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Obama WINS!
I headed to Grant Park direct from work, some time around 8:45pm. It seemed like none of the newspaper or TV websites could agree - the more cautious ones like the New York Times were updating as votes trickled in; other sites like Yahoo and CNN were projecting winners ahead of the final winners. Lest you think your vote doesn't count, just look at the state-by-state tallies - some of the states were won by a fraction of a percentage - fifteen or twenty thousand votes. That's the size of a small town.
The Loop was nearly empty, the few pedestrians there were all hurrying towards the lakefront. Police officers and CTA workers stood in clusters; buses lined up to be ready for the post-rally surge of people. As I waited at one corner, the three Streets and Sanitation men clustered there told me they heard it was "over 200" for Obama so far.
Here were all the people: a steady stream down both sides of Michigan Avenue, all heading for the few access points for the park. Hucksters hawked along the sidewalks, bikes were jammed along any surface where they could be locked, and everyone, it seemed, wore something showing their support for Obama.
I turned into Grant Park at the access point at Jackson, and joined the thick crowds aiming for the various large projection screens that had been scattered throughout the park. Forget the idea that the "smaller" event was going on at the Petrillo Bandshell; these crowds were like you see for the Taste. The ticketed event on the south side of the park was jam-packed and well-lit. People wandered around, talking and eating pizzas and checking their cell phones for updates. I was alternatively checking my own phone for election results and texts from my friend Vinnie, who I was trying to find amidst all these other supporters.
Every time a state win was announced, cheers would erupt from the crowds. People who had started the evening total strangers stood together, hands clutched or arms linked as they anxiously watched the screens, side by side - all colors, all religions, all ages, all united in one view, in a momentous moment in our country's history.
Then came the announcement - Virginia, I think it was, had gone to Barack Obama, and it was enough to give him the victory. Everybody was yelling, crying, hugging, waving flags; the park erupted in sound and flashbulbs and cheers.
I turned around and found myself facing a short, wiry old black man who was not even as tall as I am. His face was screwed up in emotion, tears spilling down his cheeks. The raw and naked emotion on his face said it all: this was a man who had seen much in his life, and now in the twilight of his years, we had finally elected a black President. He looked at once dazed and hopeful, standing there in his Bulls jacket and Sox cap and Obama shirt, hands moving unconsciously at his sides, his eyes continuing to water.
"A black man... our President. A black man... I never thought I would live to see this day." You could hear both the disbelief and the wonderment in his voice. His gaze fixed on mine, his dark eyes looking into my blue ones, and he held his arms open. "Would you please give me a hug?" he asked.
"Of course," I replied, smiling, and gave him a hug.
He hugged me fiercely, not letting go, and I could feel his body shaking as he sobbed against my shoulder. When he finally stepped back, he looked intently at me, tears still running from his eyes. "You know what this means, don't you? Anything is possible. Anything. Anybody can be anything they want."
"Yes, they can. This is a great day for our country."
"A great day." He looked away from me for a moment, towards the nearest projection screens and the jubilant crowds. "A great day. Yes, they can."
* * *
My picture has been featured here:
ballotvox.prx.org/archives/854/they-took-to-the-streets
And my story has been copied here:
ballotvox.prx.org/archives/852/a-black-man-will-be-president
* * *
Via The Pantagraph...
www.pantagraph.com/special-section/news/history-and-event...
Towanda Barnes Road, which runs along the eastern fringe of both Bloomington and Normal, is a symbol of the sprawling, seemingly unchecked growth of the Twin Cities. Yet amid the brand new residential and commercial developments sprouting up and down the corridor stands a lonely reminder of McLean County's past - a past measured not by cul-de-sac subdivisions, daycare centers and Kwik-E-Marts, but rather one measured by corn, livestock and the steam engine.
The anachronistic collection of grain elevators and storage buildings at the northeast corner of Towanda Barnes and General Electric roads was once known as Barnes, a small station stop and siding on an Illinois Central Railroad branch line.
Established in 1882-1883, Barnes (called Barnesville early on) was situated on the IC's Bloomington District, which ran from Normal northeast to Otto in Kankakee County. This "Bloomer Line" connected the IC's two main north-south routes, scooping up grain from a swath of the richest agricultural land in the world.
Locally this right-of-way survives as the branch of Constitution Trail beginning south of Uptown Normal and running east over Linden Street, past the Shoppes at College Hills and down G.E. Road.
Barnes, the first station east of Normal, was named for either family patriarch Calvin Barnes or his son Monroe, accounts vary. Calvin Barnes came to McLean County in the early 1850s, purchasing a full section-640 acres-in Towanda Township. Although the family amassed additional acreage, the southwestern corner
of their home section would become the future site of Barnes.
Calvin Barnes became a successful wheat grower before establishing what was said to be the first successful dairy in Central Illinois. Barnes and his sons, including Alden and Calvin Jr., then turned to raising Durham cattle; growing corn; and importing and breeding French draft horses.
Barnes existed first and foremost as a grain elevator siding. Towering elevators, designed to store and transfer grain, played an important role reshaping the Central Illinois landscape. Grain elevators were a product of the emerging steam-powered Industrial Age that made possible the ability to lift grain-via scoops or buckets attached to belt-driven chains-up storage elevators hundreds of feet high. Steam power also brought corn-shellers and, most importantly, the railroads.
In the 30 or so years after the end of the Civil War, railroad mileage in McLean County doubled, and a fair number of "steam-hatched" towns popped up along these rails, including those on the Bloomer Line such as Cooksville, Anchor and Cropsey. In addition to towns, elevator sidings such as Barnes were built to further accommodate the region's seasonal flood of grain. By the late 19th century, McLean County had one of the highest densities of railway tracks in the world.
The Barnes post office opened for business in February 1884, and remained in operation until December 1919. An 1895 plat of Barnes shows a rather ambitious layout with four streets and 22 commercial or residential lots, though only three were occupied at the time-and it's unlikely the hamlet grew any larger. However, along the IC there
was the combined depot/post office, and down a siding an elevator complex and stockyard.
In 1921, the recently married Walter and Alta Weber opened a general store in Barnes. "[My mother] sold groceries, tobacco, pop, tires etc.," remembered Alta's son William Weber, who wrote a brief recollection of Barnes in 2005. "My mother has told that George Mecherle, founder of State Farm Insurance, would get off the train, while it switched, and come over to the store and buy pop, candy or whatever. She said he looked like a typical farmer in those days." At the time, Mecherle was traveling on the Bloomer Line between Merna, his old hometown, and Bloomington, where he was getting a start in the insurance business.
Still visible today are cylindrical concrete grain elevators, originally built by the Barnes Grain Co. around 1919 (see accompanying photograph). Later that decade, the company purchased two elevators adjacent to its operations, and by the mid-1970s its capacity reached 400,000 bushels.
The Illinois Central Gulf (ICG) Railroad abandoned the stretch of the old Bloomer Line running from Kankakee County to Barnes in 1981. Sometime afterward, the ICG abandoned the remaining run from Barnes to Normal Junction, which in its latter years served Eaton Asphalt Co., the General Electric plant east of the "beltline," now Veterans Parkway, and several other local businesses.
In 1985, the ICG sold its abandoned Bloomington District to a group of area producers and shippers, who then established a "short-line" railroad on the old tracks. Today this line, owned by Gibson City-based Alliance Grain Co., is known as the Bloomer Shippers Connecting Railroad. After a while, this new road discontinued service between Colfax and Barnes, marking the permanent end of rail service to the little station stop.
See the Savannah River Bluffs Heritage Preserve in an interactive view (requires shockwave - a free, one-time, automatic download).
Camera: Nikon D100
Lense: AF-S DX Nikkor 18-70 mm f/3.5-4.5G IF-ED
Tripod: Manfrotto
Tripod head: Manfrotto 322RC2 Tripod Head with Nodal Ninja
Photos: 9 + 9 + 9 + 2 = 29 photos (three rows plus zenith and nadir)
Software: Stitched with PTGui (but warped with Panorama Tools); Blended with Enblend plugin; No photoshop
Original Image: 10,000 x 5,000 pixels; 27.5 MB
Location: Google Earth (requires Google Earth) | Street | Satellite | Hybrid | Nautical | Topo
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
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----more about Berlin Biennale ---#BB8
Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art
KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.
Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.
Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.
Curators have been:
1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist
2nd Berlin Biennale (2001): Saskia Bos
3rd Berlin Biennale (2004): Ute Meta Bauer
4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick
5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic
6th Berlin Biennale (2010): Kathrin Rhomberg
7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza
The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).
The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.
KW Institute for Contemporary Art
Berlin Biennale für zeitgenössische Kunst
Auguststraße 69
#BB8
---artists participating ---
52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.
Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
-------------------
academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
-----
Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
-------
----more about Berlin Biennale ---#BB8
Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art
KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.
Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.
Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.
Curators have been:
1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist
2nd Berlin Biennale (2001): Saskia Bos
3rd Berlin Biennale (2004): Ute Meta Bauer
4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick
5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic
6th Berlin Biennale (2010): Kathrin Rhomberg
7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza
The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).
The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.
KW Institute for Contemporary Art
Berlin Biennale für zeitgenössische Kunst
Auguststraße 69
#BB8
---artists participating ---
52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.
Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.
Description: NASA pilot Bruce Peterson (right) and actor James Doohan (of Star Trek fame) discuss the M2-F2 Lifting Body. . For more information Visit NASA's Multimedia Gallery You may wish to consult NASA's
image use guidelines. If you plan to use an image and especially if you are considering any commercial usage, you should be aware that some restrictions may apply.
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NOTE: In most cases, NASA does not assert copyright protection for its images, but proper attribution may be required. This may be to NASA or various agencies and individuals that may work on any number of projects with NASA. Please DO NOT ATTRIBUTE TO PINGNEWS. You may say found via pingnews but pingnews is neither the creator nor the owner of these materials.
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Additional information from source:
Project
Description: Bruce A. Peterson joined NASA in August 1960 as an engineer at the Flight Research Center (now NASA Dryden). He transferred to the Flight Operations branch in March 1962 and was initially assigned as one of the project pilots on the Rogallo paraglider research vehicle (Paresev) program. The Paresev was used to evaluate the use of an inflatable and non-inflatable, flexible wing for the recovery of manned space vehicles. A handful of NASA pilots made more than 100 Paresev research flights between 1962 and 1964. It resembled a tricycle beneath a hang glider, and was towed aloft behind a car or small airplane and released for a glide landing.
In preparation for his continuing flight research duties, he attended the Air Force Test Pilot School, graduating as a member of Class 62C. In fact, he was the first NASA pilot to graduate from the TPS. He remained active with the Marine Corps Air Reserve, flying the F9F, OV-10, A-4 and various helicopters.
As a NASA research pilot he flew a wide variety of airplanes including F5D-1, F-100, F-104, F-111A, B-52, NT-33A Variable Stability Trainer, T-33, T-37B, T-38A, C-47, CV-990, Learjet, JetStar, wingless lifting bodies, numerous general aviation aircraft, several types of helicopter and sailplanes.
As project pilot on the F-111A, he performed tests related to stability and control, performance and structural loads. The F-111 was a variable-geometry (or swing-wing) jet aircraft. Research with the aircraft included engine inlet and exhaust studies, internal flow investigations and aerodynamics research.
On Dec. 3, 1963, he flew the first of 42 flights in the M2-F1 lightweight lifting body. His first flight in the heavyweight M2-F2 on Sept. 16, 1966, was an unpowered glide flight from an altitude of 45,000 feet. After release from a B-52 mothership, he executed a 360-degree turning approach and landed on the dry lakebed. He made another glide flight in the same vehicle six days later.
Peterson piloted the maiden flight of the HL-10 lifting body on Dec. 22, 1966. During the three-minute descent to landing, he discovered he had minimal lateral control over the vehicle. Airflow separation across the control surfaces rendered the HL-10 virtually unflyable but he managed to land the vehicle safely, a tribute to his considerable piloting skills. As a result of the data collected during the near disastrous flight, the HL-10 was modified to fix the problem and went on to become one of the most successful lifting body concepts. It was a strong contender for the final space shuttle design.
Peterson was injured in the crash of the M2-F2 on May 10, 1967. He recovered from his injuries but lost his sight in one eye due to a secondary infection while in the hospital.
Peterson continued to fly NASA support missions, occasional research flights and his Marine Reserve flying duties. He continued to fly for NASA until 1971, doing research in the T-33, F-104B, F-111A, CV-990 and Aero Commander. He also flew NASA's SH-3A helicopter. The Marine Corps gave him a waiver that allowed him to fly with a co-pilot and he continued to fly the OV-10 airplane and the AH-1G and CH-46 helicopters. During his flying career Peterson logged more than 6,000 flight hours in nearly 70 types of aircraft.
Peterson gained a small measure of fame when his accident and subsequent recovery inspired a 1970s television series called The Six-Million Dollar Man. The storyline featured a test pilot who, having been injured in the crash of a lifting body vehicle, is rebuilt with advanced "bionic" technology. Film footage of the M2-F2 accident was used in the show's opening credits.
Peterson continued at NASA Dryden as the research project engineer on the F-8 Digital Fly-By-Wire program of the late 1960s and early 1970s, and later assumed responsibility for Safety and Quality Assurance for Dryden until his retirement in 1981.
He left NASA for a position with Northrop where he assumed responsibility for safety and quality assurance for testing of the B-2 Advanced Technology Bomber. From 1982 until 1994 Peterson worked in Northrop's B-2 division at Air Force Plant 42 in Palmdale and Edwards, becoming manager of system safety and human factors.
A native of Washburn, N.D., Peterson was born on May 23, 1933. He grew up in Banning, Calif., and attended the University of California at Los Angeles from 1950 to 1953. While at UCLA he held a job as an aircraft assembler for Douglas Aircraft Company.
He enlisted as a Naval Aviation Cadet at Santa Ana, Calif., in 1953, and was commissioned a Marine Corps second lieutenant in Nov. 1954. He was released from active duty three years later. In 1958 he enrolled in California State Polytechnic College at San Luis Obispo where he received a bachelor of science degree in aeronautical engineering.
Peterson is a fellow of the Society of Experimental Test Pilots and 2002 recipient of the Tony LeVier Flight Safety Award. He was honored by NASA with an exceptional leadership award for his work on space shuttle STS-1. In 2003 he was inducted into the Aerospace Walk of Honor.
Peterson passed away on May 1, 2006.
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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 as today
an attempt to be ULTRACONTEMPORARY continues at the gallery Marianne Friis on the WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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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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
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
—--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
Seguir o Cordeiro e cantar cânticos novos
e louve a vinda do reino de Deus ao mundo!
melhor música gospel 2018
pt.godfootsteps.org/videos/follow-God-along-rough-path-mv...
