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The Altis imparts a feel of luxury to its buyers – this is something that really matters in the D segment cars in India which are priced between Rs 11 to Rs 16 lakhs. The 2014 Toyota Corolla Altis is expected to launch in mid 2014 on Indian soil, and will continue with diesel and petrol mill options. is expected to possess an impeccable style statement, and known to appear more stylish than the earlier model.
"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.
dl.dropbox.com/u/1294462/senoritaredsocial.html
Paloma Baytelman: La señorita Red Social
Fue una de las primeras blogueras nacionales. Es una de las diez tuiteras más influyentes. Se autodenominó una red social. Es una celebridad nacida, criada y existente sólo en el mundo 2.0. ¿Quién es Paloma Baytelman, y cómo hizo todo esto?
Por Isabel Plant, fotos Sergio López
Lo de Soledad Onetto se entiende. Primero, porque es rubia, muy rubia, en este país de pasiones blondas. Y segundo, es -era- de la tele y del Festival de Viña; una de las personas más reconocibles de Chile. Por eso se entiende que entre los tuiteros con más seguidores en Chile esté ella siempre bien puntera, y que en el ránking de influyentes publicado hace unos meses por El Mercurio, hecho por PeerIndex, la ex conductora de Teletrece sea la primera.
Bajo Onetto había una decena de hombres. Pero, en la posición diez, venía una mujer que para los habitantes del mundo digital es nombre conocido, pero para los análogos es desconocida: @paloma. En el ránking no era sólo la única mujer en el top 10 junto a Onetto. Estaba un lugar más arriba que Consuelo Saavedra.
Paloma no sale en la televisión abierta, ni escribe en un medio masivo, ni nada por el estilo. Es una famosa de Twitter y de blogs, hecha y derecha. Quizás la más, en esta larga y angosta faja de tierra y la nube digital que la envuelve.
¿Quién es Paloma? ¿Y cómo llegó a ser una celebridad digital?
PALOMA. A SECAS.
No es que Paloma sea sólo Paloma, como Cher o Madonna. Paloma es Paloma Baytelman, 34 años, periodista, divorciada. Hoy trabaja en Corfo, haciéndose cargo del área web y medios digitales. Antes, trabajó editando un sitio web médico y, entre medio, en el área de innovación de la Biblioteca del Congreso.
Antes de eso estudió Derecho, pero no le gustó. Y antes de eso fue a dos colegios, y antes de eso nació en una familia de padres arquitectos: Gaad Baytelman, quien hoy se dedica a efectos especiales y de cámara para cine y televisión, y Myriam Pilowsky, quien se ha desempeñado en su carrera y en la administración pública. Paloma es la mayor de cinco hermanos. Y, cuenta mientras revuelve una ensalada sentada en un café del barrio Lastarria, a unas cuadras de donde vive, no era la más tecnológica de la casa.
-Mi hermano Felipe es como genio de temas de computación, tiene una empresa llamada Baytex. Siempre hubo computador en mi casa, pero yo era como inepta en el tema. Como mi hermano estaba en el computador todo el día, yo era buena para trasnochar y hacía las tareas de la universidad de noche. Tenía que ir donde Felipe y decirle, “Despierta, ¿cómo se pone negrita?” -dice riendo.
Lo de la tecnología partió en realidad como un amor por internet, cuando entró a estudiar periodismo en la Universidad Diego Portales en 1996, cuando el periodismo se olvidaba finalmente de la máquina de escribir para comenzar una relación estable con lo digital. Nacían los primeros mails, Paloma se hizo uno altiro (hotmail, obvio), y pasaba horas navegando. Empezó a escribir: siempre le había gustado contar historias, y con esto del mail comenzó a mandarles entregas de lo que le pasaba en el día a sus amigos.
Eso hizo por años. Hasta que pasado el nuevo milenio, su hermano cursaba una beca en Tokio y le mandó el link de un sitio web propio. Fue así como Paloma conoció lo que era un blog. Y abrió “Con los ojos en la calle”, convirtiéndose en una de las primeras blogueras nacionales. Hablaba de su barrio, de la micro, de las actividades culturales a las que iba.
En ese entonces trabajaba en el sitio web médico, haciendo entrevistas y reportajes y aprendiendo del mundo virtual, así que el blog le servía para “soltar la mano”, dice. Se propuso escribir una vez a la semana, lo que cumplió por los siguientes cinco años. Y, más importante aún, cambió el dominio de su blog a Paloma.cl. Comenzó el camino a convertirse en marca registrada.
-Muy tempranamente me contacté con Roberto Arancibia, que es como el padre de los blogueros chilenos. Él me transmitió algo que usaba a destajo, lo que a alguna gente le cae súper mal: para ser un verdadero bloguero es súper importante formar redes y para eso hay que contar lo que uno hace y no tener miedo a la autopromoción.
LA RED SOCIAL
Paloma fue adquiriendo notoriedad en el mundo web. Era porque estaba en todas, y había llegado primero. Estudió cada tecnología 2.0 que salía: aparecían los podcast y probaba grabar uno. Aparecía Flickr y compartía fotos con gente de todo el mundo. Aprendió de Wikipedia. De Facebook. Conoció los streaming en su primera versión. Comenzó a hacer pequeños videos que subía a su blog y los llamó “Paloma TV”, su propio canal web.
Los videos de Paloma TV son variados en temática y profesionalismo: ella en su peluquería de barrio, ella con amigos comiendo en la Fuente Alemana, ella yendo a votar a las elecciones presidenciales, ella preguntándole a su papá por qué le puso Paloma. O, a medida que ha agarrado nombre y expertise, ella entrevistando al creador de Wikipedia, Jimmy Wales, o otros gurús del mundo web como Clay Shirky o Howard Rheingold. A todos les da la bienvenida: “Welcome to my show”.
Y, por supuesto, en abril de 2007, se metió a Twitter, red social que no explotaba aún en popularidad, consiguiendo el nombre @paloma. En la pequeña biografía que acompaña su cuenta puso algo así como que era periodista, que le encantaba mirar las cosas que pasaban en la calle. Y puso: “Soy una red social”. Esa autoproclamación no cayó bien en el mundo 2.0, un terreno que también es fértil para el bullying virtual.
- Como no todos comparten mi sentido del humor, alguna gente era agresiva. Dije bueno ya, lo voy a sacar. Después de un tiempo caché que era como una marca registrada, y lo puse de nuevo. Después mi cuenta creció exponencialmente, y ahí vino mucha gente muy pesada. Al final ¿sabes qué?, para evitarme contar el cuento y decir que es broma, lo saqué.
Su cuenta de Twitter creció rápidamente porque el sitio web de tecnología Alt1040 hizo una lista de los 100 twitteros para seguir en español, y la puso en el número 10 de la nómina. Se llenó de seguidores. Tiene 58 mil 600 aproximadamente.
Hoy Paloma ha hecho consultorías y charlas sobre el mundo digital y redes sociales, va a los eventos web que se hagan en Chile y en el extranjero, y cuenta que apenas aparece un nuevo programa, sitio web, lo que sea, inmediatamente se pone en contacto con los creadores. Su blog, y su twitter, fueron mutando entonces de comentarios cotidianos a información sobre tecnología.
Paloma dice que es un poco “pulga en la oreja”; va y le escribe a los de Twitter que algo en el sitio no funciona, o que puede funcionar mejor de otra manera. Va a eventos web y arrasa con todos a su paso hasta llegar al invitado top.
Y aunque a muchos les choque que salga corriendo tras la gente que admira, y que se considere un medio de comunicación tan relevante como cualquier otro, es así como Paloma Baytelman logra lo que quiere: ha estado en Google, se ha reunido en MIT con los profesores del Media Lab, ha gestionado todo. Paloma es la personificación de lo que los gringos llaman “Networking”: si le interesa conocer a alguien, va y lo hace, y después guarda el contacto, y se presenta y después va y le presenta ese contacto a otra persona.
-Más que Red Social, si lo dices concretamente, soy como un nodo dentro de una red. Conozco y conecto y me encanta conectar a gente que sé puede hacer cosas bacanes juntas.
INFLUYENTEMENTE HABLANDO
-¿No te da vértigo twittear cuando tienes tantos seguidores?
-Tengo como pesadillas de que twitteo algo muy personal -dice riéndose- o la típica pesadilla del twittero de que mandaste algo subido de tono o un mensaje personal a un amigo, y que te equivocaste de botón y se lo mandaste a todo el mundo.
Aunque aparece en listados y ránkings, aunque le pasen cosas como que el gobierno de Estados Unidos la seleccione junto a otros treinta periodistas del mundo para ir a Washington a conversar de Nuevos Medios a la Casa Blanca, Paloma dice que no es influyente.
-No creo en las listas. Creo que hay gente con menos seguidores que logra más movimiento de comunidad, mis lectores son más pasivos. Influyente para mí es alguien que sabe mucho de contingencia política y logra mover votos, o una eminencia en temas de salud o sabe mucho de literatura. Yo comunico mi día a día, cosas súper cotidianas, a lo más un par de personas van a un restaurante que recomendé o me contestan cosas como cómo picar zapallo o si hay mucho taco.
Lo que sí es Paloma, es ser una estudiosa del mundo 2.0. Eso hace que sepa usar Twitter como herramienta, como plataforma de lanzamiento de sí misma, en vez de como la usan la mayoría de los mortales: para pasar el rato. Paloma sabía antes de meterse a Twitter que no bastaba con poner “estoy lavándome los dientes”, sino que darle valor agregado.
Pero su enorme cantidad de seguidores y su presencia web no deja de sorprender, porque Paloma no comparte nada del otro mundo; cuando no twittea links sobre el mundo 2.0, comenta cosas como tantos otros:
Twittea: “Sí, me encanta los postres” (con una foto de un postre que estaba comiendo).
Twittea: “Cuando cumplí 7años mi papá me regaló un estetoscopio y mis abuelos me regalaron un piano…no soy músico ni médico #reflexionestrasnochadas”.
Twittea: “Esta mañana pensé que @cuevana había muerto y que tendría que hacer una vida normal, como el resto de los mortales… pero REVIVIÓ!”.
Es una estrella web curiosa: no es de genialidades, ni ironías brillantes, sino que lo suyo es un manejo calculado de todas las bondades que ofrece internet. Paloma es Paloma porque llegó de las primeras a todo. Está en todas partes, en todas las plataformas, y las sabe usar bien.
-Si la segunda mitad del siglo XX se hablaba de que Estados Unidos era la tierra de las oportunidades, creo en realidad que ésta es la tierra de las oportunidades. Cualquier persona que tiene acceso a conectarse un rato a internet, puede comentar lo que está pasando, lo que le interesa, puede exigir como consumidor, ciudadano. Y puede proponer. Los que proponen, que se paran acá en un espíritu alegre y participativo, para los que tienen ganas de realmente generar cosas, es la tierra de las oportunidades.
Paloma aprovecha hoy la suya.
Por Isabel Plant, fotos Sergio López.
Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum
www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Reference: Photo 24/(208)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 1 Aug 1915
See also:
- View this at the British Library's site
嘜可奈因 麥可奈因 www.smmgl.com/mm5/2751.html
五步倒透皮迷藥 www.smmgl.com/mm5/2745.html
動情素催情水 www.smmgl.com/mm5/2752.html
精品迷藥噴霧(暈倒型) www.smmgl.com/mm5/321.html
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
Olena Chekan during the interview with lieutenant-general Wolf-Dieter Löser
XI International Week of NATO
www.nato.int/nidc/news/2011/u100211a.html
From the 7th to the 11th of February 2011, the NATO National International Week took place at the Ukrainian National Defense University. The event, which was already in the eleventh, discussed such topics as NATO's new Strategic Concept, NATO in the framework of international organizations, NATO's ongoing operations, international security challenges, NATO's transformation, and the Alliance's relations with Ukraine and Russia.
The organizers of the event were the delegation from the NATO Defense College, as well as representatives of the NATO Headquarters, the heads of the NATO Information and Documentation Center and the NATO Liaison Office and Ukrainian experts.
NATO Information Center, for its part, provided interviews with the Chief of the Defense College of NATO, Lieutenant General Wolf-Dieter Löser and the newly-appointed dean of this educational institution, Dr. Richard D. Hooker, Jr.
Wolf-Dieter Löser, Chief of the NATO Defense College, gives interview to Olena Chekan, journalist of the Ukrainian Week.
Dean of the NATO Defense College Institute for National Strategic Studies Dr. Richard D. Hooker, Jr., during an interview with the "Security Factor".
NATO: Declaration of openness
February 24, 2011
Author: © Olena Chekan
en.wikipedia.org/wiki/Olena_Chekan
Photo: © Andrey Lomakin
Translated: © Anna Korbut
www.facebook.com/anna.korbut.94
Lieutenant-General Wolf-Dieter Löser, Commandant of the Rome-based NATO Defense College, talks about the new strategic concept of the Alliance, the Afghan syndrome and Ukrainian troops.
Before the visit of Anders Fogh Rasmussen, Secretary General of NATO, to Ukraine to determine the areas of cooperation at the new stage of relations between the Alliance and Kyiv, NATO General shared his ideas with the Ukrainian Week.
