www.fundinguniv...

 

The Birds of Ireland: A Field Guide with Jim Wilson

Shorebirds of Ireland with Jim Wilson.

Freshwater Birds of Ireland with Jim Wilson

www.markcarmodyphotography.com

 

The Rock Pipit (Anthus petrosus) is a small species of passerine bird that breeds in western Europe on rocky coasts. It has streaked greyish-brown upperparts and buff underparts, and is similar in appearance to other European pipits. There are three subspecies, of which only the Fennoscandian form is migratory, wintering in shoreline habitats further south in Europe. The Eurasian rock pipit is territorial at least in the breeding season, and year-round where it is resident. Males will sometimes enter an adjacent territory to assist the resident in repelling an intruder.

 

Its population is large and stable, and it is therefore evaluated as a species of least concern by the International Union for Conservation of Nature (IUCN).

 

The Rock Pipit is closely related to the Water Pipit and the Meadow Pipit, and is rather similar in appearance. Compared to the meadow pipit, the rock pipit is darker, larger and longer-winged than its relative, and has dark, rather than pinkish-red, legs. The water pipit in winter plumage is also confusable with the rock pipit, but has a strong supercilium and greyer upperparts; it is also typically much warier. The rock pipit's dusky, rather than white, outer tail feathers are also a distinction from all its relatives. The habitats used by rock and water pipits are completely separate in the breeding season, and there is little overlap even when birds are not nesting. (wikipedia)

 

This very pale individual was feeding very well at the base of the East Pier in Dun Laoghaire, Dublin.

Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)

In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .

He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "

www.emergencyrooms.org/biennalist.html .

at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum

www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )

---------------------------------------------------------------------- ----------------------------------------------------------------------

lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

---------------------------------------------------------------------- ----------------------------------------------------------------------

other pavilions at Venice Biennale

 

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

 

---------------------------------------------------------------------- ---------------------------------------------------------------------- --

Encyclopedic Palace is curated by Massimiliano Gioni

---------------------------------------------------------------------- ---------------------------------------------------------------------- -------------------

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

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

---------------------------------------------------------------------- -

in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?

DR. ADOLFO VÁSQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

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

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

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

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

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

  

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

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

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

  

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

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

   

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

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

 

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

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

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

 

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

  

INVESTIGACIÓN:

2009 - 2010

 

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

 

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

 

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

  

2011 - 2012

 

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

 

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

 

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

 

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

  

Asistente de Investigación:

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

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

(2009-2010) Profesor visitante Florida Christian University USA

 

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

 

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

 

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

 

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

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

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

 

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

 

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

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

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

 

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

 

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

  

ENTREVISTA:

 

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

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

  

Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.

www.revistadefilosofia.com/44-04.pdf

  

Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.

dialnet.unirioja.es/descarga/articulo/4052835.pdf

  

Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32

www.revistadefilosofia.com/46-02r.pdf

  

Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.

www.revistadefilosofia.com/46-02.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490 pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca_...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.

www.doaj.org/doaj?func=fulltext&aId=1320292

  

2013

  

Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...

  

Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.

cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...

  

Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 68 / marzo - abril 2013, Madrid.

www.margencero.com/almiar/limites-medicina-concepto-muert...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712

www.observacionesfilosoficas.net/sloterdijkensayosdeintox...

  

Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.

rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...

  

Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.

rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:

www.observacionesfilosoficas.net/download/Peter-sloterdij...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Psicopolítica, Globalización y Mundo interior del Capital", En Escáner Cultural - Revista de Arte Contemporáneo y Nuevas Tendencias, Santiago- [Re-Edición 2013], Paper y Conferencia en el IV Congreso Internacional y VII Nacional de Filosofía del Derecho, Ética y Política, Organizado por la Facultad de Filosofía, de Derecho y la Oficina de Relaciones Interinstitucionales (ORI) de la Universidad Libre en Colombia, y la Facultad de Derecho del Centro Universitário Newton Paiva en Bello Horizonte – Brasil, 22, 23 y 24 de abril de 2013, Programa del Congreso

revista.escaner.cl/node/1987

  

Vásquez Rocca, Adolfo, "Sartre; teoría fenomenológica de las emociones, existencialismo y conciencia posicional del mundo", Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 69 / mayo-junio 2013, Madrid.

www.margencero.com/almiar/sartre-existencialismo-y-concie...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490

www.theoria.eu/nomadas/35/adolfovrocca_2.pdf

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio – julio-diciembre 2012-2013, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

   

Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo", En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – mayo, 2013

rinabrundu.com/2013/05/05/sloterdijk-y-heidegger-normas-p...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

www.theoria.eu/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo. Ensayos de intoxicación voluntaria y constitución psicoinmunitaria de la naturaleza humana”, En ARTEFACTO -Pensamientos sobre la Técnica- UBA, abril, 2013

www.revista-artefacto.com.ar/pdf_textos/84.pdf

 

DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL

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

  

ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN

 

www.danoex.net/adolfovasquezroccainvestigacion.html

  

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

 

emui.academia.edu/AdolfoVasquezRocca

 

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

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

  

ADOLFO VÁSQUEZ ROCCA

 

emui.academia.edu/AdolfoVasquezRocca

  

Pontificia Universidad Católica de Valparaíso

Universidad Complutense de Madrid

Universidad Andrés Bello UNAB

 

E-mail: adolfovrocca@gmail.com

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

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وینسVenetsiya

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

 

--------key words

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#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

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Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)

In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .

He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "

www.emergencyrooms.org/biennalist.html .

at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum

www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

 

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

 

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Encyclopedic Palace is curated by Massimiliano Gioni

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

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

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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?

 

Película cristiana completa en español | "Donde está mi hogar" Dios me da una familia bendita

Los padres de Wenya se separaron cuando ella tenía dos años y después vivió con su padre y su madrastra. La madrastra no la soportaba y siempre discutía con el padre. Él tenía pocas opciones y tuvo que enviar a Wenya a casa de su madre, quien estaba totalmente centrada en dirigir su negocio y no tenía tiempo para ocuparse de Wenya, por lo que solía enviarla a casa de familiares y amigos para que la acogieran. Después de tantos años en acogida, la joven Wenya se sentía sola e indefensa y anhelaba el calor de un hogar. No volvió con su padre hasta que este y su madrastra no se divorciaron y, desde entonces, para bien o para mal, tuvo un hogar.

Cuando Wenya se hizo mayor era muy prudente y obediente y estudiaba mucho. Pero justo cuando se estaba esforzando mucho en preparar los exámenes de ingreso a la universidad, le sobrevino la desgracia: su madre tuvo una hemorragia cerebral y se quedó paralítica y postrada en cama. Su padrastro abandonó a la madre e incluso se hizo con el control de todos sus bienes, y luego su padre fue hospitalizado con un cáncer de hígado... Wenya no podía asumir las cargas de la casa, por lo que lo único que pudo hacer fue suplicarles a sus familiares y amigos, pero estos le dieron la espalda...

Justo cuando Wenya estaba sufriendo y sin recursos, dos hermanas de la Iglesia de Dios Todopoderoso les dieron testimonio a ella, a su madre y a su hermana sobre la obra de Dios Todopoderoso en los últimos días. Por medio de las palabras de Dios Todopoderoso llegaron a entender la raíz del dolor en la vida de la gente y entendieron que sólo si la gente se presenta ante Dios podrá ganarse Su protección y vivir feliz. Sólo a través del consuelo de las palabras de Dios pudieron la madre y las hijas salir del dolor y el desamparo. Wenya experimentó verdaderamente el amor y la misericordia de Dios; acabó sintiendo la calidez de un hogar y entró en uno de verdad...

 

Ver más: videos evangélicos

 

Well done reportage for the austrian TV where Thierry Geoffroy / Colonel present it s format Biennalist www.emergencyrooms.org/biennalist.html , the film show with his students , part of a critical run and a slow dance

at the Maldives pavilion : "Can we rank emergencies ? "

see the TV video

youtu.be/LSE8LzYUxNU

  

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

-------------------------------------

 

-------------------------------------------------------------

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

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial

-----------------------------------------------------------------------

  

Wolf Pack Invite 09/27/08

River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008

 

www.andynoise.com/wolfpack08.html

 

Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.

 

Varsity Boys Team Results

 

1 MCFA McFarland 25

2 PADA Palmdale 95

3 RIDG Ridgeview 118

4 SHAF Shafter 130

5 BAEA East Bakersfield 142

6 BAKE Bakersfield 174

7 WASC Wasco 176

8 STOC Stockdale 210

9 FTHL Foothill 233

10 GARC Garces Memorial 254

11 ARVI Arvin 321

12 NORT North 324

13 Fron Frontier 345

14 SOUT South 404

15 BACH Bakersfield Christian 423

16 WSTB West Bakersfield 461

TFCC Taft INC

  

1. 16:18 179 179 Chris Schwartz Sr M FTHL 1

2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2

3. 16:38 450 450 Robby Baker Jr M RIDG 3

4. 16:44 297 297 Marco Perez So M MCFA 4

5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5

6. 16:51 294 294 Marco Camargo Jr M MCFA 6

7. 16:54 451 451 Alex Garcia Jr M RIDG 7

8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8

9. 16:58 295 295 Eddie Garcia Sr M MCFA 9

10. 17:04 296 296 Francisco Nava So M MCFA 10

11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11

12. 17:10 402 402 Adrian Ramos Jr M PADA 12

13. 17:16 400 400 Victor Hernandez Sr M PADA 13

14. 17:19 72 72 Andrew Ariey Sr M BAKE 14

15. 17:20 403 403 Daniel Ramos Jr M PADA 15

  

Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.

 

Varsity Girls Team Results

 

1 RIDG Ridgeview 45

2 SHAF Shafter 73

3 PADA Palmdale 94

4 NORT North 95

5 STOC Stockdale 124

6 FTHL Foothill 142

7 BAKE Bakersfield 142

8 GARC Garces Memorial 189

9 Fron Frontier 243

10 SOUT South 278

BAEA East Bakersfield INC

ARVI Arvin INC

WASC Wasco INC

TFCC Taft INC

WSTB West Bakersfield INC

BACH Bakersfield Christian INC

  

1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF

2. 21:04 430 430 Tijerra Lynch So F RIDG

3. 21:07 369 369 Merino Jennifer Sr F PADA

4. 21:10 428 428 Jessica Huizar Jr F RIDG

5. 21:12 89 89 Lucia Garcia Jr F BAEA

6. 21:17 208 208 Monica Guzman Jr F GARC

7. 21:23 330 330 Cecilia Lopez Sr F NORT

8. 21:33 90 90 Sophia Garcia So F BAEA

9. 21:35 136 136 Natalie Fernandez So F FTHL

10. 21:46 2 2 Tonya Hernandez Jr F ARVI

11. 21:53 624 624 Alejandra Gutierrez Sr F WASC

12. 21:55 372 372 Anaiz Ortiz Sr F PADA

13. 21:56 426 426 Ashley Duran Sr F RIDG

14. 22:05 459 459 Lindsee Handel So F SHAF

15. 22:12 45 45 Gabrielle Lerma So F BAKE

   

JV Boys Results

 

1 MCFA McFarland 29

2 RIDG Ridgeview 72

3 BAEA East Bakersfield 105

4 PADA Palmdale 118

5 SOUT South 150

6 Fron Frontier 160

7 WASC Wasco 161

8 STOC Stockdale 169

9 FTHL Foothill 237

10 GARC Garces Memorial 246

11 MiMo Mira Monte 278

12 BAKE Bakersfield 341

SHAF Shafter INC

TFCC Taft INC

ARVI Arvin INC

NORT North INC

 