BRUNO PREMIANI
Doom Patrol 93
Bruno Premiani was the first and main artist on DC's 'Doom Patrol' series. This series, about a trio with special abilities (Elasti-Girl, Negative-Man and Robotman), led by a man in a wheelchair, has a striking resemblance to Marvel's 'X-Men' series. However, 'Doom Patrol' debuted June 1963 and 'X-Men' three months later. Before doing 'Doom Patrol', Bruno Premiani made a rare appearance inking 'The Rip Van Winkle of Smallville' in 1955. In 1964, Premiani was also the artist on 'Kid Flash, Aqualad and Robin', a spin off with Batman's sidekick Robin, Aquaman's sidekick Aqualad and a younger version of the Flash.
Bruno Premiani (1924-1984?) was an illustrator known for his work for several comic book publishers, particularly DC Comics.
Born in Trieste, Italy in 1924, Premiani achieved some fame for his comics illustration work, most notably the original incarnations of the Doom Patrol in 1963 and the Teen Titans in 1964, both series being cult favourites that have survived in one form or another since their original creation for the DC Comics universe. He is also cited as the original artist for the first adventures of Cave Carson, a spelunker/geologist and adventurer also part of DC's fictional pantheon since 1960, and is among the first published Tomahawk artists. His work in the field dates as far back as 1937 in the pages of Detective Comics.
He is believed to have died in Argentina in 1984.
"http://en.wikipedia.org/wiki/Bruno_Premiani"
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
Bruno Premiani
(4/1/1907 - 17/8/1984, Italy)
Bruno Premiani was an Italian Anti-fascist with a passion for history, who became a successful comic book artist in Argentina and the United States. Born in Trieste in the Austro-Hungarian empire as the son of a Slovenian Imperial Railway employee and an Italian mother, Giordano Bruno Premiani has lived in Argentina for most of his life. Most American sources list his birth year as 1924, but Italian police records mention 4 January 1907. From 1921 to 1925, Premiani studied at the high school of arts and crafts in Trieste, which was a part of Italy by now.
Not happy with the fascism that had taken over Italy, Premiano took the boat to Argentina in 1930. There, he began drawing for the Agencia Wisner advertising shop and the daily newspaper Crítica. For this newspaper, he did the educational comic section 'Seen and Heard' which ran from 1932 to 1940. In the meantime, the Italian government kept track of Premiani's anti-fascist activities for the Crítica daily, and stated that Premiani was to be arrested when he got back to Italy. Premiani only returned to Italy once, to bury his mother in the early 1950s.
During the 1940s, Premiani continued to work as an illustrator for Argentine magazines, such as Billiken and Léoplan. From 1947, Premiani illustrated a great number of comic adaptations of literary classics in the 'Patoruzito Classics' series, which appeared in Dante Quinterno's Patoruzito magazine.
Between 1948 and 1952, Premiani lived in the United States, where he began a longtime collaboration with National/DC Comics. He started out working with the historical 'Tomahawk' character and 'Pow-Wow Smith Indian Detective' for Detective Comics. He also worked at Joe Simon and Jack Kirby's Crestwood studios, and made comic biographies of US histocial figures for the State Department. In 1960, Premiani returned to live in the States once again. Around this time, he had already contributed to Gilberton's Classics Illustrated series, and also worked as an inker for Jack Kirby and Stan Drake and on Curt Swan's 'The Rip Van Winkle of Smallville'.
remiani's best known work for National/DC was the creation of 'Doom Patrol' with Arnold Drake in 1963. This series, about a trio with special abilities (Elasti-Girl, Negative-Man and Robotman), led by a man in a wheelchair, has a striking resemblance to Marvel's 'X-Men' series. However, 'Doom Patrol' debuted June 1963 and 'X-Men' three months later. Until 1968, Premiani drew most of the 'Doom Patrol' stories in My Greatest Adventures and later the eponymous comic book.
In addition, he did the cover and interior art for DC's 'Brave & Bold' series, starring Cave Carson. In 1964, Premiani was the artist on 'Kid Flash, Aqualad and Robin', a spin-off with Batman's sidekick Robin, Aquaman's sidekick Aqualad and a younger version of the Flash. He eventually returned to Argentina, where he died in 1984.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Gallery tells tragic love story
Just off the lobby of the new Cincinnati Wing, a small gallery holds a larger than life love story. Artists Frank Duveneck and Elizabeth Boott - star-crossed lovers - were kept apart by ambition, money and class. It's the story of a doting father's disapproval, a young artist's perseverance, and love realized, cut short by tragic illness.
It begins in 1879 when Elizabeth Otis Lyman Boott, known as Lizzie, is 33 and living with her widowed father, Francis Boott in Italy. That summer, Lizzie and her father decided to study with Duveneck in Munich. They admired his first show in Boston and knew of his reputation as an excellent teacher.
But neither Duveneck's talent nor his teaching was enough to recommend him to Boott as a match for his daughter. The Bootts were Boston Brahmins; Duveneck was a penniless German-American Catholic. Two years younger than Lizzie, he spoke with an accent and his people ran a beer garden in Covington. But Duveneck was charming, with a cadre of students who loved him as much for his jokes and good nature as his instruction. Lizzie was taken with him immediately.
"We found him and were pleased," she wrote to a former colleague. "He is a remarkable looking young man, and a gentleman, which I did not expect. He has a fine head and a keen eye and the perceptions strongly developed."
Lizzie encouraged Duveneck to move to Florence with the idea of having him teach a class of women artists. She also promised to drum up portrait business for him among her wealthy friends. Duveneck agreed, moving to Florence that fall along with more than a dozen of his painter friends. The Bootts' 15th century Villa Castellani became the meeting place for a lively group of young art students. The couple soon became romantically involved and by Christmas 1880 agreed to marry. A year later - in a pattern indicative of their courtship - the engagement was called off.
Lizzie's desire to be a professional painter conflicted with her feelings for Duveneck. By all accounts he was lazy; she was ambitious. She was the center of her father's universe and this loud, generous, crude character broke into the sophisticated solitude they enjoyed.
"Fraught with tensions of manners, money and class, Lizzie and Frank's relationship could not fail to interest Henry James, a frequent visitor to the Bootts' Italian home," writes Duveneck scholar Carol M. Osborne in an essay on the couple. "In literary guise Lizzie and her father, together with others in their ... circle of Anglo-American friends, often appear in James' fiction. In Portrait of a Lady (1881), a portion of which was written while the novelist lived nearby in the Villa Brichieri, James used the Villa Castellani imaginatively as the home of Gilbert Osmond and his daughter, Pansy."
For the next five years the couple spent more time apart than together, but when they found themselves in Paris in 1885, they decided their feelings remained. A few months shy of Lizzie's 40th birthday, they were married on March 25, 1886. Lizzie wore dark brown as was the custom of the time and wore the dress again when Duveneck painted her portrait two years later.
After a month long wedding trip, the newlyweds rejoined Francis Boott at the Villa Castellani and set to work in space converted into a studio. Speculation about the marriage continued - Francis Boott made Duveneck sign the equivalent of a pre-nuptial agreement that said he would relinquish any right to Lizzie's fortune.
As winter approached the couple, expecting their first child, moved from the villa to an apartment near the American Embassy in Florence where their son, Francis, was born on Dec. 18. Five months later, convinced Duveneck was not a fortune hunter, Boott restored Duveneck's right to Lizzie's money.
Early in 1888, the little family returned to Paris where Duveneck reconnected with his Munich friends. Lizzie, saddled with a child, husband and elderly father, had a new view of Parisian life. But despite it all, she took up watercolors again, and she and Duveneck submitted work to the jury for the 1888 Paris Salon.
On the day the jury voted, Lizzie went to bed with a chill. Four days later she died of pneumonia.
Duveneck returned to the States in 1889, placed his son in the care of the Boott family in Boston at the insistence of his father-in-law, and settled in Cincinnati where he worked on a funerary monument for his beloved wife's grave. A simple effigy covered with a palm leaf was cast in bronze and later copied in plaster - one awarded an honorable mention at the Salon of 1895 - and sent to the Boston Museum of Fine Arts (among others) where his son could see it.
Frank Duveneck & Elizabeth Boott Duveneck: An American Romance
Letter from Elizabeth Boott to Henry James
www.aaa.si.edu/collections/frank-and-elizabeth-boott-duve...
www.wikigallery.org/wiki/painting_81138/Frank-Duveneck/Vi...
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
I borrowed those photos from
akibahobby.net/2009/09/revoltech_qb_merona_sample.html
they made detail introductions on figures not yet on the market.
It's about time for me to think about how to marker merona's face as I please. on the tittle I was saying facial improvement, but actually, her face is great in her own ways therefore no improvement is needed.
unlike Echidna, Merona's face has achieved her creater's own perfection (the model sculpter), and now it's time for me to achieve mine on Merona, and it will be my own version of it.
Here we see 3 photos, on the left is original face, at the middle, we can see normally my own skinning bear version of Merona. On the right, is how I tried to expanding her characteristic by adding unusual eyelashes.
One special thing about her eyes is her cross-shaped pupil, it remind me of circus and freak show, but I want to give her some magical, super natural feels and gorgeous gipsy female magician with extoic make-up (at least to Asians....) and all that out look. Plus she can have creams shoot out from her body, this character design actually goes perfectly well of the style that I wish to turn her into.
So, I decide to go bit extreme for her lower eyelashes, it's like a circus make-up and to fit the curve of her body and skirt, I go with round, petal like shape eyelash. I have no idea how I can actually draw that with Gundam marker, but it's always interesting to think about the possibilities.....
By the way check this out for extreme make up that also looks good:
[http://www.flickr.com/photos/skinning_bear/3922822613/]
(I just find out you can only play this trick in reply, so please see the following.)
if it didn't show, I have pic just under the same tittle around this album.....
I borrowed this pic from here:
images.google.com.tw/imgres?imgurl=http://userdisk.webry....
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
You can read more about my $2 Portrait Project here.
Earlier today while shooting Derek up in the Tenderloin District, I ran into Frida. Frida asked if she could sit for a portrait as well and I told her more about my $2 Portrait Project and she said ok.
Frida was born and raised in San Francisco. I asked Frida if she had any kids and she told me she did. She said she had 11 of them. The oldest one was 26 she said and the youngest was 6. She also said she had 10 grandkids.
Frida told me that one of her sons had just almost been killed last month but that God saved him. She said that he was shot in a case of mistaken identity by someone when he was coming out of his house. Thank God he saved him for us she said. I asked Frida if she saw her children a lot and she smiled back and said every day.
Frida told me that she had her 11 different children with 3 different men. Two were Puerto Rican, she added. Frida told me that all three of the men were dead now.
Frida and I talked a bit about her being out on the street. She told me that she had had an alcohol problem but that she was over it now and better. She told me that it was hard work being out on the street. She said that a lot of people will just rush right past her saying "get a job." She said what they didn't understand was that this *was* her job. That asking people for money is a lot of hard work. Especially for a woman she added. "All the time men are coming up to me and saying 'Hey Baby,'" she told me.
I told Frida that I had four kids and she smiled and asked if they were all with the same woman. I told her they were and she laughed and said, oh well, not me.
Frida was a friendly woman who smiled a lot. She seemed very happy with her life and very proud of her children.
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Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
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----more about Berlin Biennale ---#BB8
Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art
KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.
Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.
Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.
Curators have been:
1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist
2nd Berlin Biennale (2001): Saskia Bos
3rd Berlin Biennale (2004): Ute Meta Bauer
4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick
5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic
6th Berlin Biennale (2010): Kathrin Rhomberg
7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza
The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).
The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.
KW Institute for Contemporary Art
Berlin Biennale für zeitgenössische Kunst
Auguststraße 69
#BB8
---artists participating ---
52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.
Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.
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
www.nytimes.com/2021/08/06/opinion/covid-delta-vaccines-u...
No, the Unvaccinated Aren’t All Just Being Difficult
By Bryce Covert
Ms. Covert is an independent journalist who focuses on the economy, with an emphasis on policies that affect workers and families.
On a July day in downtown Lowell, Mass., the first sunny Saturday of the month, people began to line up for a block party. Food trucks offered everyone a free empanada or egg roll. A D.J. played music. There were kid-friendly activities, too, like a touch-a-truck station with a fire truck and an ambulance.
The party wasn’t just a way to have a good time. The real motivation was to get people in the community vaccinated against Covid-19. Nestled between the food trucks were ones offering Pfizer, Moderna and Johnson & Johnson vaccines.
In the minds of the public health and community organizers who staged it, it was a roaring success. Sixty-four people got vaccinated within six hours. Hannah Tello, a community health data manager at the nonprofit Greater Lowell Health Alliance, noted that it was eight to 10 times as many vaccinations as what their mobile clinics had been doing; their most successful day before this administered 12.
The people who got shots at the party “were not people who were resistant,” Dr. Tello told me. Outreach workers went to a nearby park and invited the homeless people there to get free food and, if they wanted, a vaccination, and many took them up on the offer in such a low-stakes, nonmedical setting.
An elderly woman who cares for two people with disabilities had tried and failed to schedule vaccinations for all three of them at the same time. This time, she succeeded. A woman who was able to vaccinate all the other eligible people in her family hadn’t been able to get it herself because she has four young children she wasn’t allowed to take to the vaccination center. That day her children played cornhole while she got the shot.
The party organizers also reached about 250 other attendees, many of whom had conversations about their concerns. Some were worried that the vaccines cost money, even though they’re free to all. They were concerned they would need some sort of documentation, which they don’t. One woman hadn’t gotten the shot yet because she has an intense fear of needles; she did it that day after 25 minutes of talking it through. “Her getting her shot is just as important as the people who lined up outside our clinics a few months ago,” Dr. Tello said. “No one is less deserving of having access.”
The country’s vaccination campaign has lagged since April, and that has allowed for a spike in cases, particularly in largely unvaccinated areas. Vaccinations have risen lately in response to the spread of the Delta variant, but rather than keeping its foot on the gas and throwing every idea, every resource at the problem, the White House has started to shift the blame onto those who still haven’t gotten a shot. President Biden grumbled that he has struck a “brick wall” in persuading more Americans to get the shot. Last week, taking aim at those he called “unvaccinated, unbothered and unconvinced,” he said, “If you’re out there unvaccinated, you don’t have to die. Read the news.”