THREATS AND CHALLENGES
OC | UW: When do you expect any specific tangible changes in NATO’s operation under the framework of the new strategy?
– In November, a new strategic concept was adopted in Lisbon where the heads of NATO states governments asked their foreign affairs and defense ministers to develop specific measures to implement this concept. In April and June, defense ministers will meet again to discuss the aspects of partnership. At these meetings, they are expected to come up with more concrete ideas the notions and the concepts of global partnership. The reform of NATO structure was discussed and only partly decided on in Lisbon, too. This means downsizing the amount of NATO headquarters and people. In the course of the year, the geography of NATO locations has to be decided.
OC | UW.: Has NATO changed its policy in Afghanistan because it found itself in a dead end in the first place, like USSR and the United Kingdom once did?
– I always hesitate to compare the experience of the British and the Soviets in Afghanistan with what we are doing there. We have totally different missions. We went in there – you know the reasons – to extinguish terrorism and to help the Afghan people to establish the government and create the society that they have not seen for 23 years. We are not fighting a war against Afghans. The problem of course is, the longer you are in the country the more some people, the population, might have the impression that you become an occupation army. And you have to show people when you are there for a longer time that their personal life is getting better. This combination was not always achieved in the last few years, and that was a problem.
That’s why NATO and the international community made a decision to change the strategy in Afghanistan and to invest more in training the Afghan security forces so that they can as early as possible take over the responsibility for the security of their own people. Moreover, our task is to encourage the Afghan government to build up their country: fight corruption, take more efforts in development of their country, have better coordination with international organizations, and spend money more wisely.
Also, our problem relates to the special nature of the situation in Afghan. We would fight the Taliban in some villages, push the Taliban away but then we didn’t have enough troops to stay, so we had to move to another village. The Taliban came back and punished people in the village because they cooperated with NATO. And so, we lost the support of those people, they were afraid to be on our side. So, we need to progress in pushing the Taliban back and still preserve the support of people. We brought more trainers to train Afghan security forces. We are confident that by 2014 we will be able to hand over our responsibility for security to the Afghan security forces.
OC | UW.: Will this not result in a situation similar to what happened when soviet troops left the country? Afghan army and police were acting back then, too, but Talibs won the civil war.
– Of course, I hope that this will not happen again because Afghan security forces have now 400,000 people and they will be able to control the security of the country. But, of course, the security side is only one side. It’s very important that Afghan government has the support of people and they see that the economic situation is improving. That’s why NATO said that, even though we will hand over the security in 2014 to the Afghans, we will not leave the people and the government alone. International community has to help them further. But, of course, this is not all reduced to Afghanistan as a country. This relates to the neighbors and the overall situation in the region, especially Pakistan. It’s important that the Pakistani government is able to control security situation inside Pakistan and make sure that the Taliban is not coming to Pakistan.
OC | UW.: What are potential threats of the revolutionary splurge in the Arabic world for NATO member-states?
– We have very good contacts with Egypt, Jordan, which are all NATO partner states. Of course, all people are very much concerned about it. But the situation in each country is different. I would hesitate to say that this domino effect will automatically spread to all countries of the region. But it’s clear that in each country the future is unclear if the government is overthrown in because there always are opposing forces inside the countries and you never know how the situation develops. Instabilities can grow into failed states. Such countries always become the hub for developing terrorism, organized crime, instability in the region. This is what we fear.
OC | UW: Iranian (and maybe Russian) missiles target most European NATO member states. Lisbon decided to transform American ABM into the NATO one. How is this progressing?
– There are talks and at the meeting in Lisbon an offer was made both to the Russians, and other countries, to work together to provide a system of missile defense for the protection of European countries. Of course, Ukraine is not excluded. But these talks have just started and we have to see in the course of the year what the progress is.
NATO, UKRAINE AND THE WORLD
OC | UW.: How have NATO-Ukraine relations changed after President Yanukovych announced about Ukraine’s non-aligned status?
– President Yanukovych and the Government have made the decision not to go on in seeking NATO membership, but at the same time they decided to continue cooperation with NATO. These are very specific projects. For instance, the cooperation between Ukrainian National Defense University and NATO Defense College doesn’t see any changes after this decision. My personal impression is that it’s even easier to talk openly about this cooperation because there is no fear on the Ukrainian side against the Russians. Now I would say the lake is very calm. Your Government decided to have good relations with Russia and NATO, and NATO decided to develop good relations with Russia and to continue and increase cooperation with Ukraine. This is my third visit to Ukraine under the framework of NATO International Week at Ukrainian National Defense University, and I see no changes in the practical cooperation between the University and NATO Defense College after these decisions. For instance, last week we had the graduation of our senior course in the College in Rome. I had a Ukrainian colonel as the course member. The next course starts next week and I’ll have a Ukrainian colonel there, too. I have a Ukrainian research fellow at the College. So, I don’t see any difference compared to the previous years.
OC | UW.: Many Ukrainians are still under the influence of soviet stereotypes. Moreover, NATO opponents supported by Russia can often reach out to many people with their opinion. Is NATO planning to work with Ukrainian organizations to communicate the truth about its activities with their help?
– NATO has its Information Center that deals with this. Last year we held joint video and teleconferences with various Ukrainian organizations and institutions. The 11th NATO International Week currently hosted by Ukrainian National Defense University, too, is not limited to military people only. 11 different institutions have joined it. We are trying to involve all social groups of the Ukrainian society, including diplomats and academics.
OC | UW.: It’s clear that NATO decided to cooperate with Russia (Iran, Afghanistan). What could be the limit of this cooperation? Which Russia’s moves would be completely unacceptable for NATO and which sanctions could any of them lead to?
– When we are talking about initiating cooperation we should not start at cooperation by telling them this is the red line. What we rather should do is water the little plant that was created after Georgia and Lisbon, and look for opportunities where we could work together, and not say immediately, no, I will never do this.
OC | UW.: Probably Georgia, too, could not imagine it would lose 20% of its territory until the war with Russia. And we are really concerned about the revival of this new Russian Empire. Is it possible to transform the fifth article of the Washington Treaty given the fact that Ukraine participates in the NATO Response Force? Or should we only rely on the 1997 Ukraine-NATO Charter which provides for “emergency consultations” between Ukraine and NATO in case Ukraine faces any threats?
– The aim of all this global partnership is to involve all countries to work together and improve the relations so that the tension that still might stay there is reduced as much as possible. See, for instance, the development of Europe. Many countries you would never think of as partners or even friends have now come into the EU. So, the tension is fading away. Take a look into the past - thousands of people were killed and conflicts were normally solved by military means, but now they are all under one umbrella, they have joined one big family. Even in the family there are tensions, we know that. But the nature of the tensions is different.
OC | UW.: Do you think Ukrainians officers are qualified enough to head NATO missions?
– Of course, like in every field, this is a matter of personality, how qualified the individual is and what experience and skills he or she has. This is a matter of an individual, not a country. Ukrainian officers have some language barriers and then, of course, NATO system of leadership and working in organizations and with staffs is still very different from the Ukrainian system. And mentality is not a problem, but it takes time to level out all differences.
OC | UW: What was the most unexpected or interesting question you got from Ukrainian audience?
– I was always asked about Afghanistan, missile defense, and this morning I had a question I couldn’t answer – how different religions co-exist in Western countries. This was quite unexpected since we have no problems like that.
OC | UW.: Your hobbies include politics and modern history, classical music, winter sports, endurance training and tennis. Who is your favorite composer? Have you ever used your endurance training in life?
– I have several favorite composers. When I went to the gymnasium I fell in love with Beethoven, Bach, Mendelssohn, Bartholdi…Luckily, I never had to rescue my family. It’s my wife who rescues me every day. But I did all ranger training as an infantry and commanded Alpine troops. We sometimes faced critical situations there. I even lost troops in Afghanistan.
Inserts:
2011 NATO Military Cooperation Plan
The Ministry of Defense of Ukraine filed Draft NATO Military Cooperation Plan for 2011 to the President of Ukraine. The Plan provides for 21 trainings, 12 in Ukraine and 9 abroad.
BIO
Wolf-Dieter Löser
de.wikipedia.org/wiki/Wolf-Dieter_Löser
Bundeswehr Lieutenant-General, Commander of NATO Defense College, Rome
1949 – was born in Wahrenholz, Lower Saxony
1968 – entered service at Bundeswehr
1990-1994 – Head of Apparatus of the Chief of Staff, Bundeswehr. Later studied in Washington DC based National Defense University; graduated with a Master’s Degree in National Security Strategy
2004 – Deputy Commander, Eurocorps in Brussels
Aug. 2004-Feb. 2005 – commanded the operations of the 4th Task Force of International Security Assistance Forces in Afghanistan
2005 – Head of Bundeswehr Command and Staff College
2008 – Commander of NATO Defense College in Rome.
Married, two children.
JOINT NATO TRAININGS IN 2010
Abroad:
Bilateral
Golden Mask 2010, Ukraine-Germany training, April 12-22, 2010 in Germany; Ukraine-Romania training in Romania, June 13-26, 2010.
Multilateral
Barrier 2010, multinational training in Poland, September 16-26, 2010; Combined Endeavour 2010, Germany-Romania, September 1-20, 2010; Jackal Stone 2010, Poland, September 16-26, 2010.
In Ukraine
Sea Breeze 2010, Ukraine-USA training, Odesa, July 9-28, 2010; Rapid Trident 2010, Ukraine-USA training, Lviv oblast, September 4-19, 2010
Multilateral
Barrier 2010, multinational training in Ochakiv, July 26-August 7, 2010; Svitla Lavyna 2010, multinational training, Vynohradiv, Zakarpattia oblast, September 27-October 1, 2010.
All data is from the Center for Military Policy and Security Policy
Copyright © Ukrainian Week LLC. All rights reserved.
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ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
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
www.bangalorebreakdown.com/music.html
At Joe's Pub with Bangalore Breakdown.
__________
Play the music, not the instrument. ~Author Unknown
***
“Any great art work … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.”
― Leonard Bernstein
***
"You are the music while the music lasts. "
-T.S. Eliot
***
"Music is Magic. Magic is Life"
-Jimi Hendrix
(part of an unfinished song discovered after his death)
***
www.flickr.com/photos/42514297@N04/sets/72157632988389457...
View “A Life Of Music - to be cont.'d ...(with GRATITUDE!)” slideshow
www.flickr.com/photos/42514297@N04/sets/72157635185040413...
View “Photos for Media” slideshow
For both: Click on 'Show info' to see captions w' slideshow – Click on ‘Options’ to control speed
For slow “animated” slideshows click the double rectangle at the top right side of "set"- album page of choice.
__________
World / Jazz / Experimental / Improv / East-West / Ambient / Pop
PREMIK RUSSELL TUBBS
Looking for music for your film or project? Let’s talk...
__________
__________________
Contact/Listen
www.emusic.com/album/premik/mission-transcendence/10884302/
en.wikipedia.org/wiki/Premik_Russell_Tubbs
New music coming soon!
__________________
__________
Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.
Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.
Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).
Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.
www.premik.com/recordings/discography/
New music coming soon!
____________
YouTube -DEVADIP CARLOS SANTANA ~~ HANNIBAL ~~ 1980
Russel Tubbs, saxo
Devadip Santana, guitar
All photos LIFE Magazine
www.youtube.com/watch?v=lv_jsp_43h0
____________
Most recent recordings and projects:
In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'
www.indianexpress.com/news/chandrika-tandons-new-album-in...
Sound Samples: www.amazon.com/Soul-March-Chandrika-Krishnamurthy-Tandon/...
www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"
****
Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.
Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.
‘Premik has become part of the family...'
www.newagemusicworld.com/will-ackerman-interview-new-in-2...
imaginaryroadstudios.com/
*****
Premik plays on both of these albums
Winners in 2013
10th Annual ZMR Awards
Album: Masako
Artist: Masako M. Kumano
Award Category- Best New Artist
Premk with Masako: played wind synth on Secret Path to Point Reyes (track 3)
Album: Dreaming of Now Best
Artist: Shambhu
Award Category: Contemporary Instrumental Album
Premik with Shambhu: alto flute on Dreaming of Now (track 4) and wind synth on Jasmine (track 10)
www.zonemusicreporter.com/admin/2013award_finalists.asp
****
Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.
www.zonemusicreporter.com/admin/performers.asp
ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/
****
New Age / Ambient / World Top 100 Radio Chart
ZoneMusicReporter.com
Top 100 Radio Play - #1 Top Recordings for January 2014
Title: Call of the Mountains - Artist: Masako
www.zonemusicreporter.com/charts/top100.asp
Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".
****
Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?
Sound samples here: www.bangalorebreakdown.com/music.html
****
Premik and Uli Geissendoerfer will soon be releasing their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com
****
Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com
****
Premik’s ‘Journey To Light Ensemble’
Sound is East/West, jazz., a journey....
