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Nr. D-126.
Seat Toledo Mk1 (1991-1998).
Escala 1/43
AHC Doorkey, Epe, Holland.
Made in Spain by Pilen / Artec.
Años 90.
Printed description on the baseplate:
"DOORKEY EPE HOLLAND
MADE FOR SEAT LTD EDITION NR.D -126."
More info:
pilen.jimdo.com/asociaci%C3%B3n-con-otras-marcas-i/
miniaturasconry43.blogspot.com.es/2012/09/seat-toledo-y-s...
www.foro.pieldetoro.net/foro/index.php?threads/seat-en-ww...
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AUTO PILEN / ARTEC / AHC DOORKEY
[ Brief history
of Companies Interconnexions ]
"Auto Pilen was a diecast line of model cars made in Ibi, Alicante, in southeastern Spain by Pilen S.A..
Models were produced from the 1970s through the mid-1990s mostly in 1:43 scale.
A majority of the castings were inherited from French Dinky.
The company was started in the 1960s, diecasting items like colorful metal sailboats and key chains.
In the late 1980s. Pilen was apparently bought by AHC of the Netherlands.
Source: en.wikipedia.org/wiki/Auto_Pilen
(...)
"Pilen ceased its production in 1983, but only 5 years later, in 1988, the company was reborn with the new name Artec.
In the first catalogues from Artec, there is still place for the Pilen logo, meaning that both companies are really the same one, or at least, that Artec is the successor of Pilen."
(...)
Source: toysfromthepast.blogspot.com.es/2013/06/293-pilen-artec-s...
(...)
"Around 1980 there was a Pilen connection with Holland OTO, which had taken over Dutch Efsi Toys. A 1980 Auto Pilen catalog shows many of the revered Efsi vehicles like the Model T series and many Efsi trucks continued as a line Pilen 1980 (Bras 2012).
Around 1990, there was also a connection with the Dutch diecast company AHC, which appears to have bought Holland Oto and thus Auto Pilen (Bickford 2009).
AHC has since shared dies and traditionally Pilen stamped cars can be found in both AHC and Holland OTO labeled boxes (Bickford 2009; Johnson 1998, p. 15)."
AHC, however, usually produced Volvos, of which Pilen only had a few: the DAF based 66, the 480 Turbo, and the 460 and 850 sedans - most of these appear to have been developed first by AHC models before they were reverse marketed - and then also later sold as Pilens - some of which were made in Spain.
Some of these Volvos also appear to have been sold as promotional models. There were also some Nissans made by AHC/Doorkey packaged as Pilens (Bickford 2009).
With the bankruptcy of Doorkey in the early 1990s, Auto Pilen disappeared. The last new models with the Pilen name appeared at this time. "
(...)
Source: en.wikipedia.org/wiki/Auto_Pilen
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Doorkey
"Doorkey was a Dutch model car manufacturer .
The company was established in Epe .
They sold miniatures in the scale 1:43.
The models are:
- Opel Combo, Opel Manta
- Nissan Maxima, Nissan Serena, Nissan Micra (5 door)
- SEAT Ibiza, SEAT 600, SEAT 850 Spider, SEAT 127, SEAT Toledo
- Volvo 440, Volvo 850
- Toyota Celica, Toyota Land Cruiser
- Suzuki Samurai
- Mercedes-Benz 250C, Mercedes-Benz 100, Mercedes-Benz 500
- Mini Cooper
- Porsche Carrera 6
- VW Buggy
- Indra
- Ford Courier
- BMW 2000, BMW 507
- Lexus SC 400
Buses:
- The Elder Alliance 220 DAF
- The Elder Alliance 230 DAF
- The Oldest Alliance 310 DAF
The models were made by the Spanish Artec.
Johannes van Rijn founded the company AR-GEE Hobby Collection together with his son Richard, under the name of Ar-Gee , especially for retail.
Ar-Gee stands for the initials of son Richard and colleague Gerrit. They distributed the models under the name Doorkey.
Both companies AHC and AR-GEE were sold in 1995. The companies eventually went bankrupt."
Source: nl.wikipedia.org/wiki/Doorkey
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SEAT Toledo
"El SEAT Toledo es un automóvil del segmento C producido por el fabricante español SEAT desde el año 1991 hasta 2009 y desde 2012 en adelante.
Su nombre le viene dado por la ciudad española de Toledo perteneciente a Castilla-La Mancha.
El Toledo abarca cuatro generaciones, las dos primeras diseñadas por Giorgetto Giugiaro, la tercera por Walter de Silva y la cuarta por Alejandro Mesonero-Romanos.
Todas comparten elementos mecánicos y estructurales con otros modelos del Grupo Volkswagen.
Fue el primer automóvil de SEAT desarrollado completamente bajo la influencia de Volkswagen (que había adquirido un 51% de las acciones de la marca española en 1986) estrenando un nuevo segmento dentro del mercado español: el de los vehículos con apariencia de berlina pero dotados de un portón trasero.
El modelo fue presentado en el Salón del Automóvil de Barcelona de 1991.
En dicho salón también se presentó el libro ¡Olé Toledo!, escrito y firmado en el acto por Edourd Seidler, que siguió de cerca todo el proyecto del modelo.
El rey Juan Carlos I presidió la inauguración oficial del SEAT Toledo en un acto celebrado en el parador nacional de la ciudad de Toledo.
El Toledo es la berlina media de SEAT con motor delantero transversal y tracción delantera."
(...)
Generaciones SEAT Toledo
- El automóvil SEAT Toledo I, segmento C fabricado por SEAT entre 1991-1998.
- El automóvil SEAT Toledo II, segmento C fabricado por SEAT - entre 1998-2005.
- El automóvil SEAT Toledo III, segmento C fabricado por SEAT entre 2004-2009.
- El automóvil SEAT Toledo IV, segmento C fabricado por SEAT entre 2012-presente.
(...)
Fuente: es.wikipedia.org/wiki/SEAT_Toledo
More info:
en.wikipedia.org/wiki/SEAT_Toledo
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SEAT Toledo I
Primera generación (1991-1998)
"La primera generación del Toledo (1L) se empezó a comercializar en octubre de 1991. La producción del modelo empezó en la antigua fábrica de la Zona Franca de Barcelona hasta que, en 1993, cuando se inaugura la planta de Martorell, el Toledo se empieza a trasladar allí para su fabricación. Fue el primer modelo de SEAT en ser desarrollado en cooperación con el Grupo Volkswagen (denominado Proyecto S3).
En un principio se iba a desarrollar bajo la plataforma del Volkswagen Passat B3, del cual se empezaría a realizar la primera maqueta, pero se descartó por los costes de producción. Al final se desarrolló bajo la plataforma "A2" (PQ32) de la segunda generación del Volkswagen Golf existente, con carrocería hatchback de tres y cinco puertas, y de los modelos (Volkswagen Jetta)..."
(...)
"El Toledo de la primera generación fue diseñado por Giorgetto Giugiaro..."
(...)
"Se deseaba un modelo superior al SEAT Málaga, que había quedado ya algo anticuado con respecto a la competencia, y darle una nueva imagen a la marca con un modelo de aspecto moderno con unas generosas dimensiones el cual seria el buque insignia de SEAT.
Fue posicionado deliberadamente entre los segmentos C (por plataforma) y D (por soluciones técnicas y "empaque"). Algunos de sus rivales eran el Fiat Tempra, en el segmento C, y las versiones básicas del Ford Sierra, el Opel Vectra y el Renault 21, con las que competía con ventaja en equipamiento."
(...)
Motorizaciones
"Desaparecen los motores System Porsche que estaba utilizando SEAT y empiezan a utilizar las mecánicas de Volkswagen, denominadas desde la marca SEAT como "Econosport".
Las motorizaciones fueron:
Gasolina con injetion (Mono-Jetronic)
- Cuatro de gasolina de cuatro cilindros, un 1.6 litros de 75 CV de potencia máxima, un 1.8 litros de 90 CV, un 2.0 litros Digifant de 115 CV(disponible con cambio automático) y un 1.8 litros de 16V de 136 CV y con catalizador 128 CV asociado únicamente al nivel de equipamiento GT. Más tarde se agregó a la gama el 2.0-16v, que desarrollaba 150 CV de potencia máxima como tope de gama (sustituyendo al 1.8i 16v).
- Al final de su vida comercial la gama de motores gasolina se redujo únicamente a un 1.6 litros de 100 CV y un 2.0 16V de 150 CV de potencia máxima.
Diésel
- Las mecánicas diésel eran un 1.9 litros atmosférico de 68 CV (que más tarde se redujeron a 64 para cumplir las normativas anticontaminación) o con turbocompresor y 75 CV.
- La novedad más importante fue la introducción de las mecánicas turbo diésel con inyección directa de combustible, ya existentes en otros modelos del Grupo Volkswagen: el 1.9 TDI de 90 CV y, posteriormente, de 110 CV.
Las motorizaciones incluían ya el starter automático, excepto las primeras motorizaciones diésel, que lo tenían manual hasta el año 1994."
(...)
---------------------------
[ El Seat Toledo I tuvo 2 fases en su evolución, la 1ª Fase presentada en 1991, y una 2ª Fase (restyling) presentada en 1995 ] :
- 1ª Fase [ 1991-1995 ]
"SEAT presentó el automóvil bajo el eslogan "Para un mundo exigente".
En su primera fase contaba con 4 acabados: CL, GL, GLX y GT/GT16v.
Luego llegarían versiones especiales como la Sport/Sport 2000 (1992-1993); alguno de los extras que al principio eran opcionales (OP) más adelante se incluirán de serie."
(...)
"En el Salón de Oporto de 1994 se presenta el acabado 2.0-16v, que sustituye al GT-16v. y un nuevo diseño del el interior para toda la gama, como el salpicadero con detalles en gris Champagne, rediseño de los paneles interiores de las puertas, nuevos asientos con nuevas tapicerías, manetas de los mandos (luces/limpia) y algún que otro pequeño detalle. También se incluye el airbag en opcional para conductor y acompañante para las versiones altas de gama.
En mayo de 1995 sufre unas pequeñas modificaciones que afectan al exterior.
Las calandras pasan a ser del color de la carrocería en todos los acabados. Los faros traseros pasan a ser combinados, los de la marcha atrás blanca de (CL, GL y Sport) con los intermitentes rosados de (GLX, GT y 2.0i-16v). Los faros pierden las inscripciones Toledo y el acabado, siendo sustituidos por unos anagramas cromáticos ubicados en el portón debajo de los faros con las inscripciones SEAT a la izquierda y Toledo a la derecha, se le añaden taloneras a todas las versiones el cual integraran una chapita con el acabado del modelo. Los retrovisores tendrán un brazo algo más curvo y pasarán de ser abatibles a ser plegables además de incluir en el espejo del conductor una línea vertical central para el ángulo de punto muerto."
(...)
- 2ª Fase [ 1995-1998 ]
"En el Salón de Fránkfurt de 1995 se presentó una reestilización del SEAT Toledo que llegaría al mercado en septiembre/octubre ese mismo año, en la que se modificó la gama de motorizaciones y la apariencia.
Se le añadieron unos parachoques más redondeados, nuevos faros y nueva calandra.
En el interior heredaría el último diseño pero con nuevas tapicerías, el inmovilizador y luces de cortesía con temporizador y apagado progresivo, el doble airbag (de conductor y acompañante) y nuevos elementos de seguridad como los pretensores de los cinturones y la tercera luz de freno.
En el equipamiento se incluyeron pequeñas mejoras, como la preinstalación del Tempomat (control de crucero) y el Komfortblinker (poner intermitente con un toque), exclusivamente en los modelos con motorizaciones TDI, esta novedad no era muy conocida pues se trataba de un extra que solo se incluiría su instalación realizada bajo concesionario oficial, aprovechando que el grupo había empezado a incluir esta función en más modelos de la marca, con solo cambiar la maneta izquierda, que era aparentemente la misma con la diferencia de incluir unos pequeños mandos para su manejo y activar la función con el VAG.COM.
La primera generación del SEAT Toledo se dejó de producir a finales de 1998 pero se estuvo vendiendo hasta marzo de 1999, junto con la segunda generación, de finales de 1998."
(...)
--------------------
SEAT Toledo I
[ Fabricante
SEAT (Grupo Volkswagen), España
Factoría ensamblaje
Barcelona, Zona Franca (1991-1993)
Martorell (1993-1998) ]
Período
1991-1998
559.041 unidades
Tipo
Automóvil de turismo
Carrocerías
Liftback cinco puertas
Largo / ancho/ alto / batalla
4320 / 1660 / 1425 / 2470 mm
Maletero
550 litros
Similares
Citroën Xantia
Fiat Tempra
Ford Mondeo
Opel Vectra
Peugeot 405
Renault Laguna
Volkswagen Passat
Diseñador
Giorgetto Giugiaro
Source: es.wikipedia.org/wiki/SEAT_Toledo_I
More info:
www.seatfansclub.com/2011/10/historia-vida-comercial-del-...