There are plenty of Americans who have been inundated with misinformation about the vaccines. Many are staunchly opposed to getting it for a variety of reasons, from personal health concerns to conspiracy theories. But that doesn’t describe everyone who is unvaccinated — not by a long shot. And there are plenty of things we can do to reach them if we’re serious about spending the time and the money.
Instead, the current approach is to argue that access has increased and it’s everyone’s individual responsibility to get a shot — and if you don’t, it’s on you. Once again, we have taken the cruelly American, ruggedly individualistic tactic of making this about personal responsibility, not about a systemic response, just as we did in combating the virus itself.
“It’s not a public health strategy for any condition to just blame somebody into treatment and prevention,” said Rhea Boyd, a pediatrician and public health advocate. Telling the unvaccinated that they’re being selfish “really runs counter to all the work it’s going to take to convince those folks to be vaccinated, to trust us that we have their best interests in mind.”
It’s also shortsighted. If some people continue to struggle with getting vaccinated, the virus will continue to run rampant, threatening a rebound in economic activity and giving the coronavirus a chance to mutate yet again. The refrain we’ve heard throughout is still true: We’re not safe until we’re all safe.
Those who aren’t yet vaccinated are much more likely to be food insecure, have children at home and earn little. About three-quarters of unvaccinated adults live in a household that makes less than $75,000 a year. They are nearly three times as likely as the vaccinated to have had insufficient food recently. Many of them have pressing concerns they can’t just put aside because they need to get a vaccination.
Access is far more widespread than it was at the beginning of the year. Many cities now offer multiple venues for getting it without needing an appointment. But about 10 percent of the eligible population still lives more than a 15-minute drive from a vaccine distribution location. And even if there’s a site down the road, it usually requires taking time off work — not just to get the shot but also potentially to recover from the side effects — arranging transportation and figuring out child care.
“Missing out on a few hours of work seems very easy to us, but in fact it could be the matter of having food for the family versus not,” said Ann Lee, the chief executive of the nonprofit Community Organized Relief Effort. For these people, when they’re weighing whether to get a vaccination or potentially forgo some wages, “the wages are going to win out.”
Those who are unvaccinated are also likely to work in essential jobs like agriculture and manufacturing that don’t allow them to step away from work. They work long hours and may prioritize time with their families or communities when they finally get a break. People who have multiple jobs may find it impossible to schedule a shot in between all of their shifts.
And yet 43 percent of the unvaccinated say they definitely or probably would get it or are unsure, according to Julia Raifman, an assistant professor at the Boston University School of Public Health.
“We pretty quickly exhausted those who were easiest to reach and vaccinate,” Tara Smith, a public health professor at Kent State, told me. “This next phase is more difficult, but I don’t think it’s impossible to continue to get more people vaccinated. We just have to get creative.”
A block party doesn’t work in every community, particularly more rural ones. For those places, an event could be staged at a church or a county fair. Anything that allows people to discuss their concerns with experts and get vaccinated on the spot erases dangerous lag time. Dr. Tello’s organization found that many disappeared in the time between an educational conversation and a vaccination appointment weeks later.
Another way to take the vaccines to people for whom the logistics are complicated is to do it at workplaces. Ms. Lee’s organization held a vaccination drive at a construction site in Washington, D.C., and vaccinated 165 people. “They wanted to get vaccinated. There was just no way some of these day laborers were going to take off of work and maybe get sick,” Ms. Lee said. In January, Riverside, Calif., began a program to take vaccines into the fields to reach agricultural workers.
There are plenty of other smart places to distribute vaccines. Take them to food pantries, where low-income and food-insecure people show up by necessity on a regular basis. Do vaccinations at shopping centers where everyone goes to buy food. Vaccine drives could also be held on the first day of school for parents and older children alike; it’s late in the game, since it takes weeks for full immunity, but it’s better than missing them entirely.
Going door to door can also reach people, particularly those who are homebound. The Central Falls Housing Authority in Rhode Island offered shots to its public housing residents at the end of last year, and by January, 80 percent had been vaccinated. In Los Angeles, Ms. Lee’s team contacts the homebound first to talk through any concerns and again a week later to administer a vaccine. Vaccines could even be paired with Meals on Wheels deliveries.
To address transportation issues, the White House collaborated with Uber and Lyft to give free rides up to $25 to and from vaccination sites. But those companies don’t operate in every community, particularly outside cities. The government could also give grants to community organizations that can give people free rides to vaccination sites. “If you have a bus at a church, you can get a grant,” Dr. Boyd suggested.
We have to mandate paid leave so workers can take at least two days to get a shot and recover without jeopardizing their incomes. The Biden administration has offered tax credits to employers with fewer than 500 employees to cover the cost of offering paid leave for getting vaccinated, which he expanded this month. Some states, including New York, have mandated it. But everywhere else, it’s up to an employer to offer it, and if existing paid leave benefits are any guide, it’s the lowest-wage workers who are least likely to get it. The Occupational Safety and Health Administration released an emergency temporary standard in June that requires employers to provide paid time off to get vaccinated and recover, but it applies only to health care workers, despite the fact that a draft version included everyone.
Short of that, community organizations can send people home from getting vaccinated with enough food for their families if they have to miss work for a day or two. When Ms. Lee’s organization did testing in the Navajo Nation, it gave people two weeks of food in case they got a positive result and had to quarantine. It’s now sending people home with food as well as diapers, formula and hygiene kits with things like shampoo and tampons.
Parents also need child care — not just for getting their shots but also if they experience side effects. The government is working with four large child care providers to offer free care, but those centers may not be available to everyone, nor will all parents feel comfortable sending their children to an unfamiliar setting. Instead, we could give them money to pay their trusted source of child care and also offer care at vaccination centers.
State and local officials can kick-start some of this on their own. But the real money, and the power to set the agenda, comes from the White House and Congress. “If the federal government said, ‘We are really concerned, we see that low-income people have not had access to the vaccine, and we’re putting forth a huge effort to bring it to them in their workplaces and homes,’” Dr. Raifman said, “that would be a compelling message that would mobilize people across the country.” Federal funding needs to be filtered down to the local level as quickly as possible. There’s a lot of money for vaccinations, but it has to get to the organizations that are deeply embedded in their communities and ready to pull this off.
Dr. Tello’s organization plans to repeat the block party this summer, this time as a back-to-school event, handing out free backpacks and school supplies as well as flu shots alongside the Covid vaccines. And it will be timed so that those who got their first shot of the Moderna or Pfizer vaccine at July’s party can get their second dose on the spot. “Sometimes,” she said, “you have to make it too convenient so that people can’t say no.”
окосячка в деревянном доме sotdel.ru/okosyachka-obsada.html #sotdel #окосячка #обсада #сотдел окосячка в деревянном доме Специальный деревянный короб, именуемый и в народе, и в среде специалистов как «окосячка», так и «обсада», состоящий из боковины, вершника, а также подоконной доски или порога, устанавливается в проемы деревянных строений, предназначенные для дверей и окон, чтобы сохранить и окна, и двери в процессе неизбежной усадки деревянных конструкций в целостности. Такова особенность технологии зодчества, при которой дом, баня, другое строение жилого или хозяйственного назначения, предохраняется от возможности смещения брёвен в горизонтальном положении, а сама усадка оконной «коробки» никак не скажется на устойчивости и форме окна. окосячка в деревянном доме Отказ в процессе строительства от окосячки оконных проёмов чреват нарушением нормального функционирование окон. Потому как она защищает оконные рамы и стёкла в них от последствий усадки брёвен и гарантирует нормальное функционирование окон и целостность рам. А, кроме того, исключено появление между брёвнами и рамой трещин и зазоров. окосячка в деревянном доме закажите окосячку для деревяннго дома www.sotdel.ru/okosyachka-obsada.html www.facebook.com/110372909302943/photos/a.298950240445208...
Первое тюнинг-ателье по загородным домам - отделка фасадов, кровельные работы. Монтаж сайдинга под ключ. Гарантия 5 лет на монтаж сайдинга
Строительные блоки WOODBE из древесины www.sotdel.ru/stroitelnye-bloki-woodbe.html
Панели ДВП (Древесно Волокнистая Плита) www.sotdel.ru/paneli-dvp-drevesno-voloknistaya-plita/
ПАНЕЛИ KMEW fasadnye-panely.sotdel.ru/
Фартук для кухни (Кухонный фартук) www.sotdel.ru/fartuk-dlya-kuhni.html
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L'ho trovato in questo sito: freeforumzone.leonardo.it/lofi/Riflessioni-sulla-montagna...
Mi è piaciuto e ve lo condivido con voi!
---------------------------------------------------------
Vi ricopio ciò che ho trovato scritto su di un manifesto al Rifugio Tonini, l'autore non so chi sia... non mi resta che sottoscrivere interamente le parole di questo anonimo.
"E’ difficile trasmettere ad altri le forti sensazioni che provi a diretto contatto con la Montagna senza rischiare di sembrare un po’ pazzo; ma è altrettanto difficile, nel periodo in cui viviamo, riuscire a distinguere quali sono i veri momenti della follia umana.
Conoscere ed amare la montagna è un privilegio che non tutti possono avere, molti sono i modi in cui ella ti sceglie, da quel momento diventa impossibile resistere al suo richiamo, ti educa come una mamma, ti rimprovera severamente quando sbagli, pretende il reciproco rispetto, ti insegna a vivere la solidarietà con i compagni di cordata.
L’ascesa dei suoi imponenti castelli rocciosi richiede attenzione ed impegno e ciò ti permette di purificare la mente dai problemi del nostro tempo, il raggiungimento della vetta diventa il momento magico che ripaga dalle fatiche, dalle paure, dai sacrifici compiuti per la sua conquista, in quel moment sembra di varcare una grande porta: la porta del Mondo.
Resti ipnotizzato dalla bellezza di ciò che ti circonda.. dall’immensità degli spazi.. da un insolito silenzio che scava nel cuore e nella mente come l’acqua nei millenni; non senti il freddo e il vento.. rimani ad ascoltare.. ascoltare la Montagna per capire il suo mistero.
Quando la solitudine resta l’unica compagna non puoi fuggire a te stesso: allora.. solo allora trovi il coraggio di guardarti dentro, di ridiscuterti.. libero da veli, maschere e false ipocrisie del nostro tempo.
Lassù percepisci la presenza di un Dio che, oltre i limiti dell’uomo, tutto comanda!
Lassù capisci che la vita è breve, ma ciò non ti spaventa, perché sai che lo Spirito non muore!
Mentre osservi l’orizzonte alla fine del giorno, ti sembra di essere il padrone del mondo: puoi fermare il tempo.. superare lo spirito.. trovare la pace.. la pace con te stesso.
Al calare della luce ti incammini felice sulla via del ritorno..
Avvolto però da una velata malinconia perché sai che, scendendo,
tornerai ad essere solo un piccolo.. insignificante.. piccolissimo Uomo."
www.chicago-l.org/stations/quincy-wells.html
www.youtube.com/watch?v=ppZRpD36ocg&hd=1
Français :
Quincy est une Station du métro de Chicago situé dans le centre-ville de Chicago sur le côté ouest de l'Union Loop dans le secteur communautaire du Loop. Histoire : Conçu par Alfred M. Hedley en bois et en métal estampé, la station Quincy a été ouverte le 3 octobre 1897, elle a conservé une grande partie de son décor d'origine et a été restaurée complètement en 1988 à l’aide des matériaux utilisés à son ouverture. Jusqu’en septembre 1953, Quincy offrait également une correspondance au Wells Street Terminal vers les trains de la Chicago Aurora & Elgin Railroad. Elle est aujourd’hui considérée comme l’un des 150 plus beaux édifices de l’Illinois par l'American Institute of Architects.
english :
Quincy is one of the oldest surviving stations on the Chicago Transit Authority's 'L' system, located in downtown Chicago, Illinois on the Chicago Loop elevated at 220 South Wells Street (directional coordinates 220 south, 200 west). Designed by Alfred M. Hedley from wood and stamped metal, Quincy was opened on October 3, 1897, it retained much of its original decor over the years and was restored in 1988, so that it is considered one of "150 great places in Illinois" by the American Institute of Architects.[2] The station is situated in the South Loop Financial District and is the closest CTA rail station to the Willis Tower, approximately one block west. It is also close to Union Station, the terminal for several Metra and Amtrak routes and about three blocks west of Quincy, although the Clinton station on the Blue Line is much closer.
Quincy is an elevated station, situated above Quincy Street between Adams Street and Jackson Boulevard. It features two side platforms and station houses, one on the west to serve the Outer Loop track, and one on the east to serve the Inner Loop track. Turnstiles for fare payment are located within the station houses on the platform level. The station once had a transfer bridge, but this was removed in the 1980s. This means it is not possible to change from one platform to the other without paying another fare or asking for employee assistance. There are auxiliary rotogate exits to both Adams and Jackson on the Inner Loop platform, while the Outer Loop only has an auxiliary exit to Adams. Both platforms are designed to handle eight-car trains, the longest the CTA 'L' system can run.
Prior to September 1953, the station also featured a walkway to the Wells Street Terminal for convenient transfers to interurban trains of the Chicago Aurora and Elgin Railroad.
As of 2006, Quincy serves the Brown Line (which goes counterclockwise on the Outer Loop) and the Orange and Pink Lines (which go clockwise on the Inner Loop). During weekday rush periods, Purple Line Express trains share the Inner Loop platform with the Pink and Orange Lines.
In the 1980s, Quincy was restored to an appearance much as it would have looked when it opened. Some materials, such as signage, were reproduced although several of the station's features are original to its 1897 opening.
The station served as the backdrop for the music video of Lady Pank's hit "Zawsze Tam Gdzie Ty".
Tombstone of Robert 'Chum' James Plunkett
Dec. 5, 1963 - Aug. 2, 2007
You have made my life complete, and I love you so.
Sonja Elizabeth.
Forever loved, Forever in our hearts.
www.huffingtonpost.ca/2011/06/30/sonja-plunkett-widow-gar...
Two York Regional Police Flags were flying. I contacted the current President of the International Police Association (Region 2 Toronto) who is retired from YRP but still works for them on contract. He submitted a request. Today, Jul 13, 2015, I received 2 new YRP flags. I will make the exchange this week.
After the exchange: www.flickr.com/photos/21728045@N08/19681086051/in/datepos...
IPA Region 2 Toronto:
www.flickr.com/photos/21728045@N08/sets/72157607746001775
www.flickr.com/photos/21728045@N08/9678561694/in/photolis...
Torstar: A routine police surveillance operation on the trail of thieves stealing cars and airbags ended in tragedy yesterday when a veteran York Regional Police officer was dragged to his death while trying to arrest a suspect on a quiet residential street in Markham.