With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),
Dave Phelps (guitar),
Leigh Stuart (cello),
Nathan Peck (upright & electric bass),
www.alexskolnick.com/biography-nathan-peck/
Todd Isler (drums, percussion)
Naren Budakar (tabla)
www.sooryadance.com/html/Milan/naren.htm
Watch for a Journey To Light Ensemble album to be released in 2014
****
TriBeCaStan
Premik (saxophones, flutes, lap steel, wind synth)
***
Performing in:
25th Anniversary of the Rainforest Fund Benefit Concert
Thursday, April 17, 2014
Carnegie Hall
Stern Auditorium / Perelman Stage
7 PM
www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...
***
Premik Russell Tubbs - solo with the London Royal Philharmonic -YouTube
And Premik is performng in SINGING THE OCEANS ALIVE CONCERT WITH THE ROYAL PHILHARMONIC CONCERT ORCHESTRA LONDON, ENGLAND APRIL 25, 2014
YouTube
'The first youtube appearance of my performance with the Royal Philharmonic Orchestra @ Fairfeild Hall in Croydon, England on April 25th. The piece is called "Apla Kathar". The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.' -Premik
www.youtube.com/watch?v=cQxnO3Da8rc
****
Premik will guest and record with the Five Toe Dragon
Premik Russell Tubbs with the Five Toed Dragon @ the BeanRunner Cafe 04/18/2014
YouTubes 4-18-2014
www.youtube.com/watch?v=spkxaVteX08 Set 2 0f 2
www.youtube.com/watch?v=JSI-ZwekM-Y Set 1 of 2
The sound of the Five Toed Dragon can be described as electro-acoustic featuring a distinctly original blend of styles from jazz, classical and ethnic music.
J. ERIC JOHNSON
F. CARTER HOODLESS
BRIAN LEE
Regular guest artists will include Charles Burnham/violin and Premik Russell Tubbs/ saxophones, fultes, wind synth
All are long time members Carman Moore ’s the Incredible Skyband and/or Skymusic Ensemble.
Carman Moore is a 2013 Guggenheim Fellowship winner.
______________
BeanRunner Cafe
A wonderful venue!
Owners Ted and Drew are true champions of the arts.
_______________
______________
Using Flickr – if not signed in (may differ if signed in)
1. www.flickr.com/photos/42514297@N04/sets/72157632988389457...
-Slideshow – Album Set, A Life Of Music - to be cont'd. ...(with GRATITUDE!)
(Click above link and once in the SLIDESHOW click on (upper right) 'Options' to control speed & Show Info’ to see captions w' slideshow
2. To the right of any photo – click upon the oval icon with Premik’s photo to go to the full page of all photos posted (the ‘Photostream’) or the X in the upper right corner to return to the full page of the Set album you are in
3. Click the small rectangle icon to the right of the full album ‘set’ page to see the SLOW ‘ANIMATED’ slideshow of photos within the album
4. To see individual photos –just click on any photo you would like to see from the full page. Caption will appear to the right
5. Scroll down the caption until you see small thumbnail sized photos – click the 3 dots directly under these photos- Click on ‘Download / All sizes’ to see photo enlarged
This will allow you to enlarge the photo you are viewing (or click to see as a slideshow as in #1.)
______
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
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Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
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Thierry Geoffroy / Colonel
www.palais.mc/en/museum-and-visits/the-cars-collection-of...
The Cars Collection of H.S.H. the Prince of Monaco
At the end of the 1950s, the car enthusiast Prince Rainier III began collecting old cars. His collection gradually grew over the years as he acquired more and more models, and the garage at the Prince's Palace soon emerged as too small to contain this collection of around a hundred stunning streamlined and sporty cars, from majestic body work to gleaming hoods and regal radiator grills!
In 1993, Prince Rainier III therefore decided to open his precious collection to the public.
Located on the Terrasses de Fontvieille, the exhibition spans 5 000 m2 and is unique in the world, bringing together around a hundred-odd different cars, from a 1903 DE DION BOUTON to the 2013 LOTUS F1 via HISPANO SUIZA, ROLLS ROYCE, LINCOLN, FACEL VEGA, DELAGE, DELAHAYE, PACKARD, HUMBER, NAPIER, FERRARI, MASERATI, LAMBORGHINI, ALFA ROMEO, the LEXUS used for the royal wedding in 2011, and without forgetting the racing cars seen at the Monte Carlo Rally and the Formula 1s from the Monaco Grand Prix.
The Car Collection of H.S.H. the Prince of Monaco will host a unique exhibition of Ferrari vehicles from 3 December 2018 to 15 March 2019.
Founded by Enzo Ferrari in 1947, in Maranello in Italy, the cars with the prancing horse have left their mark on automobile history on road and circuit. Manufacturer of race and sports cars, Ferrari quickly became an automobile benchmark, both technically and aesthetically.
At this exhibition, unique, around 50 of competition and sport cars, the most iconic of the brand, which built the Ferrari legend and which millions of fans dream about, will be brought together in the Principality for four months.
For more information, please consult the Website of the Cars Collection of H.S.H. the Prince of Monaco: www.mtcc.mc
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
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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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
www.valleyindiatimes.com/columns/artsofindia/10_09.html
"Madhubani painting or Mithila Painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India.
[edit] Origins
The origins of Madhubani painting or Mithila Painting are shrouded in antiquity. Tradition states that this style of painting originated at the time of the Ramayana, when King Janak commissioned artists to do paintings at the time of marriage of his daughter, Sita, to Lord Ram.
Madhubani painting has been done traditionally by the women of villages around the present town of Madhubani (the literal meaning of which is forests of honey) and other areas of Mithila. The painting was traditionally done on freshly plastered mud wall of huts, but now it is also done on cloth, hand-made paper and canvas.
As Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Madhubani paintings also use two dimensional imagery, and the colors used are derived from plants. Ochre and lampblack are also used for reddish brown and black respectively.
Madhubani paintings mostly depict nature and Hindu religious motifs, and the themes generally revolve around Hindu deities like Krishna, Ram, Shiva, Durga, Lakshmi, and Saraswati. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. Generally no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs. objects depicted in the walls of kohabar ghar (where newly wed couple see each other in the first night) are symbols of sexual pleasure and procreation.
Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women. The painting was usually done on walls during festivals, religious events, and other milestones of the life-cycle such as birth, Upanayanam (Sacred thread ceremony), and marriage.""
Mái ngói hội quán
SƠN TRANG
tintuc.xalo.vn/00-1042264780/mai_ngoi_hoi_quan.html
Mỗi lần ngang qua những hội quán trên các con đường lớn ở quận 5 như Trần Hưng Đạo, Nguyễn Trãi, Hải Thượng Lãn Ông..., thể nào tôi cũng phải ngoái đầu nhìn vào. Thói quen ấy đã nảy sinh trong tôi ngay từ lần đầu tiên bắt gặp những mái ngói rất độc đáo của những hội quán ấy.
Hội quán Tuệ Thành với những mảng trang trí bằng tượng gốm trên mái ngói.
Ấy là khi tôi đi ngang qua Nhị Phủ miếu trên đường Hải Thượng Lãn Ông. Cái mái ngói màu đỏ, võng xuống ở giữa và cong vút ở hai đầu, lớp mái trên chồng lên lớp mái dưới trông như những làn sóng gợn hay hình ảnh con thuyền đang cưỡi sóng khiến tôi đã đi qua rồi mà vẫn cứ ngoái lại nhìn mãi.
So với những mái cong truyền thống ở các đình chùa xưa của người Việt, mái ngói của hội quán người Hoa rõ ràng có nhiều nét khác lạ, độc đáo và riêng biệt. Về nhà tra cứu trong sách vở, tôi được biết mái của hội quán này được thiết kế theo dạng kiến trúc đền miếu đặc trưng của người Hoa vùng Phúc Kiến, Trung Quốc.
Ngoài Nhị Phủ miếu, ở quận 5 còn có hai hội quán lớn của người Hoa gốc Phúc Kiến là Hội quán Hà Chương (chùa Bà) trên đường Nguyễn Trãi và Hội quán Ôn Lăng trên đường Lão Tử. Ghi nhớ hai địa chỉ ấy, tôi đã tìm đến và cũng lại được thấy những mái ngói cong vút, duyên dáng kiểu vùng Phúc Kiến ở hai hội quán này.
Thế nhưng, ấn tượng nhất với tôi lại là những quần thể tượng trên mái ngói của các hội quán người Hoa. Hôm vào thăm Hội quán Tuệ Thành nằm trên đường Nguyễn Trãi, tôi cứ đứng ngắm không biết chán những mảng trang trí bằng tượng gốm trên mái ngói. Các tượng gốm bao gồm tượng người, tượng thú và tượng đồ vật, được làm thành từng nhóm để miêu tả rất sinh động cảnh sinh hoạt của người xưa hay minh hoạ cho các truyền thuyết, các điển tích cổ như “Đường Tăng tứ sư đồ” (4 thầy trò Đường Tăng), “Bát Tiên quá hải” (Tám vị tiên qua biển), “Ba Tiêu động” và “Thiết Phiến cung” (trong truyện Tây Du Ký), “Hán - Sở tranh hùng”, rồi nhóm tượng Phúc - Lộc - Thọ, tượng Ngọc Hoàng Đại Đế.
Còn ở Hội quán Hà Chương (nằm gần Hội quán Tuệ Thành), mái ngói lại được trang trí bằng rất nhiều tượng làm bằng vữa hồ và mảnh sành, thuỷ tinh. Ngoài nhóm tượng linh thú trang trí trên đỉnh mái như tượng hai con rồng chầu mặt trời, tượng thần Tử Vi, trên sườn mái của hội quán này còn có những nhóm tượng thể hiện hình ảnh lầu các, cung điện xưa. Những trang trí độc đáo ấy khiến cho mái ngói của Hội quán Hà Chương trông thật lạ mắt và đầy quyến rũ.
Trên mái của nhiều hội quán khác cũng không thiếu những mảng tượng gốm như thế. Mấy lần gặp những đoàn khách du lịch đến tham quan các Hội quán xưa tôi đều thấy họ tỏ ra rất thích thú và đua nhau chụp hình rất kỹ lưỡng những mảng tượng gốm trang trí trên các mái ngói này.
Nằm lặng lẽ trên những con đường tấp nập, những mái ngói hội quán ấy vẫn không hề bị mờ, bị khuất lấp bởi những khối nhà bê tông đang mọc lên ngày càng nhiều. Chúng đã góp phần tạo nên một nét rất riêng cho nhiều con đường tại TPHCM ở khu vực Chợ Lớn.
SƠN TRANG
(58 Nguyễn Bỉnh Khiêm, Q1, TPHCM)
Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
• Pressurized lubrication system with thermostatically controlled cooling.
Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.
• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.
• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).
• Downshift Rev Matching (DRM).
• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.
Wheels and Tires
• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.
• Tire Pressure Monitoring System (TPMS).
• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).
Brakes
• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.
• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.
• 6-piston front/4-piston rear monoblock calipers.
Steering
• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
• 2.6 steering-wheel turns lock-to-lock.
Suspension
• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.
• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.
• Hollow front and rear stabilizer bars.
Body/Chassis
• Exclusive Premium Midship platform with jig-welded hybrid unibody.
• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.
• Carbon-reinforced front crossmember/radiator support.
Back to Top
Standard Features
Exterior
• Wide-beam headlights with High Intensity Discharge (HID) low beams.
• LED taillights and brake lights.
• Dual heated power mirrors.
• Flush-mounted aluminum door handles.
• Body-color rear spoiler with integrated center high-mounted stop light.
• UV-reducing tinted glass.
Audio/Navigation/Performance Monitor
• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.
• HDD Music Box system, including hard drive with 9.4 GB for audio storage.
• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.
• HDD-based GPS navigation with touch screen.
• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.
• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.
Interior
• Automatic Temperature Control (ATC).
• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.
• Power front windows with one-touch auto-up/down feature.
• Intelligent Key system with pushbutton start. Power door locks.
• Cruise control.
• Tilt/telescoping steering column.
• Bluetooth® Hands-free phone system with voice recognition.
Seating/Appointments
• Leather upholstered front seats with perforated Alcantara inserts.
• 8-way power front seats with entry/exit switch for rear-seat passengers.
• Driver-shaped bucket seat.
• Dual individual rear seats.
• Heated front seats.
• Leather-wrapped steering wheel and shift knob.
• Drilled aluminum pedals.
Safety/Security
• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.
• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
emailmarketing.comm100.com/email-marketing-tutorial/html-... Comm100 Email Marketing provides you with FREE email marketing Tutorial that will walk you through the concepts, benefits and best practices of email marketing.
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.
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
Virginia Oldoini, Countess of Castiglione (22 March 1837 – 28 November 1899), better known as La Castiglione, was an Italian aristocrat who achieved notoriety as a mistress of Emperor Napoleon III of France. She was also a significant figure in the early history of photography.
Born Virginia Elisabetta Luisa Carlotta Antonietta Teresa Maria Oldoïni, (French: Virginie Élisabeth Louise Charlotte Antoinette Thérèse Marie Oldoïni) in Florence, Tuscany to Marquis Filippo Oldoini and Marquise Isabella Lamporecchi, members of the minor Tuscan nobility, she was often known by her nickname of "Nicchia".
She married Francesco Verasis, conte di Castiglione, at the age of 17. He was twelve years her senior. They had a son, Giorgio.