2019 " TOO LATE "exhibition at gallery Sabsay ( periode Venice Biennale)
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
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.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
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#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY
A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011
QUESTIONS????COMMENTS?????
CALL KYMARA DIRECTLY AT..
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Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
excerpts taken from www.catholicauthors.com/greene.html
Graham Greene is perhaps the most perplexing of all the literary converts whose works animated the Catholic literary revival in the 20th century. His visions of angst and guilt, informed and sometimes deformed by a deeply felt religious sensibility, make his novels, and the characters that adorn them, both fascinating and unforgettable.
His fiction is gripping because it grapples with faith and disillusionment on the shifting sands of uncertainty in a relativistic age. His tormented characters are the products of Greene's own tortured soul, and one suspects that he was more baffled than anyone else at the contradictions at the core of his own character and, in consequence, at the heart of the characters that his fertile and fetid imagination had created.
From his earliest childhood Greene exhibited a world-weariness that at times reached the brink of despair. In large part this bleak approach may have been due to a wretched childhood and to the traumatic time spent at Berkhhamsted School where his father was headmaster. His writing is full of the bitter scars of his school days. In his autobiographical A Sort of Life, Greene described the panic in his family after he had been finally driven in desperation to run away from the horrors of the school: "My father found the situation beyond him . . . My brother suggested psychoanalysis as a possible solution, and my father - an astonishing thing in 1920 - agreed."
For six months the young, and no doubt impressionable, Greene lived at the house of the analyst to whom he had been referred. This episode would be described by him as "perhaps the happiest six months of my life," but it is possible that the seeds of his almost obsessive self-analysis were sown at this time. Significantly, he chose the following words of Sir Thomas Browne as an epigraph to his first novel, The Man Within: "There's another man within me that's angry with me."
In later years, the genuine groping for religious truth in Greene's fiction would often be thwarted by his obsession with the darker recesses of his own character. This darker side is invariably transposed onto all his fictional characters, so that even their goodness is warped. Greene saw human nature as "not black and white" but "black and grey," and he referred to his need to write as "a neurosis . . . an irresistible urge to pinch the abscess which grows periodically in order to squeeze out all the pus." Such a tortured outlook may have produced entertaining novels but could not produce any true sense of reality. Greene's novels were Frankenstein monsters that were not so much in need of Freudian analysis as the products of it.
Greene's conversion in 1926, when he was still only 21 years old, was described in A Sort of Life, in which he contrasted his own agnosticism as an undergraduate, when "to me religion went no deeper than the sentimental hymns in the school chapel," with the fact that his future wife was a Roman Catholic:
I met the girl I was to marry after finding a note from her at the porter's lodge in Balliol protesting against my inaccuracy in writing, during the course of a film review, of the "worship" Roman Catholics gave to the Virgin Mary, when I should have used the term "hyperdulia." I was interested that anyone took these subtle distinctions of an unbelievable theology seriously, and we became acquainted.
The girl was Vivien Dayrell-Browning, then 20 years old, who, five years earlier, had shocked her family by being received into the Catholic Church. Concerning Greene's conversion, Vivien recalled that "he was mentally converted; logically, it seemed to him . . . It was all rather private and quiet. I don't think there was any emotion involved." This was corroborated by Greene himself when he stated in an interview that "my conversion was not in the least an emotional affair. It was purely intellectual."
A more detailed, though hardly a more emotional, description of the process of his conversion was given in his autobiography. "Now it occurred to me . . . that if I were to marry a Catholic I ought at least to learn the nature and limits of the beliefs she held." He walked to the local "sooty neo-Gothic Cathedral" which "possessed for me a certain gloomy power because it represented the inconceivable and the incredible" and dropped a note requesting instruction into a wooden box for enquiries. His motivation was one of morbid curiosity and had precious little to do with a genuine desire for conversion. "I had no intention of being received into the Church. For such a thing to happen I would need to be convinced of its truth and that was not even a remote possibility."
His first impressions of Fr. Trollope, the priest to whom he would go for instruction, had reinforced his prejudiced view of Catholicism: "At the first sight he was all I detested most in my private image of the Church." Soon, however, he was forced to modify his view, coming to realize that his initial impressions of the priest were not only erroneous but that he was "facing the challenge of an inexplicable goodness." From the outset he had "cheated" Fr. Trollope by failing to disclose his irreligious motive in seeking instruction, nor did he tell the priest of his engagement to a Catholic. "I began to fear that he would distrust the genuineness of my conversion if it so happened that I chose to be received, for after a few weeks of serious argument the 'if' was becoming less and less improbable."
The "if" revolved primarily on the primary "if" surrounding God's existence. The center of the argument was the center itself or, more precisely, whether there was any center:
My primary difficulty was to believe in a God at all . . . I didn't disbelieve in Christ - I disbelieved in God. If I were ever to be convinced in even the remote possibility of a supreme, omnipotent and omniscient power I realized that nothing afterwards could seem impossible. It was on the ground of dogmatic atheism that I fought and fought hard. It was like a fight for personal survival.
The fight for personal survival was lost and Greene, in losing himself, had gained the faith. Yet the dogmatic atheist was only overpowered; he was not utterly vanquished. He would reemerge continually as the devil, or at least as the devil's advocate, in the murkier moments in his novels.
The literary critic, J.C. Whitehouse, has compared Greene to Thomas Hardy, rightly asserting that Greene's gloomy vision at least allows for a light beyond the darkness, whereas Hardy allows for darkness only. Chesterton said of Hardy that he was like the village atheist brooding over the village idiot. Greene is often like a self-loathing skeptic brooding over himself. As such the vision of the divine in his fiction is often thwarted by the self-erected barriers of his own ego. Only rarely does the glimmer of God's light penetrate the chinks in the armour, entering like a vertical shaft of hope to exorcise the simmering despair.
Few have understood Greene better than his friend Malcolm Muggeridge, who described him as "a Jekyll and Hyde character, who has not succeeded in fusing the two sides of himself into any kind of harmony." There is more true depth and perception in this one succinct observation by Muggeridge than in all the pages of psycho-babble that have been written about Greene's work by lesser critics. The paradoxical union of Catholicism and skepticism, incarnated in Greene and his work, had created a hybrid, a metaphysical mutant, as fascinating as Jekyll and Hyde and perhaps as futile. The resulting contortions and contradictions of both his own character and those of the characters he created give the impression of depth; but the depth was often only that of ditch water, perceived as bottomless because the bottom could not be seen. Greene's genius was rooted in the ingenuity with which he muddied the waters.
It was both apt and prophetic that Greene should have taken the name of St. Thomas the Doubter at his reception into the Church in February 1926. Whatever else he was or wasn't, he was always a doubter par excellence. He doubted others; he doubted himself; he doubted God. Ironically, it was this very doubt that so often provided the creative force for his fiction. Perhaps the secret of his enduring popularity lies in his being a doubting Thomas in an age of doubt. As such, Greene's Catholicism becomes an enigma, a conversation piece - even a gimmick. Yet if his novels owe a debt to doubt, their profundity lies in the ultimate doubt about the doubt. In the end this ultimate doubt about doubt kept Graham Greene clinging doggedly, desperately - and doubtfully - to his faith.
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
Chancellor Michael Harris, IU Kokomo, leads the Campus to initiating sports and than membership in NAIA
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Chancellor Michael Harris IUK - On the Move
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indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
nciia.org/network/conference/2010/presenters/michael_harris
www.facultyfocus.com/articles/academic-leadership/academi...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
tackk.com/michaelharrischancellor
tackk.com/michaelharrischancellor
blogs.forbes.com/people/michaelharrischancellor/
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
homepages.indiana.edu/web/page/normal/22373.html
homepages.indiana.edu/web/page/normal/17736.html
homepages.indiana.edu/web/page/normal/17736.html
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
avoyership13.moxai.com/chan-7603525/all_p2.html
kokomoperspective.com/xtra/education/indiana-university-k...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
www.spokeo.com/Michael+Harris+10
www.prnewswire.com/news-releases/indiana-university-kokom...
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.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
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.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
For lcd hood go here- www.diyphotography.net/hotel-keys-dont-work-make-lcd-hood
For ice cream softbox go here- maciekpp.blogspot.ie/2013/05/recycling-can-be-tasty.html?...
רישום בצבע אדום גברים נשים מתנשקים אוהבים ציורים רומנטיים יוצרים אווירה ואנרגיה טובה בבית
ראו בקישור מספר ציורים אורגינאלים והדפסים ענקיים שישנם והם למכירה בסטודיו
naiveartprints.blogspot.com/2021/11/blog-post.html
רפי פרץ
סטודיו רחוב התחייה 22 תל אביב
טלפון 0525543715
אימייל rafi@art4collector.com
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.ציורים עיצוב הבית סגנונות עיצובי פנים סגנון מודרני יוקרתי הום סטיילינג מעצבי הפנים העיצוב הישראלי המודרני היוקרתי תמונות לעיצוב הבית ציורים לסלון לחדר שינה למטבח לשירותים ציור בסלון בחדר השינה במטבח בשרותים אמנות ישראלית בבית אומנות הישראלית בבתים מעצבים לך את היצירה בדירה צירה חדשנית מקורית דירות חדשניות מקוריות יוקרתיות תמונות מותאמות לספה למיטה רעיונות בתכנון הסלון המטבח סלון משרד מטבח משרדים סלונים ספות יפות צבעוניות טקסטורות טיפ והדרכה בתיכנון צבע לקיר צבעים לקירות קיר בהיר קירות בהירים משטח ככה משטחים כהים חלל מינימליסטי חללים מינימליסטיים צבעים לבן שחור אדום כתום כחול תכלת סגול צהוב ירוק בצבעים לבנים שחורים אדומים כתומים כחולים סגולים צהובים ירוקים באדום בכתום בצהוב בירוק בכחול בסגול בשחור בלבן מדרגות מרחפות מדרגה מרחבת חדרי ילדים מבוגרים הורים תינוקות דקורציה של הבתים הום דקור תל אביב חיפה ירושלים באר שבע חולון בת יום ראשון לציור אשדוד גבעתיים רמת גן פתח תקווה הרצליה נתינה חיפוי לקיר חיפויים לקירות בריקים הקיר הלבן סגנונות של דירות כפרי עמוס דקורטיבי כפריים חלל גדול קטן חללים גדולים קטנים ארונות שידות ארון דישה שולחן שולחנות כיסא כיסאות חלון חלונות מנורה מנורות אביזר אביזרים לבית פרטי לבתים פרטיים גינה גינות בחוץ בפנים חוץ פנים חרב תחושה מרחב מרחבים צרו קשר צור קשרים בקישור הבא ליצירה הקשר המעצב הפרטים העיצוב הפרטי אישי אינטימי רומנטי אווירה רומנטית אווירה נקייה רפי פרץ צייר ישראלי אמן עכשווי מודרני ציירים ישראלים אמנים ישראליים אומנים עכשוויים מודרניים יוצרים חדשניים מקוריים אומנות ישראלית עכשווית מודרנית חדשנית מקורית אמן ישראלי עכשווי מודרני חדשני מקורי יוצר יצירות ישראליות עכשוויות מודרניות מקוריות חדשניות התמונה היפה התמונות היפות הציור המיוחד הציורים המיוחדים הצייר הישראלי העכשווי המודרני הישראלי האמן החדשני המקורי האמנים הישראליים העכשוויים המודרניים המקוריים החדשניים המעצבים
raphael perez painter artist Paintings Home Design Styles Interior Design Upscale Modern Style Home Styling Interior Designers Upscale Modern Israeli Design Home Decor Paintings For Living Room For Bedroom Kitchen For Toilet Painting For Living Room In The Bedroom In The Kitchen Israeli Art At Home Israeli Art In Homes Design Your Work In The Apartment Original Innovative Art Original Luxury Tailor-made pictures Bed design ideas Kitchen living room Living room Office kitchen Offices Living rooms Beautiful sofas Colorful textures Tip and guidance in color planning Wall colors Wall walls Light walls Light surface Dark surfaces Minimalist spaces Minimalist colors White black red orange Blue light blue Purple Yellow yellow Black white Oranges Blue Purple Yellow Green In Red In Orange In Yellow In Blue In Purple In Black In White Floating Stairs Staircase Room Adult Children Rooms Parents Babies Home Decor Home Decoration Tel Aviv Haifa Jerusalem Beer Sheva Holon Sunday Painting Ashdod Givatayim Ramat Gan Petah Tikva Herzliya Giving Wall Cladding White wall bricks styles of rustic apartments laden with decorative rustic large space small spaces c Small dolls Chests of drawers Wardrobe Closet table Tables Chairs Window windows Lamp Lamps Accessories Home appliances Private homes Garden Gardens Outside interior Exterior Interior Sense Space Spaces Contact us Contact us at the following link Contact designer Private private intimate Romantic atmosphere Clean atmosphere Rafi Peretz Israeli painter modern contemporary artist Israeli painters Israeli artists modern contemporary artists original innovative artists original contemporary modern Israeli art original innovative modern contemporary Israeli artist creates original contemporary contemporary Israeli works The beautiful pictures The beautiful Israeli modern special paintings The unique Israeli paintings Original Contemporary Israeli Artists The original innovative innovative designers
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
Reference: Photo 24/(217)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 2 Aug 1915
See also:
- View this at the British Library's site
My best sunset photo of the entire week...
