HTML, photos on Flickr

1967. Erdély/Transylvania trip by Nori (Nóra Mészöly)

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Brassó/Brasov/Kronstadt. My maternal grandfather's hometown.

A tired Romanian peasant sleeping by the wall of Council Hall.

digital-escape.blogspot.hu/2009/06/brasov-kronstadtbrasso...

www.szekelyfoldiinfo.ro/Menu/Brasso.html

It was our first long, beautiful and touching journey to my family's second home to Erdély/Transylvania (previously Hungary, it has belonged to Romania since the end of WW1) - and a happy family reunion with my Transylvanian Sekler/Hungarian paternal Grandmother's niece, nephew and Dad's cousins in Székely Land/Székelyföld (a part of Transylvania).

(Dad's mother died 1947, just when his son, my father was allowed to come home from the Soviet lager where he had been a POV for five years.)

My maternal grandfather (1888-1948) was born and grown up as well in Erdély/Transylvania, his hometown was Brassó/Brasov/Kronstadt, so we visited his favourite places too. His mother was born in a well-posessed Saxon family in Brassó, his father was a Hungarian nobleman who was born in Upper Hungary (now it belongs to Slovakia.).

About Erdély/Transylvania (including Székely Land with majority of Hungarian population)::

Transylvania, is a geographical region of Romania near the Hungarian border. It covers about 39,000 square miles (101,000 square kilometers). The majority of its people are Romanians, but about a quarter of the population are Magyars (Hungarians). Magyars make up the largest ethnic group in Hungary. Transylvania also has a sizeable Gypsy minority. The Carpathian Mountains and Transylvanian Alps separate the region from the rest of Romania. For years, Romanians and Hungarians quarreled over Transylvania. Magyars conquered the region in the 900’s. From 1526 to 1699, Transylvania was part of the Ottoman (Turkish) Empire. It was under Hungarian control from 1699 to 1867, when it once again became part of Hungary. During World War I (1914-1918), Romania joined the Allies after being promised Transylvania. After the war, Transylvania became part of Romania. In August 1940, Germany and Italy forced Romania to give northern Transylvania to Hungary. After World War II (1939-1945), Transylvania was returned to Romania and lost its political identity. Transylvania is the main site of the legend about the vampire Dracula. The character of Dracula is based on Vlad Tepes, a cruel prince of the 1400’s who lived in Walachia, a region south of Transylvania. Vlad executed many of his enemies by driving a stake through their bodies. A belief vampires once held by many Romanian peasants added details to the legend. Dracula (1897), a novel by the English author Bram Stoker, made the legend famous. This immensely popular book has inspired numerous plays and motion pictures.

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This trip was not an everyday occurence because we have never met with this part of our family before. The reasons were due to sad and serious historical events:

After WW1 the Treaty of Trianon defined new borders of Hungary due to its role in Great War: we fighted on the side of Central Powers.

Compared to the pre-war Kingdom of Hungary, post-war Hungary had 72% less territory. Its population was 7.6 million, which was 64% less than the population of the pre-war kingdom, whose population was 20.9 million.

31% (3.3 out of 10.7 million) of ethnic Hungarians who lived in the pre-war kingdom lived outside the newly defined borders of post-war Hungary, just like a part of my paternal and maternal family as well as some people of my husband's family (not only in Romania but also in present Slovakia and Ukraine).

After WW2, due to the communist era and especially Ceausescu's politics my father couldn't visit his mother's relatives in Erdély/Transylvania, who lived in Székelyföld (Székely Land or Szekler Land). So we were all happy to meet each other after so many decades!