York Regional Police Chief Armand La Barge called Const. Rob Plunkett, 43, a "true hero" and said his death marks a dark day for the small GTA force that last lost an officer in the line of duty in 1984.
One man has been charged with manslaughter, the other with theft-related offences.
Both accused were on bail for other charges.
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CSIS knew of navy spy Jeffrey Delisle's dealings with Russia
The drama unfolded just before dawn yesterday after investigators had followed a white Honda Civic, registered to a home in Ajax, and a gold Honda, which was stolen but not yet reported as such, from an address in Toronto to Ascot Cres., a winding, tree-lined street not far from Steeles Ave. and Kennedy Rd.
There has been a rash of airbag thefts across York Region, particularly in Markham.
Since January, there have been 43 incidents of airbag thefts and investigators had zeroed in on a couple of suspects.
The undercover officers watched the two cars pull over to the side of Ascot Cres., just around a bend, and saw the driver of the gold Honda attempt to remove an airbag. It was just after 5 a.m. when Plunkett approached the open driver's side, said La Barge.
"As Const. Plunkett attempted to arrest the suspect, the suspect put the vehicle into reverse, and accelerated over a curb, across a lawn and over several shrubs," he said.
Plunkett was then pinned by the open door as it struck a tree on the front lawn of 65 Ascot Cres. As the suspect tried to drive away, the officer was dragged onto a nearby lawn and thrown from the car.
The suspect continued to reverse across the lawn, "at which time assisting officers rammed the vehicle to stop its progress," said La Barge. The suspect fled the car but was quickly arrested.
The second suspect was also arrested trying to flee.
Police said they didn't know why the suspects chose Ascot, except at that time of day it is still dark and there are no surveillance cameras in the immediate area.
Kuo Wan Liu was awake inside his Ascot Cres. home. "There was a big bang noise once, and then a second one," Liu said. "It was not normal. Ascot Crescent is very quiet."
Soon after, a group of people outside were yelling, "`Bleeding! Bleeding! Bleeding!' Very loud," he said.
It's unclear how many officers were at the scene when Plunkett moved in. La Barge said other officers were in the area and responding when Plunkett moved in to make the arrest.
The 22-year veteran had identified himself as a police officer, but detectives will look at what he was wearing and what identification he had, said homicide Det. Kevin Torrie.
Plunkett, married and the father of a daughter, 18, and sons 16 and 14, was rushed to Scarborough Grace Hospital, where he died.
Nadeem Jiwah, 19, has been charged with manslaughter. He was on a recognizance order to live at Hawkeshead Cres.
Baseer Yousafzai, 23, is facing various charges of theft and mischief. He is a landed immigrant from Afghanistan. They're scheduled to make a court appearance in Newmarket today.
A charge of first-degree murder requires evidence of planning and specific intent, second-degree murder covers a "spur of the moment" decision to kill with no planning, and a manslaughter charge can be laid when someone commits an unlawful act that results in someone's death, criminal lawyer Andrew McKay explained.
www.sunnewsnetwork.ca/sunnews/straighttalk/archives/2012/...
TORONTO -- At last, the family of York Regional Police Det. Const. Rob Plunkett can begin to heal.
Nadeem Jiwa, the airbag thief convicted of manslaughter in Plunkett's death, has lost an appeal of his sentence and must do the dozen years behind bars he was given in 2011. No more excuses, no more stalling, no more whining. He must do his time.
For Amanda Plunkett, the good news came a day after a grim anniversary - Aug. 7 marked five years since her vibrant father was senselessly killed in the line of duty. From that day of horror, there have been so many difficult stages for the family to endure - Jiwa's preliminary hearing, the trial, a shocking verdict that came back not as murder but manslaughter, and then news that still not satisfied, he was appealing his sentence.
But now, finally, an end.
"It's been hanging over our heads," explained Plunkett's 22-year-old daughter, who is working this summer as an assistant youth probation officer. "We've been waiting for this decision and we can all rest easy now. We're relieved that this last little thing is over now. It's that last bit. There's nothing more he can do."
In a judgment released Wednesday, the Ontario Court of Appeal found Justice Michelle Fuerst's sentence was on the "very high end" for a youthful, first-time offender, but contrary to what his lawyers had argued, it was not demonstrably unfit.
"Police officers carry out an essential and responsible role in society," wrote Justice Eileen Gillese on behalf of a three-judge panel, quoting an earlier decision. "When a police officer is killed in the execution of duty, the community is understandably outraged. In imposing sentence, it is appropriate to reflect society's revulsion for this aspect of the offence."
In the early morning hours of that August day in 2007, 19-year-old Jiwa was on bail facing airbag theft charges and was out well past the 1 a.m. curfew when he was supposed to be tucked in at his mother's home. Instead, he was out with a friend in a Markham, Ont., neighbourhood, stealing a car and valuable airbags. Plunkett , 43, was part of an undercover surveillance unit watching Jiwa and his partner when they were given the order just before 5 a.m. to move in and make the arrests.
With the cops screaming, "Police, police," his partner in crime quickly surrendered, Not Jiwa. He jumped into his stolen gold Honda and threw it into reverse, crushing Plunkett against a tree. And even as the father of three lay collapsed on the ground, the thief kept on reversing. When his car was finally rammed to a stop, Jiwa tried to take off on foot.
He later insisted at his trial that hitting Plunkett had been an accident and he didn't know he was a police officer trying to arrest him.
Charged with first-degree murder, Jiwa was convicted by a jury of the lesser offence of manslaughter in 2011 and sentenced to 12 years in prison and a 10-year driving ban when he's released. In May, Jiwa's lawyers went to the appeal court to argue the sentence was too harsh for a first-offender with genuine remorse.
The learned judges disagreed.
"This was a very serious crime," wrote Justice Sarah Pepall. "Detective Plunkett was killed in the line of duty. His family and colleagues have been devastated by his death. I recognize that Mr. Jiwa was only 19 years of age at the time of the offence, had no previous record, showed some remorse and the killing was involuntary. Nonetheless, the offence was committed while he was on bail for pending air bag theft charges; he was driving a stolen vehicle having spent several hours stealing air bags; and he was in violation of his curfew."
The top court's decision was applauded by John Miskiw, Plunkett's friend and head of the York police association. "Sonja Plunkett and her children deserve some closure to the court process."
But, of course, 12 years doesn't mean 12 years at all and the family will soon have the parole system to confront: Given two-for-one credit for the almost four years he spent in custody, Jiwa has only three years left on his sentence. < As of Sept 2012.
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वांग ज़ीहान, शांक्सी प्रान्त
पारस्परिक संबंध एक ऐसा विषय है जो कई लोगों के सिर में दर्द पैदा कर देता है। यह एक ऐसा विषय भी है जिसका अक्सर ईसाई के रूप में एक व्यक्ति पूरे जीवन भर सामना करता है। प्रभु यीशु की अपेक्षा है कि हम एक-दूसरे के साथ सामंजस्य में मिलकर रहें और दूसरों से अपने समान प्यार करें। कई आस्थावान ईसाई भी प्रभु की शिक्षाओं को अभ्यास में लाने के इच्छुक हैं। हालांकि, हकीकत में, जब हम दूसरों के साथ बातचीत करते हैं, तो हम अक्सर संघर्ष और गलतफहमी का सामना करते हैं, वो भी इतना कि हमारे रिश्ते कठोर होकर टूट जाते हैं। इससे हर किसी को दर्द होता है। क्या कारण है कि हम एक-दूसरे के साथ सामंजस्यपूर्ण रूप से रहने में असमर्थ हैं? प्रभु की मंशा के अनुसार हम ईसाई अपने जीवन में दूसरों के साथ कैसे बातचीत कर सकते हैं? अतीत में मुझे जो कठिनाई हुई है, उसमें यह समस्या भी रही है। प्रभु के मार्गदर्शन के लिए उनका धन्यवाद! बाद में, मुझे एक पुस्तक में इस सवाल का जवाब मिला, जिसने मेरी कठिनाइयों का समाधान कर दिया। यहां, मैं अपने अनुभव और समझ के बारे में कुछ बताने जा रही हूँ!
1. आपको दूसरों के साथ उचित और समान व्यवहार करना चाहिए। आपको अपनी भावनाओं और वरीयताओं के आधार पर काम नहीं करना चाहिए।
यीशु ने कहा: "क्योंकि यदि तुम अपने प्रेम रखनेवालों ही से प्रेम रखो, तो तुम्हारे लिये क्या फल होगा? क्या महसूल लेनेवाले भी ऐसा ही नहीं करते? "यदि तुम केवल अपने भाइयों ही को नमस्कार करो, तो कौन सा बड़ा काम करते हो? क्या अन्यजाति भी ऐसा नहीं करते? इसलिये चाहिये कि तुम सिद्ध बनो, जैसा तुम्हारा स्वर्गीय पिता सिद्ध है" (मत्ती 5:46–48)। प्रभु के वचनों से, मैं समझ गयी कि परमेश्वर की अपेक्षा है कि ईसाई जन अपने जीवन में दूसरों के साथ परमेश्वर के वचनों के अनुसार व्यवहार करें। उन्हें अपनी भावनाओं और वरीयताओं के अनुसार ऐसा नहीं करना चाहिए। जब मैं इस बारे में सोचती हूँ कि दूसरों के साथ हम कैसे बातचीत करते हैं, तो मुझे एहसास होता है कि जब हम दूसरों से लाभ या सहायता प्राप्त करते हैं, तो हम उस दूसरे पक्ष के प्रति आनंदित और आभारी हो जाते हैं। हालांकि, जब अन्य लोग कुछ ऐसा कहते या करते है जो हमें नुकसान पहुंचाता है, तो हम इस दूसरे व्यक्ति से घृणा करने लग जाते हैं और उस पर ज़्यादा ध्यान नहीं देते हैं। जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद करते हैं, तो हम उसके करीब आते हैं और उसे अपने पास खींच लेते हैं; जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद नहीं करते हैं, तो हम उसे अस्वीकार कर देते हैं और उससे दूर चले जाते हैं। जिनके पास ऊँची हैसियत या अधिक शक्ति है, हम उनकी खूब प्रशंसा करते हैं और उनकी चाटुकारिता करते हैं। जिनके पास हैसियत या शक्ति नहीं है, हम उन्हें अस्वीकार करते हैं और उन्हें अपमानित करते हैं। कोई ऐसा जिसके लिए हमारी वरीयता होती है यदि वो हमारी कमियों को बताता है, तो हम इसे स्वीकार करने में सक्षम होते हैं। लेकिन जिसके लिए हमारी वरीयता नहीं होती, यदि वो कुछ ऐसा करता है, तो हम इसे स्वीकार नहीं करते हैं, हम इसका औचित्य सिद्ध करते हैं और कभी-कभी हम उनसे घृणा भी करते हैं, उसके साथ लड़ने लगते हैं और यहां तक कि उस पर हमला भी करते हैं। ये सभी किसी व्यक्ति द्वारा अपनी खुद की भावनाओं और प्राथमिकताओं का पालन करने और दूसरों के साथ समान रूप से व्यवहार न करने के उदाहरण हैं। यह वह तरीका भी है जिसके अनुसार अविश्वासी दूसरों के साथ व्यवहार करते हैं। यदि कोई ईसाई दूसरों के साथ इस तरह से व्यवहार करता है, तो वो उसी रास्ते पर चल रहा है जिस पर एक अविश्वासी चलता है, वह प्रभु में विश्वासी कहलाने योग्य नहीं हैं और वो जो कर रहा है वह परमेश्वर के इरादे के अनुसार नहीं है। प्रभु में विश्वासियों के तौर पर, हमें उसकी शिक्षाओं को अभ्यास में लाना चाहिए। हमें दूसरों से अपने समान प्यार करना चाहिए। जब तक कि किसी की मानवता अच्छी है, वह वास्तव में परमेश्वर में विश्वास करता है और सत्य से प्यार करता है, तो वो हमारी प्राथमिकताओं, मिजाज़, चरित्र के साथ संगत हो या ना हो, चाहे हम उसे पसंद करते हों या न करते हों और भले ही वे साधारण भाई बहन हों या कलीसिया के अगुआ हों, हमें ईमानदारी से और निष्पक्षता से उनके साथ व्यवहार करना चाहिए। हमें उनके प्रति सहिष्णुता, धैर्य और प्यार दिखाना चाहिए। हमें धोखाधड़ी और भेदभाव नहीं करना चाहिए। केवल ऐसा करके ही हम परमेश्वर की मंशा के अनुसार होंगे।
2. दूसरों की कमियों और प्रकट की गयी भ्रष्टता को उचित ढंग से सम्बोधित करें। मनमाने ढंग से दूसरों को परिभाषित और उनकी आलोचना ना करें।