Note: this photo was published in a May 14, 2012 Watches Wiki blog, with the same caption and detailed notes that I had written here on this Flickr page. It was also published in an Oct 26, 2012 blog titled "Cayo Hueso."
Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking <a href="Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking here.
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Key West. It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, Key West.
It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, proximity to Cuba, Jimmy Buffett’s “Margaritaville,” and perhaps a few vague connections to Ernest Hemingway and Tennessee Williams. It is indeed the southernmost city in the continental United States (129 miles southwest of Miami), and is also the southernmost terminus of highway U.S. 1, which originates a couple thousand miles north, up in Maine.
Less well known is the fact that the island was first visited by Europeans in 1521, by none other than Ponce de Leon. Much, much earlier, the island had previously been inhabited by members of the Calusa tribe, who apparently used the island as a communal graveyard. Thus, when the Spanish arrived, they found no resident Native Americans, but they did find a lot of bones; and assuming that the island had been the location of a cataclysmic batter between tribal warriors, they named it “Cayo Hueso” -- which literally means “bone key.” When Great Britain took control of Florida in 1763, they bastardized the name to “Key West,” which has obviously remained its name ever since.
I’ll skip the rest of the history lessons about Spanish and British domination of the island; suffice it to say that the Americans took charge in 1822, when Lt. Commander Matthew Perry sailed his schooner to Key West and claimed all of the Keys as U.S. property – a claim that apparently went uncontested. The Navy has been here ever since, and its first major task was ending acts of piracy which had previously made much of that part of the Caribbean a wild and wooly place indeed.
During the U.S. Civil War, the state of Florida seceded and joined the Confederacy; but because of the naval base, Key West remained in Union hands. Indeed, Key West served as the starting point for what became a relatively successful effort to blockade Confederate shipping along the Atlantic and Gulf coasts, severely limiting its ability to trade with England and Europe.
Key West remained relatively isolated from the rest of Florida (not to mention the rest of the U.S.) until 1912, when it was connected to the Florida mainland via an incredibly expensive and ambitious railroad developed by Henry Flagler. Unfortunately, a massive Labor Day hurricane in 1935 destroyed much of the railroad and killed hundreds of local residents. The U.S. government subsequently rebuilt the rail route as an automobile extension of U.S. Highway 1, which was completed in 1938.
While all of this was going on, Key West also became a haven for at least a few famous artists and writers. Ernest Hemingway initially settled in Key West in 1928, where he wrote A Farewell to Arms. And during the 1930s, he wrote or worked on Death in the Afternoon, For Whom the Bell Tolls, and The Snows of Kilimanjaro. He also used the Depression-era Key West as the setting for To Have and Have Not, which is apparently his only novel set in the United States.
A decade later, Tennessee Williams became a regular visitor to Key West, and is said to have written the first draft of A Streetcar Named Desire while staying at La Concha Hotel in 1947; he continued to list Key West as his primary residence until his death in 1983.
One other small piece of history: Key West turns out to be much closer to Havana than it is to Miami. In the 1890s, half the residents of Key West were said to be of Cuban origin, and the city regularly had Cuban mayors. Cubans were actively involved in roughly 200 factories in the city, producing 100 million cigars annually. And the South American revolutionary hero José Martí made several visits seeking recruits for Cuban independence, and he founded the Cuban Revolutionary Party during visits to Key West. The battleship USS Maine sailed from Key West on its visit to Havana, where it was blown up in an attack that led to the Spanish-American War. And finally, Pan American Airlines was founded in Key West in 1926, originally to fly visitors to Havana.
And thus endeth our short history lesson – none of which was of any particular significance to me during a recent week-long visit to Key West, motivated by a strong desire to escape the cold weather of New York City during the month of February. One other tidbit of trivia had attracted me: I had heard that there was a pier in Key West where the locals and visiting tourists gathered every evening to drink margaritas, sing raucous renditions of “Margaritaville” at the top of their lungs, and admire the sunsets as the sun sank into the western horizon of the Gulf of Mexico.
That pier, as it turns out, is Sunset Pier – and it was located just outside the hotel which I had chosen as the place to stay for the week. And while it turns out that margaritas are indeed consumed there, so are a lot of piña coladas, mojitos, and beers, along with hamburgers, hot dogs and fries: the whole place is a long, crowded, outdoor bar and grill. The raucous singing comes from an amped-up band at one end of the pier, and I’m not sure that anyone actually pays any attention to the sunset.
The sunset-watching, it turns out, is a little further down the pier: a large, open, brick-paved place known as Mallory Square fronts onto the harbor, and an even larger crowd does gather every night to watch the sun go down … as you’ll see in several of the photos in this Flickr set. There is also an amazing assortment of “performers,” for lack of a better name: wise-talking card-sharks; down-and-out guitar-playing musicians; a preacher determined to save the souls of anyone who would listen to him; tightrope walkers, sword-swallowers, and gymnasts; jugglers with machetes and flaming torches, tossed in the air with great abandon while the jugglers balance on 20-foot unicycles; and a guy with a banjo and a loyal dog who wanders around gathering dollar-bill contributions from the crowd, to be stuffed into a large bucket.
Meanwhile, schooners and catamarans drift past the crowd, out in the harbor, crammed with half-drunken tourists determined to get everyone’s attention by howling and yodeling at the top of their lungs. Ocean liners pull into the harbor at the end of Mallory Square, drop anchor and dock in the middle of the night, and then make a huge noisy ceremony of pulling up the gangplank and pulling away from the dock at 5 PM, just an hour before sunset.
Somehow, it all works: if you haven’t seen the scene before, it’s highly entertaining -- and the sunsets are truly fantastic. Of course, if you go back a second time, you’ll start to notice that the same performers are there, going through the same routine with the same patter and speech -- and you start paying less attention to them, and a little more attention to the more traditional vendors lined up a few feet away from the edge of the pier: people selling hot dogs, popcorn, conch fritters, drinks (alcoholic and non-alcoholic), photographs, trinkets, jewelry, paintings, drawings, tarot readings and spiritual advice, and various odds and ends carved and woven and hand-made from bits and pieces of wood, metal, and palm fronds.
By the third or fourth night, the whole thing is completely repetitive – but the sunsets are still gorgeous. In my case, I escaped the Mallory Square scene a couple evenings to go for a sunset cruise on one of the many schooner docked in the neighborhood; I also went out for a ride in a glass-bottom boat to see the local coral reefs. But I passed up the opportunity to para-sail up in the sky above the whole scene, and I also decided to skip the opportunity to rent a jet-ski that would let me zoom around the harbor at breakneck speeds.
If you’re feeling energetic, you can also wander down Duval Street to see the gift shops, the tourist attractions, and the bars (e.g., Sloppy Joe’s, where Hemingway allegedly hung out. You can ride the little tourist “conch train” all around town, which gives you the chance to see every famous historic home and tourist spot in a little over an hour. I’ll confess that I did that, too, though it was so bumpy that I was only able to take one or two photographs …
I did have my camera with me throughout the week, of course, so I took my typical assortment of hundreds (maybe even thousands) of random pictures of anything that seemed interesting. I’m getting better about deleting things, though, so I’ve ended up with a mere 35 photos that I’m uploading to Flickr; hopefully you’ll find them moderately interesting…
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.
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY
A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011
QUESTIONS????COMMENTS?????
CALL KYMARA DIRECTLY AT..
207-286-7399
OR EMAIL KYMARA@KYMARA.COM
Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California
This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!
Notice that there are no springs in this design, any spring action is from the steel and wood supports.
The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.
SOUTHERN PACIFIC RAILWAY POST OFFICE #12
BUILT: c.1880 BY CARTER BROTHERS
WEIGHT: 13 TONS
LENGTH: 43'
DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD
This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.
As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they
had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.
By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.
dsc00673, 34.154469,-118.307759, 2009.10.18 16.40.54, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Trucks.jpg
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
Wolf Pack Invite 09/27/08
River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008
www.andynoise.com/wolfpack08.html
Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.
Varsity Boys Team Results
1 MCFA McFarland 25
2 PADA Palmdale 95
3 RIDG Ridgeview 118
4 SHAF Shafter 130
5 BAEA East Bakersfield 142
6 BAKE Bakersfield 174
7 WASC Wasco 176
8 STOC Stockdale 210
9 FTHL Foothill 233
10 GARC Garces Memorial 254
11 ARVI Arvin 321
12 NORT North 324
13 Fron Frontier 345
14 SOUT South 404
15 BACH Bakersfield Christian 423
16 WSTB West Bakersfield 461
TFCC Taft INC
1. 16:18 179 179 Chris Schwartz Sr M FTHL 1
2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2
3. 16:38 450 450 Robby Baker Jr M RIDG 3
4. 16:44 297 297 Marco Perez So M MCFA 4
5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5
6. 16:51 294 294 Marco Camargo Jr M MCFA 6
7. 16:54 451 451 Alex Garcia Jr M RIDG 7
8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8
9. 16:58 295 295 Eddie Garcia Sr M MCFA 9
10. 17:04 296 296 Francisco Nava So M MCFA 10
11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11
12. 17:10 402 402 Adrian Ramos Jr M PADA 12
13. 17:16 400 400 Victor Hernandez Sr M PADA 13
14. 17:19 72 72 Andrew Ariey Sr M BAKE 14
15. 17:20 403 403 Daniel Ramos Jr M PADA 15
Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.