And another happy ending: both countries has been members of Europe Union since 2004 (Hungary) and 2007 (Romania).

en.wikipedia.org/wiki/Sz%C3%A9kely

en.wikipedia.org/wiki/Sz%C3%A9kelyf%C3%B6ld

en.wikipedia.org/wiki/Treaty_of_Trianon

1. Ogni parola di Dio è un’espressione della Sua indole by Marna Turino

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Fonte dell'immagine: Il Lampo da Levante

Condizioni d'Uso: Avviso legale e condizioni per l’uso

1. Ogni parola di Dio è un’espressione della Sua indole

Hu Ke Città di Dezhou, Provincia dello Shandong

Ogniqualvolta vedevo queste parole pronunciate da Dio mi sentivo ansiosa: “In ogni frase che ho pronunciato è contenuta l’indole di Dio. Fareste bene a ponderare attentamente le Mie parole, e ne trarrete di certo grande profitto” (“È molto importante comprendere l’indole di Dio” in “La Parola appare nella carne”). Mi sentivo ansiosa perché capire l’indole di Dio è fondamentale per l’uomo, sia per la sua comprensione di Dio, sia nel suo cercare di amarLo e soddisfarLo. Ma quando mangiavo e bevevo delle parole di Dio, avevo sempre la sensazione che la Sua indole fosse troppo astratta e io non sapessi come comprenderla. Successivamente, attraverso la condivisione da parte del mio leader, ho appreso che avrei dovuto capire ciò che piace a Dio e ciò che Egli odia dalle Sue parole, e in tal modo arrivare a comprendere la Sua indole. Di conseguenza, ho provato a metterlo in pratica per qualche tempo e ho visto dei risultati. Tuttavia ero ancora perplessa riguardo alle parole di Dio, “In ogni frase che ho pronunciato è contenuta l’indole di Dio” e non avevo idea di come intenderle esattamente.

Un giorno ho letto queste parole in un sermone: “L’indole di Dio contiene molti aspetti. Essa contiene ciò che Dio ha ed è, le Sue riflessioni, le Sue idee, il Suo pensiero e la Sua saggezza. Essa contiene l’atteggiamento di Dio verso ogni genere di persona, come il Suo sentimento di misericordia e di premura, e ancor più la Sua ira verso la ribellione e la resistenza del genere umano. Poiché ognuna delle frasi di Dio contiene il Suo pensiero, la Sua saggezza e le Sue idee, poiché tutte contengono il contesto e la fonte delle Sue parole, poiché esse esprimono tutte naturalmente l’atteggiamento di Dio verso l’umanità, e non c’è una sola frase che sia priva di fondamento, per questo è un fatto molto naturale che ogni frase contenga l’indole di Dio. Ogni parola che gli esseri umani dicono esprime la loro indole della vita, dunque ogni parola di Dio non conterrà a maggior ragione la Sua indole? Ciò è facile da comprendere, ma come scoprirlo e conoscerlo non è così semplice come si possa immaginare. Se, quando si leggono le parole di Dio, non si cerca di ponderarle a sufficienza, non ci si sforza abbastanza o non si ha esperienza sufficiente, allora l’indole di Dio non sarà facile da percepire, e ancor meno da capire. Ciò che è necessario, quindi, è che l’uomo si plachi davanti a Dio, che metta interamente il suo cuore nelle Sue parole e che la lettura e il tentativo di ponderarle avvengano durante la preghiera

; allora tu giungerai lentamente a scoprire l’ordine di idee che sta dietro le parole di Dio. Questo è l’inizio dell’ingresso” (La condivisione del Fratello). Quando ho letto questa condivisione tutto mi è diventato chiaro. Mi sono resa conto che l’indole di Dio contiene molte cose: contiene ciò che Egli ha ed è, le Sue riflessioni e le Sue idee, il Suo pensiero e la Sua saggezza, così come il Suo atteggiamento verso ogni genere di persona, e così via. Inoltre, ciascuna delle frasi di Dio contiene il contesto e la fonte di ogni Sua parola, e non c’è una sola frase che sia priva di fondamento, e ogni singola cosa che Dio fa e ogni frase che Egli pronuncia sono una naturale espressione di tutto ciò che Egli è nella vita. La mia comprensione dell’indole di Dio, d’altro canto, era limitata solo a ciò che Egli ama e a ciò che Egli odia. Questo tipo di comprensione era troppo unilaterale e dunque non era in grado di raggiungere una conoscenza dell’indole di Dio partendo da ogni Sua singola frase. Oltre a questo ho capito anche che, se volevo comprendere l’indole di Dio da ogni Sua frase, dovevo placarmi dinanzi a Lui e compiere uno sforzo molto più grande per cercare di capire a fondo le Sue parole. Inoltre, avevo bisogno di pregare e di cercare la guida dinanzi a Dio, focalizzandomi sulla comprensione dello stato d’animo dietro alle parole che Egli aveva pronunciato, così come sul contesto e sulla fonte dietro alle Sue azioni.