1. 11:06 284 284 Bryan Calvo Sr M MCFA

2. 11:23 290 290 Pedro Sanchez Jr M MCFA

3. 11:34 661 661 Eric Sanchez Jr M WASC

4. 11:34 100 100 felix Trevino So M BAEA

5. 11:36 277 277 Bernardo Garcia Fr M MCFA

6. 11:39 440 440 Ernesto Castillo Jr M RIDG

7. 11:45 476 476 Matt Yanez Jr M SHAF

8. 11:46 439 439 Michael Anseno Sr M RIDG

9. 11:47 98 98 Marc Sotello Jr M BAEA

10. 11:47 474 474 Elias Picazo Sr M SHAF

11. 11:49 288 288 Adam Marquez Fr M MCFA

12. 11:50 394 394 Ramirez Miguel Jr M PADA

13. 11:50 393 393 Nicholas Mayo Jr M PADA

14. 11:53 276 276 Ismael Bautista Fr M MCFA

15. 12:00 101 101 Esteban Vargas Sr M BAEA

  

JV Girls Results

 

1 PADA Palmdale 27

2 STOC Stockdale 51

3 RIDG Ridgeview 66

4 MiMo Mira Monte 100

SOUT South INC

BAKE Bakersfield INC

FTHL Foothill INC

NORT North INC

GARC Garces Memorial INC

 

1. 14:45 494 494 Claudia Cuevas Sr F SOUT

2. 15:05 420 420 Natalia Motta Sr F RIDG

3. 15:12 528 528 Amber Crabtree Sr F STOC

4. 15:28 351 351 Amy Diaz Sr F PADA

5. 15:33 360 360 Lizet Onofre Jr F PADA

6. 15:41 364 364 Crystal Schachter Jr F PADA

7. 15:48 531 531 Shelby Pinkham Jr F STOC

8. 15:51 41 41 Felisa Torres Sr F BAKE

9. 15:52 118 118 Lucia Garcia Jr F FTHL

10. 15:54 362 362 Karina Ortega Jr F PADA

11. 15:54 328 328 Aubree Mossburg Jr F NORT

12. 16:04 365 365 Michelle Silva Jr F PADA

13. 16:06 367 367 Zaria Zambrano Jr F PADA

14. 16:07 525 525 Justine Benavidez Sr F STOC

15. 16:19 128 128 Nancy Tenorio Sr F FTHL

  

Frosh/Soph Boys

 

1 MCFA McFarland 25

2 WASC Wasco 66

3 FTHL Foothill 95

4 STOC Stockdale 114

5 RIDG Ridgeview 121

6 PADA Palmdale 139

7 SHAF Shafter 174

8 Inde Independence 183

9 TFCC Taft 254

10 BAKE Bakersfield 287

11 RFKH RFKH 312

12 GARC Garces Memorial 313

13 ARVI Arvin 337

14 MiMo Mira Monte 383

SOUT South INC

Error 2042 #N/A INC

 

1. 10:53 666 666 Jorge Zuniga Fr M WASC

2. 10:55 282 282 Chavez Ryan Fr M MCFA

3. 11:12 275 275 Sergio Avelar Fr M MCFA

4. 11:25 638 638 Eddie Aguilar So M WASC

5. 11:26 280 280 Leo Perez Fr M MCFA

6. 11:26 278 278 Jose Monrreal Fr M MCFA

7. 11:36 177 177 Genaro Quintanar Fr M FTHL

8. 11:38 541 541 Alex Eckley Fr M STOC

9. 11:39 279 279 Gonzalo Mulato Fr M MCFA

10. 11:40 252 252 Dwayne Facho So M Inde

11. 11:41 434 434 Brandon Magno Fr M RIDG

12. 11:42 383 383 Corey Nieto Fr M PADA

13. 11:48 543 543 Abraham Mayorga So M STOC

14. 11:49 467 467 Pablo Mendez Fr M SHAF

15. 11:50 650 650 Asencion Mendoza Sr M WASC

   

Frosh/Soph Girls

 

1 MCFA McFarland 43

2 Inde Independence 51

3 STOC Stockdale 73

4 FTHL Foothill 101

5 TFCC Taft 121

6 RIDG Ridgeview 139

7 RFKH RFKH 173

8 WASC Wasco 180

SOUT South INC

BAEA East Bakersfield INC

NORT North INC

BAKE Bakersfield INC

GARC Garces Memorial INC

 

1. 14:02 267 267 Corina Garcia So F MCFA

2. 14:02.6 270 270 Kathy Torres Fr F MCFA

3. 14:09 266 266 Olivia Ayon Fr F MCFA

4. 14:09 586 586 Daisy Guitron Fr F TFCC

5. 14:16 522 522 Madison Schutzner Fr F STOC

6. 14:23 484 484 Natalie Espinoza So F SOUT

7. 14:37 248 248 Sara Sullivan Fr F Inde

8. 14:37 110 110 Erica Castro So F FTHL

9. 14:44 237 237 Natalie Ambriz So F Inde

10. 14:46 93 93 Mayra Ponce So F BAEA

11. 14:50 244 244 Acacia Ingram So F Inde

12. 14:58 523 523 Victoria Valos So F STOC

13. 15:00 268 268 Liset Perezchica Fr F MCFA

14. 15:03 249 249 Katelynn Webb Fr F Inde

15. 15:20 135 135 Mari Escuedero So F FTHL

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LSU Tigers V Florida Gators-From:-03:30pm>>

 

Maryland Terrapins V Virginia Cavaliers-From:-03:30pm

 

North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm

 

Tulane Green Wave V East Carolina Pirates-From:-03:30pm

 

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Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm

 

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Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>

 

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Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>

  

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ncaafootball2013live.blogspot.com/2013/10/watch-live-soon...

  

ncaafootball2013live.blogspot.com/2013/10/watch-live-soon...

  

2013 NCAA College Football Week 7

 

ALL LIVE GAME SCHEDULE

  

Saturday October 12

  

Army Black Knights V Eastern Michigan Eagles-From:-12:00pm

 

Connecticut Huskies V South Florida Bulls-From:-12:00pm

 

Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>

 

Houston Cougars V Memphis Tigers-From:-12:00pm

 

Michigan State Spartans V Indiana Hoosiers-From:-12:00pm

 

Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm

 

TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm

 

Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>

 

Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>

 

Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>

 

South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>

 

Duke Blue Devils V Navy Midshipmen-From:-12:30pm

  

Auburn Tigers V Western Carolina Catamounts-From:-02:00pm

 

Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm

 

Western Michigan Broncos V Buffalo Bulls-From:-02:00pm

  

Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm

 

Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm

 

Clemson Tigers V Boston College Eagles-From:-03:30pm>>

 

Colorado State Rams V San Jose State Spartans-From:-03:30pm

 

Georgia State Panthers V Troy Trojans-From:-03:30pm

 

Baylor Bears V Kansas State Wildcats-From:-03:30pm>>

 

LSU Tigers V Florida Gators-From:-03:30pm>>

 

Maryland Terrapins V Virginia Cavaliers-From:-03:30pm

 

North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm

 

Tulane Green Wave V East Carolina Pirates-From:-03:30pm

 

Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>

 

Wyoming Cowboys V New Mexico Lobos-From:-03:30pm

  

UTSA Roadrunners V Rice Owls-From:-04:00pm

 

Oregon Ducks V Washington Huskies-From:-04:00pm>>

 

Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm

 

Northern Illinois Huskies V Akron Zips-From:-05:00pm>>

 

Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>

 

Stanford Cardinal V Utah Utes-From:-06:00pm>>

  

Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm

 

BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm

 

Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>

 

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Washington State Cougars V Oregon State Beavers-From:-10:30pm

  

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NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 7 Saturday October 12 All Game Live Streaming Online.

  

CLICK THE LINK BELOW TO GET LIVE TV LINK

  

ncaafootball2013live.blogspot.com/2013/10/watch-live-soon...

  

ncaafootball2013live.blogspot.com/2013/10/watch-live-soon...

  

2013 NCAA College Football Week 7

 

ALL LIVE GAME SCHEDULE

  

Saturday October 12

  

Army Black Knights V Eastern Michigan Eagles-From:-12:00pm

 

Connecticut Huskies V South Florida Bulls-From:-12:00pm

 

Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>

 

Houston Cougars V Memphis Tigers-From:-12:00pm

 

Michigan State Spartans V Indiana Hoosiers-From:-12:00pm

 

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Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>

 

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Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm

 

BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm

 

Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>

 

North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm

 

Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm

 

FIU Golden Panthers V UAB Blazers-From:-07:30pm

 

Mississippi State Bulldogs V Bowling Green Falcons-From:-07:30pm

  

UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm

 

UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm

 

Utah State Aggies V Boise State Broncos-From:-08:00pm

 

Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>

  

Arizona State Sun Devils V Colorado Buffaloes-From:-10:00pm

 

UCLA Bruins V California Golden Bears-From:-10:30pm>>

 

Washington State Cougars V Oregon State Beavers-From:-10:30pm

  

Over 3700 Live Streaming HD Channels

 

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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST

www.emergencyrooms.org/biennalist.html

 

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

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

www.colonel.dk

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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile

www.emergencyrooms.org/biennalist.html

 

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

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

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

www.emergencyrooms.org

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

 

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

 

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Encyclopedic Palace is curated by Massimiliano Gioni

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

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

 

Fonte dell'immagine: La Chiesa di Dio Onnipotente

 

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

  

Sfuggi all’influenza delle tenebre e verrai guadagnato da Dio

 

Cos’è l’influenza delle tenebre? È l’influenza di Satana che inganna, corrompe, incatena e controlla le persone; è un’influenza che ha un’aura di morte. Tutti coloro che vivono sotto il dominio di Satana sono destinati a perire.

 

Come puoi sottrarti all’influenza delle tenebre dopo aver ottenuto la fede in Dio? Dopo aver sinceramente pregato Dio, volgi il tuo cuore a Lui completamente. A questo punto, il tuo cuore è mosso dallo Spirito di Dio, sei disposto a dare tutto te stesso e, in questo momento, sei sfuggito all’influenza delle tenebre. Se tutto ciò che l’uomo fa piace a Dio e risponde alle Sue richieste, allora costui è qualcuno che vive dentro le parole di Dio, e qualcuno che vive sotto la cura e la protezione di Dio. Se gli uomini non sono in grado di mettere in pratica le parole di Dio, ingannandoLo continuamente, agendo in modo superficiale con Lui e non credendo nella Sua esistenza, tali uomini vivono tutti sotto l’influenza delle tenebre. Gli uomini che non hanno ricevuto la salvezza di Dio vivono tutti sotto il dominio di Satana, cioè vivono tutti sotto l’influenza delle tenebre. Coloro che non credono in Dio vivono sotto il dominio di Satana. Persino coloro che credono nell’esistenza di Dio possono non necessariamente vivere nella luce di Dio, poiché coloro che credono in Lui possono non necessariamente vivere dentro le parole di Dio e possono non necessariamente essere uomini in grado di obbedire a Dio. L’uomo si limita a credere in Dio e, a causa della Sua incapacità di conoscere Dio, egli vive ancora dentro i vecchi precetti, dentro parole morte, in una vita che è oscura e incerta, non pienamente purificato da Dio o completamente guadagnato da Dio. Pertanto, mentre è scontato che coloro che non credono in Dio vivono sotto l’influenza delle tenebre, persino coloro che credono in Dio possono comunque vivere sotto la loro influenza, poiché lo Spirito Santo non ha svolto alcuna opera su di loro. Coloro che non hanno ricevuto la Grazia di Dio o la misericordia di Dio, e coloro che non riescono a vedere l’opera dello Spirito Santo, vivono tutti sotto l’influenza delle tenebre; coloro che si limitano a godere della grazia di Dio ma non Lo conoscono, vivono anch’essi sotto l’influenza delle tenebre per la maggior parte del tempo. Se un uomo crede in Dio eppure spende la maggior parte della propria vita sotto l’influenza delle tenebre, allora l’esistenza di quest’uomo ha perso il proprio significato, per non parlare di coloro che non credono nell’esistenza di Dio.