Varsity Girls Team Results
1 RIDG Ridgeview 45
2 SHAF Shafter 73
3 PADA Palmdale 94
4 NORT North 95
5 STOC Stockdale 124
6 FTHL Foothill 142
7 BAKE Bakersfield 142
8 GARC Garces Memorial 189
9 Fron Frontier 243
10 SOUT South 278
BAEA East Bakersfield INC
ARVI Arvin INC
WASC Wasco INC
TFCC Taft INC
WSTB West Bakersfield INC
BACH Bakersfield Christian INC
1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF
2. 21:04 430 430 Tijerra Lynch So F RIDG
3. 21:07 369 369 Merino Jennifer Sr F PADA
4. 21:10 428 428 Jessica Huizar Jr F RIDG
5. 21:12 89 89 Lucia Garcia Jr F BAEA
6. 21:17 208 208 Monica Guzman Jr F GARC
7. 21:23 330 330 Cecilia Lopez Sr F NORT
8. 21:33 90 90 Sophia Garcia So F BAEA
9. 21:35 136 136 Natalie Fernandez So F FTHL
10. 21:46 2 2 Tonya Hernandez Jr F ARVI
11. 21:53 624 624 Alejandra Gutierrez Sr F WASC
12. 21:55 372 372 Anaiz Ortiz Sr F PADA
13. 21:56 426 426 Ashley Duran Sr F RIDG
14. 22:05 459 459 Lindsee Handel So F SHAF
15. 22:12 45 45 Gabrielle Lerma So F BAKE
JV Boys Results
1 MCFA McFarland 29
2 RIDG Ridgeview 72
3 BAEA East Bakersfield 105
4 PADA Palmdale 118
5 SOUT South 150
6 Fron Frontier 160
7 WASC Wasco 161
8 STOC Stockdale 169
9 FTHL Foothill 237
10 GARC Garces Memorial 246
11 MiMo Mira Monte 278
12 BAKE Bakersfield 341
SHAF Shafter INC
TFCC Taft INC
ARVI Arvin INC
NORT North INC
1. 11:06 284 284 Bryan Calvo Sr M MCFA
2. 11:23 290 290 Pedro Sanchez Jr M MCFA
3. 11:34 661 661 Eric Sanchez Jr M WASC
4. 11:34 100 100 felix Trevino So M BAEA
5. 11:36 277 277 Bernardo Garcia Fr M MCFA
6. 11:39 440 440 Ernesto Castillo Jr M RIDG
7. 11:45 476 476 Matt Yanez Jr M SHAF
8. 11:46 439 439 Michael Anseno Sr M RIDG
9. 11:47 98 98 Marc Sotello Jr M BAEA
10. 11:47 474 474 Elias Picazo Sr M SHAF
11. 11:49 288 288 Adam Marquez Fr M MCFA
12. 11:50 394 394 Ramirez Miguel Jr M PADA
13. 11:50 393 393 Nicholas Mayo Jr M PADA
14. 11:53 276 276 Ismael Bautista Fr M MCFA
15. 12:00 101 101 Esteban Vargas Sr M BAEA
JV Girls Results
1 PADA Palmdale 27
2 STOC Stockdale 51
3 RIDG Ridgeview 66
4 MiMo Mira Monte 100
SOUT South INC
BAKE Bakersfield INC
FTHL Foothill INC
NORT North INC
GARC Garces Memorial INC
1. 14:45 494 494 Claudia Cuevas Sr F SOUT
2. 15:05 420 420 Natalia Motta Sr F RIDG
3. 15:12 528 528 Amber Crabtree Sr F STOC
4. 15:28 351 351 Amy Diaz Sr F PADA
5. 15:33 360 360 Lizet Onofre Jr F PADA
6. 15:41 364 364 Crystal Schachter Jr F PADA
7. 15:48 531 531 Shelby Pinkham Jr F STOC
8. 15:51 41 41 Felisa Torres Sr F BAKE
9. 15:52 118 118 Lucia Garcia Jr F FTHL
10. 15:54 362 362 Karina Ortega Jr F PADA
11. 15:54 328 328 Aubree Mossburg Jr F NORT
12. 16:04 365 365 Michelle Silva Jr F PADA
13. 16:06 367 367 Zaria Zambrano Jr F PADA
14. 16:07 525 525 Justine Benavidez Sr F STOC
15. 16:19 128 128 Nancy Tenorio Sr F FTHL
Frosh/Soph Boys
1 MCFA McFarland 25
2 WASC Wasco 66
3 FTHL Foothill 95
4 STOC Stockdale 114
5 RIDG Ridgeview 121
6 PADA Palmdale 139
7 SHAF Shafter 174
8 Inde Independence 183
9 TFCC Taft 254
10 BAKE Bakersfield 287
11 RFKH RFKH 312
12 GARC Garces Memorial 313
13 ARVI Arvin 337
14 MiMo Mira Monte 383
SOUT South INC
Error 2042 #N/A INC
1. 10:53 666 666 Jorge Zuniga Fr M WASC
2. 10:55 282 282 Chavez Ryan Fr M MCFA
3. 11:12 275 275 Sergio Avelar Fr M MCFA
4. 11:25 638 638 Eddie Aguilar So M WASC
5. 11:26 280 280 Leo Perez Fr M MCFA
6. 11:26 278 278 Jose Monrreal Fr M MCFA
7. 11:36 177 177 Genaro Quintanar Fr M FTHL
8. 11:38 541 541 Alex Eckley Fr M STOC
9. 11:39 279 279 Gonzalo Mulato Fr M MCFA
10. 11:40 252 252 Dwayne Facho So M Inde
11. 11:41 434 434 Brandon Magno Fr M RIDG
12. 11:42 383 383 Corey Nieto Fr M PADA
13. 11:48 543 543 Abraham Mayorga So M STOC
14. 11:49 467 467 Pablo Mendez Fr M SHAF
15. 11:50 650 650 Asencion Mendoza Sr M WASC
Frosh/Soph Girls
1 MCFA McFarland 43
2 Inde Independence 51
3 STOC Stockdale 73
4 FTHL Foothill 101
5 TFCC Taft 121
6 RIDG Ridgeview 139
7 RFKH RFKH 173
8 WASC Wasco 180
SOUT South INC
BAEA East Bakersfield INC
NORT North INC
BAKE Bakersfield INC
GARC Garces Memorial INC
1. 14:02 267 267 Corina Garcia So F MCFA
2. 14:02.6 270 270 Kathy Torres Fr F MCFA
3. 14:09 266 266 Olivia Ayon Fr F MCFA
4. 14:09 586 586 Daisy Guitron Fr F TFCC
5. 14:16 522 522 Madison Schutzner Fr F STOC
6. 14:23 484 484 Natalie Espinoza So F SOUT
7. 14:37 248 248 Sara Sullivan Fr F Inde
8. 14:37 110 110 Erica Castro So F FTHL
9. 14:44 237 237 Natalie Ambriz So F Inde
10. 14:46 93 93 Mayra Ponce So F BAEA
11. 14:50 244 244 Acacia Ingram So F Inde
12. 14:58 523 523 Victoria Valos So F STOC
13. 15:00 268 268 Liset Perezchica Fr F MCFA
14. 15:03 249 249 Katelynn Webb Fr F Inde
15. 15:20 135 135 Mari Escuedero So F FTHL
ĐÀO TẠO VÀ DẠY NGHỀ ĐỐI VỚI HỌC VIÊN CHƯA BIẾT NGHỀ, HỌC VIÊN HỌC NÂNG CAO:
___ TRUNG TÂM ĐÀO TẠO DẠY NGHỀ THỜI TRANG TÓC KORIGAMI LIÊN TỤC TUYỂN SINH CÁC KHÓA HỌC CẮT TÓC - TẠO MẪU TÓC NAM, NỮ CHUYÊN NGHIỆP - CÁC KHÓA TẬP HUẤN NÂNG CAO TRÌNH ĐỘ KỸ THUẬT HÓA CHẤT ÉP DUỖI - UỐN SETTING SÓNG - NHUỘM NANO 3D ...
___ CAM KẾT CHỈ SAU MỘT THỜI GIAN NGẮN,CÁC BẠN CÓ THỂ TRỞ THÀNH NHỮNG NHÀ TẠO MẪU TÓC CHUYÊN NGHIỆP TẠI CÁC SALON NỔI TIẾNG HAY TẠO LẬP CHO MÌNH MỘT THƯƠNG HIỆU RIÊNG...
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CHƯƠNG TRÌNH ĐÀO TẠO:
XEM CHI TIẾT TẤT CẢ CÁC CHƯƠNG TRÌNH ĐÀO TẠO: NỘI DUNG - HỌC PHÍ - THỦ TỤC ĐĂNG KÝ ...
HỌC TẠO MẪU TÓC NAM NỮ
@ KHÓA [A] CƠ BẢN
@ KHÓA [B] NÂNG CAO
@ KHÓA [C] CẤP TỐC
HỌC TẠO MẪU TÓC TRỌN GÓI
@ KHÓA [AB] 6 THÁNG
@ KHÓA [BC] 3 THÁNG
@ KHÓA [AZ] 8 THÁNG
HỌC CẮT TÓC CHUYÊN NGHIỆP
@ KHÓA [F1] CẮT NAM CƠ BẢN
@ KHÓA [F2] CẮT NAM NÂNG CAO
@ KHÓA [F3] CẮT TÓC NỮ CƠ BẢN
@ KHÓA [F4] CẮT TÓC NỮ NÂNG CAO
@ KHÓA [F5] TRỌN GÓI TẠO MẪU TÓC NỮ
HỌC XỬ LÝ HÓA CHẤT LÀM TÓC
@ KHÓA [G] NHUỘM TÓC TOÀN NĂNG
@ KHÓA [H] ÉP UỐN DUỖI XÙ TOÀN NĂNG
@ KHÓA [ I ] UỐN SETTING KTS
HỌC TRANG ĐIỂM BỚI TÓC CÔ DÂU
@ KHÓA [D] TRANG ĐIỂM
@ KHÓA [E] BỚI CÔ DÂU
@ KHÓA [DE] TRANG ĐIỂM BỚI TÓC
HỌC THỢ PHỤ SẤY KIỂU NỐI TÓC
@ KHÓA [J] THỢ PHỤ NGÀNH TÓC
@ KHÓA [N] NỐI TÓC CHUYÊN NGHIỆP
@ KHÓA [S] SẤY TÓC THỜI TRANG
CHỌN MỨC HỌC PHÍ
@ DƯỚI 10 TRIỆU
@ TỪ 10 ĐẾN 20 TRIỆU
@ TỪ 20 ĐẾN 30 TRIỆU
@ TRÊN 30 TRIỆU
THỜI GIAN ĐÀO TẠO:
CẤP TỐC CƠ BẢN : 02 THÁNG
CƠ BẢN TOÀN DIỆN: 04 THÁNG
NÂNG CAO TOÀN DIỆN : 06 THÁNG
CHUYÊN CẮT NAM HOẶC NỮ : ~ 01 THÁNG
CHUYÊN SÂU HÓA CHẤT : ~ 01 TUẦN
HỌC VIÊN ĐƯƠC HỌC CÁC KIẾN THỨC CĂN BẢN VÀ NÂNG CAO CÁC KỸ NĂNG LÀM TÓC:LÀM QUEN CÁCH SỬ DỤNG KÉO LƯỢC TÔNG ĐƠ - ĐỒ NGHỀ THIẾT BỊ MÁY MÓC LÀM TÓC, PHƯƠNG PHÁP KỸ THUẬT CẮT TỈA, UỐN, ÉP, NHUỘM, GỘI, LÀ, SẤY KIỂU, NỐI TÓC …. NAM, NỮ...
+++ HỌC VIÊN THỰC TẬP THEO NHÓM TRÊN MANOCANH DƯỚI SỰ HƯỚNG DẪN KÈM CẶP CỦA GIÁO VIÊN
+++ HỌC VIÊN TRAU DỒI KỸ NĂNG ĐẾN KHI ĐẠT TIÊU CHUẨN SẼ THỰC TẬP TRÊN TÓC THẬT
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1. MỤC TIÊU DẠY NGHỀ, ĐÀO TẠO:
ĐÀO TẠO HỌC VIÊN TRỞ THÀNH THỢ LÀM TÓC CHUYÊN NGHIỆP, TAY NGHỀ CAO, CÓ CUNG CÁCH ỨNG XỬ VĂN MINH HIỆN ĐẠI, CÓ NĂNG LỰC MỞ TIỆM HOẶC ĐI LÀM CHO CÁC SALON TOÀN QUỐC.
TRANG BỊ ĐẦY ĐỦ KIẾN THỨC, KỸ THUẬT LÀM TÓC, KỸ NĂNG GIAO TIẾP, KỸ NĂNG KINH DOANH, KỸ NĂNG QUẢN LÝ SALON SPA...
THIẾT KẾ, TẠO MẪU TÓC ĐA DẠNG - KIỂU DÁNG THỜI TRANG HIỆN ĐẠI.
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2. GIÁO VIÊN DẠY TẠI TRUNG TÂM:
GIÁO VIÊN CHỦ NHIỆM KUANSAIGON TỪNG ĐẠT GIẢI TAY KÉO VÀNG DAVINES 2008 - VÀ GIẢI TONI&GUY CREATIVE AWARD 2008 (HAI CUỘC THI ĐỀU TỔ CHỨC TẠI TP.HCM) ... NTMT KUANSAIGON ĐÃ BIÊN SOẠN THÀNH CÔNG BỘ GIÁO TRÌNH KORIGAMI NỔI TIẾNG HIỆN NAY ...
CÁC GIÁO VIÊN CÒN LẠI ĐỀU LÀ NHỮNG NHÀ TẠO MẪU TÓC NHIỀU NĂM KINH NGHIỆM - TRÌNH ĐỘ SƯ PHẠM - NHIỆT TÌNH TRONG CÔNG VIỆC TRUYỀN DẠY KIẾN THỨC CHO THẾ HỆ SAU...
NĂM 2013, KORIGAMI ĐÃ ĐƯỢC TRUNG ƯƠNG ĐOÀN THANH NIÊN CỘNG SẢN HỒ CHÍ MINH TRAO TẶNG CÚP VÀ HUÂN CHƯƠNG GHI NHẬN "TOP 30 THƯƠNG HIỆU ĐƯỢC THANH NIÊN VIỆT TOÀN QUỐC YÊU THÍCH NHẤT"... ĐÂY LÀ GIẢI THƯỞNG DANH GIÁ GHI NHẬN SỰ NỔ LỰC PHẤN ĐẤU BỀN BỈ VÀ GIỮ VỮNG UY TÍN CỦA KORIGAMI SUỐT NHIỀU NĂM LIÊN TỤC
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3. GIÁO TRÌNH DẠY HỌC TẠI TRUNG TÂM:
GIÁO TRÌNH KORIGAMI ĐƯỢC BIÊN SOẠN LẦN ĐẦU KỂ TỪ 2008 DỰATHEO GIÁO TRÌNH QUỐC TẾ, CÓ THAM KHẢO CÁC HÃNG NỔI TIẾNG NHƯ TONY&GUY, VIDAL SASSOON…, LIÊN TỤC ĐƯỢC CẬP NHẬT CÁC XU HƯỚNG MỚI
ĐẾN NAY TRÃI QUA 6 LẦN NÂNG CẤP PHIÊN BẢN + THÊM CÁC BỘ CÔNG THỨC TOÁN HỌC NGÀNH TẠO MẪU TÓC, ĐÃ TẠO RA NÉT RIÊNG KHÔNG THỂ NHẦM LẪN CỦA GIÁO TRÌNH KORIGAMI SO VỚI TẤT CẢ CÁC BỘ GIÁO TRÌNH CÒN LẠI ...
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4. NỘI DUNG HỌC TẬP:
CẮT TẠO MẪU TÓC NAM CĂN BẢN ĐẾN NÂNG CAO.