Ringrazio Dio per l’illuminazione e la rivelazione che mi hanno permesso di rendermi conto di queste cose e, quindi, in seguito, ho iniziato a focalizzarmi sulla pratica e l’ingresso in questo aspetto. Un giorno ho letto un brano delle parole di Dio: “Se quest’opera sia importante o meno, dipende dai bisogni del genere umano, dalla realtà della sua depravazione, dalla gravità della disobbedienza di Satana e dal suo disturbo dell’opera. Il giusto, cioè colui che è all’altezza del compito, è stabilito in base alla natura della propria opera e all’importanza di quest’opera. Quando si tratta dell’importanza di quest’opera, in termini di quale metodo di lavoro adottare − opera compiuta direttamente dallo Spirito di Dio, opera compiuta dal Dio incarnato

, o opera compiuta attraverso l’uomo − la prima ad essere eliminata è l’opera compiuta attraverso l’uomo e, in base alla natura dell’opera e alla natura dell’opera dello Spirito rispetto a quella della carne, è infine stato stabilito che l’opera compiuta dalla carne è più benefica all’uomo dell’opera compiuta direttamente dallo Spirito, e offre più vantaggi. Questo è il pensiero di Dio, al momento di decidere se l’opera debba essere compiuta dallo Spirito o dalla carne” (“L’umanità corrotta ha maggiormente bisogno della salvezza del Dio incarnato” in “La Parola appare nella carne”). Quando ho cercato con attenzione di comprendere questo brano, ho sentito di aver scoperto un grande dono. Le parole di Dio mostrano lo sviluppo del Suo pensiero in quel momento, mentre rifletteva su quale metodo utilizzare per l’opera degli ultimi giorni. Durante il corso del Suo pensiero, la prima cosa che Dio ha considerato è stata quale metodo usare che fosse di maggiore beneficio per l’uomo in quest’opera, quale fosse il modo migliore per raggiungere l’esito della salvezza dell’uomo e cosa fare per portare Satana ad accettare la sconfitta, vincendolo in tal modo e portando alla salvezza completa le persone che sono state così profondamente danneggiate. Durante l’intero processo di pensiero, Dio ha costantemente tenuto in considerazione l’uomo e mai i Propri interessi o la Propria incolumità. Dio sapeva chiaramente che la Sua incarnazione avrebbe patito molta sofferenza, ma ciò non è stato preso in esame quando si è trattato di salvare l’umanità. Invece, Egli ha scelto comunque il metodo del Dio che Si fa carne per compiere l’opera degli ultimi giorni, basandosi sulle necessità dell’umanità e sulla realtà della depravazione del genere umano. Egli corre un grande pericolo addentrandosi nella tana della tigre; Egli subisce la persecuzione selvaggia e la caccia del gran dragone rosso, sopporta gli abusi e la blasfemia delle varie religioni e confessioni e tollera la resistenza, la ribellione e l’incomprensione di quelli di noi che le seguono. Le ferite e gli attacchi inflitti al cuore di Dio e l’umiliazione che Egli sopporta sono veramente cose che nessuno può comprendere. Tutto ciò che Dio esprime e rivela è tutto quello che Egli è nella vita: la Sua dedizione disinteressata all’umanità e il Suo pagare il prezzo per essa. La grandezza di Dio e il Suo altruismo sono rivelati naturalmente nella Sua opera e in ogni Sua frase, e queste esprimono anche la grande misericordia e l’amore disinteressato di Dio. Il Suo amore per l’umanità non è solo parole vuote, ma un prezzo concreto che Egli paga. In quel momento, ho avuto una vivida percezione che Dio è davvero così grande e così amabile! Quindi, sebbene avessi letto queste parole di Dio in precedenza, non avevo mai capito il contesto dietro le parole che Cristo

aveva pronunciato o tutto ciò che esse rivelavano, né l’amore di Cristo per l’umanità. Solo in quel momento ho avuto un’autentica comprensione di queste parole di Dio: “In ogni frase che ho pronunciato è contenuta l’indole di Dio”.