Her cousin, Camillo, conte di Cavour, was a minister to Victor Emmanuel II, king of Sardinia(that included Piedmont and Savoy). When the Count and Countess traveled to Paris in 1855, the Countess was under her cousin's instructions to plead the cause of Italian unity with Napoleon III of France.
She achieved notoriety by becoming Napoleon III's mistress, a scandal that led her husband to demand a marital separation.
During her relationship with the French emperor in 1856 and 1857, she entered the social circle of European royalty. She met Augusta of Saxe-Weimar, Otto von Bismarck and Adolphe Thiers, among others.
The Countess was known for her beauty and her flamboyant entrances in elaborate dress at the imperial court. One of her most infamous outfits was a "Queen of Hearts" costume. George Frederic Watts painted her portrait in 1857.
She was described as having long, wavy blonde hair, pale skin, a delicate oval face, and eyes that constantly changed colour from green to an extraordinary blue-violet.
The Countess returned to Italy in 1857 when her affair with Napoleon III was over. Four years later, the Kingdom of Italy was proclaimed, conceivably in part due to the influence that the Countess had exerted on Napoleon III. That same year, she returned to France and settled in Passy.
In 1856 she began sitting for Mayer and Pierson, photographers favored by the imperial court.
Over the next four decades she directed Pierre-Louis Pierson to help her create 700 different photographs in which she re-created the signature moments of her life for the camera. She spent a large part of her personal fortune and even went into debt to execute this project. Most of the photographs depict the Countess in her theatrical outfits, such as the Queen of Hearts dress.
A number of photographs depict her in poses risqué for the era—notably, images that expose her bare legs and feet.
Virginia spent her declining years in an apartment in the Place Vendôme, where she had the rooms decorated in funereal black, the blinds kept drawn, and mirrors banished—apparently so she would not have to confront her advancing age and loss of beauty. She would only leave the apartment at night.
On November 28, 1899, she died at age sixty-two, and was buried at the Père Lachaise Cemetery in Paris.
Robert de Montesquiou, a Symbolist poet, dandy, and avid art collector, was fascinated by the Countess di Castiglione. He spent thirteen years writing a biography, La Divine Comtesse, which appeared in 1913. After her death, he collected 433 of her photographs, all of which entered the collection of the Metropolitan Museum of Art.
A Goddess of Self-Love Who Did Not Sit Quietly
By SARAH BOXER
Published: October 13, 2000
The countess had herself photographed as a frowning nun, as Medea with a knife, as the tragic heroine Beatrix, as Judith entering the tent of Holofernes, as a drowned virgin, as Lady Macbeth sleepwalking, as a courtesan flaunting her legs, as Anne Boleyn, as Goya's ''Maja,'' as a nurse to her dying dog and as a corpse in a coffin.
She used mirrors to fragment and multiply images. And she had an obsession with eyes and detached body parts.
''She would appear at gatherings like a goddess descended from the clouds,'' a contemporary noted, and she would ''allow people to admire her as if she were a shrine.'' The Princess Metternich oohed about her: ''Wonderful hair, the waist of a nymph, and a complexion the color of pink marble! In a word, Venus descended from Olympus!'' But, the princess added, ''after a few moments she began to get on your nerves.''
Her vanity was as famous as her beauty. She sent albums of her portraits to friends and admirers. She would not speak to women. She was endlessly enraptured with herself and assumed that others were as well.
In ''The Eyes,'' she holds a pocket mirror away from her face so that her eye is the only thing showing in it. Then she fixes this eye on the photographer. In ''The Opera Ball,'' all you can see is her back. She appears to be diving headfirst into a full-length mirror while a tiny pocket mirror watches from a chair.
When the countess's husband tried to take their son away from her, she responded by sending him a Medea-like portrait of herself titled ''Vengeance.'' She has a murderous look. She has a knife dripping with blood painted into her hand. Apparently, she made her point; she kept Giorgio.
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...
www.nytimes.com/2021/08/06/opinion/covid-delta-vaccines-u...
No, the Unvaccinated Aren’t All Just Being Difficult
By Bryce Covert
Ms. Covert is an independent journalist who focuses on the economy, with an emphasis on policies that affect workers and families.
On a July day in downtown Lowell, Mass., the first sunny Saturday of the month, people began to line up for a block party. Food trucks offered everyone a free empanada or egg roll. A D.J. played music. There were kid-friendly activities, too, like a touch-a-truck station with a fire truck and an ambulance.
The party wasn’t just a way to have a good time. The real motivation was to get people in the community vaccinated against Covid-19. Nestled between the food trucks were ones offering Pfizer, Moderna and Johnson & Johnson vaccines.
In the minds of the public health and community organizers who staged it, it was a roaring success. Sixty-four people got vaccinated within six hours. Hannah Tello, a community health data manager at the nonprofit Greater Lowell Health Alliance, noted that it was eight to 10 times as many vaccinations as what their mobile clinics had been doing; their most successful day before this administered 12.
The people who got shots at the party “were not people who were resistant,” Dr. Tello told me. Outreach workers went to a nearby park and invited the homeless people there to get free food and, if they wanted, a vaccination, and many took them up on the offer in such a low-stakes, nonmedical setting.
An elderly woman who cares for two people with disabilities had tried and failed to schedule vaccinations for all three of them at the same time. This time, she succeeded. A woman who was able to vaccinate all the other eligible people in her family hadn’t been able to get it herself because she has four young children she wasn’t allowed to take to the vaccination center. That day her children played cornhole while she got the shot.
The party organizers also reached about 250 other attendees, many of whom had conversations about their concerns. Some were worried that the vaccines cost money, even though they’re free to all. They were concerned they would need some sort of documentation, which they don’t. One woman hadn’t gotten the shot yet because she has an intense fear of needles; she did it that day after 25 minutes of talking it through. “Her getting her shot is just as important as the people who lined up outside our clinics a few months ago,” Dr. Tello said. “No one is less deserving of having access.”
The country’s vaccination campaign has lagged since April, and that has allowed for a spike in cases, particularly in largely unvaccinated areas. Vaccinations have risen lately in response to the spread of the Delta variant, but rather than keeping its foot on the gas and throwing every idea, every resource at the problem, the White House has started to shift the blame onto those who still haven’t gotten a shot. President Biden grumbled that he has struck a “brick wall” in persuading more Americans to get the shot. Last week, taking aim at those he called “unvaccinated, unbothered and unconvinced,” he said, “If you’re out there unvaccinated, you don’t have to die. Read the news.”
There are plenty of Americans who have been inundated with misinformation about the vaccines. Many are staunchly opposed to getting it for a variety of reasons, from personal health concerns to conspiracy theories. But that doesn’t describe everyone who is unvaccinated — not by a long shot. And there are plenty of things we can do to reach them if we’re serious about spending the time and the money.
Instead, the current approach is to argue that access has increased and it’s everyone’s individual responsibility to get a shot — and if you don’t, it’s on you. Once again, we have taken the cruelly American, ruggedly individualistic tactic of making this about personal responsibility, not about a systemic response, just as we did in combating the virus itself.
“It’s not a public health strategy for any condition to just blame somebody into treatment and prevention,” said Rhea Boyd, a pediatrician and public health advocate. Telling the unvaccinated that they’re being selfish “really runs counter to all the work it’s going to take to convince those folks to be vaccinated, to trust us that we have their best interests in mind.”
It’s also shortsighted. If some people continue to struggle with getting vaccinated, the virus will continue to run rampant, threatening a rebound in economic activity and giving the coronavirus a chance to mutate yet again. The refrain we’ve heard throughout is still true: We’re not safe until we’re all safe.
Those who aren’t yet vaccinated are much more likely to be food insecure, have children at home and earn little. About three-quarters of unvaccinated adults live in a household that makes less than $75,000 a year. They are nearly three times as likely as the vaccinated to have had insufficient food recently. Many of them have pressing concerns they can’t just put aside because they need to get a vaccination.
Access is far more widespread than it was at the beginning of the year. Many cities now offer multiple venues for getting it without needing an appointment. But about 10 percent of the eligible population still lives more than a 15-minute drive from a vaccine distribution location. And even if there’s a site down the road, it usually requires taking time off work — not just to get the shot but also potentially to recover from the side effects — arranging transportation and figuring out child care.
“Missing out on a few hours of work seems very easy to us, but in fact it could be the matter of having food for the family versus not,” said Ann Lee, the chief executive of the nonprofit Community Organized Relief Effort. For these people, when they’re weighing whether to get a vaccination or potentially forgo some wages, “the wages are going to win out.”
Those who are unvaccinated are also likely to work in essential jobs like agriculture and manufacturing that don’t allow them to step away from work. They work long hours and may prioritize time with their families or communities when they finally get a break. People who have multiple jobs may find it impossible to schedule a shot in between all of their shifts.
And yet 43 percent of the unvaccinated say they definitely or probably would get it or are unsure, according to Julia Raifman, an assistant professor at the Boston University School of Public Health.
“We pretty quickly exhausted those who were easiest to reach and vaccinate,” Tara Smith, a public health professor at Kent State, told me. “This next phase is more difficult, but I don’t think it’s impossible to continue to get more people vaccinated. We just have to get creative.”
A block party doesn’t work in every community, particularly more rural ones. For those places, an event could be staged at a church or a county fair. Anything that allows people to discuss their concerns with experts and get vaccinated on the spot erases dangerous lag time. Dr. Tello’s organization found that many disappeared in the time between an educational conversation and a vaccination appointment weeks later.
Another way to take the vaccines to people for whom the logistics are complicated is to do it at workplaces. Ms. Lee’s organization held a vaccination drive at a construction site in Washington, D.C., and vaccinated 165 people. “They wanted to get vaccinated. There was just no way some of these day laborers were going to take off of work and maybe get sick,” Ms. Lee said. In January, Riverside, Calif., began a program to take vaccines into the fields to reach agricultural workers.
There are plenty of other smart places to distribute vaccines. Take them to food pantries, where low-income and food-insecure people show up by necessity on a regular basis. Do vaccinations at shopping centers where everyone goes to buy food. Vaccine drives could also be held on the first day of school for parents and older children alike; it’s late in the game, since it takes weeks for full immunity, but it’s better than missing them entirely.
Going door to door can also reach people, particularly those who are homebound. The Central Falls Housing Authority in Rhode Island offered shots to its public housing residents at the end of last year, and by January, 80 percent had been vaccinated. In Los Angeles, Ms. Lee’s team contacts the homebound first to talk through any concerns and again a week later to administer a vaccine. Vaccines could even be paired with Meals on Wheels deliveries.
To address transportation issues, the White House collaborated with Uber and Lyft to give free rides up to $25 to and from vaccination sites. But those companies don’t operate in every community, particularly outside cities. The government could also give grants to community organizations that can give people free rides to vaccination sites. “If you have a bus at a church, you can get a grant,” Dr. Boyd suggested.
We have to mandate paid leave so workers can take at least two days to get a shot and recover without jeopardizing their incomes. The Biden administration has offered tax credits to employers with fewer than 500 employees to cover the cost of offering paid leave for getting vaccinated, which he expanded this month. Some states, including New York, have mandated it. But everywhere else, it’s up to an employer to offer it, and if existing paid leave benefits are any guide, it’s the lowest-wage workers who are least likely to get it. The Occupational Safety and Health Administration released an emergency temporary standard in June that requires employers to provide paid time off to get vaccinated and recover, but it applies only to health care workers, despite the fact that a draft version included everyone.
Short of that, community organizations can send people home from getting vaccinated with enough food for their families if they have to miss work for a day or two. When Ms. Lee’s organization did testing in the Navajo Nation, it gave people two weeks of food in case they got a positive result and had to quarantine. It’s now sending people home with food as well as diapers, formula and hygiene kits with things like shampoo and tampons.
Parents also need child care — not just for getting their shots but also if they experience side effects. The government is working with four large child care providers to offer free care, but those centers may not be available to everyone, nor will all parents feel comfortable sending their children to an unfamiliar setting. Instead, we could give them money to pay their trusted source of child care and also offer care at vaccination centers.
State and local officials can kick-start some of this on their own. But the real money, and the power to set the agenda, comes from the White House and Congress. “If the federal government said, ‘We are really concerned, we see that low-income people have not had access to the vaccine, and we’re putting forth a huge effort to bring it to them in their workplaces and homes,’” Dr. Raifman said, “that would be a compelling message that would mobilize people across the country.” Federal funding needs to be filtered down to the local level as quickly as possible. There’s a lot of money for vaccinations, but it has to get to the organizations that are deeply embedded in their communities and ready to pull this off.
Dr. Tello’s organization plans to repeat the block party this summer, this time as a back-to-school event, handing out free backpacks and school supplies as well as flu shots alongside the Covid vaccines. And it will be timed so that those who got their first shot of the Moderna or Pfizer vaccine at July’s party can get their second dose on the spot. “Sometimes,” she said, “you have to make it too convenient so that people can’t say no.”
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Chancellor Michael Harris IUK - On the Move
www.youtube.com/watch?v=uD3exIJ-hGs
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
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
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www.youtube.com/watch?v=uD3exIJ-hGs
Notable Alumni of Tel Aviv University: en.wikipedia.org/wiki/Tel_Aviv_University#Notable_alumni
Chancellor Michael Harris, IU Kokomo. Expert Analysis
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kokomoperspective.com/indiana-university-kokomo-chancello...