CẮT TẠO MẪU TÓC NỮ CĂN BẢN ĐẾN NÂNG CAO.
SÁNG TÁC ĐỊNH HÌNH TƯ DUY TÁC PHẨM TÓC DỰA TRÊN KIỂU DÁNG KHUÔN MẶT ( TRÒN - VUÔNG - DÀI - OVAL - TAM GIÁC - CHỮ NHẬT ... ) - SỰ SẮP XẾP CỦA NGŨ QUAN ( MẮT - MŨI - MIỆNG - TAI - CHÂN MÀY ) - NƯỚC DA - HÌNH THỂ - CHẤT LIỆU TÓC - YẾU TỐ NGHỀ NGHIỆP CỦA KHÁCH HÀNG - CÁ TÍNH - SỞ THÍCH - THÓI QUEN CHĂM SÓC TÓC ... NHẰM ĐƯA RA TƯ VẤN CHUẨN XÁC ĐỒNG THỜI CÓ MỘT KẾT QUẢ ĐẠT TỶ LỆ THÀNH CÔNG MỸ MÃN NHẤT...
TẠO KIỂU TÓC NGHỆ THUẬT: SẤY KIỂU - LÀ BÁM CÚP - UỐN XOĂN GIẢ - BỚI TẠO KIỂU TÓC NGHỆ THUẬT.
KỸ THUẬT THỢ PHỤ CHUYÊN NGÀNH TÓC: GỘI, MATXA ĐẦU, MATXA MẶT, HẤP TÓC, CHẢI THUỐC HÓA CHẤT, KỸ NĂNG PHỤ VIỆC CHUYÊN NGHIỆP
KỸ THUẬT ĐIỀU CHẾ SỬ DỤNG HÓA CHẤT LÀM TÓC BỀN VỮNG:
KỸ THUẬT UỐN XOĂN CƠ BẢN : UỐN LẠNH, UỐN XÙ .... UỐN XOĂN NÂNG CAO: UỐN SETTING KỸ THUẬT SỐ, UỐN HƠI NƯỚC , LÀM XÙ GẪY, LÀM XÙ ĐŨA, LÀM XÙ TẾT, XÙ GIẤY BẠC …
KỸ THUẬT NHUỘM MÀU CƠ BẢN: NHUỘM CÁC TÔNG TỰ NHIÊN TỐI SÁNG, GAM MÀU NÓNG, LẠNH, KỸ THUẬT TĂNG, GIẢM MÀU, TẠO SẮC TỐ MÀU NHUỘM, NHUỘM HIGHTLIGHT ... NHUỘM TÓC NÂNG CAO : KỸ THUẬT NHUỘM 3D
KỸ THUẬT NỐI TÓC: NỐI KẸP CHÌ, NỐI TẾT, NỐI BUỘC CHUN FIBER GLASS ... NỐI TÓC LINE MÀU
5.ĐỐI TƯỢNG HỌC NGHỀ:
MỌI NGƯỜI CÓ NHU CẦU HỌC NGHỀ TÓC KHÔNG PHÂN BIỆT LỨA TUỔI - GIỚI TÍNH - TRÌNH ĐỘ HỌC VẤN - ĐỊA VỊ XÃ HỘI ... ĐỀU ĐƯỢC THAM GIA KHÓA HỌC TẠI TRUNG TÂM ( TRỪ HỌC VIÊN MẮC CÁC TỆ NẠN XÃ HỘI, NGƯỜI SỬ DỤNG CHẤT MA TÚY HOẶC CÁC CHẤT GÂY ẢO GIÁC, NGƯỜI CÓ MANG BỆNH TRUYỀN NHIỄM QUA TIẾP XÚC MÁU ... )
TẠI SAO BẠN PHẢI CHỌN TRUNG TÂM DẠY NGHỀ?
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HÌNH ẢNH HỌC VIÊN THỰC TẬP CẮT TÓC TRÊN MANOCANH VÀ TÓC THẬT :
BẤM XEM TẠI ĐÂY www.korigami.vn/2014/02/chuyen-tham-quan-thuc-te-hoc-vien...
VIDEO CÁC HỌC VIÊN CỌ SÁT THỰC TẾ, NÂNG CAO TAY NGHỀ, RÚT NGẮN THỜI GIAN HỌC TẬP TẠI TRUNG TÂM, TIẾT KIỆM CHI PHÍ :
BẤM XEM VIDEO HỌC VIÊN TẬP CẮT TÓC TẠO MẪU TÓC TẠI ĐÂY www.korigami.vn/2013/11/youtube-korigami.html
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ĐỘI NGŨ GIÁO VIÊN GIỎI,TẬN TÌNH
TIẾT KIỆM CHI PHÍ
CÓ CHỖ ĂN, Ở
ĐƯỢC CẤP CHỨNG CHỈ NGHỀ
ĐƯỢC HỌC, CẬP NHẬT CÁC KỸ THUẬT MỚI LIÊN TỤC HÀNG THÁNG, NĂM
ĐƯỢC TIẾP CẬN NHỮNG KỸ THUẬT TIÊN TIẾN NHẤT, CÁC XU HƯỚNG TÓC HIỆN ĐẠI
SỰ KHÁC BIỆT.
TẠI CÁC CỬA HÀNG, SALON : BẠN PHẢI MẤT ÍT NHẤT 1 NĂM ĐẾN 2 NĂM BẠN MỚI THÀNH NGHỀ ___ TẠI TRUNG TÂM KORIGAMI CHỈ MẤT TỪ 2 ĐẾN 4 THÁNG,BẠN ĐÃ CẬP NHẬT ĐƯỢC TẤT CẢ CÁC KỸ THUẬT LÀM TÓC TỪ CỔ ĐIỂN ĐẾN HIỆN ĐẠI ... THÊM 2 THÁNG HỌC NÂNG CAO CAM KẾT BẠN 100% TỰ TIN MỞ SALON KINH DOANH ...
TẠI NƠI KHÁC HỌC XONG BẠN KHÔNG ĐƯỢC CẤP CHỨNG CHỈ NGHỀ ___ TẠI TRUNG TÂM KORIGAMI SAU KHÓA HỌC BẠN ĐƯỢC CẤP CHỨNG CHỈ NGHỀ CÓ GIÁ TRỊ LƯU HÀNH TOÀN QUỐC ...
TẠI NƠI KHÁC BẠN PHẢI ĐỨNG NHÌN NHIỀU HƠN LÀ ĐƯỢC HƯỚNG DẪN CỤ THỂ ___ TẠI TRUNG TÂM KORIGAMI BẠN ĐƯỢC HƯỚNG DẪN THEO ĐÚNG QUY TRÌNH, GIÁO VIÊN HƯỚNG DẪN CỤ THỂ ĐẾN KHI BẠN LÀM THÀNH THẠO ...
TẠI NƠI KHÁC CÁC PHƯƠNG PHÁP GIẢNG DẠY THEO PHƯƠNG PHÁP TỰ DO ___ TẠI TRUNG TÂM KORIGAMI BẠN ĐƯỢC HỌC THEO QUY TRÌNH BÀI BẢN,TUẦN TỰ TỪNG BƯỚC ...
TẠI NƠI KHÁC BẠN PHẢI TỰ LO CHỖ ĂN, Ở ___ TẠI TRUNG TÂM KORIGAMI BẠN ĐƯỢC SẮP XẾP CHỖ ĂN, Ở, AN NINH TỐT, CHẾ ĐỘ QUẢN LÝ KỶ LUẬT NGHIÊM MINH, CHI PHÍ TIẾT KIỆM ...
ĐẶC BIỆT:
____ HỌC Ở TIỆM CÓ THỂ HỌC PHÍ RẺ HƠN NHƯNG KHÔNG CÓ HỢP ĐỒNG ĐÀO TẠO - KHÔNG CÓ GIÁO TRÌNH CỤ THỂ - KHÔNG CUNG CẤP DỤNG CỤ HỌC TẬP CHO NÊN MUA SẮM NHIỀU PHÁT SINH TỐN KÉM - KHÔNG CÓ CHỖ ĂN Ở ĐẢM BẢO DẪN ĐẾN BẤT TIỆN TRONG SINH HOẠT ĐỜI SỐNG HẰNG NGÀY - THỜI GIAN HỌC KÉO DÀI LÊ THÊ GÂY LÃNG PHÍ VÀ TỐN KÉM - GIÁO VIÊN GIẤU NGHỀ NHẰM GIỮ THỢ LẠI PHỤ VIỆC SAU NHIỀU NĂM VẪN CHƯA THỂ ĐỨNG CHÍNH SALON ĐƯỢC ...
___ HỌC Ở TRUNG TÂM KORIGAMI HỌC PHÍ CAO HƠN NHƯNG CAM KẾT TRÁCH NHIỆM DẠY ĐẾN ĐÂU LÀM ĐƯỢC ĐẾN ĐÓ - GIÁO TRÌNH CHI TIẾT - GIÁO VIÊN HƯỚNG DẪN TẬN TÌNH TỈ MỈ - TẶNG DỤNG CỤ CHO HỌC VIÊN THỰC HÀNH - CÓ CHỖ ĂN Ở CHI PHÍ THẤP KÈM QUẢN LÝ CHẶT CHẼ GIÚP PHỤ HUYNH YÊN TÂM GỬI CON EM VÀO HỌC - CẤP CHỨNG CHỈ CÓ GIÁ TRỊ TOÀN QUỐC - ĐẢM BẢO HỌC XONG YÊN TÂM ĐI LÀM HOẶC MỞ TIỆM KINH DOANH
ĐỊA CHỈ HỌC VIỆN TÓC KORIGAMI : SỐ 7 TRẦN TẾ XƯƠNG - QUẬN BA ĐÌNH - HÀ NỘI ( TỪ 122 TRẤN VŨ - TRÚC BẠCH RẼ VÀO )
BẢN ĐỒ GOOGLE = WWW.GOO.GL/MAPS/DV482
HỌC PHÍ = WWW.KORIGAMI.VN/P/AO-TAO-VA-DAY-NGHE.HTML
BẢNG GIÁ LÀM TÓC = WWW.KORIGAMI.VN/P/BANG-GIA-DICH-VU-CAT-TOC-TAO-KIEU-EP.HTML
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
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
ROMA, METRO C SCAVI / I FORI IMPERIALI (2006-11). PUBBLICATO - ARCHEOLOGIA E INFRASTRUTTURE. IL TRACCIATO FONDAMENTALE DELLA LINEA C DELLA METROPOLITANA DI ROMA: PRIME INDAGINI ARCHEOLOGICHE, Bollettino d'Arte (2010).
1). ROMA, PRESENTAZIONE DEL VOLUME SPECIALE - ARCHEOLOGIA E INFRASTRUTTURE. IL TRACCIATO FONDAMENTALE DELLA LINEA C DELLA METROPOLITANA DI ROMA: PRIME INDAGINI ARCHEOLOGICHE. Mercoledì 15 giugno 2011 ore 17.00, Palazzo Massimo alle Terme, Largo di Villa Peretti, 6 - 00185 Roma.
1.1). ♦ comunicato stampa:
www.bollettinodarte.beniculturali.it/opencms/multimedia/B...
1.2). ♦ invito:
www.bollettinodarte.beniculturali.it/opencms/multimedia/B...
1.3). sommario:
www.bollettinodarte.beniculturali.it/opencms/export/Bolle...
______
1.3.1). Sommario: Italiano / 1.3.2). Summary: English -
- FEDORA FILIPPI, pp. 82-91, LE INDAGINI IN CAMPO MARZIO OCCIDENTALE. NUOVI DATI SULLA TOPOGRAFIA ANTICA: IL GINNASIO DI NERONE (?) E L’“EURIPUS.”
Nell’ambito delle indagini preliminari per la realizzazione della Linea C della metropolitana di Roma, la Soprintendenza Speciale per i Beni Archeologici di Roma ha diretto scientificamente la realizzazione di 10 sondaggi lungo l’asse di corso Vittorio Emanuele II finalizzati alla conoscenza delle preesistenze archeologiche e alla conseguente definizione delle Stazioni previste nel progetto preliminare a largo Argentina, piazza della Chiesa Nuova e piazza Paoli.
Le indagini hanno pertanto riguardato un’area urbana ad altissima sensibilità archeologica, qual’è il Campo Marzio occidentale. Esse sono state limitate nell’estensione e nella possibilità di approfondimento, sia dalla necessità di dover contestualmente garantire la funzionalità della città, sia dall’impossibilità di superare con lo scavo il livello della falda acquifera.
Si presenta un primo rapporto preliminare sui risultati, con una panoramica di carattere generale sulla stratigrafia complessiva e con un approfondimento sull’interpretazione topografica dei ritrovamenti afferenti alla fase romana, che ha consentito alcune precisazioni. Sulla base di un nuovo tratto di colonnato emerso in piazza Sant’Andrea della Valle rapportato a dati già noti, si ipotizza l’impianto di un quadriportico monumentale, forse il ginnasio di Nerone. Gli scavi nell’area di piazza della Chiesa Nuova hanno permesso di riconsiderare le fasi costruttive dell’Euripus e le sue funzioni, oltre che l’assetto topografico della zona del cosiddetto Cenotafio di Agrippa.