यीशु ने कहा: "दोष मत लगाओ कि तुम पर भी दोष न लगाया जाए। क्योंकि जिस प्रकार तुम दोष लगाते हो, उसी प्रकार तुम पर भी दोष लगाया जाएगा; और जिस नाप से तुम नापते हो, उसी नाप से तुम्हारे लिये भी नापा जाएगा" (मत्ती 7:1–2)। प्रभु की शिक्षाओं ने मुझे यह समझने में मदद की है कि हम सभी वो लोग हैं जो शैतान द्वारा भ्रष्ट किये गए हैं। हमारा भ्रष्ट स्वभाव एक जैसा है। अगर दूसरे एक घमंडी, दम्भी, स्वार्थी और घृणित शैतानी स्वभाव प्रकट करते हैं, तो हम भी वही स्वभाव प्रकट कर सकते हैं। हमारे अंदर दूसरों के समान ही कमियाँ हैं। हम दूसरों की तुलना में बेहतर नहीं हैं। अगर हम दूसरों की कमियों और भ्रष्टाचार के कारण उनकी आलोचना करते हैं और उन्हें परिभाषित करते हैं, तो हम वास्तव में घमंडी हैं और स्वयं के बारे में हमें बहुत कम ज्ञान है! इसलिए, दूसरे चाहे जो भ्रष्टाचार और अपराध प्रकट करें उसके बावजूद, हमें उन्हें सही तरीके से संबोधित करना होगा और हमें मनमाने ढंग से उनकी आलोचना और उन्हें परिभाषित नहीं करना चाहिए। पापियों को संबोधित करते समय यीशु का जो रवैया था, जैसा कि बाइबल में लिखा है, उसे याद रखें: फ़रीसी एक व्यभिचारी महिला को पकड़ कर यीशु के सामने लाये। उन्होंने यीशु से पूछा कि इस महिला के साथ कैसा व्यवहार किया जाना चाहिए। उस समय के कानूनों के मुताबिक, महिला की पत्थर मार-मार कर हत्या कर देनी चाहिए थी। हालाँकि, यीशु ने उसे उसके पापों के लिए दोषी नहीं ठहराया। उसने बस उस महिला को भविष्य में पाप ना करने के लिए कहा। (यूहन्ना 8: 3-11 देखें।) इस अवतरण से, हम देख सकते हैं कि यीशु उस दर्द और असहायता को समझता है जिसे वे लोग महसूस करते हैं जिन्हें शैतान द्वारा भ्रष्ट किया गया है और जो पाप में रहते हैं। उसने मनुष्य की कमज़ोरी के प्रति करुणा महसूस की। जब हमने भ्रष्टाचार प्रकट किया है या अपराध किए हैं, तो जब तक हम वास्तव में पश्चाताप करते हैं, परमेश्वर हमें पश्चाताप करने और बदलने के लिए पर्याप्त समय देगा। हमें यीशु के उदाहरण का भी पालन करना चाहिए और अन्य लोगों की कमियों और प्रकट की गयी भ्रष्टता को सही तरीके से संबोधित करना चाहिए। हमें विकास के परिप्रेक्ष्य के माध्यम से दूसरों को देखना चाहिए। यह अन्य लोगों से निपटने का एक सिद्धांत भी है जो ईसाइयों के जीवन में होना चाहिए। यदि अन्य लोगों के लिए हमारी मांगें कठोर हैं, हम बाल की खाल निकालते हैं और मनमाने ढंग से लोगों की आलोचना तक करते हैं, यदि हम लोगों को परिभाषित करते हैं और उनकी कमियों को खोजने के बाद यह निष्कर्ष निकालते हैं कि वे निकम्मे हैं, तो यह दूसरों के साथ निपटने के लिए एक अहंकारी और दम्भी भ्रष्ट स्वभाव का उपयोग करने का एक उदाहरण है। यदि आप ऐसा करते हैं, तो यह परमेश्वर के इरादे के अनुसार नहीं है और आप दूसरों के साथ सामान्य संबंध बिल्कुल नहीं रख पाएंगे।
अब मैं अपने कुछ अनुभव आप सभी को बताती हूँ। हमारी कलीसिया में, एक बहन है जो अपने अविश्वासी पति के कारण समय पर सभाओं में भाग लेने में असमर्थ है। मैंने कई बार इस बहन से बात की थी, लेकिन वह अभी भी नकारात्मकता और कमजोरी में जी रही थी। मैं इस लेकर बहुत नाराज थी और इसलिए मैंने उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। मैं अब और उसकी मदद या सहायता नहीं करना चाहती थी। बाद में, मैंने बाइबल में लिखे ये वचन पढ़े: "खानेवाला न–खानेवाले को तुच्छ न जाने, और न–खानेवाला खानेवाले पर दोष न लगाए; क्योंकि परमेश्वर ने उसे ग्रहण किया है। तू कौन है जो दूसरे के सेवक पर दोष लगाता है? उसका स्थिर रहना या गिर जाना उसके स्वामी ही से सम्बन्ध रखता है; वरन् वह स्थिर ही कर दिया जाएगा, क्योंकि प्रभु उसे स्थिर रख सकता है" (रोमियों 14:3-4)। मुझे बहुत शर्मिंदगी महसूस हुयी। मैंने उन समयों के बारे में सोचा जब मैं पराजित, नकारात्मक और कमज़ोर महसूस करती थी। परमेश्वर ने मेरे भाई-बहनों को भावनात्मक रूप से छुआ ताकि वे आगे आएं और परमेश्वर के वचनों को कई बार पढ़कर मुझे सुनाएं। वे मेरी सहायता करने और मुझे सहारा देने के लिए मुझसे बातचीत करते और अपने अनुभव मुझे बताया करते। केवल परमेश्वर के वचनों के मार्गदर्शन से ही मैं दृढ़ता से खड़ी हो पायी। मेरे पास कुछ भी ऐसा नहीं था जिस पर मैं गर्व कर सकती थी। अब, यह बहन अपने पति की बाधाओं के कारण समय पर सभाओं में भाग लेने में असमर्थ थी। मुझे एक प्यार करने वाले दिल के साथ उसकी मदद करनी चाहिए थी, फिर भी मैं इस बहन के जीवन के बारे में चिंतित नहीं थी। मैंने उसे टालने की कोशिश भी की और उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। जब मैंने खुद पर नज़र डाली, तो मुझे लगा कि मैं बहुत अहंकारी थी। मैंने इस बहन के साथ प्यार भरे दिल या धैर्य से व्यवहार नहीं किया। मेरे पास ऐसा कुछ भी नहीं था जो कि परमेश्वर के इरादों के अनुसार था। एक बार जब मैं यह समझ गयी, फिर मैंने परमेश्वर के सामने अपने पाप स्वीकार किए और पश्चाताप किया: मैं इस बहन की मदद करने और सहारा देने के लिए तैयार थी। इसके बाद, मैंने इस बहन को प्यार भरे दिल के साथ परमेश्वर के वचन सुनाये और मैंने अपने कुछ अनुभव और समझ को भी साझा किया। उसके साथ कुछ बार संवाद करने के बाद, वह अब अपने पति के नियंत्रण के अधीन नहीं थी और उसकी स्थितियों में धीरे-धीरे सुधार हुआ। इस अनुभव से मैंने जो सीखा वह यह है कि किसी भी भाई या बहन के अंदर चाहे जो भी कमियां और कमज़ोरियाँ हों, या वे जो भी भ्रष्टाचार प्रकट करें, जब तक कि वे वास्तव में परमेश्वर पर विश्वास करते हैं और जब वे गलती करते हैं तो परमेश्वर के सामने पश्चाताप कर सकते हैं, परमेश्वर उन्हें बदलने का एक अवसर देगा। यही कारण है कि हमें दूसरों की प्यार भरे दिल से मदद करनी चाहिए, उन्हें माफ करना चाहिए और प्रत्येक व्यक्ति के साथ परमेश्वर की अपेक्षाओं के अनुसार व्यवहार करना चाहिए। हमें बिल्कुल भी मनमाने ढंग से अन्य लोगों को परिभाषित नहीं करना चाहिए और उनकी आलोचना नहीं करनी चाहिए। इसी प्रकार से एक व्यक्ति लोगों के साथ समान रूप से और परमेश्वर की मंशा के अनुसार व्यवहार करता है।
3. आपको अन्य लोगों को कम या ज़्यादा करके नहीं आँकना चाहिए। दूसरों की खूबियों से सीखें और अपनी कमियों को दूर करें।
बाइबल कहती है: "विरोध या झूठी बड़ाई के लिये कुछ न करो, पर दीनता से एक दूसरे को अपने से अच्छा समझो" (फिलिप्पियों 2:3)। परमेश्वर ने हममें से प्रत्येक को अलग-अलग क्षमता, प्रतिभा और खूबियां दी है। इस कारण से, अपने भाइयों और बहनों के साथ बातचीत करते समय हमें विनम्र दिल रखना चाहिए और हमें दूसरों की खूबियों और कमियों को सही ढंग से देखना चाहिए। हमें दूसरों को कम या ज़्यादा करके नहीं आँकना चाहिए। हमें दूसरों की खूबियों को ग्रहण करना चाहिए ताकि हम अपनी कमियों को दूर कर सकें। यदि हम अपनी खूबियों, क्षमता और प्रतिभा के कारण दूसरों को नीची दृष्टि से देखते हैं और असीम ढंग से अपनी ताकत बढ़ाते हैं, जिसके माध्यम से हम दिखावा करते हैं और डींगे हाँकते हैं, साथ ही दूसरों की आलोचना करते हैं, नीचा दिखाते हैं और नुकसान पहुंचाते हैं, तो हम अपने अहंकारी और दम्भी भ्रष्ट स्वभाव द्वारा इस प्रकार से नियंत्रित किये जा रहे हैं। एक ईसाई को इस तरह का जीवन नहीं जीना चाहिए। उदाहरण के लिए, पहले, मैं हमेशा सोचती थी कि मेरी खुद की क्षमता अपने साथ काम कर रही एक बहन की तुलना में बेहतर थी, इसलिए मैं उसे नीची दृष्टि से देखती थी। एकसाथ हमारे काम के दौरान, मैं जाने-अनजाने में दिखावा करती थी और मेरा दिल अपने लिए घमंड से भरा हुआ था। मेरे भ्रष्ट स्वभाव के कारण परमेश्वर को मुझसे घृणा हो गयी और इसके कारण परमेश्वर ने मेरी ओर से अपना मुँह मोड़ लिया। मेरी आत्मा अँधेरी और निराशापूर्ण हो गई। मेरे काम में कई स्पष्ट समस्याएं थीं जिन्हें मैं खोज पाने में असमर्थ थी, जबकि इस बहन का काम धीरे-धीरे बेहतर होता चला गया। मैंने उस बारे में सोचा जो यीशु ने कहा था: "जो कोई अपने आप को बड़ा बनाएगा, वह छोटा किया जाएगा: और जो कोई अपने आपको छोटा बनाएगा, वह बड़ा किया जाएगा" (मत्ती 23:12)। इसी समय मैंने देखा कि मैं कितनी अहंकारी थी। मैं खुद से अवगत नहीं थी। असल में, यह पवित्र आत्मा के काम के कारण है कि मेरे काम ने कुछ परिणाम उत्पन्न किये थे या मैं कुछ समस्याओं को खोजने में सक्षम थी। हालाँकि, मैंने अभी भी परमेश्वर का सम्मान चुराया था और मैं बेहद आत्मतुष्ट थी और अपने खुद के अहंकार की प्रशंसा करती थी। मैं अपने साथी भाइयों और बहनों को नीची दृष्टि से देखती थी। हकीकत में, मैं बहुत ही अविवेकी थी! साथ ही, मुझे पता था कि मुझे खुद को कैसे जाने देना है यह सीखने की जरूरत है। मुझे अपनी कमियों को दूर करने के लिए उस बहन की खूबियों को खुले दिमाग से आत्मसात करना था। केवल अगर मैंने ऐसा किया तभी परमेश्वर प्रसन्न होगा और मेरा जीवन लगातार बढ़ेगा। नतीजतन, मैंने ऐसा करना शुरू कर दिया। जब ऐसी समस्याएं आतीं जिन्हें मैं समझ नहीं पाती थी, तो मैं उस बहन से उसकी सलाह माँगती। अगर मैं मुद्दों का सामना करती, तो मैं उनके साथ उन पर चर्चा करती। तब मैंने पाया कि वास्तव में उसमें ऐसी कई खूबियां थीं जिनका मुझमें अभाव था। मेरे दिल ने बहुत अपमानित महसूस किया। मैं यह भी समझ गयी कि परमेश्वर ने ऐसी व्यवस्था की थी कि मैं इस बहन के साथ काम करूँ क्योंकि वह चाहता था कि मैं अपनी कमियों को दूर करूँ। वह चाहता था कि जो काम उसने हमें सौंपा था उसको करने के लिए हम सामंजस्यपूर्ण रूप से सहयोग करें। धीरे-धीरे, इस बहन के साथ मेरा रिश्ता सामान्य हो गया और मुझे एक बार फिर पवित्र आत्मा का काम प्राप्त हुआ।
4. जब आप यह पाते हैं कि अन्य लोग ऐसी चीज़ें करते हैं जो आपके विचारों से मेल नहीं खाती हैं, तो दूसरे व्यक्ति पर अपनी नज़रें न गड़ायें। इसके बजाय, आपको पहले खुद को पहचानना चहिये और सत्य का अभ्यास करना चाहिये।
यीशु ने कहा: "तू क्यों अपने भाई की आँख के तिनके को देखता है, और अपनी आँख का लट्ठा तुझे नहीं सूझता? जब तेरी ही आँख में लट्ठा है, तो तू अपने भाई से कैसे कह सकता है, 'ला मैं तेरी आँख से तिनका निकाल दूँ?' हे कपटी, पहले अपनी आँख में से लट्ठा निकाल ले, तब तू अपने भाई की आँख का तिनका भली भाँति देखकर निकाल सकेगा" (मत्ती 7:3–5)। जब हम दूसरों के साथ बातचीत करते हैं, तो कुछ टकराव और पूर्वाग्रह होना निश्चित है। इन क्षणों पर, हमें इस बात पर ध्यान नहीं देना चाहिए कि दूसरा पक्ष क्या गलत कर रहा है और हमेशा यह नहीं मानना चाहिए कि दूसरे पक्ष की ही गलती है। इसके बजाय, हमें परमेश्वर के सामने आना और परमेश्वर के वचन के भीतर सत्य को तलाशना सीखना चाहिए ताकि हम यह पता लगा सकें कि हमारी अपनी समस्याएं कहाँ हैं। एक बार जब हम परमेश्वर के इरादे को समझ लेते हैं और अपने भ्रष्ट स्वभाव की समझ पा लेते हैं, तो हम खुद को अन्य लोगों की जगह रख कर देख पाएंगे और चीजों को उनके नज़रिए से समझ पाएंगे। हम दूसरों को समझ पायेंगे, उनके साथ सहानुभूति रखने और सहिष्णु होने में सक्षम होंगे। इस बिंदु पर, दूसरों के लिए हमारा पूर्वाग्रह स्वाभाविक रूप से कम हो जाएगा।
इस पहलू के संबंध में मुझे कुछ गहरे अनुभव हुए हैं। मुझे याद है कि एक बहन जिसके साथ मैंने काम किया था, उसने कई बार यह इशारा किया कि कलीसिया के काम के संबंध में मैंने अपना दायित्व नहीं निभाया था। हालाँकि, न केवल मैं इसे परमेश्वर से प्राप्त करने में असमर्थ थी, वास्तव में, मुझे यह भी संदेह था कि यह बहन जान-बूझकर मुझमें मीन-मेख निकाल रही थी और मेरी जिंदगी मुश्किल बना रही थी। मेरे दिल ने इस बहन की तरफ पूर्वाग्रह पैदा करना शुरू कर दिया और अब मैं इस बहन के साथ सेवा नहीं करना चाहती थी। जब मैंने परमेश्वर के वचन को पढ़ा और परमेश्वर की मंशा को ढूंढा, तो मुझे समझ में आया कि मेरा स्वयं का अहंकारी और दम्भी शैतानी स्वभाव मुझे नियंत्रित कर रहा था और मुझे इस बहन के सुझावों को स्वीकारने नहीं दे रहा था। इससे मुझे उसके बारे में संदेह भी हुआ। इसी कारण इस बहन के साथ सामान्य बातचीत करने में मैं असमर्थ हो गयी। साथ ही, मुझे पता था कि जिन लोगों, घटनाओं और चीजों का मैं हर रोज सामना करती थी, सभी परमेश्वर द्वारा निर्देशित और व्यवस्थित थे। यह परमेश्वर था जो सावधानी से इन चीजों को मुझे बदलने और बचाने के लिए व्यवस्थित कर रहा था, न कि वह बहन जानबूझकर मेरे लिए चीजों को मुश्किल बनाना चाहती थी। मुझे परमेश्वर को समर्पण करना चाहिए, खुद को जाने देना और उस बहन के सही सुझावों को स्वीकार करना सीखना चाहिए। इसके बाद, मैं परमेश्वर के सामने गयी और खुद पर विचार किया। बहन के सुझावों से, मैं देख सकती थी कि वास्तव में मैं कलीसिया के काम के संबंध में अपनी जिम्मेदारियों को नहीं उठा रही थी। जो भी अगुवा मेरे लिए करने की व्यवस्था करते थे, मैं वो करती थी, फिर भी मैंने कभी यह नहीं सोचा कि मैं कलीसिया के काम को और भी बेहतर कैसे कर सकती हूँ। एक बार जब मैं परमेश्वर के इरादे को समझ गयी, तो मैं चीजों को परमेश्वर की अपेक्षाओं के अनुरूप करने लगी। मैंने सक्रिय रूप से और खुले दिल से इस बहन के सामने अपना भ्रष्टाचार प्रकट किया और मैंने परमेश्वर से भी मुझे और अधिक ज़िम्मेदारियाँ देने को कहा। जब मैंने परिस्थितियों का सामना किया, तो मैंने इस बारे में और सोचा कि मैं कलीसिया को कैसे लाभ पहुंचा सकती हूँ। जब मैं चीजों को इस तरह से अभ्यास में लायी, तो एक समय जो गलतफहमी इस बहन के साथ हुआ करती थी वो खत्म हो गयी। हम आध्यात्मिक रूप से जुड़ गये और जो सद्भावना पहले हमारे बीच थी, वो एक बार फिर बहाल हो गयी।
अभ्यास के चार सिद्धांत वे चीजें थीं जिन्हें मैंने अपने अनुभवों से सीखा था। मैंने सचमुच अनुभव किया कि एक ईसाई के जीवन में परमेश्वर का वचन मार्ग दिखाने वाला प्रकाश है। यह हमारे पथ के लिए दिशासूचक है। परमेश्वर के वचन के मार्गदर्शन के बिना, हमारे पास चलने को कोई रास्ता नहीं होगा। हमें बस इतना करना है कि हम परमेश्वर की शिक्षाओं को अभ्यास में लायें और सभी के साथ समान रूप से व्यवहार करें। केवल तभी हम वास्तविक मनुष्य के समान जीवन जीने में सक्षम होंगे, दूसरों के साथ अच्छी तरह से मिल-जुलकर रह पाएंगे, हमारे आस-पास के लोगों को लाभ पाने देंगे, साथ ही, हम परमेश्वर को संतुष्ट करने और हमें सराहने का कारण देंगे।
परमेश्वर के मार्गदर्शन के लिए उसका धन्यवाद। परमेश्वर की महिमा बनी रहे!