Prima, poiché non avevo mai quietato il mio cuore o provato seriamente a capire le parole di Dio, avevo perso tante buone opportunità di comprenderLo, al punto che persino oggi ho ancora tante nozioni e fraintendimenti verso di Lui e sono ancora estraniata da Lui. Solo ora comprendo che, se desidero capire l’indole di Dio, devo provare seriamente a capire e a cercare la verità all’interno di ogni Sua frase. In questo modo trarrò certamente un grande beneficio. Da oggi in poi desidero concentrarmi sul porre più impegno nelle Sue parole, e cercare di diventare presto una persona che ha una certa comprensione di Dio.

Fonte: Il Lampo da Levante

Loading a supply column at railhead [Aire, France]. Photographer: H. D. Girdwood. by British Library

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Reference: Photo 24/(102)

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

Date: 25 Jul 1915

- Browse this collection on Europeana

- and on Wikimedia Commons

This

Please consider donating to the British Library.

Shibu Onsen, Yamanouchi, Nagano Prefecture by David McKelvey

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

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

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

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

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

Fish Tale by Samuel Barr Photography

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Thank you all for the kind comments, you guys are too kind! Since I had so many shots from the car show I'm building a slideshow and it should be ready for viewing tomorrow. I also created several really cool art pieces and have enough for a series. So, here's the second installment of my "car art" that I hope you enjoy. Have a great Saturday!

Goddess gallery opening 2010 by Chelsea Rose

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Goddess In All of Us- art opening

Blogged here: lucidrose.blogspot.com/2010/12/goddess-art-opening-photos...

event photography by www.flickr.com/lucidopticlab

Artist introduction and statement:

"This body art and photography expedition was a concept I carried around within myself for many years before I fully manifested it. I have always held a personal fascination with body art. As a young girl I would study photos taken in the early 1900s of tribes all over the world who adorned their bodies in such a wide verity of ways and means. I marveled at the designs and burned with inspiration. These people did not fear their bodies! These people were not compelled to cast fabric prisons around each form and contour of their anatomy but instead stood proud in their nakedness, honoring their bodies by adorning them as if they were the most precious of gifts. I began to do the same with my own body and the bodies of friends taking markers to my flesh, writing out a secret alphabet so sure that each spiraling offshoot birthing from the tip of my pen spoke, “Know thy self, Love thy self.”

Throughout my adolescence I increasingly saw young people, especially young girls, proudly wearing their testaments of sorrow and self hatred as the raw and bloody etching of self mutilation on their dear arms and legs. It struck me as a warning sign: there is great healing needed in this society. The self loathing I saw around me seemed to grow more and more oppressive with every year and I yearned for a way to reverse the self-deprecating process that seemed to be poisoning en mass.

Years down the line I found myself offering free body painting in my art booth on Alberta street in Portland, Oregon during the monthly art walk nights that were filled with the thrill of freedom of expression, community and handmade curiosities. At surface value I was telling myself that I was offering body painting as a way to draw people into my booth so that they might look at my acrylic paintings and art prints but soon I was held captivated by the way my brush would dance across faces, arms and chests again in that secrete alphabet I had discovered as a young girl.

I came to the realization that I had to do a body art/photography series, specifically focusing on exploring the pure truth of how sacred and powerful the female body and soul is. I yearned to light up a prayer with my work that spoke above and beyond all the centuries of demonizing propaganda aimed at the female form and conscience.

Thus, I began the project one cold December morning in 2009 and finished my project on July 2010. I painted a total of 12 women with either black or white water-based body paint. Each body painting and photo shoot was done inside the local art gallery T.Ruth Artspace on the corner of NW 24th and Thurman street in the North Nobhill district of Portland, Oregon. The body paintings took around 6 hours to complete each and the gallery was left open while we worked inside. The photo shoots were done downstairs on the main floor of the gallery in front of two large windows at street level, allowing the community to watch and interact with us as if we were a live art instillation. It was a thrilling thing to share with the public.