- RAFFAELE LEONARDI, STEFANO PRACCHIA, STEFANO BUONAGURO, MATTEO LAUDATO, NICOLETTA SAVIANE, pp. 82-91, SONDAGGI LUNGO LA TRATTA T2. CARATTERI AMBIENTALI E ASPETTI TOPOGRAFICI DEL CAMPO MARZIO IN EPOCA ROMANA.
Una campagna di sondaggi a recupero di nucleo, conclusa nel 2009 nell'ambito delle indagini preventive alla realizzazione della Metro C di Roma, ha fornito nuovi dati sui paleoambienti dell’antico Campo Marzio e l'occasione per riconsiderare alcuni aspetti della topografia antica dell'area. Lo studio, condotto nell'ambito della più vasta ricerca diretta da Fedora Filippi della Soprintendenza Speciale per i Beni Archeologici di Roma, ha portato al riconoscimento di tre comparti ambientali distinti, con caratteri naturali propri dell'evoluzione dei contesti fluviali: uno a ridosso dei colli Quirinale e Campidoglio (piana inondabile), uno lungo la sponda meridionale del Campo Marzio (riva convessa) e un terzo delimitato a Est e Sud–Ovest dai precedenti (fascia di meandri). I dati geologici, analizzati in relazione alle fonti letterarie e alle testimonianze archeologiche oggi note, permettono di valutare tempi e forme del popolamento dell'area in età romana.
Sono state riesaminate le attribuzioni relative a luoghi noti dalle fonti classiche, come la Palus Caprae e i vada del Tarentum, e le scelte edificatorie di complessi monumentali come il Pantheon e l'area sacra di largo di Torre Argentina.
In relazione ai sistemi di gestione delle acque, i dati raccolti contribuiscono a definite la relazione funzionale tra le zone di ristagno idrico e le opere idrauliche antiche, come la grande vasca osservata in diverse occasioni a Ovest delle Terme di Agrippa e il canale scoperto a tratti tra piazza Sant’Andrea della Valle e l'ansa del Tevere, riconosciuti generalmente come lo Stagnum Agrippae e l’Euripus delle fonti.
La variabilità morfologica e idrografica dei tre comparti sembra aver giocato un ruolo importante non solo nei processi di edificazione dell'area, ma anche nella ripartizione degli spazi simbolici.
- Roberto Egidi, pp. 93-123, L’area di piazza Venezia. Nuovi dati topografici, con Appendice di Silvia Orlandi, pp. 94-124, L’iscrizione del praefectus urbi F. Felix Passifilus Paulinus.
Vengono presentati i risultati delle indagini archeologiche di prima fase, propedeutiche alla progettazione definitiva della Stazione di Piazza Venezia e delle sue uscite.
Nell'area centrale della piazza (S18) è stato rinvenuto il tracciato della via Flaminia antica con resti di botteghe a lato; sono stati evidenziati i livelli severiani e flavi: Lo scavo è stato interrotto per la presenza della falda d'acqua.
Su via dei Fori Imperiali, lato Est del Vittoriano (S15, 15 bis) si sono rinvenuti: fogna di età traianea, pozzo medievale, strutture monumentali realizzate in connessione con l'emiciclo sud-occidentale del Foro di Traiano.
In via Cesare Battisti (S9), resti di una domus tardo-antica.
In piazza Santi Apostoli (S9 bis), un grande muro in laterizio di età imperiale riutilizzato in epoca tardo-medievale e poi rinascimentale.
In piazza Madonna di Loreto (S14) un complesso monumentale riferibile ad un edificio pubblico di età adrianea, relativo alla sistemazione del settore Nord del Foro di Traiano oltre la colonna coclide, costituito da due grandi aule gradonate: auditoria adibiti ad attività culturali; forse riconducibili all'Athenaeum, sorta di università, o istituto di studi superiori, fondato dall'imperatore Adriano nel 135 d.C. in cui esercitavano professori nominati dall'imperatore nelle cattedre di sofistica greca e retorica romana, e frequentato dalle classi sociali elevate che si esercitavano nell'apprendimento.
- MIRELLA SERLORENZI, pp. 131-164. LE TESTIMONIANZE MEDIEVALI NEI CANTIERI DI PIAZZA VENEZIA.
Le aree prese in considerazione in questo contributo si trovano in una zona abbastanza circoscritta e riguardano le indagini effettuate: a piazza Santi Apostoli e via Cesare Battisti, se pur con sondaggi ridotti; a piazza Venezia con un saggio dell’estensione di circa mq 900 e a piazza Madonna di Loreto con uno scavo ancora in corso della dimensione di circa mq 500.
La complessità dei rinvenimenti, e a volte la parzialità dell’indagine, non permette di delineare un quadro topografico certo, tuttavia sono abbastanza chiare alcune dinamiche che hanno regolato l’insediamento urbanistico nel periodo post antico.
L’elemento determinante per lo sviluppo dell’area di piazza Venezia è costituito dalla presenza della via Lata, che senza soluzione di continuità giunge fino all’inizio del XX secolo: il suo livello cresce nel corso del tempo per più di m 3.
L’inizio del VI secolo costituisce un periodo di degrado delle strutture romane dalle quali vengono asportati tutti i rivestimenti marmorei e riconvertiti ad altri usi. L’unico sito che fa eccezione riguarda il complesso sulla via Lata che mantiene la funzione originaria.
Più complesse sono le trasformazioni che avvengono durante tutto l’Alto Medioevo, periodo durante il quale continua l’impoverimento del tessuto urbano a detrimento degli edifici classici. La rinascita carolingia vede una ripresa delle attività costruttive ed una rioccupazione degli spazi, ma purtroppo il forte terremoto della metà del IX secolo pone fine a questa vitalità.
Nel periodo compreso tra X–XI secolo sono poche le tracce rinvenute nei cantieri di scavo, è noto tuttavia, anche dalle fonti documentarie, che la riorganizzazione urbanistica della città nasce proprio in questo periodo.
A partire dal XII secolo e in particolar modo nel XIII, in tutte le aree indagate sono presenti nuove strutture murarie che indicano una urbanizzazione assai articolata. Tali edifici sono poi successivamente cancellati dai poderosi resti delle cantine dei palazzi rinascimentali; tra essi si ricorda come caso emblematico l’edificazione del primo Palazzo Vescovile: il Palazzetto Venezia.
Tali strutture sono giunte fino al XX secolo quando, in particolare con la costruzione del Vittoriano e di piazza Venezia, furono demoliti una grande quantità di edifici.
- Rossella Rea, pp. 171-201, La sella tra la Velia e le Carinae. La Valle dell’Anfiteatro. I versanti sud–orientale e nord–occidentale della Velia.
Indagini archeologiche preventive sono state condotte lungo la tratta T3 in via dei Fori Imperiali, funzionali all’individuazione dei limiti dell’altura della Velia entro cui inserire la Stazione Fori Imperiali; nella piazza del Colosseo, a largo G. Agnesi e in via degli Annibaldi, in previsione dell’ampliamento della Stazione Colosseo della Linea B. Lungo le pendici Nord–Ovest della Velia è emerso un tratto del clivus ad Carinas fiancheggiato da resti di edifici databili dall’età flavia al IV secolo; lungo le pendici Sud–Est restano tracce delle strutture risalenti al I secolo, distrutte nel 1932 per la costruzione di via dei Fori Imperiali.
Nella piazza del Colosseo si conservano strutture di età giulio–claudia e parte di un ambiente ancora in costruzione della Domus aurea.
Alle pendici meridionali del Colle Oppio sono state rinvenute evidenze ascrivibili dal IV secolo a.C. all’età flavia.
1.3.2). SUMMARY / ENGLISH:
- FEDORA FILIPPI, pp. 82-91,Archaeological explorations in the western Campus Martius. New data on the ancient topography: the gymnasium of Nero (?) and the Euripus.
As part of the preliminary archaeological explorations for the realization of Line C of the metropolitana of Rome, the Soprintendenza Speciale per i Beni Archeologici di Roma has coordinated ten exploratory excavations along the axis of Corso Vittorio Emanuele II aimed at widening our knowledge of archaeological remains in this area and the consequent definition of the metro stations planned in the preliminary project at Largo Argentina, Piazza della Chiesa Nuova and Piazza Paoli.
The explorations thus involved an urban area of the highest archaeological sensitivity, namely the western Campus Martius. They were limited both in extension and in depth, due both to the need simultaneously to ensure the continuing function of the city’s infrastructures, and the impossibility of digging to levels deeper than ground water level.
The author presents a first preliminary report on the findings, including a survey of a general character on the overall stratigraphy of the area and a topographical interpretation of the finds relating to the Roman period. The findings have enabled her to draw some preliminary conclusions. One of the main results of the exploratory campaign was the discovery of a new stretch of colonnade in the Piazza Sant’Andrea della Valle. The author relates this to the previous archaeological data, and proposes that it formed part of a monumental quadriporticus, perhaps the gymnasium of Nero. The excavations in the area of Piazza della Chiesa Nuova permitted fresh light to be thrown on the building phases of the Euripus and its purpose. It also permitted a re–consideration of the topographical layout of the area of the so–called Cenotaph of Agrippa.
- RAFFAELE LEONARDI, STEFANO PRACCHIA, STEFANO BUONAGURO, MATTEO LAUDATO, NICOLETTA SAVIANE, pp. 82-91, Explorations along stretch T2. Environmental features and topographical aspects of the Campus Martius in the Roman period.
A core–sampling campaign, concluded in 2009 as part of preliminary investigations for the realization of Line C of the metropolitana of Rome has furnished new data on the hydrogeological situation of the ancient Campus Martius. It also provided an opportunity to reconsider some aspects of the ancient topography of the area. The study, conducted in the framework of the wider research project directed by Fedora Filippi of the Soprintendenza Speciale per i Beni Archeologici di Roma, led to the recognition of three distinct environmental sectors, with natural features peculiar to the evolution of fluvial contexts: one at the foot of the Quirinal and Capitoline hills (flood plain), one running along the southern margin of the Campus Martius (convex river bank) and a third delimited to the east and south–west by the preceding sectors (fascia of meanders). The hydrogeological data, analyzed in relation to the literary sources and current archaeological evidence, permit the chronology and forms of the settlement of the area in the Roman period to be evaluated.
The results of the exploratory campaign led to a re–examination of the attributions relating to sites known by the classical sources, such as the Palus Caprae and the vada (river shallows) of the Tarentum. They also help to explain the choice of sites for the construction of monumental complexes like the Pantheon and the sacred area of Largo di Torre Argentina.
In relation to water management systems, the data gathered help to define the functional relation between the zones of water stagnation and ancient hydraulic works, such as the large catchment basin observed on various occasions to the west of the Baths of Agrippa and the canal, of which stretches have been identified between Piazza Sant’Andrea della Valle and the loop of the Tiber, generally identified respectively as the Stagnum Agrippae and the Euripus of the classical sources.
The morphological and hydrographical variability of the three sectors seems to have played an important role not only in the urbanization of the area, but also in the way that symbolic spaces were defined and partitioned.
- Roberto Egidi, pp. 93-123,The area of Piazza Venezia. New topographical data.
The article presents the results of the first phase of archaeological excavation of the Piazza Venezia and its adjacent areas, preliminary to the final planning of the Stazione di Piazza Venezia (metro Line C) and its various exits.
In the central area of the piazza (S18) a stretch of the ancient Via Flaminia was uncovered, flanked by remains of shops; the Severan and Flavian levels were ascertained in the stratigraphy. But the excavation here could not go down to deeper levels, interrupted by the presence of the aquifer.
On the Via dei Fori Imperiali, on the east side of the Vittoriano (S15, 15 bis), archaeological remains of various date were found: a drain of the Trajanic period, a medieval well, and monumental structures realized in connection with the south–west hemicycle of the Forum of Trajan.
Remains of a late–antique domus were found in the Via Cesare Battisti (S9); while a large brick wall of imperial date, reused in the late–medieval and then in the Renaissance period, was found in the Piazza Santi Apostoli (S9 bis).
A monumental complex attributable to a public building of the Hadrianic period was uncovered in the Piazza Madonna di Loreto (S14). Forming part of the layout of the northern sector of the Forum of Trajan beyond Trajan's Column, it consisted of two large stepped auditoria presumably used for cultural activities. Perhaps they formed part of the Athenaeum, a kind of university or institute of higher studies, founded by the emperor Hadrian in 135 AD, where professors appointed by the emperor to chairs of Greek sophistry and Roman rhetoric instructed sons of the upper classes.
- MIRELLA SERLORENZI, pp. 131-164.The medieval remains found in the excavations in Piazza Venezia.