 

Tutti coloro che non riescono ad accettare l’opera di Dio, o che la accettano ma non sono in grado di soddisfare le Sue richieste, vivono sotto l’influenza delle tenebre; solo coloro che cercano la verità e sono in grado di soddisfare le richieste di Dio riceveranno benedizioni da Lui, e solo loro sfuggiranno all’influenza delle tenebre. Gli uomini che non sono stati affrancati, che sono sempre controllati da certe cose e incapaci di dare il loro cuore a Dio, sono uomini sotto il giogo di Satana e che vivono sotto un’aura di morte. Coloro che non tengono fede ai loro doveri, che non assolvono ai compiti assegnati da Dio, e coloro che non svolgono la propria funzione nella Chiesa, vivono sotto l’influenza delle tenebre. Coloro che deliberatamente disturbano la vita della Chiesa, che deliberatamente distruggono i rapporti tra i fratelli e le sorelle, o formano le proprie bande, vivono ancora più profondamente sotto l’influenza delle tenebre; vivono sotto la schiavitù di Satana. Coloro che hanno un rapporto scorretto con Dio, quelli che hanno sempre desideri stravaganti, che vogliono sempre ottenere un vantaggio e che non cercano mai di trasformare la propria indole, sono uomini che vivono sotto l’influenza delle tenebre. Coloro che sono sempre sciatti, che non sono seri nella loro pratica della verità, e che non cercano di soddisfare i desideri di Dio ma solo quelli della propria carne, anche costoro sono uomini che vivono sotto l’influenza delle tenebre e avvolti nella morte. Coloro che praticano la disonestà e l’inganno quando svolgono il lavoro per Dio, che trattano Dio in modo superficiale, che ingannano Dio e che pensano sempre a se stessi, sono uomini che vivono sotto l’influenza delle tenebre. Tutti coloro che non riescono ad amare sinceramente Dio, che non cercano la verità, e che non si concentrano sulla trasformazione della propria indole vivono sotto l’influenza delle tenebre.

 

Se vuoi essere apprezzato da Dio, devi in primo luogo sottrarti all’influenza delle tenebre di Satana, aprire il tuo cuore a Dio e volgerlo completamente a Dio. Le cose che stai facendo ora sono apprezzate da Dio? Hai rivolto il tuo cuore a Dio? Le cose che hai fatto sono state quelle che Dio ti ha richiesto? Sono conformi alla verità? Devi interrogare te stesso in qualsiasi momento, concentrarti sul nutrirti delle parole di Dio, spiegare il tuo cuore davanti a Lui, amarLo con sincerità e spenderti con dedizione per Dio. Uomini siffatti riceveranno sicuramente l’apprezzamento di Dio.

 

Tutti coloro che credono in Dio eppure non perseguono la verità, non hanno modo di sfuggire all’influenza di Satana. Tutti quelli che non conducono la propria vita con onestà, che si comportano in un modo di fronte agli altri ma in un altro alle loro spalle, che offrono un’apparenza di umiltà, pazienza e amore mentre in sostanza sono subdoli, scaltri e non hanno alcuna lealtà verso Dio, tali persone sono l’esempio tipico di coloro che vivono sotto l’influenza delle tenebre. Sono della stessa specie del serpente. Coloro la cui fede in Dio è sempre a proprio vantaggio, che sono sicuri di essere nel giusto e arroganti, che si mettono in mostra e proteggono la propria condizione, sono quelli che amano Satana e si oppongono alla verità. Resistono a Dio e appartengono completamente a Satana. Coloro che non sono attenti ai fardelli di Dio, che non servono Dio con tutto il cuore, che si preoccupano costantemente dei propri interessi e di quelli della loro famiglia, che sono incapaci di abbandonare tutto per spendersi per Dio, e non vivono mai secondo le Sue parole, vivono fuori dalle parole di Dio. Tali uomini non possono ricevere l’apprezzamento di Dio.

 

Quando Dio ha creato l’uomo, l’ha fatto perché questi godesse delle Sue ricchezze e Lo amasse in modo sincero; in tal modo, l’uomo vivrebbe nella Sua luce. Oggi, tutti coloro che non sono in grado di amare Dio, che non sono attenti ai Suoi fardelli, che sono incapaci di dare tutto il loro cuore a Dio, incapaci di considerare il cuore di Dio come se fosse il proprio, incapaci di caricarsi sulle spalle i fardelli di Dio come se fossero i propri – ebbene, la luce di Dio non splende su nessuno di tali uomini e, pertanto, vivono tutti sotto l’influenza delle tenebre. Essi percorrono un sentiero che è diametralmente opposto alla volontà di Dio, e tutto ciò che fanno non ha un briciolo di verità. Sguazzano nel fango con Satana, e sono quelli che vivono sotto l’influenza delle tenebre. Se riesci a nutrirti costantemente delle parole di Dio così come a essere attento alla Sua volontà e a mettere in pratica le Sue parole, allora appartieni a Dio e sei una persona che vive dentro le parole di Dio. Sei disposto a sfuggire al dominio di Satana e a vivere nella luce di Dio? Se vivi dentro le parole di Dio, allora lo Spirito Santo avrà un’opportunità per compiere la Propria opera; se vivi sotto l’influenza di Satana, allora lo Spirito Santo non avrà nessuna opportunità di realizzare alcuna opera. L’opera che lo Spirito Santo compie sugli uomini, la luce che Egli fa splendere sugli uomini e la fiducia che Egli concede agli uomini durano solo per un momento; se essi non sono attenti e non prestano attenzione, l’opera realizzata dallo Spirito Santo passerà senza che se ne accorgano. Se gli uomini vivono nelle parole di Dio, allora lo Spirito Santo sarà con loro e agirà su di loro; se gli uomini non vivono nelle parole di Dio, allora vivono nella schiavitù di Satana. Gli uomini che vivono con un’indole corrotta non hanno la presenza o l’opera dello Spirito Santo. Se vivi nella sfera delle parole di Dio, se vivi nella condizione richiesta da Dio, allora appartieni a Lui e la Sua opera sarà compiuta su di te; se non vivi nella sfera delle richieste di Dio ma vivi invece sotto il dominio di Satana, allora vivi di certo nella corruzione di Satana. Solamente vivendo nelle parole di Dio e dando il tuo cuore a Lui, puoi soddisfare le Sue richieste; devi fare come Dio dice, devi fare delle parole di Dio il fondamento della tua esistenza e la realtà della tua vita, e solo allora apparterrai a Dio. Se pratichi sinceramente secondo la volontà di Dio, Egli eseguirà la Propria opera su di te e allora vivrai sotto le benedizioni di Dio, vivrai nella luce del volto di Dio, coglierai l’azione che lo Spirito Santo compie, così come proverai la gioia della presenza di Dio.

 

Per sfuggire all’influenza delle tenebre, devi per prima cosa essere fedele a Dio e anelare alla ricerca della verità – solo allora avrai una corretta condizione. Vivere nella corretta condizione è la premessa indispensabile per sfuggire all’influenza delle tenebre. Non avere la corretta condizione significa che non sei fedele a Dio e che non aneli alla ricerca della verità. Quindi sfuggire all’influenza delle tenebre è fuori discussione. Che l’uomo possa sfuggire all’influenza delle tenebre ha fondamento nelle Mie parole, e se l’uomo non riesce a praticare in conformità con le Mie parole, non sfuggirà alla schiavitù dell’influenza delle tenebre. Vivere nella corretta condizione significa vivere sotto la guida delle parole di Dio, vivere nella condizione di essere fedeli a Dio, vivere nella condizione di ricercare la verità, vivere nella realtà di spendersi sinceramente per Dio, vivere nella condizione di amare sinceramente Dio. Coloro che vivono in queste condizioni e dentro questa realtà si trasformeranno gradualmente man mano che entrano più profondamente nella verità, e si trasformeranno con l’approfondirsi dell’opera, finché, alla fine, saranno certamente guadagnati da Dio e giungeranno ad amarLo sinceramente. Coloro che sono sfuggiti all’influenza delle tenebre saranno in grado di afferrare e comprendere gradualmente la volontà di Dio, e di entrare infine in intimità con Dio. Non solo non avranno alcuna concezione riguardo a Dio e nessuna ribellione contro di Lui, ma giungeranno a detestare ancora di più le concezioni e la ribellione che hanno avuto in precedenza, generando un autentico amore per Dio nei loro cuori. Coloro che non sono in grado di sfuggire all’influenza delle tenebre sono concentrati sulla propria carne, e sono pieni di ribellione; il loro cuore è colmo di concezioni umane e di filosofie di vita, così come delle proprie intenzioni e decisioni. Dio richiede l’esclusivo amore dell’uomo e che l’uomo sia totalmente dedito alle Sue parole e all’amore per Lui. Vivere all’interno delle parole di Dio, scoprire ciò che l’uomo dovrebbe cercare nelle Sue parole, amare Dio come risultato delle Sue parole, darsi da fare nell’interesse delle parole di Dio, vivere per le parole di Dio – queste sono tutte cose che l’uomo dovrebbe ottenere. Tutto deve essere costruito sulle parole di Dio, e solo allora l’uomo sarà in grado di soddisfare le richieste di Dio. Se l’uomo non è provvisto delle parole di Dio, non è altro che un verme posseduto da Satana. Valutalo nel tuo cuore – quante parole di Dio hanno messo radici dentro di te? In quali cose vivi in accordo con le parole di Dio? In quali cose non sei vissuto in accordo con le parole di Dio? Se non hanno attecchito pienamente in te, fino a che punto lo hanno fatto? Nella tua vita di ogni giorno, sei sotto il controllo di Satana o sei guidato dalle parole di Dio? Le tue preghiere sono attivate dalle Sue parole? Sei uscito dalla tua condizione negativa attraverso l’illuminazione delle parole di Dio? Prendere le parole di Dio a fondamento della tua esistenza, questo è ciò che ognuno dovrebbe intraprendere. Se le parole di Dio non sono presenti nella tua vita, allora vivi sotto l’influenza delle tenebre, sei ribelle a Dio, opponi resistenza a Dio e stai disonorando il Suo nome – la fede di tali uomini in Dio è solo danno, un intralcio. Quanta parte della tua vita è stata vissuta secondo le Sue parole? Quanta parte della tua vita non è stata vissuta secondo le Sue parole? Quanto di ciò che le parole di Dio ti hanno richiesto è stato realizzato in te? Quanto è andato perso in te? Hai esaminato con attenzione tali cose?

 

Per sfuggire all’influenza delle tenebre, un aspetto è che richiede l’opera dello Spirito Santo, e un altro aspetto è che richiede devota cooperazione da parte dell’uomo. Perché dico che l’uomo non è sul retto sentiero? In primo luogo, se un uomo è sul retto sentiero sarà in grado di dare il suo cuore a Dio, un compito che richiede un lungo periodo di tempo per accedervi poiché l’umanità è sempre vissuta sotto l’influenza delle tenebre ed è stata sotto la schiavitù di Satana per migliaia di anni. Pertanto questo accesso non può essere ottenuto in un giorno o due. Ho sollevato tale questione oggi così che gli uomini possano comprendere la propria condizione; riguardo a ciò che significa l’influenza delle tenebre e a ciò che significa vivere nella luce, tale accesso diventa possibile quando l’uomo è in grado di discernere tali cose. Questo perché devi sapere quale sia l’influenza di Satana prima di potervi sfuggire, e solo allora avrai il percorso per liberartene gradualmente. Per quanto riguarda cosa fare da quel momento in poi, questa è faccenda dell’uomo stesso. Devi sempre accedere da un aspetto positivo e mai aspettare passivamente. Solo in questo modo sarai guadagnato da Dio.

  

www.kingdomsalvation.org/it/escape-from-the-influence-of-...

Collaboration beetween Biennalist and Ultracontemporay

  

Art Format

www.emergencyrooms.org/formats.html

 

en.wikipedia.org/wiki/Thierry_Geoffroy

  

Documenta From Wikipedia,

 

The Fridericianum during documenta (13)

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

 

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

  

Etymology of documenta

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

 

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

 

History

 

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

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

 

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

 

Criticism

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

 

Directors

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

  

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

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

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

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

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

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

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

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

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

891.500 in Kassel

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

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

 

Venues

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

 

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

  

Rahmenbau (1977) by Haus Rucker und Co.