संपादक की टिप्पणी: परमेश्वर के प्रबोधन और मार्गदर्शन के कारण, जब तक कि इस निबंध में वर्णित चार सिद्धांतों का कोई अभ्यास करता है, तो मानव संबंधों के विषय में जिन समस्याओं का सामना उसे करना पड़ता है, वे जादुई रूप से गायब हो जाएंगीं। कल्पना कीजिए कि हमारे जीवन कितने बेहतर होंगे यदि हम ईसाईयों के रूप में परमेश्वर के वचनों को अभ्यास में लाने और दूसरों के साथ सामंजस्यपूर्ण ढंग से जीने में सक्षम हों जाएँ! इस तरह का जीवन कोई कहाँ पा सकता है? संपादक की सलाह है कि आप इस ईसाई भजन को सुनें: "परमेश्वर का प्यार हमें एक दूसरे के करीब लाता है"। इस भजन को सुनने के बाद, आपको आपका जवाब मिल जाएगा।
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
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
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
—--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
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
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
—--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/2010/08/a-demissao-das-minha...
"A felicidade que senti com a realização da cirurgia feita não conseguiu compensar o adoecimento pela quantidade de ofensas que sofri. A fase mais tranquila de minha vida foi o pós-cirúrgico, pois vi um sonho realizado e o acolhimento que recebi do médico e sua equipe, mas ao chegar ao Brasil me vi diante do meu real contexto".
Dr. Kamol Pansritum
"LÁ NA TAILÂNDIA EM 2004, VIAJANDO SÓ E NO TSUNAMI, ME DIZIAM QUE EU ERA A PRIMEIRA BRASILEIRA OPERADA COM O DR. KAMOL PANSRITUM, QUE NENHUMA MULHER TRANSEXUAL DO BRASIL O HAVIA ESCOLHIDO ANTERIORMENTE. O ÚNICO OUTRO CIRURGIÃO TAILANDÊS CONFIADO PELAS BRASILEIRAS ATÉ ENTÃO ERA INACESSÍVEL PORQUE COBRAVA PELO MENOS 3 VEZES MAIS".
No ano de 2004 eu realizei uma cirurgia de redesignação sexual no exterior após o fim do ano letivo deste ano e o último compromisso de trabalho. Aproximadamente, eu viajei dia 22, cheguei no dia 23, mas não pude operar no mesmo dia porque o cirurgião estava cansado por ter realizado outra operação no mesmo dia. Acordei operada no Natal daquele ano, durante a ocasião do Tsunami, lá na Tailândia e me diziam que eu era a primeira brasileira a realizar a cirurgia de redesignação sexual com o médico cirurgião Kamol Pansristum.
PRIMEIRA FUNCIONÁRIA PÚBLICA DO MUNICÍPIO DE BELFORD ROXO A CORRIGIR A DOCUMENTAÇÃO EM RELAÇÃO AO PRENOME E AO SEXO EM VIRTUDE DO PROCESSO TRANSEXUALIZADOR REALIZADO DURANTE O TRABALHO NA REDE PÚBLICA MUNICIPAL.
"Viver a experiência do preconceito, do desprezo
Viver o desprezo de construir um caminho que nunca se percorreu.
Ver e conhecer as pessoas e os inimigos como eles são realmente, e não como se disfarçam.
Ser mulher é nascer no fogo e morrer com a missão cumprida".
VIVÊNCIA DA TRANSFOBIA ADMITIDA E VELADA
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
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
Antes de realizar a cirurgia na Tailândia em dezembro de 2004, eu havia iniciado um acompanhamento médico no Hospital Estadual do Rio de Janeiro chamado IEDE em 06/03/2004. Logo na primeira consulta, que foi uma entrevista longa com o Doutor psiquiatra eu relatei a ele, inclusive, um grande abalo psicológico e mental em virtude do meu trabalho na rede de educação municipal de Belford Roxo no cargo de professorx. Caminhavam juntos nesse momento a minha disforia de gênero e o meu adoecimento psicológico e mental. As pessoas questionam se a cirurgia realizada não curaria todos os meus problemas e adoecimentos psicológicos e mentais. Uma coisa é a disforia de gênero com indicação cirúrgica de redesignação sexual. Outra coisa é o transtorno afetivo bipolar. Outra coisa também é o preconceito. Também o assédio moral. Também o bullying, etc.
PRECONCEITO ERA RELATADO EM PROCESSOS ADMINISTRATIVOS
2006
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
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
"sentimento de tristeza, desânimo, dificuldades para dormir, cheia de pensamentos, irritabilidade, sentindo-se um lixo ..." (texto transcrito do prontuário médico de 15/06/2004 IEDE)
Após o psiquiatra do IEDE diagnosticar a transexualidade, ele me encaminhou para o tratamento endócrinológico em março de 2004 iniciando oficialmente o processo transexualizador acompanhado por lá. Juntamente com antidepressivo e ansiolítico sedativo, eu fazia uso de hormônio feminino transdérmico e bloqueador antiandrogênico oral. Quando eu cheguei ao IEDE eu já fazia uso de hormônio, estrogênio e progesterona e tive que mudar o que eu já tomava a partir daí.
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
O hormônio estrogênio mexe com o psicológico e com o mental assim como a medicação psicotrópica também. Um dos sintomas que se desenvolveram em mim foi a depressão por exemplo. Eu já sentia depressão quando cheguei ao Hospital do IEDE e essa questão foi relatada em prontuário médico do Hospital. Outra questão agravante, era que eu tinha também o transtorno afetivo bipolar que só foi diagnosticado uns 7 anos depois. É normal haver o diagnóstico demorado do transtorno bipolar. O uso dos remédios psicotrópicos podem piorar o quadro de quem tem o transtorno bipolar quando não se tem a ciência desta doença mental, eclodindo mania, euforia, quadros de humor e sintomas psicóticos por exemplo.
Diagnóstico do transtorno bipolar leva até 10 anos ou mais
DOCUMENTOS MÉDICOS EM PROCESSOS ADMINISTRATIVOS DE 2003 JÁ APONTAVAM DEPRESSÃO E ADOECIMENTO PSÍQUICO E MENTAL
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
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2009 nos primeiros meses, eu estive na secretaria municipal de educação levada por uma amiga também funcionária pública municipal da rede de educação de Belford Roxo mostrando o documento médico psiquiátrico da médica que me acompanhava desde maio de 2008 cientificando a Prefeitura Municipal essas minhas realidades a fim de comprovação médica: que eu estava doente, em acompanhamento psiquiátrico, usando medicação psicotrópica, comprometida psicológica e mentalmente para o trabalho e para a vida social; mas o próprio gestor da secretaria de educação, coagido, 2 semanas depois, me disse que iria esquecer que ele tinha recebido ciência desse documento médico porque ele estava sendo pressionado pelo supervisor educacional da secretaria municipal de educação que também atuava como assessor jurídico da procuradoria de Belford Roxo Jorge Silva. O interesse e a mobilização do grupo dominante da Prefeitura Municipal de Belford Roxo era pela minha condenação, pela minha exclusão e pelo silenciamento do que eu passava e passei inclusive em relação a minha saúde psicológica e mental.
2003
HISTÓRICO DE ADOECIMENTO PSÍQUICO NO TRABALHO E PEDIDO DE SOCORRO A PROCURADORIA DE BELFORD ROXO "Não me encontro em condições mentais de desenvolver as minhas atividades. Por Jesus Cristo, preciso de ajuda médica"
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
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO DA PRIMEIRA FOLHA DO REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN DE DUQUE DE CAXIAS A MÉDICA PSIQUIATRA RELATOU POUCA MELHORA COM O ANTIDEPRESSIVO AMYTRIL QUE A PROFESSORA FAIZA KHÁLIDA ESTAVA USANDO HÁ 7 DIAS (17/07/2003). from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
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
O meu diagnóstico do transtorno bipolar foi fechado apenas em 2011 e somente após o diagnóstico houve melhora. Antes, eu tomava entre as medicações o antidepressivo por indicação médica mas sem considerar essa realidade, podendo isso ter contribuído para os outros quadros graves que eu apresentei como euforia e sintomas psicóticos.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2015 um médico psiquiatra do posto de saúde público municipal de Duque de Caxias que também já me medicou e uma psicóloga perita que faz inclusive perícias para o Tribunal de Justiça do estado do Rio de Janeiro me falaram que o uso dos hormônios durante o meu processo transexualizador também ajudou que eu tivesse apresentado esse quadro de adoecimento mental grave que me levou a demissão nas minhas duas matrículas municipais de Belford Roxo.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
As perícias concluíram que não apenas o uso e o não uso dos hormônios e o uso das medicações psicotrópicas, mas também as alterações bioquímicas e hormonais ocorridas durante este processo influenciaram neste quadro de adoecimento juntamente com as questões que me eram estressoras relacionadas ao preconceito, assédio e bullying no trabalho.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2010 os processos administrativos realizados pela Procuradoria Municipal de Belford Roxo e que originaram os atos administrativos que me demitiram não consideraram que eu estava doente conforme relatam as diversas referências médicas.
Os processos que levaram aos atos administrativos que me demitiram também não consideraram o processo transexualizador que eu realizava tão conhecido publicamente pelos Procuradores Municipais e funcionários das diversas secretarias do município de Belford Roxo como a de educação e das escolas em que eu trabalhava.
O uso dos medicamentos que eu fazia também não foram considerados nestes processos.
"Meu nome de homem foi uma agressão imposta. Eu só quero ter paz no trabalho. Faiza Khálida 35 anos, professora 2008"
"Após uma operação bem-sucedida na Tailândia, Faiza Khálida ainda enfrenta dificuldades em escola municipal"
"Professora transexual luta contra o preconceito
Quatro anos depois de se submeter a uma cirurgia para mudança de sexo, Faiza Khálida, de 35 anos, ainda sofre preconceito na escola em que leciona inglês, em Belford Roxo"
"Tenho tido dores-de-cabeça e chorado muito - conta Faiza"
"Trauma do passado - Faiza foi afastada da primeira escola municipal em que trabalhou pela diretora após começar a fazer mudanças no seu corpo e no seu modo de vestir"
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 (Dra Isabella Vieira Médica CRM 5268631-0)
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 pressão social, a vulnerabilidade social, os problemas sociais presentes como a transfobia relatada pelo Jornal Extra em 2008, a homofobia relatada em processos administrativos e o bullying escolar também não foram citados. Nem mesmo os setores de Assistência Social e Direitos Humanos da Prefeitura Municipal de Belford Roxo e a coordenadoria LGBT (Lésbicas, Gays, Bissexuais, Travestis, Transexuais e Transgêneros) me ligaram ou procuraram para me dar uma palavra de conforto, assistência. Até esses setores que deveriam apoiar grupos marginalizados foram também dominados pelo grupo político dominante.
Embora a Secretaria de Assistência Social e Direitos Humanos e a Coordenadoria LGBT da Prefeitura Municipal de Belford Roxo saibam da situação de vulnerabilidade, dificuldade, isolamento, exclusão e carência de apoio e serviços públicos que muitas transexuais e transgêneros se encontram na escola, no trabalho e na sociedade, eu nunca fui procurada por esses setores responsáveis pela assistência social a LGBTs da Prefeitura Municipal. Em 2011, me foi dito na SEMPOPU (Secretaria Municipal de Políticas Públicas de Belford Roxo) que eu parasse de recorrer da minha demissão, que eu parasse de apresentar documentos e pareceres médicos comprobatórios e não aparecesse mais na Prefeitura mesmo se ainda tivesse algo a dizer já que eu não era bem-vinda.