The article reviews the findings of the excavations conducted during building work for the construction of Line C of the metropolitana in a fairly circumscribed zone in Piazza Venezia and its vicinity. They concern the excavations of limited extent conducted in Piazza Santi Apostoli and Via Cesare Battisti; the excavations covering an area of c. 900 sq m in Piazza Venezia itself; and the excavation still in progress covering an area of c.500 sq m in Piazza Madonna di Loreto.
The complexity of the finds and at times the partial nature of the explorations do not permit a reliable topographical picture as yet to be defined. Yet some dynamics that regulated the urban settlement in the post–antique period seem fairly clear.
The decisive factor for the urban development of the Piazza Venezia area consists of the presence of the ancient via Lata, which survived without interruption until the early years of the 20th century: its level rose by over 3 m in the course of time.
The early 6th century represented a period of the deterioration of Roman structures, which were spoliated of all their marble revetments and reconverted to other uses. The one site that formed an exception was the complex on the via Lata which maintained its original function.
More complex are the transformations that took place through the Dark Ages, a period during which the impoverishment of the urban fabric to the detriment of the classical buildings continued.
The Carolingian renaissance was marked by a resumption of some building activity and a re–occupation of abandoned spaces, but unfortunately the powerful earthquake of the mid–9th century put an end to this revival. Few traces dating to the period between the 10th and 11th century have been found in the excavations; but that the urban reorganization of the city began during this period is known from the documentary sources.
Signs of a revival in building from the early 12th and especially in the 13th century are confirmed by the structural remains dating to this period that were found during all the areas explored. They point to a wide–ranging process of urban regeneration. These buildings were later demolished to make way for the massive foundations of the Renaissance palaces in the area; emblematic among them is the building of the first bishop’s palace: the Palazzetto Venezia.
These structures survived until the early 20th century when many buildings were demolished in the wave of urbanization at the turn of the century, in particular with the construction of the Vittoriano and the laying out of Piazza Venezia.
- ROSSELLA REA, pp. 171-203, The saddle between the Velia, the Carinae. The Valley of the Amphitheatre. The south–east and north–west slopes of the Velia.
Preventive archaeological excavations were conducted along stretch T3 of metro Line C in the Via dei Fori Imperiali, aimed at identifying the extension of the Velia (the hill connecting the Palatine and Esquiline), preliminary to the identification of the site on which to build the planned Fori Imperiali metro station. Other exploratory digs were conducted in Piazza del Colosseo, at Largo G. Agnesi and in Via degli Annibaldi, preliminary to the planned enlargement of the Stazione Colosseo of Line B. A stretch of the clivus ad Carinas flanked by remains of buildings datable between the Flavian period and the 4th century was found along the north–west slopes of the Velia, while traces of structures dating to the 1st century AD, destroyed during the construction of the Via dei Fori Imperiali in 1932, were found on its south–east slopes.
Structures of the Julio–Claudian period and part of a room of Nero’s Domus aurea, begun but never completed, are preserved in the Piazza del Colosseo.
Remains datable between the 4th century BC and the Flavian period were found on the southern slopes of the Oppian Hill.
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
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY
A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011
QUESTIONS????COMMENTS?????
CALL KYMARA DIRECTLY AT..
207-286-7399
OR EMAIL KYMARA@KYMARA.COM
Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
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...
DescriptionDisney DVD InformationName:Walt Disney's 100 Years Of Magic 172 DiscsGenre:CartoonDiscs:172Format:Support both NTSC & PALWeight:4 kgConditionNew Box SetAudio:Dolby Digital 5.1 - EnglishSubtitles - RemovableDisney DVD Collection ListWalt Disney established itself as a leader in the American animation industry before diversifying into live-action film production, television, and travel. Now it is one of the largest and best-known studios in Hollywood, an early and well-known cartoon creation of the company, Mickey Mouse, is the official mascot of The Walt Disney Company. There are many famous animations created by Disney, their charm never fades. Snow White and the Seven Dwarfs, Cinderella, Alice in Wonderland and Sleeping Beauty are some of the classic cartoons, others including:001.Snow White amd the Seven Dwarfs002. Pinocchio003. Fantasia004. Fantasia/2000005. Dumbo006. Bambi007. BambiⅡ008. Saludos Amigos009. Fun and fancy free010. Cinderella011. CinderellaⅡDreams come true012. CioderellaⅢA twist in time013. The wild014. Alice in Wonderland015. Peter Pan016. Lady and the Tramp017. Lady and the TrampⅡ: Scamp's Adventure018. Sleeping Beauty019. One Hundred and One Dalmatians020. 101 DalmatiansⅡ：Patch's london Adventure021. The Sword in the Stone022. The Aristocats023. Bedknobs and Broomsticks024. Robin Hood025. The fox and the Hound026. The little Mermaid027. The little MermaidⅡ: Return to the Sea028. Beauty and the Beast029. Beauty and the Beast: The Enchanted Christmas030. Aladdin031. The Return of jafar032. Aladdin and the King of thieves033. The Nightmare Before Christmas034. The lion King035. The lion KingⅡ: Simba's Pride036. The Lion King 1 ½037. Pocahontas038. Pocahonlas Ⅱ:Journey to a mew world039. Toy Story040. Toy story 2041. James and the Giant Peach042. The Hunchback of Notre Dame043. the HUnCHback of notre dame Ⅱ044. Hercules) 045. Mulan046. Mulan Ⅱ047. Tarzan048. Tarzan Ⅱ049. Valiant050. Dinosaur051. The emperor's New Groove052. Kronk's new groove053. recess:school's out054. Atlantis:The Lost Empir055. Atlantis:Milo's Return056. lilo & stitch057. Stitch 2: Stitch Has a Glitch058. Treasure Planet059. Brother Bear060. Brother Bear 2061. The Jungle Book062. The Jungle Book 2063. Home on the Range064. The Three Musketeers065. Mickey's twice upon a Christmas066. Chicken little067. The wild swans068. Felix the Cat Saves Christmas069. Mickey's magical christmas:snowed in at the house of mouse070. Mickey & Minnie071. Donald duck and the gorilla etc072. Casper073. Three little pigs074. daffy duck075. The black cauldron076. Return to neverland077. the tortoise and the hare078. Everybody loves Donald079. Everybody loves Goofy080. Everybody loves Mickey081. Sweetheart Stories082. Gulliver's travels083. Life with Mickey Town084. Walt Disney treasures volume 1085. Walt Disney treasures volume 2086. Walt Disney treasures volume 3087. Walt Disney treasures volume 4088. Walt Disneys 100 years of Magic: Goofy sport089. The three Caballeros090. Who framed Roger Rabbit091. Mary Poppins092. The Rescuers093. The Rescuers down Under094. Monsters Inc.095. Finding Nemo096. The incredibles097. Cars098. Winnie the Pooh:Story Book099. Winnie the Pooh:A very Merry Pooh Year100. Winnie the Pooh:Heffalump Movie101. Winnie the Pooh:Heffalump Halloween Movie102. Winnie the Pooh:Springtime with Roo103. Winnie the pooh:123104. Winnie the Pooh:All for one,one for all105. Winnie the pooh:the many adventures106. Winnie the Pooh:the Search for Christopher Robin107. Winnie the Pooh:franken Pooh108. A Bug's life109. Disney Heroes Volume One110. An officer and a duck111. Meet the Robinsons112. Underdog113. Ratatouille114. The adventures of ichabod and Mr. Toad115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie116. The chronological donald:volume one117. The chronological donald:volume two118. Mickey mouse clubhouse mickey saves santa119. Mickey's House of Villains120. Mickey mouse clubhouse:great clubhouse hunt121. Mickey princess enchanted tales:follow your dreams122. The tigger movieSpecial Bonus:123-132. Tom & Jerry133-152. The Berenstain Beans153-164. Sponge Bob Squarpants165-172. Disney Magic English
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.
GP500 motorcycle windshields
GP500.Org Part # 51800 Aprilia RSV 1000 Motorcycle windshield
Aprilia is a dream come true. The dream of an enthusiast, Ivano Beggio, who made up his mind to create a motorcycle company which would become famous throughout the world. And to become famous in the motorcycling world, racing and winning at maximum level is indispensable. Madness at a time when, one after the other, the great Italian and English companies were starting to disappear with the formidable Japanese in hot pursuit.
How often over the years, even after Aprilia had started to make a name for itself, they accused the Noale company of being "over ambitious". A rider who transferred from Aprilia to Honda at the end of the 1980s said in an interview: "At Noale, we were all a bit dazzled. We even thought we could beat the Japanese!".
The distinctive characteristic of Aprilia is the genius, the passion, the creativity and the faith common to Ivano Beggio and his closest collaborators, from the first motorcycles made by hand at the end of the 1960s, one-offs assembled with the heart, to enter the third millennium with a range going right up to 1000 cc and acquisition of a piece of international motorcycling history, Moto Guzzi.
In 1985, thanks to an agreement with Rotax, the first Aprilia four-stroke, the ETX 350, was launched, followed by the 600. True to the company's spirit, participation was also stepped up in the African raids such as the Pharaoh and the Dakar.
In 1985, the adventure of the World Speed Championships began with Loris Reggiani. You can find the full story of Aprilia on the tracks year by year in the racing section of this site.
At the same time, the commitment to motocross and trials was still strong. With the TX 311, Diego Bosis came second in the World Championship, winning in the United States.
On August 30, 1987, Loris Reggiani won the first 250 cc Grand Prix with the AF1. In the meantime, the road "derivation" model, reaching 30 hp thanks to the RAVE (Regulation Aprilia Valve Exhaust), was an enormous hit among young people - not to mention the later "Sintesi". Aprilia was making an ever greater name for itself on the international motorcycling scene, thanks to its characteristic innovation, image and flexibility.
It was not long before launch of the Pegaso 600, one of the mainstays of Aprilia production, and the Amico, the colourful, easy to ride scooter which confirmed Aprilia's gift for anticipating market trends and needs.
In 1992, Aprilia won its first world championship title - or rather, its first three. The Finnish rider Tommi Avhala won the rider's title and contributed to the constructor's title. A few months later, Alessandro Gramigni won the World 125 Championship.
In 1993, the new Scarabeo 50 was launched, becoming an unequalled success, followed in 1995 by the Moto - designed by Philippe Starck - with its absolutely unique styling. It is no accident that it is displayed at the New York Museum of Modern Art.
The same year also saw the birth of the exceptional RS250, one of the most successful sports motorcycles of all times. In 1996, the Leonardo - the maxi-scooter characterised by an ultra-efficient four-stroke four-valve engine - was launched.
In 1998 it was the turn of Sonic, the brightly coloured micro-scooter aimed at a young public and in 1999 of the RSVMille. This signalled Aprilia's entry into the maxi-motorcycle world, astonishing everyone with its extraordinary ridability and immediately becoming a standard setter in its class.
In the meantime, the company had already won a further thirteen world championship titles.
Aprilia began production at the end of the 1960s with the Amico and the Daniela, the first small diameter wheel mini-scooters. These were soon joined by the Colibrì, the first Aprilia hinting at that sporting spirit which would soon become so familiar - tapering, with a distinctive exhaust, forcing the rider to adopt a position as uncomfortable as it was sporty and aerodynamic. Despite the success of these early products, the most famous Aprilia in this initial period was the Scarabeo which made Ivano Beggio's first passion abundantly clear - motocross.
It was on the dirt tracks that the structure today so well-known and admired throughout the world as "Racing Aprilia" made its debut. It's true that in place of the multi-coloured TIRs, there was a Fiat 238, but the attention paid to graphics and a highly original image was patently obvious. Ivan Alborghetti was the Valentino Rossi of those years, in 1977 winning Aprilia the Italian 125 and 250 titles. Victories which led to a boom in replica bikes. After the Italian Championship, Aprilia went on to compete in the World Motocross Championships with Corado Maddii in the 125s. Few will remember that wearing the team colours in the 250s was the Japanese rider Torao Suzuki.
In the meantime, the Aprilia Development Department threw itself into another field very popular at the time, trials. This proved highly satisfying.
From the racing experience came a number of highly attractive road bikes, in particular the liquid-cooled 125 ST with single arm suspension. The more sporty STX immediately found a place in the competitive 125 road bikes market.
The 50 cc market also smiled on Aprilia and the company introduced motorcycles distinguished by an attention to detail and dimensioning extremely rare in the competition as can be seen in the AF1 or the ET.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
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
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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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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...
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...
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.
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.
Христианская проповедь: значение явления Господа Иисуса людям после Его воскресения
ru.godfootsteps.org/testimonies/Jesus-resurrection-why-He...
Описание: Господь Иисус был распят на кресте, тем самым выполняя работу по искуплению человечества. Почему же Он являлся людям в течение 40 дней после Своего воскресения? Каково было значение явления человеку после Его воскресения, и какая Его воля стояла за ним?