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

 

documenta archive

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

 

Management

Visitors

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

 

References

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Further reading

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

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

 

other biennales :

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

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

lumbung

Short concept by ruangrupa for documenta 15

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

  

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

 

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

 

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

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

  

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

#protestart

 

PETER SLOTERDIJK Por ADOLFO VÁSQUEZ ROCCA

 

DR. ADOLFO VÁSQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

VÁSQUEZ ROCCA, Adolfo

 

Doctor en Filosofía

 

Domicilio

 

Valparaiso, Chile

 

Adscripción Académica

 

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Universidad Complutense de Madrid

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

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

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

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

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

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

  

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

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

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

  

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

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

   

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

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

 

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

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

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

 

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

  

INVESTIGACIÓN:

2009 - 2010

 

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

 

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

 

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

  

2011 - 2012

 

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

 

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

 

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

 

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

  

Asistente de Investigación:

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

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

(2009-2010) Profesor visitante Florida Christian University USA

 

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

 

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

 

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

 

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

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

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

 

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

 

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

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

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

 

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

 

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

  

ENTREVISTA:

 

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

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

 

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.doaj.org/doaj?func=abstract&id=1160879&recNo=...

  

Vásquez Rocca, Adolfo, “El Género Bowie: Andrógino, New romantic y Glam-rock”, Sección Cultural 'Mujer', La Tercera, Periódico, Santiago, 2012.

mujer.latercera.cl/2012/02/26/01/contenido/19_3278_9.shtml

  

Vásquez Rocca, Adolfo, "Sloterdijk; secretos bizarros de Freud, discretas obsesiones telecomunicativas y primeras formaciones de psicología profunda europea", En Revista LA LÁMPARA DE DIÓGENES, Año 12, números 22 y 23, Volumen 12 ISSN: 1870-4662; BUAP – MEX – PHILOSOPHER'S INDEX – 2012

www.ldiogenes.buap.mx/revistas/22/165.pdf

  

Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.

www.tendencias21.net/La-modernidad-liquida-podria-licuar-...

  

Vásquez Rocca, Adolfo, "Ontología y Fenomenología del Cuerpo en Jean-Luc Nancy: los nuevos escenarios de la corporeidad y la apostasía de los órganos", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm

  

Vásquez Rocca, Adolfo, "Nicanor Parra: Antipoemas, parodias y lenguajes híbridos. De la Antipoesía al lenguaje del Artefacto", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)] pp. 213 - 231

www.ucm.es/info/nomadas/americalatina2012/adolfovasquezro...

  

Vásquez Rocca, Adolfo, "La crisis de la noción de sujeto y las psicopatologías del yo", En Revista ESPIRAL Nº 38 – 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, México.

www.revistaespiral.org/espiral_38/filosofia_adolfo.html

  

Adolfo Vásquez Rocca, "Jean-Luc Nancy: Téchne de los cuerpos y apostasía de los organos; El intruso, ajenidad y reconocimiento", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm

  

Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– citando op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca en Margen Cero; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.

www.tendencias21.net/La-modernidad-liquida-podria-licuar-...

  

Vásquez Rocca, Adolfo, "Jean Baudrillard; de la metástasis de la imagen a la incautación de lo real", En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – www.arqchile.cl/baudrillard.htm

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk y Walter Benjamin; Air Conditioning en el Mundo interior del Capital", En EIKASIA, Revista de Filosofía, Nº 25 - ISSN 1885-5679 - SAF -Sociedad Asturiana de Filosofía, Oviedo, España, pp. 25-38. Archivo: Academia.edu paper: www.academia.edu/1614097/Peter_Sloterdijk_y_Walter_Benjam...

  

Vásquez Rocca, Adolfo, "El Valor Cognoscitivo de la Ficción o la Experiencia Estética como Simulación Gnoseológica: de Duchamp a Feyerabend", En ESPIRAL Nº 39, Revista de Pensamiento y Cultura Contemporánea, Tijuana, México

www.revistaespiral.org/espiral_39/filosofia_adolfo.html

  

Vásquez Rocca, Adolfo, "El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos", En Almiar, MARGEN CERO, Madrid, mayo, 2012, www.margencero.com/almiar/arte-galeria/

Versión ampliada, de la Publicación original: Vásquez Rocca, Adolfo, "El arte abandona la galería ¿Adónde va? En torno a Beuys y la reconstrucción del Museo como proyecto ilustrado", DEBAT'S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.

  

Vásquez Rocca, Adolfo, Artículo Conferencia: “Del 'Humanismo' de Sartre al 'Anti-humanismo' de Heidegger", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Paraninfo Facultad de Filosofía y filología, Universidad Complutense de Madrid, 2012. En Manuscritos Transversales ©, UCM, 2012.

www.slideshare.net/AdolfoVasquezRocca/del-humanismo-de-sa...

  

Vásquez Rocca, Adolfo, “El Futuro de la Universidad Pública y la Crisis de la Educación en Chile”. En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – Sección PEP Publicación Educación Pública.

www.arqchile.cl/publicacion_educacion_publica.htm

  

Vásquez Rocca, Adolfo, “Lógica Paraconsistentente, Mundos Posibles y Ficciones Narrativas. La Ficción como campo de proyección de la Experiencia”, Reedición Ampliada en Revista de la Sociedad de Estudios Filosóficos de Madrid, Post-scriptum de A Parte Rei, 2012.

serbal.pntic.mec.es/~cmunoz11/vasquez38.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo" En Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas Universidad Complutense de Madrid | 32 (2011.4) NÓMADAS. 32 - Julio-Diciembre. 2011 (II), pp. [102-125]

www.academia.edu/1614355/_Sloterdijk_y_Heidegger_Normas_p...

  

VV.AA., Vásquez Rocca, Adolfo, Del Arco Carabias, Javier PHD. - Université Paris X Nanterre, “Sloterdijk Espumas: De la masa líquida a la masa espumosa: el advenimiento del temor”; sobre textos de Sloterdijk y Bauman y reflexiones de Adolfo Vásquez Rocca, En TENDENCIAS 21 –Revista Asociada al Capítulo español del Club de Roma y al Master en Bioinformática de la Universidad Complutense de Madrid–; y al Instituto de Ingeniería de España, Sección: Filosofía de la Ciencia y Tecnología ISSN 2174-6850

www.tendencias21.net/biofilosofia/De-la-masa-liquida-a-la...

  

Vásquez Rocca, Adolfo, “Poética del Ajedrez; Composición y escritos tácticos”, En Revista Almiar, MARGEN CERO ©, Madrid 2012, Revista Fundadora de la Asociación de Revistas Culturales de España, www.margencero.com/articulos/articulos2/poetica_ajedrez.htm

  

Vásquez Rocca, Adolfo, 'LE NÉANT DANS LA PENSÉE CONTEMPORAINE', Livre, Bès Editions , París, © 2012

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

Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: "Le Néant Dans la Pensée Contemporaine", Bès Editions © 2012

  

Vásquez Rocca, Adolfo, “La crisis de las Vanguardias Artísticas y el debate modernidad - postmodernidad”, En, NÓMADAS Nº Especial –Revista Crítica de Ciencias Sociales y Jurídicas | - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº Especial , pp. 259 – 272

pendientedemigracion.ucm.es/info/nomadas/12/avrocca2.pdf

  

Vásquez Rocca, Adolfo, “La Fotografía y las formas del olvido; del furor de la imagen al frenesí de lo real”, En Revista Almiar, MARGEN CERO © , Madrid 2012, Revista Fundadora de la Asociación de Revistas Digitales de España. www.margencero.com/articulos/articulos2/foto_olvido.htm

  

Vásquez Rocca, Adolfo, "Individualismo, modernidad líquida y terrorismo hipermoderno; de Bauman a Sloterdijk", En ERRANCIA, La Palabra Inconclusa– Revista de Psicoanálisis, Teoría Crítica y Cultura, Nº 3 © 2012, Universidad Nacional Autónoma de México UNAM

www.iztacala.unam.mx/errancia/v3/errancia_3.html

  

Vásquez Rocca, Adolfo, “Sloterdijk y Heidegger: las Repúblicas del saber, graneros y cultivos de la verdad; sobre la(s) historia(s) de la verdad o ‘economía política de la verdad’”, En Espiral Nº 41 - 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, BC. México.

www.revistaespiral.org/espiral_41/filosofia_adolfo.html

  

Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.

www.revistadefilosofia.com/44-04.pdf

  

Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.

dialnet.unirioja.es/descarga/articulo/4052835.pdf

  

Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32

www.revistadefilosofia.com/46-02r.pdf

  

Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.

www.revistadefilosofia.com/46-02.pdf

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.

www.doaj.org/doaj?func=fulltext&aId=1320292

  

2013

  

Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...

  

Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.

cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...

  

Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Madrid, 2013.

www.margencero.com/almiar/limites-medicina-concepto-muert...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712

www.observacionesfilosoficas.net/sloterdijkensayosdeintox...

  

Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.

rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...

 

Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.

rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:

www.observacionesfilosoficas.net/download/Peter-sloterdij...

 

DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL

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

  

ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN

 

www.danoex.net/adolfovasquezroccainvestigacion.html

  

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

 

emui.academia.edu/AdolfoVasquezRocca

 

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

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

  

ADOLFO VÁSQUEZ ROCCA

  

Pontificia Universidad Católica de Valparaíso

Universidad Complutense de Madrid

Universidad Andrés Bello UNAB

 

E-mail: adolfovrocca@gmail.com

· 366project2012.es · Facebook · Twitter · Instagram

 

· Canon EOS 5D Mark II + MC Rokkor-PF 55mm f/1.7

.........

innisfreegarden.org/garden.html

 

We arrived at Innisfree as soon as it opened at 10AM one mid-August morning when the entire Northeastern US was in the middle of a record heatwave. Despite the heat and humidity, we were able to make a quick 1.5 mile circle on the path around the deep glacial lake at the heart of this 150 acre garden before we wilted and had to return to our air conditioned car. The harsh mid-day light made photography challenging, as you can see. We learned that Innisfree, said by some to be one of the world's Ten Great Gardens, opens at sunrise on three occasions each year, and we are already planning another trip to the Hudson River Valley in the future when we hope we can see and photograph this amazing place under better conditions.

 

"Like the pyramids of Egypt or the Great Wall of China, Innisfree helps us to define what we mean by ‘civilization’. It’s one of the few places in this world that lived up to — nay, exceeded — my expectations."

David Wheeler, Editor, Hortus (2013)

 

"In the late 1920s, Walter Beck and his wife, avid gardener and heiress Marion Burt Beck, began work on Innisfree, their country residence in Millbrook, New York. Walter Beck’s fascination with Asian art influenced his painting, the collecting he and his wife pursued, and their ideas on garden design. In the 1930s, Beck discovered the work of 8th-century Chinese poet, painter and garden maker Wang Wei. Studying scroll paintings of his famed garden, the Wangchuan Villa, Beck observed that Wang created carefully defined, inwardly focused gardens and garden vignettes within a larger, naturalistic landscape. Wang’s place-making technique — christened “cup gardens,” by Beck — influenced centuries of Chinese and Japanese garden design. It is also the principal design motif in the Innisfree landscape. Like his Chinese predecessor, Beck created three-dimensional pictures in the garden, incorporating both rocks from the site and horticultural advice from his wife. Unlike Wang Wei, or perhaps more familiar figures like Lawrence Johnston, who used his cup-like rooms at Hidcote in England to draw one through a sequence of events and create an overall sense of place, Beck focused more on individual compositions. Relating these to each other and to the landscape as a whole was the genius of Lester Collins."

 

The genius of this place lies not so much in the ideas which the designers formulated for the cup gardens, many of which are disarmingly simple, but in the way they have been maintained over the years. Essentially, everything is allowed to settle into the prevailing spirit of the place; if it does not, it is removed. It is this sensitivity, care and attention to the qualities of landscape, natural and made, that make Innisfree such a memorable success.