My intent with this women’s study body art expedition is to chant again and again that we are beautiful in our personal paths and dreams. Our flesh is a miracle fabric that contains and acts as conduit for the cosmic mystery that goes far beyond this physical plane of existence and so we must honor our vessels as being sacred and gorgeous, whether round, skinny, wrinkled, flat, bent, brown, pink, smooth, or scarred.

-Chelsea Rose Rippel"

3D, Steve Martin Home, CSULB, Knott's & Disneyland, with Banjo, 2008.05.17 by Reverend Doctor Wizard ďIsney

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My small world..

In 1973, this house had fewer trees. It was sparsely furnished. The bedroom in the rear had only a mattress in a sheet on the floor and a banjo in a case propped up into the corner, which I was not allowed to touch. Mrs. Martin was hired by my mother to provide after school supervision to my sister and myself. I had met her husband Steve much earlier in my life, he played the banjo on the platform of the "Doc Skiner's world famous Medicine Show" wagon in front of the Bird Cage Theatre at Knott's Berry Farm. I also remember cheering him when he played the hero of the melodrama's inside the theater, such as when he played the hero, cast as the Captain in "Riverboat Revenge" and boo and hissing (and my inclusion of the Bronx Cheer) when he played the Villain in such shows as "The Wreck of the Bluebelle Express or Don't Switch the Engine, It Has a Tender Behind!" and everyone's favorite, the unforgettable "The Drunkard"

Did you know Steve Martin never worked in the Main Street Magic shop at Disneyland?

The worst offender of perpetuating this myth is the show in the Opera House where once was seen Great Moments with Mr. Lincoln. The current show features Donald Duck and stars Steve Martin "Disneyland: The First 50 Magical Years" It features Steve in front of a Green Screen which later inserted this shop.

Later, although some would erroneously claim the Magic Shop was on Main Street, USA, I was in the magic shop franchised to a different company Merlin's, the one that was in the East wing of Sleeping Beauty Castle. The shop is largely the same today, heavy wooden beams in the ceiling that still bare the supporting eyelets of rubber spider string of a long time passed, and the name has changed from Merlin's Magic Shop to Villains, to being the latest location of the Heraldry Shop. But when it was Merlin's, and within the exterior wall, at the bottom of the stair, there was a smooth 'disney rock' perhaps made of plaster and coated to look like granite, from which protruded the hilt of a full guard Spanish sword, which one could shake but not remove from the stone. When I asked the demonstration host behind the counter if he had a button or a lever that he could push to release the sword, he said 'come over here' 'further... more... right there!' 'Now, what was the question?' So I again asked "is there a string or something you release to free the sword?" then Steve Martin turned and let go a string run through eye hooks and dropped a big black rubber spider on my shoulder. I was unimpressed and angered that my question wasn't answered.

Now mind you it put me in a negative frame of mind such that I was unable to enjoy the fact that this young man, Steve Martin, would become the Jerk or keystone "Bringing Down the House."

Similarly, and not far away, once I asked if I could have a WHOLE TRAIN to myself, of the loader CM on "Matterhorn Bobsleds." Well, he said if I could wait for a few moments, that although normally that couldn't be arranged, he may be able to satisfy the request this time. I waited by the corner until called and they boarded me into the nose of a bobsled train, all alone. Well here I am, totally digging my own private ride as my restraint is checked, and I stop just at the tunnel entrance of the Fantasyland side of Matterhorn Bobsleds. And the car across from me entered the tunnel, but MY train didn't. Well, I'll just wait for the next cycle, again dispatch failed, and just after the third time a car is dispatched into the tunnel from the Tomorrowland side, I'm looking around in anger of suppressed anticipation, THREE MORE PEOPLE get in MY PRIVATE TRAIN! Well now I'm just boiling. "I don't think you're supposed to get on here! You're supposed to get on at the station." I protested. Two guys in black help the girl into the bobsled, first a guy gets in back and helps the girl in, while the other assists from the ground. THEY DIDN'T EVEN PUT ON THEIR SEATBELTS! They all just got in and sat down and ruined my private ride! Well, I was incensed fuming, needless to say! Then we were released and the chain dog ratcheted, percussively signaling the beginning of our assent. Then, just before the top, it stops. What the hell?! Oh, great, now the ride is broken, and I'm going to have to walk down this steep slope. (nowadays I think "Great, I brought my video camera!") There was a glimmer of consolation prize in that, for an evacuation from that point is pretty special, you have to admit. But that spark of fun was outshone by the stupid failure and halting, and halted anticipation, for we were a few yards away from the crest, the point of no return. So as I am wallowing in my self-pity, absorbed in my hatred, the extra passengers GET OUT!