IU Notable Alumni
en.wikipedia.org/wiki/List_of_Indiana_University_(Bloomington)_people
Michael Harris - "A viking with a heart of a mother and an Incandescent spirit."
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
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Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA
Map (link):
[ www.google.co.in/imgres?imgurl=https://4.bp.blogspot.com/... and Spasm Geysers, Fountain Paint Pot trail, Yellowstone National Park images&ved=0ahUKEwjkgubQv8XeAhUC3Y8KHaFRCQ8QMwhNKBowGg&iact=mrc&uact=8 ]
This part of Lower Geyser Basin seen from a half-mile trail has all four of the hydrothermal features found in the park:
Clepsydra Geyser is a geyser in the Lower Geyser Basin of Yellowstone National Park. Clepsydra plays nearly continuously to heights of 45 feet. The name Clepsydra is derived from the Greek word for water clock. Prior to the 1959 Hebgen Lake earthquake, it erupted regularly every three minutes.
Yellowstone National Park has several hydrothermal areas, so what makes the Fountain Paint Pot Area worth visiting? For starters, this part of Lower Geyser Basin has all four of the hydrothermal features found in the park (mudpots, geysers, hot springs, and fumaroles) and you can see them all from a compact half-mile long boardwalk loop. While none of the many Fountain Paint Pot Area geysers are as famous as Old Faithful, they erupt so frequently that you are almost guaranteed a great show on your short hike. Since the walkway passes all four of Yellowstone’s hydrothermal formations, the hike comes with a guaranteed lesson in hydrothermal volcanism.
Hiking the loop in a clockwise direction, you will first pass through a forest of lodgepole pine snags that were drowned and left lifeless by the surrounding hot springs. As you approach the northwest end of the loop, you will spot a lively collection of geysers. Clepsydra Geyser, Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, Spasm Geyser, and Twig Geyser erupt with various levels of regularity.
As you progress around the walkway toward the northeast corner, you will pass Red Spouter, which behaves like a fumarole, a hot spring, and a mudpot throughout the year. It is like a hot spring in the winter, a muddy reddish pool in the spring and a steaming fumarole in the drier summer and fall. Wrapping down the east side of the boardwalk, you will pass Leather Pool and a slope of fumaroles. These gaps in the surface whistle and hiss as gasses and steam escape from the ground. Just below the fumaroles, where a little more water is present, the trail circles Fountain Paint Pot. These mudpots bubble and pop as globs of mud springs from the surface like miniature trapeze artists.
Continuing downhill, the hydrothermal features become even wetter as you arrive at Silex Spring. Look down into the small blue pool rimmed with white silica. Water spills over the sides of the spring creating an orange-colored surface covered in rippling runoff. These colors are created by thermophiles, heat-loving microorganisms that live in Yellowstone’s hot springs.
( www.hikespeak.com/trails/fountain-paint-pot-trail-yellows... )
Geothermal features of Yellowstone NP- A brief note:
There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.
What is a Hot spring?
Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.
Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.
But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.
[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].
List of hot springs:
[ en.wikipedia.org/wiki/List_of_hot_springs ]
The science of colors of a hot spring:
[ ttps://www.britannica.com/science/hot-spring]
Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.
Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.
What is a Geyser?
A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.
What is a fumarole?
It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.
Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]
What is a mud volcano/ mud pot/ paint pot?
Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.
Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).
If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).
There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.
Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.
A quick overview of YNP
Yellowstone National Park is an American national park located in Wyoming, Montana, and Idaho. Approximately 96 percent of the land area of Yellowstone National Park is located within the state of Wyoming. The Park spans an area of 8,983 km2 comprising lakes, canyons, rivers and mountain ranges. The park is known for its wildlife and its many geothermal features. It has many types of ecosystems, but the subalpine forest is the most abundant. It is part of the South Central Rockies forests eco-region.
It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. Native Americans have lived in the Yellowstone region for at least 11,000 years. Aside from visits by mountain -men during the early to mid-19th century, organized exploration did not begin until the late 1860s.
The park contains the headwaters of the Yellowstone River, from which it takes its historical name. Although it is commonly believed that the river was named for the yellow rocks seen in the ‘Grand Canyon of the Yellowstone’, the Native American name source is unclear.
Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest supervolcano on the continent. The caldera is considered as an active volcano. It has erupted with tremendous force several times in the last two million year. The Yellowstone Caldera is the largest volcanic system in North America. It has been termed a "supervolcano" because the caldera was formed by exceptionally large explosive eruptions. The magma chamber that lies under Yellowstone is estimated to be a single connected chamber, about 60 km long, 29 km wide, and 5 to 12 km deep. Yellowstone Lake is up to 400 feet deep and has 180 km of shoreline.The lake is at an elevation of 7,733 feet above sea levels. Half of the world's geysers and hydrothermal features are there in Yellowstone, fueled by this ongoing volcanism. Lava and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly-intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.
In May 2001, the U.S. Geological Survey, Yellowstone National Park, and the University of Utah created the Yellowstone Volcano Observatory (YVO), a partnership for long-term monitoring of the geological processes of the Yellowstone Plateau volcanic field, for disseminating information concerning the potential hazards of this geologically active region.
Hundreds of species of mammals, birds, fish, and reptiles have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous mega fauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.
Forest fires occur in the park each year. In the largest forest fires of 1988, nearly one third of the park was burnt.
Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.
Fire in Yellowstone NP:
Causes of wildfire in Yellowstone NP
Wildfire has had a role in the dynamics of Yellowstone’s ecosystems for thousands of years. Although many fires were caused by human activities, most ignitions were natural. The term "natural ignition" usually refers to a lightning strike. Afternoon thunderstorms occur frequently in the northern Rocky Mountains but release little precipitation, a condition known as ‘dry lightning’. In a typical season there are thousands of lightning strikes in Yellowstone. Lightning strikes are powerful enough to rip strips of bark off of a tree in a shower of sparks and blow the pieces up to 100 feet away. However, most lightning strikes do not result in a wildfire because fuels are not in a combustible state.
The great fire incidence of 1988
The Yellowstone fires of 1988 collectively formed the largest wildfire in the recorded history of Yellowstone National Park in the United States. Starting as many smaller individual fires, the flames quickly spread out of control due to drought conditions and increasing winds, combining into one large conflagration which burned for several months. The fires almost destroyed two major visitor destinations and, on September 8, 1988, the entire park closed to all non-emergency personnel for the first time in its history. Only the arrival of cool and moist weather in the late autumn brought the fires to an end. A total of 793,880 acres, or 36 percent of the park was affected by the wildfires.
Fire incidence, 2016
As of September 21, 2016, 22 fires (human and lightning-caused) have burned more than 62,000 acres in Yellowstone National Park, making it the highest number of acres burned since the historic 1988 fire.
Heritage and Research Center
The Heritage and Research Center is located at Gardiner, Montana, near the north entrance to the park. The center is home to the Yellowstone National Park's museum collection, archives, research library, historian, archeology lab, and herbarium. The Yellowstone National Park Archives maintain collections of historical records of Yellowstone and the National Park Service. The collection includes the administrative records of Yellowstone, as well as resource management records, records from major projects, and donated manuscripts and personal papers. The archives are affiliated with the National Archives and Records Administration.
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परमेश्वर के प्रासंगिक वचन:
तहेदिल से परमेश्वर की आत्मा को स्पर्श करके लोग परमेश्वर पर विश्वास करते हैं, उससे प्रेम करते हैं, और उसे संतुष्ट करते हैं, और इस प्रकार वे परमेश्वर की संतुष्टि प्राप्त करते हैं; जब वे परमेश्वर के वचनों के संपर्क में आते हैं, तो परमेश्वर का आत्मा का उन पर भावनात्मक प्रभाव पड़ता है। यदि तुम एक उचित आध्यात्मिक जीवन प्राप्त करना चाहते हो और परमेश्वर के साथ एक उचित संबंध स्थापित करना चाहते हो, तो तुम्हें पहले उसे अपना हृदय अर्पित करना होगा, और अपने हृदय को उसके सामने शांत करना होगा। अपने पूरे हृदय को परमेश्वर की स्तुति में डुबोकर ही तुम धीरे-धीरे एक उचित आध्यात्मिक जीवन का विकास कर सकते हो। यदि लोग परमेश्वर को अपना हृदय अर्पित नहीं करते हैं और उस पर पूरी तरह विश्वास नहीं करते हैं, और अगर उनका दिल उन्हें महसूस नहीं करता है और वे परमेश्वर के बोझ को अपना बोझ नहीं मानते हैं, तो जो कुछ भी वे कर रहे हैं उससे केवल परमेश्वर को धोखा दे रहे हैं, और ये धार्मिक व्यक्तियों का केवल व्यवहार है—ये परमेश्वर की प्रशंसा प्राप्त नहीं कर सकता है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ एक उचित संबंध स्थापित करना बहुत महत्वपूर्ण है" से उद्धृत
आज पवित्र आत्मा के वचन पवित्र आत्मा के कार्य का गतिविज्ञान हैं और इसके दौरान पवित्र आत्मा के द्वारा मनुष्य का निरंतर प्रबोधन, पवित्र आत्मा के कार्य की प्रवृत्ति है। और आज पवित्र आत्मा के कार्य की प्रवृत्ति क्या है? यह आज परमेश्वर के कार्य और एक सामान्य आध्यात्मिक जीवन में दर्ज होने में लोगों का नेतृत्व करना है। ...