Tim Richardson, Great Gardens of America (2000)

 

Western gardens are usually designed to embrace a view of the whole. Little is hidden. The garden, like a stage set, is there in its entirety, its overall design revealed in a glance. The traditional Chinese garden is usually designed so that a view of the whole is impossible. [It] requires a stroll over serpentine, seemingly aimless arteries. The observer walks into a series of episodes, like Alice through the looking glass."

Lester Collins, Innisfree: An American Garden (1994)

Try this delicious garlic pepper rice and do share your comments

alwayskush.blogspot.com/2015/03/garlic-pepper-rice.html

BIENNALIST @ Venice Biennale

 

www.emergencyrooms.org/biennalist.html

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

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

  

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

 

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

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

 

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

 

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

 

----------

 

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

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

  

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

 

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

 

other Biennale :(Biennials ) :

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

* Dakar

  

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

 

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

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

 

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

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

 

#biennalevenice

 

Institutional Critique

 

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

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

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

 

Culture, Collective History, Group of Portraits, Photographic Source

 

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

 

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

 

Personal Histories, Alter Egos and Avatars

 

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

, Photographic Source

 

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

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

 

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

   

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

 

www.andynoise.com/kernxcinvite08.html

 

Varsity Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

 

1. Foothill Chris Schwartz 14:59.76 1 1 1

2. McFarland Alfonso Cisneros 15:33.49 2 2 1

3. McFarland Francisco Nava 15:48.44 3 3 2

4. McFarland Marco Perez 15:48.85 4 4 3

5. Stockdale Curtis Kelly 15:50.33 5 5 1

6. Ridgeview Brian Solis 15:50.81 6 6 1

7. Wasco A. Mendoza 15:51.72 7 7 1

8. Ridgeview Alex Garcia 15:52.70 8 8 2

9. Shafter Chris Handel 15:53.96 9 9 1

10. McFarland Gerardo Alcala 15:54.28 10 10 4

11. Shafter Jesus Villalpondo 16:05.48 11 11 2

12. Highland Colin Lewis 16:06.79 12 12 1

13. Centennial Nathan Vincent 16:08.77 13 13 1

14. Ridgeview Robby Baker 16:13.01 14 14 3

15. McFarland Eduardo Bautista 16:18.69 15 15 5

16. BHS Andrew Ariey 16:21.59 16 16 1

17. Garces Connor O'Malley 16:23.32 17 17 1

18. Stockdale Blair Slaton 16:25.15 18 18 2

19. Ridgeview Jerrio Lewis 16:25.61 19 19 4

20. East Jose Ramirez 16:25.97 20 20 1

21. East Mose Valdez 16:26.30 21 21 2

22. Highland Thomas Turner 16:26.59 22 22 2

23. Golden Valley Daymon Sandles 16:26.91 23 23 1

24. Foothill Jose Lopez 16:27.22 24 24 2

25. Ridgeview Miguel Munoz 16:30.13 25 25 5

26. Wasco G. Linares 16:34.10 26 26 2

27. Shafter Josh Wittenberg 16:34.61 27 27 3

28. Highland Jake Van Zandt 16:36.62 28 28 3

29. East Charlie Zaragoza 16:39.22 29 29 3

30. BHS Andrew Edquist 16:41.12 30 30 2

31. Cesar Chavez Martin Rios 16:45.91 31 31 1

32. Highland Ivan Esquivias 16:47.91 32 32 4

33. BHS Zachary Holt 16:48.98 33 33 3

34. Stockdale Anthony Dao 16:49.30 34 34 3

35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2

36. Wasco O. Mirando 16:50.04 36 36 3

37. Shafter Alex Moreno 16:51.14 37 37 4

38. Wasco E. Sanchez 16:52.02 38 38 4

39. Wasco E. Ramirez 16:53.29 39 39 5

40. East Camilo Mosqueda 16:53.84 40 40 4

41. East Vincente Herrera 16:54.31 41 41 5

42. Foothill Erick Bautista 16:54.82 42 42 3

43. Arvin Ben Orozco 16:57.57 43 43 1

44. Shafter Hector Montoya 17:01.02 44 44 5

45. Garces Jesus Guzman 17:02.28 45 45 2

46. Garces Michael Bedard 17:02.88 46 46 3

47. Frontier Tanner Urmston 17:03.48 47 47 1

48. BHS John Purcell 17:04.08 48 48 4

49. Centennial Ty Heiter 17:04.73 49 49 2

50. Frontier Richard Peralta 17:05.73 50 50 2

51. Shafter Cristian Barrios 17:07.93 51 51 6

52. Centennial Gehrig Smith 17:08.86 52 52 3

53. BHS Christopher Anderson 17:09.32 53 53 5

54. Highland Justin Burnett 17:10.77 54 54 5

55. Wasco J. DeJulian 17:11.97 55 55 6

56. Stockdale Stephen Burke 17:16.30 56 56 4

57. Arvin Juan Calderon 17:16.89 57 57 2

58. Wasco Cesar Patino 17:19.39 58 58 7

59. Cesar Chavez Tim Yanez 17:21.10 59 59 3

60. Highland Ariel Hurtado 17:23.69 60 60 6

61. North Adam Ralls 17:24.02 61 x 1

62. Ridgeview Michael Anseno 17:24.53 62 61 6

63. Ridgeview Jaime Madrigal 17:31.18 63 62 7

64. Foothill Patrick Manrique 17:32.75 64 63 4

65. Frontier Will Beechinor 17:33.57 65 64 3

66. East Alex Estrada 17:38.64 66 65 6

67. Burroughs Jesse Wigfield 17:38.99 67 66 1

68. Centennial Eric Millan 17:39.50 68 67 4

69. Burroughs Daniel Lathrop 17:39.91 69 68 2

70. Shafter Jacob Vasquez 17:40.47 70 69 7

71. Garces David Freed 17:40.91 71 70 4

72. Centennial Jake Howry 17:42.54 72 71 5

73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3

74. Frontier D. Sclafani 17:47.26 74 73 4

75. Stockdale Max Morales 17:48.38 75 74 5

76. Burroughs Eduardo Carrillo 17:51.64 76 75 4

77. Burroughs Keith Christman 17:57.59 77 76 5

78. Golden Valley Jose Salgado 17:59.82 78 77 2

79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4

80. Centennial Brad Hinsley 18:04.58 80 79 6

81. Arvin Yessuri Villsenor 18:05.30 81 80 3

82. Burroughs Nathan Cheadle 18:10.33 82 81 6

83. Foothill Javier Garcia 18:11.22 83 82 5

84. Foothill Ernest Marquez 18:11.57 84 83 6

85. BC Kevin Yarian 18:27.47 85 84 1

86. North Chris Emmett 18:29.51 86 x 2

87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5

88. Tehachapi Corey Torres 18:32.16 88 86 1

89. Frontier Michael Sclafani 18:33.62 89 87 5

90. Garces Patrick Gomez 18:37.52 90 88 5

91. Highland Humberto Ramirez 18:37.98 91 89 7

92. Golden Valley David Gamino 18:40.22 92 90 3

93. Frontier Ricky Gonzales 19:03.13 93 91 6

94. Garces Chris Real 19:06.29 94 92 6

95. Stockdale D. Sherrill 19:08.29 95 93 6

96. Garces Dillon Lyles 19:16.75 96 94 7

97. Tehachapi Christian Torres 19:19.03 97 95 2

98. BC Mark McCutcheon 19:20:78 98 96 2

99. Golden Valley Nick Cruz 19:22.49 99 97 4

100. Golden Valley Daniel Perez 19:25.13 100 98 5

101. Foothill Christian Paredes 19:32.03 101 99 7

102. Arvin Adrian Rodriguez 19:32.67 102 100 4

103. BC Thomas Beard 19:59.04 103 101 3

104. West Michael Branquino 19:59.63 104 x 1

105. BHS Nick Flores 20:04.27 105 102 6

106. Tehachapi Logan Collier 20:07.47 106 103 3

107. Kern Valley C. Woodward 20:22.63 107 x 1

108. Arvin Christian Guerrero 20:31.41 108 104 5

109. Burroughs Daniel Meade 20:41.26 109 105 7

110. Golden Valley Ryan Davis 20:41.26 110 106 6

111. BHS Robby Harris 20:42.01 111 107 7

112. East Hector Fuentes 20:42.57 112 108 7

113. Frontier Alex Blanton 20:56.97 113 109 7

114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6

115. Tehachapi Trent Sherman 21:02.94 115 111 4

116. Tehachapi Shaddi Haddad 21:18.14 116 112 5

117. BC Austin Adee 21:25.45 117 113 4

118. BC Aaron Stephens 21:31.77 118 114 5

119. Kern Valley J. Pistocco 23:15.37 119 x 2

120. Tehachapi Corey Hebron 23:19.78 120 115 6

121. West Kevin Serrano 23:48.05 121 x 2

The NFL.com redesign can be classified as a Web 1.5 site, illustrating that pro sports seem loath to fully embrace the spirit of Web 2.0. Read: NFL . com Redesign - Web 1.5.

ROOF HEAT PROOFING COMPANY PROFILE:

  

We would like to introduce ourselves as one of the Pioneer of ROOF HEAT PROOFING in Pakistan. Our company was established in the year 2000.

 

ROOF HEAT PROOFING Family Business Background.

 

Our Business Background is that we are importer of chemicals. When Pakistan got independence our grandfather Mr.Abdul Khaliq Gandhak wala (Late) was the first one to open a chemical outlet in Jodia Bazar Karachi. Every chemical related industrialist and Business men know him really well.

 

What is ROOF HEAT PROOFING Cool Tech?

 

In chemical field, we started ROOF HEAT PROOFING, a new business which fulfills the need of every house, Factory, Office, Hotel, School, Hospital and any other organization. ROOF HEAT PROOFING is the mixture of different types of chemicals, and Sun block chemicals from Pakistan, Korea, China and Germany.

 

ROOF HEAT PROOFING Vision and Mission.

 

After 35 years all over the world such as USA, GULF, Saudi Arabia and Hot region countries Cool Tech brought ROOF HEAT PROOFING facility in Pakistan in 2000. Approx.: 8000sq ft clean Area can be done within a day without any disturbance and noise. You can use your roof conveniently and you can search that type of coating on internet by any search engine like yahoo Google etc. Just mention ROOF HEAT PROOFING. Your Air Conditioner Bill will be deducted around 20 to 30%. Recommended by Engineers and consultant all over the world.

 

WHY ROOF HEAT PROOFING IS NECESSARY FOR ALL TOP FLOORS.

 

ROOF HEAT PROOFING saves your money against high Air conditioner Bills.

Cool Tech Saves your money against high Air conditioner Bills. The best reason to use Cool tech (ROOF HEAT PROOFING) is simply put……..You save Money! How much does it cost? Well, considering reduced electric bills, less wear and tear on air conditioner components, extended roof life, increased comfort and the beauty supplied, it’s almost FREE! Cool Tech will help pay for itself before you know it by enabling you to save 20-30% of your electricity cost. Cool Tech (ROOF HEAT PROOFING) is a high built coating made from highly water-resistant polymers and additives that give flexibility and durability.

  

ROOF HEAT PROOFING Protect your roof against hot sun rays.

 

Roof Heat Proofing provides SOLAR REFLECTANCE, which means it reflects most of the infrared and visible light striking the surface of the coating. Over 80% of the light striking Cool Tech (ROOF HEAT PROOFING) is reflected back into the atmosphere and away from your roof. Then Roof Heat Proofing repels over 80% of the heat striking it. It bounces this heat back into the atmosphere. This synergistic effect means that Cool Tech reflects the majority of radiant energy away from the structure while the micro-porous structure of the coating dissipated and blocks any radiation that is absorbed and reduces the energy transmitted to the substrate.

 

ROOF HEAT PROOFING Protect your roof against thermal shocks

 

Roof Heat Proofing also helps prevent thermal shocks. A hot roof can experience thermal shocks when a passing shower of cold rain hits the hot roof causing a rapid and tremendously violent contraction. These violent contractions can rip seams open, pop fasteners out of the roofs substrate, pull flashing out of the imbedding plies and generally destroys your roof. Keeping your roof cool prevents the radical contraction that leads to “ROOF SHOCK”, premature roof failure and costly replacement costs.