"Um, you're not supposed to get off here!" "It's O.K., we have permission." and proceeded to do just that. They cleared the track, and for the remainder of my journey down the mount, I was seething how MY ride was ruined.

...when I should have been ecstatic to have been chosen to accompany Tiny Klien, Miss Tinkerbell herself, along her journey to peril - the slide for life to the farthest tree of Fantasyland, down a thin wire, almost two hundred feet above the ground, in a display for thousands of geeks a gawkin'.

Well, the same goes for my experience with Steve hosting Merlin's Magic; that, instead of being happy that I had a personal audience with a future living legend, a Jack of Mirth, I was bound up in my self absorbed anger about how things didn't go just the way I wanted. It's a mindset issue.

"I knew every nook and cranny of the shop," Steve recalls.

Nearby Monsanto offered to manipulate your molecules and thereby enlarge your world, effectively shrinking you, with a trip through the Mighty Microscope in "Monsanto's Voyage through Inner-Space" encouraging us to enjoy and experience "Miracles from Molecules" with a song. And nearby an entire world of small, and titled properly in lower-case even, "it's a small world"

And the stock room is under the hookah smoking caterpillar of the Alice in Wonderland attraction. "Who 'R' you?" which leads me to believe

that repetition of introspective quest, along with nearby attractions may have influenced "Let's get small!" There's blue 'shroom juice here on the table and I have some red mushroom caps that will help you get small. Take the blue pill and wake up like nothing ever happened, go on with your life, or take the red pill and climb aboard the Nebuchadnezzar, my Jefferson Hovership, to find out how deep the rabbit hole goes.

Thanks Barry Wallis for the additional info, and hookah smokin' Steve for, well, for being Steve.

"I knew every nook and cranny of the shop," Steve recalls.

And the stock room is under the hookah smoking caterpillar of the Alice in Wonderland attraction,

"Who 'R' you?" which leads me to believe

that repetition influenced "Let's get small!" in some way.

Jump into your AtomMobile through the Mighty Microscope intended to convince the viewer they had been miniaturized in Monsanto's Voyage through Inner Space.

Or circle the globe with your red crayon, and see how 'small' is the 'world.'

Thanks Barry Wallis for the additional info Disney Legend Biography

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

dsc04891

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

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

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

www.emergencyrooms.org/biennalist.html .

He also converge with his work on emergencies : www.emergencyrooms.org

The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )

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lists of artists participating at the Venice Biennale :

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

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other pavilions at Venice Biennale

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

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

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

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

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

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

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

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

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

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

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

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

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

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

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

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

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

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

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

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

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

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

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

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

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

Artists: Mohamed Banawy, Khaled Zaki

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

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

FranceArtist: Anri Sala ,Curator: Christine Macel

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

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

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

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

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

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

Curators: Carla Bianpoen, Rifky Effendy

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

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

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

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

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

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

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

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

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

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

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

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

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

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

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

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

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

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

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

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

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

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

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

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

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

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

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

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

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

Curator: Giovanni CarmineVenue: Pavilion at Giardini

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

Commissioner: Christian Maretti Curator: Duccio Trombadori

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

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

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

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

Curators: Soloviov Oleksandr, Burlaka Victoria

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

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

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

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

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Encyclopedic Palace is curated by Massimiliano Gioni

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

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

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

Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2) Coolness banner by Thierry Geoffroy / Colonel : Artist

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