DIGA NÃO A TODAS AS FORMAS DE PRECONCEITO
NOVEMBRO DA DIVERSIDADE BELFORD ROXO
CAMPANHA DA PREFEITURA MUNICIPAL
PROCESSO 04/1497/03
"Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professorx não aguentei"
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
Uma pessoa de minha família me levou ao programa Rio sem Homofobia para ter apoio psicológico e jurídico. Eles me encaminharam para o núcleo da Defensoria Pública especializado em Diversidade (NUDIVERSIS) que entrou na Justiça em Belford Roxo contra esse ato administrativo que me demitiu.
Louvado seja o Senhor Jesus Cristo para sempre.
Professora Faiza Khálida Fagundes Coutinho
Prefeitura Municipal de Belford Roxo
Matrículas 5508 e 14725
Identidade 09089680-4
CPF 024114147-81
CLICAR PARA ACESSAR OS LINKS:
1- Ameaça de morte, assédio, bullying, tratamento discriminatório e adoecimento psíquico mental quando eu trabalhava na Escola Municipal São Bento em 2002.
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
REMÉDIO TAMBÉM PASSADO PELA PSIQUIATRA E HOMEOPATA TÉCNICA DO CAPS DE DUQUE DE CAXIAS EM 17/07/2003 - 2 TABLETS MANHÃ / TARDE / NOITE - (HOMEOPATIA) - Quadro depressivo - professora transexual Faiza Khálida da rede municipal de educação de Belford Roxo from 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
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 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
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. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
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
2- Buscando eu ajuda psicológica e iniciando o uso de medicamento contínuo para conseguir trabalhar em 2003 após vivencias traumáticas no trabalho.
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
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
MÉDICO PSIQUIATRA EDGAR TAVARES DA CLÍNICA DE REABILITAÇÃO CASA DAS PALMEIRAS ENCAMINHOU PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE DE EDUCACAO DE BELFORD ROXO PARA PSICOTERAPIA AMBULATORIAL EM 21 DE JULHO 2003 - ADOECIMENTO PSÍQUICO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO do encaminhamento do médico Edgar Tavares da Clínica Casa das Palmeiras FOI ESCRITO O TELEFONE E O ENDEREÇO DO AMBULATÓRIO DO IPUB (Ufrj) - Encaminhando professora Faiza Khálida para psicoterapia ambulatorial em 21/7/2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
3- Processo administrativo 04/14/97/03 - Assunto: Homofobia - AMBIENTE DOENTIO - onde registrei - "Eu sendo professorx não aguentei a homofobia. O preconceito é muito grande nas escolas municipais. Fui humilhada muitas vezes. É um ambiente doentio".
Prefeitura Municipal de Belford Roxo - Protocolo 04/001497/03 - Requerente: Xxxxxx (Faiza Khálida) Fagundes Coutinho - Matrículas 5508 e 14725 - professora em processo transexualizador - Assunto: Homofobia - Data: 04/06/2003 - escrito à mão from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas, é um ambiente doentio. PROCESSO 04/001497/03 página 03 - 04 de junho de 2003 - Prefeitura Municipal de Belford Roxo - Assunto: HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
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
4- PROCESSO ADMINISTRATIVO 04/2061/03 - Apresentei o Formulário Referência do Centro Psiquiátrico Rio de Janeiro de 10/07/2003 que também consta em vários outros processos administrativos: "MUITA CEFALEIA, INSÔNIA, MUITO AGRESSIVA, CHORA COM FACILIDADE, VONTADE DE SE MATAR, TRISTEZA, CID PSIQUIÁTRICO E SOLICITAÇÃO DE ATENDIMENTO E CONSULTAS PSIQUIÁTRICAS".
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
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
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
Processo Administrativo da Prefeitura Municipal de Belford Roxo relata mentira usada em relatório técnico de 2002 para excluir professora transexual Faiza Khálida da escola e documentos médicos com CID psiquiátrico e sintomas depressivos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Processo administrativo 04/2061/03 - Prefeitura Municipal de Belford Roxo - Estado do Rio de Janeiro - A professora Faiza Khálida em processo transexualizador de 30 anos foi atendida na emergência em 10/07/2003.CID psiquiátrico - Folha 04 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
5- Processo Administrativo 04/2743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Vem requerer providências pela DISCRIMINAÇÃO por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei. - Assédio Moral, Danos Morais, Discriminação, Relatório criminoso. "ERA DESRESPEITADA NO EXERCÍCIO DA MINHA FUNÇÃO. DAVA AULAS SENDO CHAMADA DE VIADO, ME JOGAVAM TERRA". "FIQUEI PERTURBADA, FRAGILIZADA, DESORIENTADA, COM OS NERVOS PRONTOS PRA EXPLODIR, PARANOICA, EM DEPRESSÃO COM AS PESSOAS QUE FICAVAM ME CHAMANDO DE VIADINHO DEBOCHANDO DA MINHA SEXUALIDADE". Também constam o Formulário Referência do Centro Psiquiátrico Rio de Janeiro e solicitação da médica do CAPS de tratamento psiquiátrico.
PROCESSO ADMINISTRATIVO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - PREFEITURA MUNICIPAL DE BELFORD ROXO - Requerente: Xxxxxx FAGUNDES COUTINHO (PROFESSORA FAIZA KHÁLIDA) de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
EXCELENTÍSSIMO SENHOR PREFEITO DO MUNICÍPIO DE BELFORD ROXO Vem requerer a Vossa Excelência que se digne a conceder: Providências pela discriminação por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei estadual número 3406/00 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
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
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. 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
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
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
6- Diretora Vera Lúcia Castelar (mat. 53165) preparou relatório técnico criminoso em 2002 para me afastar da Escola Municipal São Bentos nas 2 matrículas. Eu fui ameaçada de ruína completa por causa deste relatório pela subsecretária de educação Rosângela Maria Gonçalves de Oliveira em 2002 e ameaçada de morte caso chegasse a 100 metros da escola em que eu trabalhava sofrendo discriminação. Após eu pedir reparação pelos DANOS, AMEAÇAS, CONSTRANGIMENTOS E TRAUMAS que me ocorreram por causa deste relatório técnico analisado também pelos 8 supervisores educacionais entre eles Jorge Silva (mat. 54368) , Antônio Carlos Lustosa (mat. 54434) e Joelma Milão, o relatório sumiu dentro da secretaria municipal de educação de Belford Roxo sendo anunciado em 2005 como se ele nunca tivesse existido. Eu continuava sendo tratada como homem na secretaria de educação mesmo após cirurgia transgenital.
7- Em 2005 a reportagem do Jornal O Dia informava que eu havia começado a tomar hormônios 3 anos antes em processo transexualizador. Mesmo após cirurgia e decisão judicial o nome social ainda não era mudado no diário da escola e na ficha funcional. Nesse momento o diretor da escola municipal Jorge Ayres me proibia de usar saia ou vestido conforme relatei em processo de 2006.
8- Em 2007, voltei a caminhar para o agravamento do meu estado mental revivendo traumas do passado na rede de educação em Belford Roxo após orientadora Conceição dizer que eu deveria sair da escola por ser transexual, promover inquérito administrativo disciplinar contra mim, ameaça de morte e dificuldades como abaixo-assinado para sair da escola.
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
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
9- Em dezembro de 2007, Procurador-Geral de Belford Roxo Lorival Almeida de Oliveira e José Domingos Lucena abriram inquérito promovido pela orientadora Conceição que me dizia que eu não podia estar na escola Jorge Ayres por ser transexual. A advogada da Secretaria Estadual de Direitos Difusos pediu cópia do processo para ela poder me defender. Não me foi permitido ter cópia do processo nem mesmo quando fui intimada a assinar a punição administrativa na secretaria de educação, sendo lá tratada como homem.
10- O contexto profissional em 2008 me causava abatimento e depressão, os meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais em que eu lecionava. A orientadora da escola teria tratado com o rapaz que entrou na escola para danificar minha câmera digital na sala dos professores na frente dela.
11- O relatório discriminatório da diretora Vera Lucia Castelar em 2003 me ocasionou diversos danos inclusive psicológicos, mentais e administrativos, este relatório foi usado para me ameaçar, coagir e chantagear. No relatório técnico da diretora constava a mentira que eu não havia entregado o planejamento. Isso causava indignação inclusive da professora que havia entregado o planejamento junto comigo.
CLICAR AQUI TAMBÉM PARA LER SOBRE OS DANOS ME OCASIONADOS PELO RELATÓRIO TÉCNICO DISCRIMINATÓRIO DE 2002 DA DIRETORA VERA CASTELAR SOBRE MIM.
12- Em 2008 eu não conseguia desenvolver as minhas atividades devido ao meu quadro mental. A pressão social e o constrangimento sofrido fizeram com que eu apresentasse sintomas como depressão relatados em prontuários médicos, e este fato me fez deixar de comparecer ao trabalho.
13- Secretaria Municipal de Educação de Belford Roxo e Procuradoria Municipal silenciaram o preconceito que eu passei na rede pública de educação.
14- O julgamento fundamentalista religioso moral condenatório da identidade de gênero e da orientação sexual, piadinhas, deboches, ofensas, agressões e desrespeitos no trabalho me causavam cefaleia, choro, tristeza, ideação suicida e depressão desde 2003. Esse preconceito social cisnormativo me levava ao sofrimento e a ideação suicida.
15- A médica psiquiatra atestou em maio de 2008 que dificilmente haveria solução do meu quadro de adoecimento mental porque não havia resolução dos problemas sociais e referentes ao meu trabalho que me estressavam.
16- Para me condenar em inquérito administrativo disciplinar, procurador-geral de Belofrd Roxo Lorival Almeida de Oliveira mentiu em processo declarando que eu havia recebido cópia de processo, não permitindo que a advogada da Secretaria Estadual de Direitos Humanos e Difusos do Estado do Rio de Janeiro recebesse cópia do processo.
17- Orientadora pedagógica mobilizava para me tirar da escola. Vivenciava o isolamento.
18- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transexuais e transgêneros.
19- Transfobia que sofri no banheiro da Prefeitura em 13/10/2008 com o subsecretário Paulo Allevato RG 3473270 IFP.
20- Uma semana após eu ser levada em 2009 a secretaria municipal de educação de Belford Roxo por uma colega também funcionária pública do município mostrando ao subsecretário de educação Miguel de Sousa Ramiro o laudo médico atestando que eu estava comprometida para o trabalho e para a vida social, o subsecretário municipal de educação Miguel de Sousa Ramiro me disse pelo seu telefone celular que esqueceria que ele tinha conhecimento do laudo médico psiquiátrico porque ele tinha que obedecer as ordens do supervisor Jorge Silva (mat. 54368).
21- Em tudo o que me acontecia no meu trabalho de professora da rede municipal de Belford Roxo, nos documentos e relatórios administrativos, não era admitida essa realidade que eu enfrentava com todos os medos, embates, incertezas, discriminações, constrangimentos, prejuízos emocionais e psicológicos. Na escola, eu me sentia um ser do outro mundo em espetáculo circense, alvo do julgamento, conceitos e preconceitos de todos os agentes. As mudanças hormonais, físicas e cerebrais também não eram levadas em conta quando se avaliava minha conduta profissional. Eu era uma funcionária pública julgada fora da minha realidade que eu sou, fui e vivia. Somadas as alterações físicas eu tinha osteopenia, hérnias de disco com irradiação nas pernas e braços, fraturas, grande redução e aumento de peso chegando aos 100 kg, pressão alta e baixa. Eu atravessava um processo transexualizador. O direito à saúde que eu tinha por ser diagnosticada transexual não era apenas a questão da cirurgia transgenital paga com minhas economias de trabalho. Era um processo de adequação física, psicológica,mental, profissional, afetiva e social.
22- Relatório, ocorrência, inquérito, reunião e abaixo-assinado pela minha saída da escola municipal Jorge Ayres de Lima a partir da chegada da orientadora Conceição em 2007.
23- História - professora Faiza Khálida da rede municipal de educação de Belford Roxo.
24- Procuradora Municipal Débora Fernandes C. Pinto (mat. 80/28.585) indicada e fundamentalista religiosa, de posse do meu laudo médico psiquiátrico comprobatório de transtorno bipolar incapacitante, CRM, endereço e telefone da médica que me avaliava desde maio de 2008 e relato sobre problemas sociais relacionados a transexualidade, transfobia, homofobia, assédio e bullying, ignorou tudo e negou por 2 vezes a solicitação determinando que eu ficasse excluída do serviço público de Belford Roxo municipal.
25- A minha doença transtorno bipolar com sintomas psicóticos.
Louvado O Senhor Jesus Cristo para sempre.
Taken from here, this is a picture of Yuri Gagarin, the Soviet cosmonaut who was the first man in space, fifty years ago today.
Yuri A. Gagarin was born in a village of Klushino near Gzhatsk (now in Smolensk Oblast), Russia, on March 9, 1934. His father was a carpenter. After graduating from secondary school in 1949, Gagarin went to several technical schools before joining the Orenburg Higher Air Force School (Russian Air Force) in 1955. He graduated with honours from the Soviet Air Force Academy in 1957. Soon afterward, he became a military fighter pilot. By 1959, he had been selected for cosmonaut training as part of the first group of USSR cosmonauts. He began his cosmonaut training in 1960, along with 19 other candidates.
Yuri Gagarin flew only one space mission. On April 12, 1961 he became the first human to orbit Earth. Gagarin's spacecraft, Vostok 1, circled Earth at a speed of 27,400 kilometers per hour. The flight lasted 108 minutes. At the highest point, Gagarin was about 327 kilometers above Earth.
Once in orbit, Yuri Gagarin had no control over his spacecraft. Vostok's reentry was controlled by a computer program sending radio commands to the space capsule. Although the controls were locked, a key had been placed in a sealed envelope in case an emergency situation made it necessary for Gagarin to take control. As was planned, Cosmonaut Gagarin ejected after reentry into Earth's atmosphere and landed by parachute.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
______________________
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Public Domain. Suggested credit: Lewis Hine/Library of Congress via pingnews. Additional information from source:
TITLE: Spooler tenders - 14 years old. Berkshire Cotton Mills. Location: Adams, Massachusetts / Lewis W. Hine.
CALL NUMBER: LOT 7479, v. 7, no. 4371[P&P]
Check for an online group record (may link to related items)
REPRODUCTION NUMBER: LC-DIG-nclc-03107 (color digital file from b&w original print)
LC-USZ62-101557 (b&w film copy negative)
No known restrictions on publication.