В Библии написано: «Когда они говорили о сем, Сам Иисус стал посреди них и сказал им: мир вам. Они, смутившись и испугавшись, подумали, что видят духа. Но Он сказал им: что смущаетесь, и для чего такие мысли входят в сердца ваши? Посмотрите на руки Мои и на ноги Мои; это Я Сам; осяжите Меня и рассмотрите; ибо дух плоти и костей не имеет, как видите у Меня. И, сказав это, показал им руки и ноги. 41 Когда же они от радости еще не верили и дивились, Он сказал им: есть ли у вас здесь какая пища? Они подали Ему часть печеной рыбы и сотового меда. И, взяв, ел пред ними» (От Луки 24:36-43). Всякий раз, читая эти стихи, я завидую Петру, Иоанну и другим. Когда Иисус выполнял Свою работу в Иудее, Он всегда был со Своими учениками, днем и ночью, а после Своего воскресения Он заботился о них как и прежде, являлся им, разъяснял им Писание и учил их. Петру и другим повезло, что Господь избрал их Своими учениками и они могли слышать учения Господа Иисуса своими собственными ушами, – они были так благословенны! Впоследствии я прочел слова Бога и понял, что на самом деле за Его явлением людям после Его воскресения стояла воля Господа Иисуса и что этот поступок еще больше олицетворял всемогущество и мудрость Бога. Я по-настоящему увидел, что явление Господа Иисуса людям после Его воскресения на самом деле было таким важным!
В Божьих словах говорится: «Первое, что сделал Господь Иисус после Своего воскресения, это позволил людям увидеть Его, убедиться в Его существовании и в факте Его воскресения. Кроме того, это послужило восстановлению Его прежних отношений с людьми, когда Он трудился во плоти и был Христом, Которого можно было увидеть и осязать. Таким образом, одним из результатов этого было то, что люди уже не сомневались в том, что Господь Иисус воскрес из мертвых после распятия на кресте, как не сомневались они в совершенном Господом Иисусом труде искупления человечества. Еще одним результатом было то, что явление Господа Иисуса людям после Его воскресения с позволением увидеть Его и прикоснуться к Нему основательно утвердило их в Периоде Благодати. Начиная с этого момента, люди больше не могли вернуться к прежним временам Периода Закона в связи с “исчезновением” или “уходом” Господа Иисуса. Они должны были двигаться вперед, следуя учению Господа Иисуса и свершенному Им труду. Таким образом, в труде Периода Благодати формально наступил новый этап, и, начиная с этого момента, люди, жившие по закону, “официально” вышли из данного периода и вошли в новую эру с новым началом. Таково многообразие значений явления Господа Иисуса людям после Своего воскресения» («Божий труд, Божий характер и Сам Бог. Часть III»).
Прочитав слова Бога, я наконец понял, что явление Господа Иисуса людям в течение 40 дней после Его воскресения имело два значения. Одно – Он пришел сказать людям, что Бог завершил Период Закона, начал Период Благодати и приведет человечество в новую эру. Другое значение заключалось в том, что Бог делал это, чтобы люди могли утверждать, что Господь Иисус – это Сам воплотившийся Бог, и тем самым укреплял их веру в Бога.
1. Господь Иисус воскрес и явился людям, чтобы ввести их в новую эру и прочно утвердить их в Периоде Благодати
Господь Иисус возвестил о начале Периода Благодати и завершил Период Закона. Он выразил способ «Покайтесь, ибо приблизилось Царство Небесное» (От Матфея 4:17). и совершил множество чудес, таких как исцеление больных, изгнание бесов, возвращение хромым возможности ходить, а слепым – видеть и прочее, чтобы люди могли наслаждаться обильной благодатью, исходившей от Бога. Но люди того времени не знали Божьей работы, и у них не было истинного понимания того, что Иисус – это воплощение Бога. Когда Господа Иисуса распяли, люди просто не осознавали, что это означало завершение Богом работы искупления, и поэтому впали в негативность и слабость. Люди начали сомневаться в личности Господа Иисуса, а некоторые даже вернулись в храм и стали соблюдать закон Ветхого Завета. Таким образом, людям по-прежнему грозила смерть по закону за их грехи, и работа, которую Господь Иисус совершил, чтобы искупить человечество, оказалась наполовину невыполненной. Господь Иисус тщательно исследовал самые сокровенные чувства людей и прекрасно понимал их нужды и недостатки. Поэтому после Своего воскресения Он явился и сначала говорил со Своими учениками, установил с ними реальный контакт и дал им возможность увидеть, что Он действительно вернулся из мертвых, выполнил Свою работу по искуплению человечества и начал новый период. После этого человечество оставило закон в прошлом и вошло в новый период – Период Благодати. Под руководством работы и слов Господа Иисуса люди начали практиковать в соответствии с Его учением, они несли крест, следовали за Господом и руководствовались Его учением: «Идите по всему миру и проповедуйте Евангелие всей твари» (От Марка 16:15). Таким образом, они начали проповедовать Евангелие Царства Небесного и свидетельствовали об имени Господа Иисуса, чтобы все люди могли принять это и достичь Его спасения. Сегодня Евангелие Господа Иисуса распространилось по всему миру, что полностью является результатом явления Иисуса людям после Его воскресения из мертвых. Из этого мы видим, насколько значимым было Его явление людям после воскресения!
2. Явление Господа Иисуса людям после Его воскресения позволило им утверждать, что Он был воплощением Самого Бога, укрепив тем самым их веру в Него
В Божьих словах говорится: «В то время как Господь Иисус совершал Свой труд во плоти, большинство Его последователей не могли полностью подтвердить Его личность и то, что Он говорил. Когда Он взошел на крест, отношение Его последователей переросло в выжидание. Все время, с момента Его распятия и до погребения, людьми владело разочарование. В это время они даже начали переходить от сомнений к отрицанию всего того, о чем говорил Господь Иисус, будучи во плоти. Когда же Он вышел из гробницы и начал являться людям, большинство людей, видевших Его собственными глазами или слышавших о Его воскресении, постепенно сменили свое отрицание на скептицизм. Они по-настоящему согласились с тем, что Господь Иисус является Христом во плоти, только лишь тогда, когда Он позволил Фоме “вложить руки в ребра” Его, когда Он после Своего воскресения преломил хлеб и ел его перед толпой, после чего ел перед ними печеную рыбу. Можно сказать, это было похоже на то, как если бы духовное тело из плоти и крови предстало перед людьми и пробудило их ото сна, ведь стоящий перед ними Сын Человеческий был Тем, Кто существовал с незапамятных времен. У Него было тело, Он имел плоть и кости, и Он уже долгое время жил среди людей и вкушал пищу с ними… В этот момент люди почувствовали, что Его существование реально и прекрасно. Они также были радостными и счастливыми, одновременно с этим их переполняли эмоции. Его повторное явление помогло людям по-настоящему увидеть Его смирение, ощутить Его близость, Его стремление и привязанность к человечеству. За время этого краткого воссоединения людям, видевшим Господа Иисуса, показалось, что перед ними прошла целая жизнь. Их растерянные, обескураженные, боязливые, встревоженные, тоскующие и оцепеневшие сердца обрели утешение. Они больше не были наполнены сомнениями и разочарованием, потому что теперь они обрели надежду и упование. Стоящий перед ними Сын Человеческий всегда будет рядом с ними. Он всегда будет для них крепостью и убежищем» («Божий труд, Божий характер и Сам Бог. Часть III»).
Божьи слова проясняют еще одно значение явления Господа Иисуса людям после Его воскресения. Господь Иисус воплотился среди людей и выполнял Свою работу в течение трех с половиной лет, и многие приняли Его спасение и последовали за Господом. Однако большинство людей не понимали по-настоящему, что Господь Иисус – это Христос и что Он – Сам Бог. Поэтому перед распятием Господа Иисуса они наблюдали за тем, как разворачивались события, начали сомневаться в душе и спрашивали себя: «Действительно ли Господь Иисус – Бог? Если Он – Христос и Сам Бог, то как же римские власти могли Его схватить, воины – избивать и осмеивать, а затем распять? Особенно когда Господа Иисуса распинали на кресте, они чувствовали полное разочарование в Нем, отрицали, что Он – воплощение Самого Бога, и отрицали сказанные Им слова, полагая, что Иисус умрет, как обычный человек, и не сможет выжить. Господь Иисус знал, что вера людей настолько мала, что они не знают Господа, и что еще больше людей станут слабыми и подавленными из-за того, что Он был распят. Поэтому после того как Господь Иисус воскрес из мертвых, Он пришел к Своим ученикам и говорил с ними, Он разъяснял Писания и общался с ними, Он ел с ними и позволил Фоме прикоснуться к Своим рукам и боку и так далее. На основании сказанных Господом Иисусом слов и совершенных Им действий после Его воскресения Его ученики утверждали, что Иисус действительно воскрес, и они знали, что Он – тот же Господь, Который до этого ел, пребывал и жил с ними, что Он – тот же Господь, Который проповедовал им, заботился о них и направлял их, Который любит их так же, как и прежде, что Он заботится о них и не оставил их и что Он – рядом с ними. Господь Иисус – воплощение Самого Бога, Непреходящего, вечной опоры человека, крепкой башни и убежища человека. Хотя Господь Иисус и был распят, Он – хранитель ключей от загробной жизни и имеет силу вернуться к жизни, ибо Он – Сам единый Бог… После этого люди больше не чувствовали себя потерянными или сбитыми с толку и больше не сомневались в Господе Иисусе, но, напротив, смогли верить в Иисуса и полагаться на Него всем сердцем. Это – полностью результат того, что Господь Иисус явился Своим ученикам и говорил с ними после Своего воскресения из мертвых.
…….
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Христианские фильмы на реальных событиях | В чем смысл жизни «Удачи и несчастья»
Image Source: Церковь Всемогущего Бога Сайт
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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
[for the full Inauguration story, visit my blog]
Emerging into the lower levels of Union Station's Metro stop, the only way to go was outside – all the direct accesses into the main part of the station were closed off. So I went outside and hooked left to head up to the main entrance. A large crowd was amassed here full of would-be train riders – some destined for Amtrak, some for MARC, some for VRE, and others trying to get to Metro. Police officers walked the banisters calling out information.
It was a bit aggravating as people tried to figure out where which groups were supposed to go. It ultimately ended up that Amtrak went one way and MARC / VRE went another way. Metro folks were out of luck: this station was exit-only and was closed to people trying to get on. It was a bit crazy at first just trying to figure out which mass of people I was supposed to be standing in... and we were all trying to figure that out together. Once we started getting into the right groups, one of the officers led the MARC group in a chant: "MARC! MARC! MARC!" to get other would-be riders to take heed.
There was one slip-up where a guy carrying large signs reading “MARC” with an upward-pointing arrow went walking away from the crowd… and like chasing after the Pied Piper, I and many other would-be MARC riders followed. It was when he kept walking away from the train station and stopped to chat with some police officers when I inquired whether we were supposed to be following the sign, or if he was just moving it about. It was the latter… I really didn’t quite expect that answer, but I was glad I asked.
This event was a blessing in disguise. Seconds later, they started letting some people into the station (the officers were metering entering traffic so it didn’t get too crowded). With me approaching at a different angle, a police car and porta-potty formed a pick and I had almost a clear shot into the now-moving crowd. In all I waited perhaps 10 minutes to get inside, and then another 10 minutes or so inside. It wasn’t bad – I generally felt like I was moving most of that time. With much of the day gone by, the crowd itself was still in good spirits, and almost every person thanked & praised the police staff & volunteers.
Rightly so. Considering the pressure of maintaining security, controlling crowds, and offering directions – all at the same time – I’d say that they really did do a stellar job (except for that hiccup when I first arrived that morning). The force could’ve used some more officers and volunteers to provide & reiterate information, as it was often difficult to hear instructions over the wail of the crowd. Additionally, I found that the volunteers tended to be a bit lacking in information… I suspect they were trained moreso in maintaining their specific locations and duties than offering directions, and I’m sure many came from areas far beyond DC.
It would have also been immensely useful had there been better maps available. WMATA, which runs the Metro services, has an excellent base map, but all they did with it was plot a couple concentric circles to show how far things were – 1 mile, 2 miles, 3 miles. All the other maps coming from the Inauguration Committee or the District were absolutely useless, often so cluttered with information in a jack-of-all-trades map that they became inundated with too much information. Some of the news stations prepared their own maps, but the informal Google Maps mashups just didn’t cut it for the level of detail that was needed. I hope that next time the District and committees make use of WMATA’s map as a base and then tailor-make several maps geared toward specific audiences.
The lines moved more quickly thanks to the fact that the officers & volunteers were just putting people on trains... any trains... You got separated out by Amtrak, VRE, MARC Penn Line, and then MARC Brunswick / Camden Lines. After that, you just boarded whatever train was waiting... didn't matter what train your ticket was for, so long as you were going in the right direction.
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...