  

SOME OF OUR VALUABLE CLIENTS (COMMERCIAL)

 

• BAY VIEW HIGH SCHOOL CLIFTON 2012

• PAK GREASE MANUFAC KEEMARI KARACHI 2013

• BONANZA GARMENTS 2013

• SOUTH SHORE O-LEVEL SCHOOL DHA 2013

• KARACHI GRAMMAR SCHOOL CLIFTON 2011

• SIEMENS PAKISTAN ENGINEERING CO. LTD. SITE 2010

• (FOTCO) FAUJI OIL TERMINAL & DISTRIBUTION Co. Ltd (PORT QASIM) 2010

• OYSTER TECHNOLOGIC (PVT)LTD KORANGI 2011

• THE RESIDENCY HOTEL (LAHORE) 2011

• ARENA KARSAZ (2010)

• ARY DIGITAL NETWORK STUDIO (SITE) 2009

• MERCK (PVT) LTD QUETTA 2011

• CARE LOGISTIC SHARA-E-FAISAL 2011

• PRECISION POLYMERS (PVT) LIMITED 2011

• S. ABDULLAH & COMPANY (K-SHAMSHEER) (DHA) 2005

• MEDICAIDS PAKISTAN PVT LTD (KORANGI) 2011

• ICON TOWER (SITE OFFICE) ADJACENT ABDULLAH SHAH GHAZI MAZAR 2010

• CENTURY 21 TEXTILE (S.I.T.E) 2004

• HAKEEM ABDUL GHAFFAR AGHA (AGHA HERBAL, TARIQ ROAD) 2009

• (FOTCO) GUEST HOUSE (DHA) 2010

• MR. IQBAL.S.MUHAMMAD PARAMOUNT BOOKS PVT LTD 2009

• EDEN ROBE GARMENTS (SITE) 2007

• RAZAQUE STEEL (SITE) 2008

• STAR CNG N.NAZIMABAD 2011

• ST. PETERS HIGH SCHOOL KASHMIR ROAD 2009

• K.N. ACCADEMY (MALIR CANTT) 2003

• HAMPTON SCHOOL (CLIFTON) 2007

• WOODWARDS (PVT) LTD (AMEER KHUSRO ROAD) 2010

• CHAS. A MENDOZA (RAZI ROAD) 2010

• KIRAN HOSPITAL (SAFFORA GOTH) 2004

• USMAN MEMORIAL HOSPITAL (F.B. AREA) 2003

• CIVIL HOSPITAL 2004

• M.M. TOWERS (DHA) (MAIN KHAYABAN-E-ITEHAD) 2004

• LOYA ASSOCIATE (P.E.C.H.S) 2005

• ALI ASGHAR TEXTILE (KORANGI OFFICE AREA) 2010

• OXYHEALTH LOUNGE & RELAXATION CLUB (CLIFTON) 2008

• SHAN SILK (KORANGI) 2011

   

SOME OF OUR VALUABALE CLIENTS (RESIDENTIAL)

 

• MR. FAROOQ (BONANAZA GARMENTS) 2013

• MR. JUNAID JAMSHED DHA 2013

• MR ASHRAF S/O MR. LIAQUT ALI KHAN 1ST PRIME MINISTER OF PAKISTAN

• MIAN NASEER ARCHITECT 2013

• MR. SIKANDER BAKHT (FORMER PAKISTANI CRICKETER) D.H.A 2011

• MR. MASOOD HASSAN (CLIFTON) 2009 M/S. SIEMENS CO. LTD. SITE 2010

• MR. MURAD ALI SHAH MINISTOR OF IRRIGATION AND POWER (DHA) 2010

• MR. IMRAN S. SATTAR OXFORD SWETTERS DHA 2011

• MR. ASGHAR RANGOON WALA (ROYAL RODALE CLUB) (DHA) 2007

• MR YASIN SIDDIQUI CHAIRMAN “APTMA” DHA 2010 (SINDH & BALOCHISTAN ZONE)

• MR. SAJJAD HUSSAIN SHAH “APNA TV CHANNEL” (C.E) DHA 2010

• MR. SARFARAZ HUSSAIN SHAH “APNA TV CHANNEL” (C.E) DHA 2010

• MR. RAFIQ (ORIENT TEXTILE) DHA 2011.

• MS. FATIMA (D/O LATE MR. KAMAL FILM ACTOR) DHA 2011

• MR. BUKSH JUMANI (KHAIRPUR HOUSE) DHA 2011

• MR DANISH KHWAJA (A.R.Y) 2011 D.H.A / MR. NOFEL HUM T.V. 2011

• MR. YOUSUF DEWAN. (DEWAN GROUP OF INDUSTRIES) (DHA) 2003

• MR. HAMZA FAROOQ / MR. ABDUL BAAQI DEWAN. (DHA) 2008

• DR. RAHEEM-UL-HAQ (DHA) (SOUTH CITY HOSPITAL CLIFTON) 2007

• DR. ZEENAT ESSANI D.H.A 2008 / DR. ZAKIR ALVI D.H.A 2011

• MR. A. KARIM PARACHA (C.I.M. SHIPPING COMPANY) (DHA) 2008

• MR. SHAKEEL MASOOD (C.E. DAWN NEWS). (DHA) 2008

• MR ABBAS / MR SHABBIR (ARENA KARSAZ) 2010

• MR. AHMED ZAFAR EMIRATES GLOBAL BANK (DHA) 2010

• MR. POLAD SUZUKI MOTORS DEALER CLIFTON 2010

• MR. IQBAL.S.MUHAMMAD PARAMOUNT BOOKS PVT LTD 2009

• MR SIKANDAR (CAFÉ FLOW) / MR. NADEEM ISLAM (BAYVIEW SCHOOL)

• MR. ALI ADAMJEE / MR. BILAL DAILY AGHAZ NEWS DHA 2010

• MR. HASSAN AKHTER (DHA) (MATRIX COMPANY CLIFTON) 2004

• MR. BILAL (DHA) DAILY AGHAZ NEWS 2009

• MR. NOSHAER (YAZDANI MOTORS D.H.A) 2008

• MRS. ANWAR PIONEER CABLES (D.H.A) 2011

• MR. ASLAM PAKISTAN CABLES (CLIFTON) 2011

• MR. ABDUL HANNAN (KHAS INDUSTRIES) D.H.A 2010

• MR. NAVEED ILLAHI “ALI ASGHAR TEXTILE” (DHA RESIDENCE) 2010.

   

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Roof Heat Proofing for existing roofs to protect your place from heat.

Available in all major cities of Pakistan.

 

For client list and more details.

contact: salman matin

03332284724

02135486688

 

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Inca Trail Trek to Machu Picchu

The Inca Trail to Machu Picchu is beyond a doubt one of the most beautiful trails in America and an unforgettable experience not to be missed. The trail leads through the protected wild nature of the Peruvian jungle and forest steppe, passes several archeological Inca sights and offers impressive views. The Incas used this itinerary for theirpilgrimage to the sacred citadel Machu Picchu. inca trail to machu Picchu.

Package Name: Inca Trail Classic

Duration: 4 Days / 3 Nights

Type of Trek: Archaeological, Cultural, ecological and Adventure

Group Size: To suit group requirements

Difficulty degree of this hike: Moderate / Challenge

Departures Day:

- Our company organize daily departures

- All private service departure dates are adapted to your request.

- A minimum of 2 persons is needed for this trek

Activities: Trekking, Camping and Adventure

High Season: March - January

Route: Closed in February

Altitude: 2050 - 4200 m. / 6730 - 13780 f.

Inca Trail Trek Itinerary:

Day 1: Cusco - Km 82 – Wayllabamba - Yuncachimpa

we will leave Cusco (3350m/10990f) at 5:30 am by tourist bus to and head for the Sacred Valley of the Incas. Before we reach our starting point km 82, we make a short break in Ollantaytambo for having the option to get breakfast. The official beginning of the Inka Trail is called km 82. Here we will meet the rest of the group and take care of the registration facilities. After crossing the Rio Urubamba (2200m) we will start the legendary Inca Trail. The first day the trail is easy to walk and a good warm up for the fallowing days. In Miskay we’ll have lunch at a small river bank while getting some information about the archaeological complex of Llactapata. After that, we will continue our hike to Wayllabamba (3100m/10170f) and ascend to Yuncachimpa (3300m/10826f), the camping site we will spend the night in. From here, we have a great view of the mysterious Nevado de Verónica.

Level of difficulty: normal (easy)

Hiking time: 5-6 hours

Total distance: 11km approx.

Day 2: Yuncachimpa - Llulluchapampa – Warmihuañusca pass - Pacaymayu - Runkurakay pass - Chaquicocha

The second day is the ‘Free-Hike-Day’; that means, that everybody should walk in his/her own pace – of course you will meet during the small breaks or see each other while beating the stairs. Early in the morning the trails first leads through the Valley of Llulluchapampa (3850m/12631f). The first 3km are step - enjoy the humid woodland and the water sounds. From Llulluchapampa fallow the way for 2-3 hours until you crest the highest point of this section, the Warmihuañusca (Dead Woman Pass) (4200m/113780f). This climb is known as the most difficult part of the Inca Trail. After a short break at the summit, you continue your hike down with a long and steep descent to the river Pacamayo (Sunrise River) towards the Runkurakay pass (3050m/10007f) until you reach our camping site called Chaquicocha at (3650m/11975f). Here you can relax your body from the tough day while enjoying an amazing view over the mountains.

Level of difficulty: challenge

Hiking time: 7-8 hours

Total distance: 15 km approx. 

Day 3: Chaquicocha - Phuyupatamarca – Wiñayhuayna

The third day is the most beautiful one. You can notice a change in the eco-system while walking to the tropical forest of Wiñaywayna. We will pass two small lakes at the top of the second pass (3950m). It’s a gentle climb through beautiful cloud forest and a small Inca tunnel before the third pass (3700m) offers a grand view over the Rio Urubamba Valley. The nearest settlement is named Phuyupatamarca/"Town above the clouds" (3600m/11811f). A well preserved site with long chain Inca baths where one can enjoy impressive ancient engineering. We pass another Inca Tunnel before visiting the ruins of Wiñaywayna/"Forever young" (2650m/8694f). The Inca stairs change into a zigzag trail until you reach a red-roofed white building, our last camping site, and also a location with hot water (5S) and bottled drinks.

Level of difficulty: normal, unforgettable (easy)

Hiking time: 5-6 hours

Total distance: 10 km Approx.

 

Day 4: Wiñayhuayna - Machu Picchu - Cusco

After our breakfast at 4:30 am, we will head - equipped with our flashlights - to the Inti Punku (Sun Gate) to get the first glimpse of Machu Picchu and watch the sunrise over Machu Picchu and Wayna Picchu. The last triumphal descent will take you almost one hour before we visit the citadel of Machu Picchu (2400m//7874f) around 8.00am. You can enjoy its spiritual charm during a guided tour (about two hours) that helps you to understand the meaning and ancient use of the different buildings. After this tour you will have enough time to explore the archeological site on your own (f.ex. go to the Inca Bridge, explore the variety of buildings or climb Wayna Picchu for an amazing panorama picture). A bus takes you down to Aguas Calientes. Here you can soak away your aches and pain in the town’s hot springs (S10). We will leave Aguas Calientes in the afternoon.

Level of difficulty: normal, unique (easy)

Hiking time: 2-3 hours

Total distance: 7 km approx.