सबसे पहले, तुम्हें अपने दिल को परमेश्वर के वचनों में उड़ेल देना चाहिए। तुम्हें परमेश्वर के अतीत के वचनों का अनुसरण नहीं करना चाहिए, और न तो उनका अध्ययन करना चाहिए और न ही आज के वचनों से उनकी तुलना करनी चाहिए। इसके बजाय, तुम्हें पूरी तरह से परमेश्वर के वर्तमान वचनों में अपना दिल उड़ेल देना चाहिए। अगर ऐसे लोग हैं जो अभी भी अतीत काल के परमेश्वर के वचन, आध्यात्मिक किताबें, या प्रचार-प्रसार के अन्य विवरणों को पढ़ना चाहते हैं, जो आज पवित्र आत्मा के वचनों का पालन नहीं करते हैं, तो वे सभी लोगों में सबसे अधिक मूर्ख हैं; परमेश्वर ऐसे लोगों से घृणा करता है। यदि तुम आज पवित्र आत्मा का प्रकाश स्वीकार करने के लिए तैयार हो, तो फिर अपने दिल को आज परमेश्वर की उक्तियों में उड़ेल दो। यह पहली चीज़ है जो तुम्हें हासिल करनी है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के सबसे नए कार्य को जानो और परमेश्वर के चरण-चिन्हों का अनुसरण करो" से उद्धृत
परमेश्वर में विश्वास करने में तुम्हें कम से कम परमेश्वर के साथ एक सामान्य संबंध रखने के विषय का समाधान करना चाहिए। परमेश्वर के साथ सामान्य संबंध के बिना परमेश्वर में विश्वास करने का महत्व खो जाता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करना परमेश्वर की उपस्थिति में अपने हृदय को शांत करने के द्वारा ही किया जा सकता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करने का अर्थ है परमेश्वर के किसी भी कार्य पर संदेह न करना या उसका इनकार न करना, बल्कि उसके प्रति समर्पित रहना, और इससे बढ़कर इसका अर्थ है परमेश्वर की उपस्थिति में सही इरादों को रखना, स्वयं के बारे में न सोचते हुए हमेशा परमेश्वर के परिवार की बातों को सबसे महत्वपूर्ण विषय के रूप में सोचना, फिर चाहे तुम कुछ भी क्यों न कर रहे हो, परमेश्वर के अवलोकन को स्वीकार करना और परमेश्वर के प्रबंधनों के प्रति समर्पण करना। परमेश्वर की उपस्थिति में तुम जब भी कुछ करते हो तो तुम अपने हृदय को शांत कर सकते हो; यदि तुम परमेश्वर की इच्छा को नहीं भी समझते हो, फिर भी तुम्हें अपनी सर्वोत्तम योग्यता के साथ अपने कर्तव्यों और जिम्मेदारियों को पूरा करना चाहिए। अभी देर नहीं हुई है, परमेश्वर की इच्छा का स्वयं पर प्रकट होने की प्रतीक्षा करो, और फिर तुम इसे अभ्यास में लाओ। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य हो जाता है, तब तुम्हारा संबंध लोगों के साथ भी सामान्य होगा। सब कुछ परमेश्वर के वचनों पर स्थापित है। परमेश्वर के वचनों को खाने और उन्हें पीने से परमेश्वर की माँगों के अनुसार कार्य करो, अपने दृष्टिकोणों को सही रखो, और ऐसे कार्यों को न करो जो परमेश्वर का प्रतिरोध करते हों या कलीसिया में विघ्न डालते हों। ऐसे कार्यों को न करो जो भाइयों और बहनों के जीवनों को लाभान्वित न करें, ऐसी बातों को न कहो जो दूसरे लोगों के जीवन में योगदान न दें, निंदनीय कार्य न करो। सब कार्यों को करने में न्यायी और सम्माननीय बनो और उन्हें परमेश्वर के समक्ष प्रस्तुति योग्य बनाओ। यद्यपि कभी-कभी देह कमज़ोर होती है, फिर भी तुम अपने लाभों का लालच न करते हुए परमेश्वर के परिवार को लाभान्वित करने को सर्वोच्च महत्त्व दे सकते हो, और धार्मिकता को पूरा कर सकते हो। यदि तुम इस तरह से कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य होगा।
जब भी तुम कुछ करते हो, तो तुम्हें यह जांचना आवश्यक है कि क्या तुम्हारी प्रेरणाएँ सही हैं। यदि तुम परमेश्वर की माँगों के अनुसार कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य है। यह निम्नतम मापदंड है। जब तुम अपनी प्रेरणाओं को जाँचते हो, तो यदि उनमें ऐसी प्रेरणाएँ मिल जाएँ जो सही न हों, और यदि तुम उनसे फिर सकते हो और परमेश्वर के वचनों के अनुसार कार्य कर सकते हो, तो तुम एक ऐसे व्यक्ति बन जाओगे जो परमेश्वर के समक्ष सही है, और जो दर्शाएगा कि परमेश्वर के साथ तुम्हारा संबंध सामान्य है, और तुम जो कुछ करते हो वह परमेश्वर के लिए है, न कि तुम्हारे अपने लिए। तुम जब भी कुछ करते या कहते हो, तो तुम्हें अपने हृदय को सही रखना, और धर्मी बनना चाहिए, और अपनी भावनाओं में नहीं बहना चाहिए, या तुम्हारी अपनी इच्छा के अनुसार कार्य नहीं करना चाहिए। ये ऐसे सिद्धांत हैं जिनमें परमेश्वर के विश्वासी स्वयं आचरण करते हैं। एक व्यक्ति की प्रेरणाएँ और उसका महत्व छोटी बातों में प्रकट हो सकता है, और इस प्रकार, परमेश्वर द्वारा सिद्ध बनाए जाने के मार्ग में प्रवेश करने के लिए लोगों को पहले उनकी अपनी प्रेरणाओं और परमेश्वर के साथ उनके संबंध का समाधान करना आवश्यक है। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य होता है, केवल तभी तुम परमेश्वर के द्वारा सिद्ध किए जाओगे, और केवल तभी तुम में परमेश्वर का व्यवहार, काट-छाँट, अनुशासन और शोधन अपने वांछित प्रभाव को पूरा कर पाएगा। कहने का अर्थ यह है कि लोग अपने हृदयों में परमेश्वर को रख सकेंगे, और व्यक्तिगत लाभों को नहीं खोजेंगे, अपने व्यक्तिगत भविष्य (अर्थात् शरीर के बारे में सोचना) के बारे में नहीं सोचेंगे, बल्कि वे जीवन में प्रवेश करने के बोझ को रखेंगे, सत्य का अनुसरण करने में अपना सर्वोत्तम प्रयास करेंगे, और परमेश्वर के कार्य के प्रति समर्पित रहेंगे। इस प्रकार से, जिन लक्ष्यों को तुम खोजते हो वे सही हैं, और परमेश्वर के साथ तुम्हारा संबंध सामान्य है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ तुम्हारा संबंध कैसा है?" से उद्धृत
संदर्भ के लिए धर्मोपदेश और संगति के उद्धरण:
परमेश्वर के साथ उचित संबंध स्थापित करते समय, हमें कहाँ से शुरू करना चाहिए? परमेश्वर से प्रार्थना करते समय दिल से बात करना सबसे महत्वपूर्ण बात है। उदाहरण के लिए, प्रार्थना में तुम कहते हो, "हे परमेश्वर, मैं देखता हूँ कि मेरे कई भाई-बहन तेरे लिए खुद को समर्पित करते हैं, लेकिन मेरी हैसियत बहुत छोटी है। मैं अपनी आजीविका, अपने भविष्य के बारे में सोचता हूँ और सोचता हूँ कि क्या मेरा शरीर भविष्य में कठिनाइयों का सामना कर पाएगा। मैं सब कुछ नहीं त्याग सकता। मैं वाकई तेरे कर्ज में हूँ। उनके पास इतना बड़ा कद कैसे हो सकता है? हम समान प्रकार के परिवारों से आते हैं। मगर वे खुद को परमेश्वर के लिए पूरे समय खपा सकते हैं, मैं ऐसा क्यों नहीं कर सकता? मुझमें सत्य की बहुत कमी है। मैं हमेशा अपने शारीरिक इच्छाओं की चिंता करता हूँ। मेरे पास पर्याप्त आस्था नहीं है। हे परमेश्वर, मैं चाहता हूँ कि तू मुझे प्रबुद्ध करे, मुझे रोशन करे, मुझे वास्तव में तुझ पर विश्वास करने और तेरे लिए जल्द से जल्द खुद को खपाने में सक्षम बना।" यह दिल से बात करना है। यदि तुम हर दिन, दिल से, इस तरह परमेश्वर के साथ संवाद करते हो, तो उसे पता चलेगा कि तुम ईमानदार हो और उसे मूर्ख बनाने या चिकनी चुपड़ी बातों में फंसाने और उसे धोखा देने की कोशिश नहीं कर रहे हो। तब पवित्र आत्मा अपना कार्य करेगा। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है। हम रचनाएं हैं, और वह सृष्टिकर्ता है। रचना जब अपने सृष्टिकर्ता के सामने खड़ी हो तो उसके पास क्या-क्या होना चाहिए? उसके पास सच्ची आज्ञाकारिता, स्वीकृति, विश्वास और आराधना होनी चाहिए। हमें अपने दिल पूरी तरह से परमेश्वर को दे देना चाहिए। उन्हें उसे अगुवाई करने, शासन करने और योजना बनाने देना चाहिए। इस तरह प्रार्थना करना और तलाश करना सही है। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
परमेश्वर के साथ उचित सम्बन्ध कैसे स्थापित करें? बहुत से सिद्धांत इसमें शामिल हैं। पहला यह है कि तुम्हें परमेश्वर की सर्वशक्तिमत्ता और बुद्धि में विश्वास करना होगा, तुम्हें विश्वास करना होगा कि परमेश्वर के सभी वचनों को पूरा किया जाएगा। यही आधार है। यदि तुम परमेश्वर के वचनों में विश्वास नहीं करते हो, तो यह नहीं चलेगा, क्योंकि इससे वास्तविक विश्वास की कमी दिखाई देती है; परमेश्वर की सर्वशक्तिमत्ता में विश्वास करने में विफलता वास्तविक विश्वास की कमी दर्शाती है। दूसरा, तुम्हें अपना दिल परमेश्वर को देना होगा और परमेश्वर को सभी चीजों में अधिकार लेने देना होगा। तीसरा, तुम्हें परमेश्वर की परीक्षा को स्वीकार करना होगा, और यह महत्वपूर्ण है। यदि तुम अपनी प्रार्थनाओं और सहभागिता, अपने कार्यों और शब्दों के बारे में परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो तुम परमेश्वर के साथ सच्ची सहभागिता कैसे कर सकते हो? क्या तुम उसे बता सकते हो कि तुम्हारे दिल में क्या है? जब तुम बोलते हो, तो तुम केवल अपने लिए प्रार्थना करते हो; जब तुम बोलते हो, तो तुम जो कहते हो वह झूठ के साथ मिश्रित होता है, बुरे इरादे रखता है, और दिखावे और झूठ से भरा हुआ है। यदि तुम परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो क्या तुम इन चीज़ों को पहचान सकते हो? एक बार जब तुम परमेश्वर की परीक्षा को स्वीकार कर लेते हो, तो जब तुम गलत बातें कहते हो, निरर्थक शब्दों को कहने के बाद, वादे करने के बाद, तुम तुरंत सोचते हो, "अरे, क्या मैं परमेश्वर को धोखा नहीं दे रहा हूँ? यह परमेश्वर से झूठ बोलने जैसा क्यों लगता है?" यही परमेश्वर की परीक्षा को स्वीकार करना है, और इसी कारण से यह इतना महत्वपूर्ण है। चौथा, तुम्हें सभी चीजों में सत्य तलाशना सीखना होगा। शैतान के दर्शन पर भरोसा न करो, और तुम्हें लाभ होता है या नहीं, इस पर आधारित चीजें मत करो। तुम्हें सत्य का अर्थ निकालते हुए, सत्य की तलाश करनी चाहिए, फिर तुम्हें सत्य का अभ्यास करना चाहिए। व्यक्तिगत लाभों या नुकसानों की परवाह किये बिना, तुम्हें सत्य का अभ्यास करना चाहिए और सत्य कहना चाहिए, साथ ही एक ईमानदार व्यक्ति बनना चाहिए। नुकसान उठाना एक तरह का आशीर्वाद है; जब तुम नुकसान उठाते हो, तो तुम्हें परमेश्वर का और अधिक आशीष मिलता है। अब्राहम का कई बार फायदा उठाया गया, और लोगों से अपने संवाद के दौरान वह हमेशा समझौता किया करता था। यहाँ तक कि उसके सेवकों ने भी शिकायत की, "आप इतने कमज़ोर क्यों हैं? आइए उनसे लड़ें!" उस समय अब्राहम ने क्या सोचा? "हम उनके साथ नहीं लड़ेंगे। सब कुछ परमेश्वर के हाथों में है, और थोड़ा सा नुकसान उठाने में कुछ भी बुरा नहीं है।" नतीजतन, परमेश्वर ने अब्राहम को और भी आशीष दिया। क्या यदि सत्य का अभ्यास करने के कारण, तुम्हें अपने व्यक्तिगत लाभ के विषय में नुकसान भुगतना पड़ा है, और तुम परमेश्वर को दोष नहीं देते हो, तो परमेश्वर तुम्हें आशीष देगा। पाँचवाँ, तुमको सभी चीजों में सत्य का पालन करना सीखना होगा, यह भी महत्वपूर्ण है। जो व्यक्ति सत्य के अनुसार चीजें कहता है उसकी पहचान के बावजूद, चाहे जो व्यक्ति ऐसा कहता है उसके हमारे साथ अच्छे रिश्ते हों या न हों, और चाहे हम उसके साथ कैसे भी व्यवहार करते हों, जब तक उसकी बातें सत्य के अनुसार है, हमें उसका पालन करना चाहिए और वह जो कहता है उसे स्वीकार करना चाहिए। यह क्या दर्शाता है? यह दिखाता है कि मनुष्य के पास ऐसा दिल है जो परमेश्वर का सम्मान करता है। यदि कोई व्यक्ति सत्य के अनुसार बात करने वाले तीन-चार साल के बच्चे का पालन कर सकता है, तो क्या यह व्यक्ति किसी भी तरह से घमंडी है? क्या यह कोई ऐसा है जो अहंकारी है? वह बदल गया है, उसका स्वभाव बदल गया है ...छठा, अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार रहो। सृजित प्राणी के रूप में अपने कर्तव्यों को कभी न भूलो। यदि तुम अपने कर्तव्यों को पूरा नहीं करते हो, तो तुम कभी भी परमेश्वर की अपेक्षाओं को पूरा नहीं कर पाओगे। यदि मनुष्य अपने कर्तव्यों को पूरा नहीं करता है, तो वह कचरा है, और वह शैतान से संबंधित है। यदि तुम परमेश्वर के सामने अपने कर्तव्यों को पूरा कर सकते हो, तो तुम परमेश्वर के लोगों में से एक हो, क्योंकि यही वह पहचान है। यदि तुमने अपने कर्तव्यों को अच्छी तरह से पूरा कर लिया है, तो तुम एक योग्य प्राणी हो; यदि तुम अपने कर्तव्यों को पूरा करने में असफल रहे, तो तुम एक योग्य प्राणी नहीं हो, और तुम्हें परमेश्वर की मंजूरी नहीं मिलेगी। इसलिए, यदि तुम अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार हो, यदि तुम फिर परमेश्वर के संपर्क में आते हो, तो क्या परमेश्वर तुम्हें आशीष नहीं दे सकता? क्या परमेश्वर तुम्हारे साथ नहीं हो सकता? सातवाँ, सभी चीजों में परमेश्वर के पक्ष में रहो, परमेश्वर के साथ दिल और मन से एक होकर रहो। अगर तुम्हारे माता-पिता कुछ ऐसा कहते हैं जो सत्य के अनुसार नहीं है, जो परमेश्वर के ख़िलाफ़ विद्रोह करता है और परमेश्वर का विरोध करता है, तो तुम्हें परमेश्वर के पक्ष में खड़े होने में सक्षम होना चाहिए, तुम्हें अपने माता-पिता के साथ तर्क-वितर्क करना चाहिए, उन्हें अस्वीकार कर देना चाहिए, उनकी बातों को मानने से इनकार कर देना चाहिए। क्या यह गवाही देना नहीं है? क्या यह शैतान को शर्मिंदा कर सकता है? (हाँ, कर सकता है।) ...यदि मनुष्य इन सात सिद्धांतों का पालन कर सकता है, तो वह परमेश्वर की मंजूरी प्राप्त कर सकता है और तभी परमेश्वर के साथ उसका रिश्ता पूरी तरह से सामान्य होगा। ये सात सिद्धांत बहुत ही महत्वपूर्ण हैं।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
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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
From Historic US 99 Guide
gbcnet.com/ushighways/US99/US99b.html
This bridge also carried US 60 and US 70 and was in operation from 1925 to 1952 when it was replaced by the freeway (Expressway?) ('not' the I-10) . Mt San Jacinto is in the background.