MEDIUM: 1 photographic print.
CREATED/PUBLISHED: 1916 July 10.
CREATOR:
Hine, Lewis Wickes, 1874-1940, photographer.
NOTES:
Title from NCLC caption card.
In album: Mills.
Hine no. 4371.
SUBJECTS:
United States--Massachusetts--Adams.
FORMAT:
Photographic prints.
PART OF: Photographs from the records of the National Child Labor Committee (U.S.)
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
DIGITAL ID: (color digital file from b&w original print) nclc 03107 hdl.loc.gov/loc.pnp/nclc.03107
CARD #: ncl2004003505/PP
democracystreet.blogspot.com/2009/10/flickr.html
It's been two years since I divorced my car (see URL below for an explanation of how our marriage went sour) . Of course I'd been cycling for work and play for much longer than that, mainly reliant on my folding bicycles, but on an impulse, I got out the old bike I haven't ridden for a good while. Been sitting in the garage. Having been riding one or another of my four 16" wheel Brompton folders with 6 gears for over a decade, I got a yen to try cycling with 21 gears and 24" wheels. This Eco Real (I can't even find it on the web) was my first proper bicycle. I'd always had bicycles - usually second-hand, costing anything between £10 and £50. Staying in the Highlands, I dropped into Halfords in Inverness. For fun they let me try out this bike, on sale in 1995 for over £400. I went mad. I cycled out of the shop and up the long hill of the A9 south from Inverness without a break - nothing to an experienced road cyclist, but for me, at 53, being able to do that seven mile journey back to my mother's house in Strathnairn with such ease and pace was a revelation about the difference between the bikes I'd ridden until then and one in a different class. People have asked me about the cost of a Brompton. When I tell them they often go "phew!" (to avoid that exclamation and give a bit of encouragement I do mention that they start at around £350). Ignorance about the cost difference between a high and low quality bicycle is widespread. I switched to a folder because I needed to go to lots of places by train and bus - what the transport planners call multi-mode travel, and I call versatile. Taking full sized bikes by public transport is difficult; often impossible in Britain. So I've put up with the lower hill climbing capacity of the Brompton to be able to combine cycling with long distance travel for work and play. I cycled in and out of town this afternoon on the Eco Real and got no small pleasure out of the extra turn of speed I got, but - oops - it's a lot harder getting my leg over the saddle when dismounting. On the other hand cycling with toeclips is a renewed pleasure. But I need to do a bit of tuning yet and of course, because I can't take it into places with me like the folder, I'll have to go back to using a lock. I doubt it'll replace the Brompton, but it was fun.
Hot
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Aigues-Mortes, Gard (France).
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La reflexión: www.santimb.com/2012/03/calor.html
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CASTELLANO
Aigues-Mortes (en occitano Aigas Mòrtas) es una municipalidad francesa y localidad del Distrito de Nîmes, en Gard, Languedoc-Rosellón, Francia.
Es conocida por ser el primer puerto francés del Mediterráneo y una importante bastida medieval.
La ciudad se encuentra totalmente amurallada, en una obra comenzada por el genovés Guglielmo Boccanegra, y que han llegado intactas hasta nuestros días.
Desde su fundación hasta el año 1481 fue el principal puerto francés del Mediterráneo, siendo primada por el rey Luis IX de Francia y sus sucesores. Por ello, fue el punto de partida de las cruzadas desde Francia, hasta la anexión de Marsella en 1481.
Más info: es.wikipedia.org/wiki/Aigues-Mortes
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ENGLISH
Aigues-Mortes (Occitan: Aigas Mòrtas, i.e. "dead waters") is a commune in the Gard department in southern France. The medieval city walls surrounding the city are well preserved.
The foundation of the city is attributed to Gaius Marius, around 102 BC, but the first document mentioning a place called "Ayga Mortas" (dead waters) dates from the 10th century AD.
Louis IX of France (Saint Louis) rebuilt the port in the 13th century as France's only Mediterranean port at that time. It was the embarkation point of the Seventh Crusade (1248) and the Eighth Crusade (1270).
The 1,650 meters of city walls were built in two phases: the first during the reign of Philippe III the Bold and the second during the reign of Philippe IV the Fair, who had the enclosure completed between 1289 and 1300. The Constance Tower, completed in 1248, is all that remains of the castle built in Louis IX's reign. It was designed to be impregnable with six-meter-thick walls. A spiral staircase leads to the different levels of the tower.
From 1575 to 1622, Aigues-Mortes was one of the eight safe havens granted to the Protestants. The revocation of the Edict of Nantes in 1685 caused severe repression of Protestantism, which was marked in Languedoc and the Cévennes in the early 18th century by the "Camisard War". Like other towers in the town, from 1686 onwards, the Constance Tower was used as a prison for the Huguenots who refused to convert to Roman Catholicism. In 1703, Abraham Mazel, leader of the Camisards, managed to escape with sixteen companions.
In 1893, a conflict erupted between the French and the Italians who worked in the salt evaporation ponds of Peccais. The Massacre of Italians at Aigues-Mortes resulted in nine (maybe many more: 400 victims in Le migrazioni di ieri e di oggi by Giovanni Gozzini)[1] Italian deaths with hundreds injured in the ethnic violence.
More info: en.wikipedia.org/wiki/Aigues-Mortes
Explore: Aug 13, 2008 #409
I am the flag of the United States of America.
I was born on June 14, 1777, in Philadelphia.
There the Continental Congress adopted my stars and stripes as the national flag.
My thirteen stripes alternating red and white, with a union of thirteen white stars in a field of blue, represented a new constellation, a new nation dedicated to the personal and religious liberty of mankind.
Today fifty stars signal from my union, one for each of the fifty sovereign states in the greatest constitutional republic the world has ever known.
My colors symbolize the patriotic ideals and spiritual qualities of the citizens of my country.
My red stripes proclaim the fearless courage and integrity of American men and boys and the self-sacrifice and devotion of American mothers and daughters.
My white stripes stand for liberty and equality for all.
My blue is the blue of heaven, loyalty, and faith.
I represent these eternal principles: liberty, justice, and humanity.
I embody American freedom: freedom of speech, religion, assembly, the press, and the sanctity of the home.
I typify that indomitable spirit of determination brought to my land by all my forefathers...
I am as old as my nation.
I am a living symbol of my nation's law: the Constitution of the United States and the Bill of Rights.
I voice Abraham Lincoln's philosophy: "A government of the people, by the people,for the people."
I stand guard over my nation's schools, the seedbed of good citizenship and true patriotism.
I am displayed in every schoolroom throughout my nation; every schoolyard has a flag pole for my display.
Daily thousands upon thousands of boys and girls pledge their allegiance to me and my country.
I have my own law—Public Law 829, "The Flag Code" - which definitely states my correct use and display for all occasions and situations.
I have my special day, Flag Day. June 14 is set aside to honor my birth.
Americans, I am the sacred emblem of your country. I symbolize your birthright, your heritage of liberty purchased with blood and sorrow.
I am your title deed of freedom, which is yours to enjoy and hold in trust for posterity.
If you fail to keep this sacred trust inviolate, if I am nullified and destroyed, you and your children will become slaves to dictators and despots.
Eternal vigilance is your price of freedom.
As you see me silhouetted against the peaceful skies of my country, remind yourself that I am the flag of your country, that I stand for what you are - no more, no less.
Guard me well, lest your freedom perish from the earth.
Dedicate your lives to those principles for which I stand: "One nation under God, indivisible, with liberty and justice for all."
I was created in freedom. I made my first appearance in a battle for human liberty.
God grant that I may spend eternity in my "land of the free and the home of the brave" and that I shall ever be known as "Old Glory," the flag of the United States of America.
Liberty State Park
Jersey City, NJ
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA
Map (link):
[ www.google.co.in/imgres?imgurl=https://4.bp.blogspot.com/... and Spasm Geysers, Fountain Paint Pot trail, Yellowstone National Park images&ved=0ahUKEwjkgubQv8XeAhUC3Y8KHaFRCQ8QMwhNKBowGg&iact=mrc&uact=8 ]
This part of Lower Geyser Basin seen from a half-mile trail has all four of the hydrothermal features found in the park:
Clepsydra Geyser is a geyser in the Lower Geyser Basin of Yellowstone National Park. Clepsydra plays nearly continuously to heights of 45 feet. The name Clepsydra is derived from the Greek word for water clock. Prior to the 1959 Hebgen Lake earthquake, it erupted regularly every three minutes.
Yellowstone National Park has several hydrothermal areas, so what makes the Fountain Paint Pot Area worth visiting? For starters, this part of Lower Geyser Basin has all four of the hydrothermal features found in the park (mudpots, geysers, hot springs, and fumaroles) and you can see them all from a compact half-mile long boardwalk loop. While none of the many Fountain Paint Pot Area geysers are as famous as Old Faithful, they erupt so frequently that you are almost guaranteed a great show on your short hike. Since the walkway passes all four of Yellowstone’s hydrothermal formations, the hike comes with a guaranteed lesson in hydrothermal volcanism.
Hiking the loop in a clockwise direction, you will first pass through a forest of lodgepole pine snags that were drowned and left lifeless by the surrounding hot springs. As you approach the northwest end of the loop, you will spot a lively collection of geysers. Clepsydra Geyser, Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, Spasm Geyser, and Twig Geyser erupt with various levels of regularity.
As you progress around the walkway toward the northeast corner, you will pass Red Spouter, which behaves like a fumarole, a hot spring, and a mudpot throughout the year. It is like a hot spring in the winter, a muddy reddish pool in the spring and a steaming fumarole in the drier summer and fall. Wrapping down the east side of the boardwalk, you will pass Leather Pool and a slope of fumaroles. These gaps in the surface whistle and hiss as gasses and steam escape from the ground. Just below the fumaroles, where a little more water is present, the trail circles Fountain Paint Pot. These mudpots bubble and pop as globs of mud springs from the surface like miniature trapeze artists.
Continuing downhill, the hydrothermal features become even wetter as you arrive at Silex Spring. Look down into the small blue pool rimmed with white silica. Water spills over the sides of the spring creating an orange-colored surface covered in rippling runoff. These colors are created by thermophiles, heat-loving microorganisms that live in Yellowstone’s hot springs.
( www.hikespeak.com/trails/fountain-paint-pot-trail-yellows... )
Geothermal features of Yellowstone NP- A brief note:
There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.
What is a Hot spring?
Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.
Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.
But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.
[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].
List of hot springs:
[ en.wikipedia.org/wiki/List_of_hot_springs ]
The science of colors of a hot spring:
[ ttps://www.britannica.com/science/hot-spring]
Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.
Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.
What is a Geyser?
A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.
What is a fumarole?
It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.
Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]
What is a mud volcano/ mud pot/ paint pot?
Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.
Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).
If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).
There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.
Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.
A quick overview of YNP
Yellowstone National Park is an American national park located in Wyoming, Montana, and Idaho. Approximately 96 percent of the land area of Yellowstone National Park is located within the state of Wyoming. The Park spans an area of 8,983 km2 comprising lakes, canyons, rivers and mountain ranges. The park is known for its wildlife and its many geothermal features. It has many types of ecosystems, but the subalpine forest is the most abundant. It is part of the South Central Rockies forests eco-region.
It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. Native Americans have lived in the Yellowstone region for at least 11,000 years. Aside from visits by mountain -men during the early to mid-19th century, organized exploration did not begin until the late 1860s.
The park contains the headwaters of the Yellowstone River, from which it takes its historical name. Although it is commonly believed that the river was named for the yellow rocks seen in the ‘Grand Canyon of the Yellowstone’, the Native American name source is unclear.
Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest supervolcano on the continent. The caldera is considered as an active volcano. It has erupted with tremendous force several times in the last two million year. The Yellowstone Caldera is the largest volcanic system in North America. It has been termed a "supervolcano" because the caldera was formed by exceptionally large explosive eruptions. The magma chamber that lies under Yellowstone is estimated to be a single connected chamber, about 60 km long, 29 km wide, and 5 to 12 km deep. Yellowstone Lake is up to 400 feet deep and has 180 km of shoreline.The lake is at an elevation of 7,733 feet above sea levels. Half of the world's geysers and hydrothermal features are there in Yellowstone, fueled by this ongoing volcanism. Lava and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly-intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.
In May 2001, the U.S. Geological Survey, Yellowstone National Park, and the University of Utah created the Yellowstone Volcano Observatory (YVO), a partnership for long-term monitoring of the geological processes of the Yellowstone Plateau volcanic field, for disseminating information concerning the potential hazards of this geologically active region.
Hundreds of species of mammals, birds, fish, and reptiles have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous mega fauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.
Forest fires occur in the park each year. In the largest forest fires of 1988, nearly one third of the park was burnt.
Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.
Fire in Yellowstone NP:
Causes of wildfire in Yellowstone NP
Wildfire has had a role in the dynamics of Yellowstone’s ecosystems for thousands of years. Although many fires were caused by human activities, most ignitions were natural. The term "natural ignition" usually refers to a lightning strike. Afternoon thunderstorms occur frequently in the northern Rocky Mountains but release little precipitation, a condition known as ‘dry lightning’. In a typical season there are thousands of lightning strikes in Yellowstone. Lightning strikes are powerful enough to rip strips of bark off of a tree in a shower of sparks and blow the pieces up to 100 feet away. However, most lightning strikes do not result in a wildfire because fuels are not in a combustible state.
The great fire incidence of 1988
The Yellowstone fires of 1988 collectively formed the largest wildfire in the recorded history of Yellowstone National Park in the United States. Starting as many smaller individual fires, the flames quickly spread out of control due to drought conditions and increasing winds, combining into one large conflagration which burned for several months. The fires almost destroyed two major visitor destinations and, on September 8, 1988, the entire park closed to all non-emergency personnel for the first time in its history. Only the arrival of cool and moist weather in the late autumn brought the fires to an end. A total of 793,880 acres, or 36 percent of the park was affected by the wildfires.
Fire incidence, 2016
As of September 21, 2016, 22 fires (human and lightning-caused) have burned more than 62,000 acres in Yellowstone National Park, making it the highest number of acres burned since the historic 1988 fire.
Heritage and Research Center
The Heritage and Research Center is located at Gardiner, Montana, near the north entrance to the park. The center is home to the Yellowstone National Park's museum collection, archives, research library, historian, archeology lab, and herbarium. The Yellowstone National Park Archives maintain collections of historical records of Yellowstone and the National Park Service. The collection includes the administrative records of Yellowstone, as well as resource management records, records from major projects, and donated manuscripts and personal papers. The archives are affiliated with the National Archives and Records Administration.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5