 

What is Included:

Transport

Private transfer from your hotel in Cusco to km 82

Tourist train from Aguas Calientes to Cusco (Poroy)/or Ollantaytambo and bus to Cusco

Transfer from the train station in Cusco to your hotel in Cusco

Entrance fees to the Inca trail and Machu Picchu

Professional bilingual guide (Spanish and English)

Camping equipment (professional two-persons tents: Doite, model Cima 4, extra light/4kg, Doite, model Kailas 3, extra light/4.5kg and Doite, model Himalaya, extra light/4.5kg; sleeping mats, dining tent equipped with a table and chairs, a sanitary tent)

Cook, cooking equipment, meals (3 breakfasts, 3 lunches and 3 dinners). Food includes pancakes, omelettes, soups, fresh fruit and spaghetti, chicken, fish, meat and rice, all rich in carbohydrates and very suitable for trekking, hot drinks including coca leafs tea which is excellent for the altitude

Tea and snack time everyday (tea, coffee, wantan, popcorn, cracker)

Porters to carry the main luggage (all the equipment and cooking stock)

First-aid kit, oxygen bottle and safety rope

 

What is not Included:

Sleeping bag rent: US$ 5 per day. Our sleeping bags are –8ºC-comfort (0ºF) and mummy form and include a sleeping liner.

Lunch on the last day after the guided tour at Machu Picchu

Entrance to the Hot Springs in Aguas Calientes

Optional night in Aguas Calientes can be arranged easily.

Alcoholic drinks

 

Recomended Things To Take

Sleeping bag (you can rent at Cusco Expeditions office).

Bottle of mineral water.

Rain gear and/or plastic poncho (can be purchase in Cusco).

Hiking boots.

Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.

Flashlight.

Sun block.

Insect repellent.

Toilet paper and garbage bag.

Small towel and bathing suit (hot springs optional).

Camera, extra film and extra batteries.

Snacks, chocolates, energy bars.

Emergency money.

Walking stick (optional).

 

CALL US We are ready to take your call.

Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307

 

Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)

  

Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco

  

Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)

  

E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com

  

MSN: cuscoexpeditions@hotmail.com

  

Website: www.cuscoexpeditions.com/

  

Copyright © 2005-2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency

 

 

 

Học phí không thay đổi toàn năm học 2013 www.korigami.vn

Học phí không thay đổi áp dụng cho cả niên học 2013: www.korigami.vn/p/ao-tao-va-day-nghe.html ( tư vấn chương trình học phù hợp với nguyện vọng và các chế độ khuyến mãi ... liên hệ trực tiếp tại hộp thư www.facebook.com/messages/kuansaigon )

#KORIGAMI ĐƯỢC CÁC BẠN YÊU NGHỀ TÓC TOÀN QUỐC BÌNH CHỌN LÀ BỘ GIÁO TRÌNH THÔNG MINH DỄ HỌC DỄ HIỂU DỄ ỨNG DỤNG NHẤT TRÊN THỰC TẾ ... HỌC VIÊN CHĂM CHỈ HỌC SAU NÀY CÓ THỂ ĐÀO TẠO BÀI BẢN CHO NHÂN VIÊN CỦA MÌNH KHI TỐT NGHIỆP KINH DOANH RIÊNG

#CAM KẾT HỌC CHUYÊN CẦN RA NGHỀ ĐẠT TRÌNH ĐỘ CHUYÊN MÔN ĐÚNG HOẶC SỚM HƠN KỲ HẠN MONG MUỐN ...

#ĐĂNG KÝ THỦ TỤC + KÝ HỢP ĐỒNG MẪU TẠI TRUNG TÂM LÀ NHẬP HỌC NGAY KHÔNG CẦN CHỜ ĐỢI ...

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DR. ADOLFO VÁSQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

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

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

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

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

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

  

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

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

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

  

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

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

   

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

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

 

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

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

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

 

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

  

INVESTIGACIÓN:

2009 - 2010

 

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

 

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

 

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

  

2011 - 2012

 

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

 

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

 

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

 

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

  

Asistente de Investigación:

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

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

(2009-2010) Profesor visitante Florida Christian University USA

 

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

 

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

 

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

 

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

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

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

 

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

 

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

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

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

 

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

 

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

  

ENTREVISTA:

 

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

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

  

Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.

www.revistadefilosofia.com/44-04.pdf

  

Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.

dialnet.unirioja.es/descarga/articulo/4052835.pdf

  

Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32

www.revistadefilosofia.com/46-02r.pdf

  

Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.

www.revistadefilosofia.com/46-02.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490 pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca_...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.

www.doaj.org/doaj?func=fulltext&aId=1320292

  

2013

  

Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...

  

Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.

cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...

  

Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 68 / marzo - abril 2013, Madrid.

www.margencero.com/almiar/limites-medicina-concepto-muert...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712

www.observacionesfilosoficas.net/sloterdijkensayosdeintox...

  

Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.

rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...

  

Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.

rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:

www.observacionesfilosoficas.net/download/Peter-sloterdij...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Psicopolítica, Globalización y Mundo interior del Capital", En Escáner Cultural - Revista de Arte Contemporáneo y Nuevas Tendencias, Santiago- [Re-Edición 2013], Paper y Conferencia en el IV Congreso Internacional y VII Nacional de Filosofía del Derecho, Ética y Política, Organizado por la Facultad de Filosofía, de Derecho y la Oficina de Relaciones Interinstitucionales (ORI) de la Universidad Libre en Colombia, y la Facultad de Derecho del Centro Universitário Newton Paiva en Bello Horizonte – Brasil, 22, 23 y 24 de abril de 2013, Programa del Congreso

revista.escaner.cl/node/1987

  

Vásquez Rocca, Adolfo, "Sartre; teoría fenomenológica de las emociones, existencialismo y conciencia posicional del mundo", Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 69 / mayo-junio 2013, Madrid.

www.margencero.com/almiar/sartre-existencialismo-y-concie...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490

www.theoria.eu/nomadas/35/adolfovrocca_2.pdf

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio – julio-diciembre 2012-2013, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

   

Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo", En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – mayo, 2013

rinabrundu.com/2013/05/05/sloterdijk-y-heidegger-normas-p...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

www.theoria.eu/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo. Ensayos de intoxicación voluntaria y constitución psicoinmunitaria de la naturaleza humana”, En ARTEFACTO -Pensamientos sobre la Técnica- UBA, abril, 2013

www.revista-artefacto.com.ar/pdf_textos/84.pdf

 

DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL

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

  

ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN

 

www.danoex.net/adolfovasquezroccainvestigacion.html

  

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

 

emui.academia.edu/AdolfoVasquezRocca

 

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

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

  

ADOLFO VÁSQUEZ ROCCA

 

emui.academia.edu/AdolfoVasquezRocca

  

Pontificia Universidad Católica de Valparaíso

Universidad Complutense de Madrid

Universidad Andrés Bello UNAB

 

E-mail: adolfovrocca@gmail.com

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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.

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links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

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

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

 

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

Erstes Shooting mit meinen neuen Blitz-Fernauslösern hat heute stattgefunden. Leider sind die Adapter, um die Empfänger mit den Blitzen zu verbinden, nicht sehr gut verarbeitet und einer ist gleich mal gebrochen.

 

Had the first shooting with my new flash-triggers today. Too bad, that the adapters, which you need to connect the triggers to the flashes, aren't the best quality. One broke already.

 

–––––––––––––––––––––––––––––––––––

Camera: Canon 5D Mark II

Lens: Canon 100mm f2.8L IS

Focal Length: 100mm

ISO: 400

Exposure: 1/400 sec at f / 3.2

Exposure Bias: -2/3 EV

–––––––––––––––––––––––––––––––––––

 

☛☛☛ F L A T T R   T H I S !

 

Thumb This Up @ StumbleUpon

 

Nutzungbedingungen für dieses Bild / Terms of use for this picture

photo published on www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...

 

Save your money and one day it'll return the favor.

Ah money... to spend it or to save it, that is the question.

I found this philosophical add on a phone booth a few months ago. And thought it was the perfect time to post it: before black Friday, before the craziness of the holidays, before we start working on all those wish lists, ...

This campaign is sponsored by The American Institute of Certified Public Accountants (AICPA). The bottom of the add sends you to www.feedthepig.org/, an entertaining website to entice us to save our precious dollars. It is full of interesting facts and tips but also videos, calculators, ... I recommend the click. You'll be greeted by Benjamin Bankes, the only pig I know who wears a white tuxedo so well. And of course, you can befriend Benjamin Bankes on MySpace. Of course.

 

__________________________

used in:

www.pluggd.in/entrepreneurship-in-india/money-saving-tips...

www.whereyouarenow.com/blog/2008/09/16/8-steps-to-more-mo...

www.marketproteges.com/2008/05/this-weeks-feature-saving-...

www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...

littlemickle.com/stash_your_cash_away/

 

Mysterious Medjugorje

It is amazing that the ongoing events around the Marian apparitions in Medjugorje , a place of pilgrimage in Bosnia-Herzegovina, last until now. Medjugorje became well known all over the world. On Midsummer Day of 1981 six children saw a floating woman on a hill in the small, at that time Yugoslavian village. The woman was pointing to a newborn baby, she wore in her arm. Out of fear the children ran away.

 

The next day, the 25th of June, the woman appeared again at the same place, this time alone, and this time the children ran to her and they started a conversation with her. This conversation has not ended until today. This woman is Virgin Mary and she still appeares to the six people and talks to them.

 

She was wearing a light gray dress with a white veil and they told that she had blue eyes and was surrounded by a wreath of twelve stars.

 

One day later Mother Mary appeared again, but only to one of the girls and she said the words:

“Mir, mir, mir – peace, peace, peace…” This is still the marrow of all her messages. . .

 

Međugorje is a town located in western Bosnia and Herzegovina, in the Herzegovina region around 25 km southwest of Mostar and close to the border of Croatia. Since 1981, it has become a popular site of religious pilgrimage due to reports of apparitions of the Virgin Mary to six local Catholics.

 

The name Međugorje literally means "an area between mountains". At an altitude of 200 metres above sea level it has a mild Mediterranean climate. The town consists of an ethnically-homogeneous Croat population of over 4,000. The Roman Catholic parish (local administrative and religious area) consists of five neighbouring villages, Međugorje, Bijakovići, Vionica, Miletina and Šurmanci.

 

Following reports of apparitions, successive bishops of Mostar ruled the claims groundless. In March 2010, in view of continued public interest, the Holy See announced that the Congregation for the Doctrine of the Faith was forming an investigative commission, composed of bishops, theologians, and other experts, under the leadership of Cardinal Camillo Ruini, the Pope's former Vicar General for the Diocese of Rome.

 

The messages reputed to Our Lady of Međugorje have a strong following among Catholics worldwide. Međugorje has become one of the most popular pilgrimage sites for Catholics in the world and has turned into Europe's third most important religious place, where each year more than 1 million people visit. It has been estimated that 30 million pilgrims have come to Međugorje since the reputed apparitions began in 1981. Many have reported visual phenomena including the sun spinning in the sky or changing colors and figures such as hearts and crosses around the sun. Some visitors have suffered eye damage while seeking to experience such phenomena.

 

The phenomenon is not officially approved by the Catholic Church. Msgr. Ratko Perić, bishop of Mostar - and the local ordinary - has opined that, "The numerous absurd messages, lies, falsehoods and disobedience associated from the beginning with the events and "apparitions" of Medjugorje, all refute every claim of authenticity."

 

On June 24, 1981, reports began of Marian apparitions on Crnica hill in the Bijakovići hamlet, and shortly thereafter confrontations with Yugoslav state authorities began. Pilgrims' donations were seized by the police and access to what was called the Apparition Hill was largely blocked.

In October 1981, Jozo Zovko, then the pastor of the town, was sentenced to three and a half years imprisonment with forced labor for allegedly participating in a nationalistic plot. After Amnesty International, among others, appealed for his release and a judicial appeal was made, the sentence was reduced in the Yugoslav Federal Court in Belgrade to one and a half years, and the priest was released from prison in 1983.

 

During the Bosnian War, Međugorje remained in the hands of the Croatian Defence Council and in 1993 became part of the internationally unrecognized Croatian Republic of Herzeg-Bosnia. By the Dayton Agreement in 1995, Međugorje was incorporated into the Federation of Bosnia and Herzegovina, populated mostly by Bosniaks and Croats. It lies within the Herzegovina-Neretva Canton, one of ten autonomous regions established so that no ethnic group could dominate the Federation.