Indio and Palm Springs
Like the Imperial Valley, Indio and Palm Springs are part of the arid Colorado Desert and have thrived because of it. Indio is known as "The Date Capital of the World" and of course, Palm Springs is noted as the playground of the stars. In recent years, Palm Springs and the surrounding cities have become retirement havens due to the year round warm weather. This area is significant for highway history since it is located near the divergence of US 60 and US 70, two major transcontinental routes, from US 99.
After the junction with SR-195, SR-86 continues northwest. This section is little changed from the days when it was signed as US 99. In fact, between Riverside County post mile 2.00 and the intersection with SR-195 there are some sections of very old road dating from the 1920s to the east side. This road is the single slab By 2000, this section of SR-86 will be relinquished by the state since the SR-86 expressway will follow the alignment of SR-195 north to SR-111. This is probably fortunate since it means there will be no designs for widening or otherwise altering this section of road, even though it does mean the end of state maintenance.
SR-86 (Harrison St) continues due north to the intersection with Grapefruit Blvd, which is former SR-111, although it is still signed as such. The road here was widened to the current four lanes in 1956 as part of the expressway/freeway that went to Los Angeles. Almost immediately after at the next signal is Dillon Rd. As inauspicious as it looks, this intersection is where US 60 and US 70 converged with US 99. According to the old maps, this interchange was in use from sometime in the 1930s to 1972 when it was bypassed by I-10. From this intersection to Los Angeles, US 99 was co-signed with US 70 and US 60, intermittently, to Los Angeles. The three routes continued north on Grapefruit Blvd, which now turns into Indio Blvd. The overpasses are newer, being built during the 1960s and 1970s. However, this road was divided as it is now at the time it was US 99. This section was
A few miles to the north, Indio Blvd crosses the railroad tracks over two bridges, then merges with I-10. The westbound bridge was built in 1936 as part of the widening of US 99 from the single slab of concrete to a full two lane road. The eastbound bridge was built in 1956 as a part of the four lane expressway/freeway. From this interchange to just south of Ramon Rd, the original routing follows the freeway on the north side as a frontage road. This road is now called Varner Rd. and several sections still have signs of the original concrete showing through the asphalt overlay. After the merge with Indio Blvd, current I-10 was part of the expressway and subsequently widened. At Ramon Rd, the original alignment of US 99, along Varner Rd. splits to the north of the freeway. Like the frontage road to the east, this section of US 99 was bypassed by the expressway/freeway around 1952. The freeway, the newer alignment of US 99, remains essentially unchanged, with the exception that the original concrete has been paved over with asphalt and additional lanes were added on the outside. Just north of Palm Ave, the route of old US 99 rejoins the freeway, but Varner Ave now ends just short of the freeway. One who is nitpicky, like myself, would notice that the lines from the concrete expansion joints that show through the asphalt on Varner Rd. do not correspond with the current lane markings. This is because a lot of the original portions of US 99 were paved as single slab concrete in the 1920s and a small strip of concrete was added along the sides to enable the road to accommodate two cars going in opposite directions In all honesty, there is not much to see to the west of Palm Ave; the best thing is to get back on the freeway at Palm Ave.
The San Gorgonio Pass
This pass is named after the giant Mt San Gorgonio which lies on the north side. This is the tallest peak in southern California with a height of 11,499 feet. The pass is flanked on the south end by Mt San Jacinto (hah-SEEN-toh is the correct pronunciation), which is no small peak at 10,804 feet. In some ways this mountain is even more impressive than Mt San Gorgonio since it is part of a range that drops off sharply at the pass. In fact, the top of Mt San Jacinto is a mere six miles to the south of I-10! The San Gorgonio Pass itself is the only easily passable opening through the coastal ranges to southern California and has played a big role in the region's development. It was the construction of the Southern Pacific rail line through here that put Los Angeles on the map. In fact, it was this rail line that favored Los Angeles over San Diego, even though San Diego has its beautiful natural harbor. It is appropriate that US 99, the major highway in California follows this line into Los Angeles.
The stretch of freeway north of here was built as I-10 from 1962-67, although parts are merely widened portions of the 1952 expressway. Just to the west of the interchange with SR-111, portions of the original alignment of US 99 remain as frontage road. A distinctive feature is the white painted wood posts characteristic of bridges from the 1920s and 1930s. This can be reached by exiting at Verbenia Ave (the first exit west of SR-111) and taking it to the south frontage road. This road continues for five miles to the East Cabazon exit. There is a well preserved four lane divided section of US 99 visible at the Cabazon exit which is part of the expressway, but which was bypassed by the freeway in 1964. This really gives a good idea of what a typical town was like on 99 or any other old US highway. Unfortunately, this town has really died out since it was bypassed, much like a lot of other US 99 towns.
The road rejoins I-10 and at this point there is no choice but to head west on I-10. At the next exit, it is possible to reach some old segments of US 99 which acted as frontage road. This road is no longer maintained for vehicular use which makes it somewhat difficult to reach. These sections are well worth the effort it takes to get to them since the old concrete joints are visible through the asphalt overlay as well as the old style broken white line which separated both directions of traffic. There are also a couple more old style bridges which have been preserved. This section ends at the Ramsey St. on-ramp and the only way to get back to I-10 and the rest of the tour is to back-track to the last exit.
The town of Beaumont were bypassed in 1956 by the freeway west of the Ramsey St. off-ramp. Ramsey St. (or 6th St. in Banning) is the original routing of US 99 and still is an important street for the twin towns as many of the traveler oriented businesses still line this street. These towns still give an excellent feel for the way US 99 looked, especially since most of the buildings date back from before the freeway. Sixth St. in Banning is still the split level divided four lane road that it was when it was 99.
The freeway itself bears little resemblance to when it was originally constructed due to the fact that it was widened to eight lanes in 1969-70. Beyond SR-243, the freeway bypassed the town of Banning in 1961. Again this was widened in 1970. A little fun fact about the names of these two towns. Beaumont is a derivative of the French word for "beautiful mountain," a description that holds well in this area. Banning is named for Phineas Banning, the Army General who built the first railroad through this area.
At the western edge of Banning is the junction of I-10 and SR-60 which was built in 1961 as the US 60 / US 99,US 70 (I-10) separation. On one of the overhead signs on I-10 westbound it is obvious that an US 60 shield was covered by an SR-60 "greenout" cover because the white edges are still visible. US 60 did not rejoin US 99 until San Dimas, over 50 miles to the west, but US 70 remained co-signed with US 99 to the intersection with US 101.
The Foothills and San Bernardino
Even though the San Gorgonio Pass offers relatively easy access to metropolitan Los Angeles, there are still some hills to be crossed. While they are low and rolling, they posed an obstacle to the railroad; as a consequence it splits from US 99 (I-10) just west of Banning, following San Timiteo Canyon and rejoins US 99 at the outskirts of San Bernardino. San Bernardino was established as a Mormon settlement and marked the end of the Mormon Trail. This trail paralleled what is now I-15, although it started/ended its passage over the San Bernardino Mountains near the present route of SR-18. San Bernardino lies in a valley formed by creeks that drain the nearby mountains; the Santa Ana River and Cajon Creek are mostly responsible for this. One result is that this valley made excellent farmland to to the fertile soil being washed down from the mountains, although farmland is rare to see now. It has been successful due to its position at the crossroads of the route going north and the route heading east. Today San Bernardino is the most populous city of the Inland Empire and it continues to grow as more people flee from the suburbs of Los Angeles and Orange County.
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
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#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
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protestart
hi.kingdomsalvation.org/testimonies/how-to-interact-with-...
वांग ज़ीहान, शांक्सी प्रान्त
पारस्परिक संबंध एक ऐसा विषय है जो कई लोगों के सिर में दर्द पैदा कर देता है। यह एक ऐसा विषय भी है जिसका अक्सर ईसाई के रूप में एक व्यक्ति पूरे जीवन भर सामना करता है। प्रभु यीशु की अपेक्षा है कि हम एक-दूसरे के साथ सामंजस्य में मिलकर रहें और दूसरों से अपने समान प्यार करें। कई आस्थावान ईसाई भी प्रभु की शिक्षाओं को अभ्यास में लाने के इच्छुक हैं। हालांकि, हकीकत में, जब हम दूसरों के साथ बातचीत करते हैं, तो हम अक्सर संघर्ष और गलतफहमी का सामना करते हैं, वो भी इतना कि हमारे रिश्ते कठोर होकर टूट जाते हैं। इससे हर किसी को दर्द होता है। क्या कारण है कि हम एक-दूसरे के साथ सामंजस्यपूर्ण रूप से रहने में असमर्थ हैं? प्रभु की मंशा के अनुसार हम ईसाई अपने जीवन में दूसरों के साथ कैसे बातचीत कर सकते हैं? अतीत में मुझे जो कठिनाई हुई है, उसमें यह समस्या भी रही है। प्रभु के मार्गदर्शन के लिए उनका धन्यवाद! बाद में, मुझे एक पुस्तक में इस सवाल का जवाब मिला, जिसने मेरी कठिनाइयों का समाधान कर दिया। यहां, मैं अपने अनुभव और समझ के बारे में कुछ बताने जा रही हूँ!