 

In 1992 the town was the launching point for ethnic cleansing on the part of the Croatian Defence Council, which led to the complete destruction of the Serbian Orthodox Žitomislić Monastery. The property of the Franciscan order in Bijakovići below Podbrdo ("Apparition Hill") was used during the war years as a testing ground for grenade launchers by the militia of a local weapons dealer.

On April 2, 1995, at the high point of conflict within the local diocese, Bishop Ratko Perić was kidnapped by Croatian militiamen, beaten, and taken to a chapel run by one of the Franciscans associated with Međugorje, where he was held hostage for ten hours. At the initiative of the mayor of Mostar he was freed without bloodshed, with the help of the United Nations Protection Force.

 

After the ending of the Bosnian War, peace came to the area: UN peace troops were stationed in western Herzegovina. The town and its environs boomed economically after the war. Over a thousand hotel and hostel beds are available for religious tourism. With approximately one million visitors annually, the municipality of Međugorje has the most overnight stays in Bosnia-Herzegovina.

 

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

 

www.andynoise.com/kernxcinvite08.html

 

JV Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

 

1. Ridgeview Tino Romero 11:17.25 1 1 1

2. Wasco Oscar Gomez 11:26.11 2 2 1

3. East Marc Sotello 11:26.90 3 x 1

4. Shafter Matthew Yanez 11:34.14 4 x 1

5. McFarland Grenardo Garcia 11:34.63 5 x 1

6. Highland Juan Delgado 11:37.47 6 3 1

7. Centennial Brandon Ballard 11:38.17 7 4 1

8. Ridgeview Ernesto Castillo 11:38.94 8 5 2

9. Shafter Elias Picazo 11:40.09 9 x 2

10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3

11. Wasco M. Vasquez 11:49.94 11 7 2

12. East Felix Trevino 11:51.62 12 x 2

13. Ridgeview Tree Hoisson 11:52.34 13 8 4

14. Stockdale Raymon Griggs 11:52.62 14 9 1

15. Highland Rafael Alcaraz 11:53.30 15 10 2

16. East Esteban Vargas 11:54.83 16 x 3

17. McFarland Adam Marquez 11:56.93 17 x 2

18. Frontier Corry Harris 12:02.24 18 11 1

19. Highland M. Shaffer 12:04.99 19 12 3

20. Highland Jo Dixon 12:05.53 20 13 4

21. Centennial Nick Trieberg 12:06.03 21 14 2

22. Highland Daniel Espinosa 12:07.15 22 15 5

23. Foothill Cesar Espinosa 12:10.84 23 16 1

24. Highland Ernan Lopez 12:18.78 24 17 6

25. Stockdale P. Bowen 12:25.59 25 18 2

26. Stockdale Andrew Worth 12:26.63 26 19 3

27. Foothill Jovani Pineda 12:32.47 27 20 2

28. Centennial Jake Smoot 12:33.35 28 21 3

29. Foothill Robert Guillen 12:36.97 29 22 3

30. Garces Jose Lopez 12:37.53 30 23 1

31. Highland Pablo Santiago 12:38.23 31 24 7

32. Ridgeview Ian Dowot 12:38.71 32 25 5

33. Frontier Ramon Sanchez 12:42.97 33 26 2

34. Foothill Peter Reyna 12:45.32 34 27 4

35. Ridgeview Hector Garay 12:45.76 35 28 6

36. Frontier Brian Cisneros 12:46.11 36 29 3

37. Stockdale Cornelius Sockey 12:49.24 37 30 4

38. Stockdale Nick Haley 12:49.57 38 31 5

39. Frontier Christopher Bedke 12:51.77 39 32 4

40. Frontier Chris Corral 12:52.80 40 33 5

41. Centennial CJ Carr 12:55.06 41 34 4

42. Ridgeview Arty Sanchez 12:55.60 42 35 7

43. Garces Dominic Gallegos 12:56.21 43 36 2

44. Foothill Oscar Rivera 12:57.02 44 37 5

45. Shafter Jonatan Lopez 12:59.96 45 x 3

46. Stockdale Evan Szablowsk 13:01.10 46 38 6

47. BHS Hector Sanchez 13:02.38 47 39 1

48. Foothill Guillermo Cisneros 13:05.95 48 40 6

49. Stockdale Jit Malay 13:06.90 49 41 7

50. Highland Nick Lopez 13:07.10 50 42 8

51. Centennial Craig Varner 13:15.59 51 43 5

52. Highland Tyler Dunlap 13:20.14 52 44 9

53. Stockdale Davis McLeod 13:20.73 53 45 8

54. Foothill Luis Garcia 13:22.06 54 46 7

55. Shafter Miguel Sanchez 13:23.34 55 x 4

56. Independence Curtis Valencia 13:25.34 56 47 1

57. Wasco Kyle Bearley 13:26.41 57 48 3

58. Ridgeview Martin Oropeza 13:27.08 58 49 8

59. Frontier Chris Mount 13:28.88 59 50 6

60. Wasco Anthony Ramirez 13:29.86 60 51 4

61. Frontier Jairo Garcia 13:34.10 61 52 7

62. Stockdale Kevin Chun 13:37.01 62 53 9

63. Foothill Marcos Sandoval 13:38.55 63 54 8

64. Arvin Jose Rodriguez 13:39.04 64 x 1

65. Frontier Steven Saenz 13:39.36 65 55 8

66. Stockdale John Bracamant 13:40.57 66 56 10

67. Wasco Kr. Brown 13:43.42 67 57 5

68. Stockdale Adrian Esquivas 13:45.00 68 58 11

69. Stockdale Joshua St. Clair 13:46.57 69 59 12

70. BHS Josh Harbin 13:49.65 70 60 2

71. Mira Monte Hislon Belo 13:53.35 71 x 1

72. Stockdale Eric Jorgensen 13:56.96 72 61 13

73. Garces Anthony Martinez 14:05.99 73 62 3

74. Arvin Rodger Tabada 14:15.08 74 x 2

75. Stockdale Phillip Radon 14:16.70 75 63 14

76. Stockdale Landon Medina 14:18.10 76 64 15

77. East Donald Sanchez 14:18.32 77 x 4

78. Frontier Spencer Cordova 14:25.94 78 65 9

79. Frontier Matt Walker 14:32.16 79 66 10

80. Wasco Arturo Miranda 14:32.82 80 67 6

81. Highland Luis Lopez 14:36.85 81 68 10

82. Independence Devin Lane 14:43.22 82 69 2

83. Garces Sterling Garza 14:43.64 83 70 4

84. Mira Monte Michael Pineda 14:45.10 84 x 2

85. Stockdale Joshua Le 14:45.99 85 71 16

86. Independence Michael Gallarza 14:46.50 86 72 3

87. Foothill William Saavedra 14:48.22 87 73 9

88. BHS Trevor Dalke 14:48.96 88 74 3

89. Independence Andrew Cruz 14:57.45 89 75 4

90. Highland Alex Harrell 15:01.62 90 76 11

91. BHS Wesley Elrich 15:02.07 91 77 4

92. Frontier Jason Phillips 15:02.54 92 78 11

93. Foothill Mason De La Cruz 15:03.92 93 79 10

94. Highland Estevan Espinoza 15:06.66 94 80 12

95. Mira Monte Rick Mendoza 15:08.42 95 x 3

96. Foothill AJ Lara 15:09.07 96 81 11

97. Centennial Jarod Kashwer 15:13.28 97 82 9

98. Highland Ryan Gonzalez 15:28.65 98 83 13

99. BHS Andres Eagleson 15:35.28 99 84 5

100. Frontier Kevin Sanchez 15:41.75 100 85 12

101. Centennial Brent Williams 15:46.70 101 86 10

102. Ridgeview Eric Jacques 15:46.93 102 87 9

103. Garces P. Newman 15:55.87 103 88 5

104. Foothill Jose Mejia 16:22.51 104 89 12

105. Independence Sky Payne 16:38.36 105 90 5

106. Foothill Logan Power 20:16.50 106 91 13

107. Arvin Oswaldo Leyva 24:45.86 107 x 3

108. North Sonny Medina 25:53.00 108 x 1

Post and Telegraph

 

To an isolated community such as Mackay, the development of postal and telegraphic communication was very important, and was among the first public utilities established.

 

An early report describes business at Mackay being "conducted in a hovel in Wood Street, called, by courtesy, the Post Office." When the mail arrived, it was thrown in a heap in the middle of the room and addressees selected their own mail from the pile. The Postmaster General paid a visit in 1863 and reported the Mackay office as 'very unsatisfactory'. The first postmaster was probably J.T. Baker who was also clerk of petty sessions.

 

Pack horse mail services to Nebo and Avon Downs in the hinterland were established in 1865. In 1867 the electric telegraph line from Brisbane was extended from Broadsound to Mackay.

 

The telephone, invented by A.G. Bell in 1876 came to Brisbane in 1880 and Mackay was connected in 1899, the 7th exchange in Queensland.

 

An imposing Post Office was built at a site in River Street in 1883. It has undergone many changes, notably to the clock tower and verandah, as well as internal changes, but much of the original building is still retained.

 

In 1975 ownership passed from the Post Master General's Department to Telecom when the two government departments separated. As Mackay grew, several suburban post offices and agencies were established, and a new mail exchange opened in West Mackay in 1984. A new post office was opened in Sydney Street in 1994.

 

From the Mackay Historical Society and Museum Incorporated.

  

Queensland State Archives Image ID 2590

ve6ab.blogspot.com/2010/04/lk-ranch.html

 

youtu.be/AaINuJmLIgQ

 

www.canadiancattlemen.ca/history/lachlin-mckinnon-the-pas...

 

Photos of the LK Ranch in 1916:

dygtyjqp7pi0m.cloudfront.net/i/22499/20863832_5.jpg?v=8D1...

 

My destination three afternoons ago, on 24 August 2020, was McKinnon Flats. east of Calgary. Many years ago, a group of us had visited the area on a birding outing. There was just something about the place that made me feel a little uncomfortable, but, eventually, I knew I just had to go there. On a few other occasions, I had driven much of the same route, but had missed out on the pot-holed road going south. As for the narrow, switchback gravel road going down the cliffs, I wasn't sure what to expect. I had read a warning to not do the drive if the road was wet. Once on the road, I really, really hoped that no other vehicle would be coming in the opposite direction, as I knew there was no way I would be able to reverse either uphill or downhill. Luckily, I was the only vehicle on the "road" for long enough.

 

The temperature down in the valley was 31C when I got out of my car. It felt too hot to do anything more than just a short wander to see the old steel wheeled tractor and the stone wall remains of one of the old buildings (barn) that had once formed the LK Ranch. The Ranch lay against the north slope of the valley, with the Bow River just beyond a grassy area - a spot that is popular with fishermen.

 

I had also read about snakes there, but was rather thankful that none were to be seen. Found a few butterflies and an insect with beautiful wings that I think might be a Bee Fly. Some wildflowers were still in bloom, such as Blazingstar. If I had gone for a longer walk, maybe I would have discovered more. The heat, and feeling anxious to find out if my car would make it back up the gravel switchbacks to the cliff top, kept my visit fairly short.

 

After my stop at McKinnon Flats, I drove some backroads on my way to the highway back home. As well as a group of Longhorn Cattle, I was happy to see a flock of European Starlings that landed briefly on fence posts. They may be "just" Starlings, but their feather patterns are beautiful.

 

A very brief stop at Weed Lake gave me the chance to take a few photos of the Black-necked Stilts. Another birder who arrived there at the same time as me, wondered the same thing - where were all the birds??

 

A very enjoyable few hours spent on a sunny day. A drive of only 128 km and being out for just under five hours total, gave me a good variety of things to see and photograph. On the drive home, I could see signs that the smoke from B.C. and California wildfires was starting to reach us.

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

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

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

  

Description

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

 

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

 

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

 

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

 

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

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

 

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

 

FASHION SHOW BY "LIVE FAST" NYC

 

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

 

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

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

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

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

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

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

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

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

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

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

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وینسVenetsiya

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