1. आपको दूसरों के साथ उचित और समान व्यवहार करना चाहिए। आपको अपनी भावनाओं और वरीयताओं के आधार पर काम नहीं करना चाहिए।
यीशु ने कहा: "क्योंकि यदि तुम अपने प्रेम रखनेवालों ही से प्रेम रखो, तो तुम्हारे लिये क्या फल होगा? क्या महसूल लेनेवाले भी ऐसा ही नहीं करते? "यदि तुम केवल अपने भाइयों ही को नमस्कार करो, तो कौन सा बड़ा काम करते हो? क्या अन्यजाति भी ऐसा नहीं करते? इसलिये चाहिये कि तुम सिद्ध बनो, जैसा तुम्हारा स्वर्गीय पिता सिद्ध है" (मत्ती 5:46–48)। प्रभु के वचनों से, मैं समझ गयी कि परमेश्वर की अपेक्षा है कि ईसाई जन अपने जीवन में दूसरों के साथ परमेश्वर के वचनों के अनुसार व्यवहार करें। उन्हें अपनी भावनाओं और वरीयताओं के अनुसार ऐसा नहीं करना चाहिए। जब मैं इस बारे में सोचती हूँ कि दूसरों के साथ हम कैसे बातचीत करते हैं, तो मुझे एहसास होता है कि जब हम दूसरों से लाभ या सहायता प्राप्त करते हैं, तो हम उस दूसरे पक्ष के प्रति आनंदित और आभारी हो जाते हैं। हालांकि, जब अन्य लोग कुछ ऐसा कहते या करते है जो हमें नुकसान पहुंचाता है, तो हम इस दूसरे व्यक्ति से घृणा करने लग जाते हैं और उस पर ज़्यादा ध्यान नहीं देते हैं। जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद करते हैं, तो हम उसके करीब आते हैं और उसे अपने पास खींच लेते हैं; जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद नहीं करते हैं, तो हम उसे अस्वीकार कर देते हैं और उससे दूर चले जाते हैं। जिनके पास ऊँची हैसियत या अधिक शक्ति है, हम उनकी खूब प्रशंसा करते हैं और उनकी चाटुकारिता करते हैं। जिनके पास हैसियत या शक्ति नहीं है, हम उन्हें अस्वीकार करते हैं और उन्हें अपमानित करते हैं। कोई ऐसा जिसके लिए हमारी वरीयता होती है यदि वो हमारी कमियों को बताता है, तो हम इसे स्वीकार करने में सक्षम होते हैं। लेकिन जिसके लिए हमारी वरीयता नहीं होती, यदि वो कुछ ऐसा करता है, तो हम इसे स्वीकार नहीं करते हैं, हम इसका औचित्य सिद्ध करते हैं और कभी-कभी हम उनसे घृणा भी करते हैं, उसके साथ लड़ने लगते हैं और यहां तक कि उस पर हमला भी करते हैं। ये सभी किसी व्यक्ति द्वारा अपनी खुद की भावनाओं और प्राथमिकताओं का पालन करने और दूसरों के साथ समान रूप से व्यवहार न करने के उदाहरण हैं। यह वह तरीका भी है जिसके अनुसार अविश्वासी दूसरों के साथ व्यवहार करते हैं। यदि कोई ईसाई दूसरों के साथ इस तरह से व्यवहार करता है, तो वो उसी रास्ते पर चल रहा है जिस पर एक अविश्वासी चलता है, वह प्रभु में विश्वासी कहलाने योग्य नहीं हैं और वो जो कर रहा है वह परमेश्वर के इरादे के अनुसार नहीं है। प्रभु में विश्वासियों के तौर पर, हमें उसकी शिक्षाओं को अभ्यास में लाना चाहिए। हमें दूसरों से अपने समान प्यार करना चाहिए। जब तक कि किसी की मानवता अच्छी है, वह वास्तव में परमेश्वर में विश्वास करता है और सत्य से प्यार करता है, तो वो हमारी प्राथमिकताओं, मिजाज़, चरित्र के साथ संगत हो या ना हो, चाहे हम उसे पसंद करते हों या न करते हों और भले ही वे साधारण भाई बहन हों या कलीसिया के अगुआ हों, हमें ईमानदारी से और निष्पक्षता से उनके साथ व्यवहार करना चाहिए। हमें उनके प्रति सहिष्णुता, धैर्य और प्यार दिखाना चाहिए। हमें धोखाधड़ी और भेदभाव नहीं करना चाहिए। केवल ऐसा करके ही हम परमेश्वर की मंशा के अनुसार होंगे।
2. दूसरों की कमियों और प्रकट की गयी भ्रष्टता को उचित ढंग से सम्बोधित करें। मनमाने ढंग से दूसरों को परिभाषित और उनकी आलोचना ना करें।
यीशु ने कहा: "दोष मत लगाओ कि तुम पर भी दोष न लगाया जाए। क्योंकि जिस प्रकार तुम दोष लगाते हो, उसी प्रकार तुम पर भी दोष लगाया जाएगा; और जिस नाप से तुम नापते हो, उसी नाप से तुम्हारे लिये भी नापा जाएगा" (मत्ती 7:1–2)। प्रभु की शिक्षाओं ने मुझे यह समझने में मदद की है कि हम सभी वो लोग हैं जो शैतान द्वारा भ्रष्ट किये गए हैं। हमारा भ्रष्ट स्वभाव एक जैसा है। अगर दूसरे एक घमंडी, दम्भी, स्वार्थी और घृणित शैतानी स्वभाव प्रकट करते हैं, तो हम भी वही स्वभाव प्रकट कर सकते हैं। हमारे अंदर दूसरों के समान ही कमियाँ हैं। हम दूसरों की तुलना में बेहतर नहीं हैं। अगर हम दूसरों की कमियों और भ्रष्टाचार के कारण उनकी आलोचना करते हैं और उन्हें परिभाषित करते हैं, तो हम वास्तव में घमंडी हैं और स्वयं के बारे में हमें बहुत कम ज्ञान है! इसलिए, दूसरे चाहे जो भ्रष्टाचार और अपराध प्रकट करें उसके बावजूद, हमें उन्हें सही तरीके से संबोधित करना होगा और हमें मनमाने ढंग से उनकी आलोचना और उन्हें परिभाषित नहीं करना चाहिए। पापियों को संबोधित करते समय यीशु का जो रवैया था, जैसा कि बाइबल में लिखा है, उसे याद रखें: फ़रीसी एक व्यभिचारी महिला को पकड़ कर यीशु के सामने लाये। उन्होंने यीशु से पूछा कि इस महिला के साथ कैसा व्यवहार किया जाना चाहिए। उस समय के कानूनों के मुताबिक, महिला की पत्थर मार-मार कर हत्या कर देनी चाहिए थी। हालाँकि, यीशु ने उसे उसके पापों के लिए दोषी नहीं ठहराया। उसने बस उस महिला को भविष्य में पाप ना करने के लिए कहा। (यूहन्ना 8: 3-11 देखें।) इस अवतरण से, हम देख सकते हैं कि यीशु उस दर्द और असहायता को समझता है जिसे वे लोग महसूस करते हैं जिन्हें शैतान द्वारा भ्रष्ट किया गया है और जो पाप में रहते हैं। उसने मनुष्य की कमज़ोरी के प्रति करुणा महसूस की। जब हमने भ्रष्टाचार प्रकट किया है या अपराध किए हैं, तो जब तक हम वास्तव में पश्चाताप करते हैं, परमेश्वर हमें पश्चाताप करने और बदलने के लिए पर्याप्त समय देगा। हमें यीशु के उदाहरण का भी पालन करना चाहिए और अन्य लोगों की कमियों और प्रकट की गयी भ्रष्टता को सही तरीके से संबोधित करना चाहिए। हमें विकास के परिप्रेक्ष्य के माध्यम से दूसरों को देखना चाहिए। यह अन्य लोगों से निपटने का एक सिद्धांत भी है जो ईसाइयों के जीवन में होना चाहिए। यदि अन्य लोगों के लिए हमारी मांगें कठोर हैं, हम बाल की खाल निकालते हैं और मनमाने ढंग से लोगों की आलोचना तक करते हैं, यदि हम लोगों को परिभाषित करते हैं और उनकी कमियों को खोजने के बाद यह निष्कर्ष निकालते हैं कि वे निकम्मे हैं, तो यह दूसरों के साथ निपटने के लिए एक अहंकारी और दम्भी भ्रष्ट स्वभाव का उपयोग करने का एक उदाहरण है। यदि आप ऐसा करते हैं, तो यह परमेश्वर के इरादे के अनुसार नहीं है और आप दूसरों के साथ सामान्य संबंध बिल्कुल नहीं रख पाएंगे।
अब मैं अपने कुछ अनुभव आप सभी को बताती हूँ। हमारी कलीसिया में, एक बहन है जो अपने अविश्वासी पति के कारण समय पर सभाओं में भाग लेने में असमर्थ है। मैंने कई बार इस बहन से बात की थी, लेकिन वह अभी भी नकारात्मकता और कमजोरी में जी रही थी। मैं इस लेकर बहुत नाराज थी और इसलिए मैंने उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। मैं अब और उसकी मदद या सहायता नहीं करना चाहती थी। बाद में, मैंने बाइबल में लिखे ये वचन पढ़े: "खानेवाला न–खानेवाले को तुच्छ न जाने, और न–खानेवाला खानेवाले पर दोष न लगाए; क्योंकि परमेश्वर ने उसे ग्रहण किया है। तू कौन है जो दूसरे के सेवक पर दोष लगाता है? उसका स्थिर रहना या गिर जाना उसके स्वामी ही से सम्बन्ध रखता है; वरन् वह स्थिर ही कर दिया जाएगा, क्योंकि प्रभु उसे स्थिर रख सकता है" (रोमियों 14:3-4)। मुझे बहुत शर्मिंदगी महसूस हुयी। मैंने उन समयों के बारे में सोचा जब मैं पराजित, नकारात्मक और कमज़ोर महसूस करती थी। परमेश्वर ने मेरे भाई-बहनों को भावनात्मक रूप से छुआ ताकि वे आगे आएं और परमेश्वर के वचनों को कई बार पढ़कर मुझे सुनाएं। वे मेरी सहायता करने और मुझे सहारा देने के लिए मुझसे बातचीत करते और अपने अनुभव मुझे बताया करते। केवल परमेश्वर के वचनों के मार्गदर्शन से ही मैं दृढ़ता से खड़ी हो पायी। मेरे पास कुछ भी ऐसा नहीं था जिस पर मैं गर्व कर सकती थी। अब, यह बहन अपने पति की बाधाओं के कारण समय पर सभाओं में भाग लेने में असमर्थ थी। मुझे एक प्यार करने वाले दिल के साथ उसकी मदद करनी चाहिए थी, फिर भी मैं इस बहन के जीवन के बारे में चिंतित नहीं थी। मैंने उसे टालने की कोशिश भी की और उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। जब मैंने खुद पर नज़र डाली, तो मुझे लगा कि मैं बहुत अहंकारी थी। मैंने इस बहन के साथ प्यार भरे दिल या धैर्य से व्यवहार नहीं किया। मेरे पास ऐसा कुछ भी नहीं था जो कि परमेश्वर के इरादों के अनुसार था। एक बार जब मैं यह समझ गयी, फिर मैंने परमेश्वर के सामने अपने पाप स्वीकार किए और पश्चाताप किया: मैं इस बहन की मदद करने और सहारा देने के लिए तैयार थी। इसके बाद, मैंने इस बहन को प्यार भरे दिल के साथ परमेश्वर के वचन सुनाये और मैंने अपने कुछ अनुभव और समझ को भी साझा किया। उसके साथ कुछ बार संवाद करने के बाद, वह अब अपने पति के नियंत्रण के अधीन नहीं थी और उसकी स्थितियों में धीरे-धीरे सुधार हुआ। इस अनुभव से मैंने जो सीखा वह यह है कि किसी भी भाई या बहन के अंदर चाहे जो भी कमियां और कमज़ोरियाँ हों, या वे जो भी भ्रष्टाचार प्रकट करें, जब तक कि वे वास्तव में परमेश्वर पर विश्वास करते हैं और जब वे गलती करते हैं तो परमेश्वर के सामने पश्चाताप कर सकते हैं, परमेश्वर उन्हें बदलने का एक अवसर देगा। यही कारण है कि हमें दूसरों की प्यार भरे दिल से मदद करनी चाहिए, उन्हें माफ करना चाहिए और प्रत्येक व्यक्ति के साथ परमेश्वर की अपेक्षाओं के अनुसार व्यवहार करना चाहिए। हमें बिल्कुल भी मनमाने ढंग से अन्य लोगों को परिभाषित नहीं करना चाहिए और उनकी आलोचना नहीं करनी चाहिए। इसी प्रकार से एक व्यक्ति लोगों के साथ समान रूप से और परमेश्वर की मंशा के अनुसार व्यवहार करता है।
3. आपको अन्य लोगों को कम या ज़्यादा करके नहीं आँकना चाहिए। दूसरों की खूबियों से सीखें और अपनी कमियों को दूर करें।
बाइबल कहती है: "विरोध या झूठी बड़ाई के लिये कुछ न करो, पर दीनता से एक दूसरे को अपने से अच्छा समझो" (फिलिप्पियों 2:3)। परमेश्वर ने हममें से प्रत्येक को अलग-अलग क्षमता, प्रतिभा और खूबियां दी है। इस कारण से, अपने भाइयों और बहनों के साथ बातचीत करते समय हमें विनम्र दिल रखना चाहिए और हमें दूसरों की खूबियों और कमियों को सही ढंग से देखना चाहिए। हमें दूसरों को कम या ज़्यादा करके नहीं आँकना चाहिए। हमें दूसरों की खूबियों को ग्रहण करना चाहिए ताकि हम अपनी कमियों को दूर कर सकें। यदि हम अपनी खूबियों, क्षमता और प्रतिभा के कारण दूसरों को नीची दृष्टि से देखते हैं और असीम ढंग से अपनी ताकत बढ़ाते हैं, जिसके माध्यम से हम दिखावा करते हैं और डींगे हाँकते हैं, साथ ही दूसरों की आलोचना करते हैं, नीचा दिखाते हैं और नुकसान पहुंचाते हैं, तो हम अपने अहंकारी और दम्भी भ्रष्ट स्वभाव द्वारा इस प्रकार से नियंत्रित किये जा रहे हैं। एक ईसाई को इस तरह का जीवन नहीं जीना चाहिए। उदाहरण के लिए, पहले, मैं हमेशा सोचती थी कि मेरी खुद की क्षमता अपने साथ काम कर रही एक बहन की तुलना में बेहतर थी, इसलिए मैं उसे नीची दृष्टि से देखती थी। एकसाथ हमारे काम के दौरान, मैं जाने-अनजाने में दिखावा करती थी और मेरा दिल अपने लिए घमंड से भरा हुआ था। मेरे भ्रष्ट स्वभाव के कारण परमेश्वर को मुझसे घृणा हो गयी और इसके कारण परमेश्वर ने मेरी ओर से अपना मुँह मोड़ लिया। मेरी आत्मा अँधेरी और निराशापूर्ण हो गई। मेरे काम में कई स्पष्ट समस्याएं थीं जिन्हें मैं खोज पाने में असमर्थ थी, जबकि इस बहन का काम धीरे-धीरे बेहतर होता चला गया। मैंने उस बारे में सोचा जो यीशु ने कहा था: "जो कोई अपने आप को बड़ा बनाएगा, वह छोटा किया जाएगा: और जो कोई अपने आपको छोटा बनाएगा, वह बड़ा किया जाएगा" (मत्ती 23:12)। इसी समय मैंने देखा कि मैं कितनी अहंकारी थी। मैं खुद से अवगत नहीं थी। असल में, यह पवित्र आत्मा के काम के कारण है कि मेरे काम ने कुछ परिणाम उत्पन्न किये थे या मैं कुछ समस्याओं को खोजने में सक्षम थी। हालाँकि, मैंने अभी भी परमेश्वर का सम्मान चुराया था और मैं बेहद आत्मतुष्ट थी और अपने खुद के अहंकार की प्रशंसा करती थी। मैं अपने साथी भाइयों और बहनों को नीची दृष्टि से देखती थी। हकीकत में, मैं बहुत ही अविवेकी थी! साथ ही, मुझे पता था कि मुझे खुद को कैसे जाने देना है यह सीखने की जरूरत है। मुझे अपनी कमियों को दूर करने के लिए उस बहन की खूबियों को खुले दिमाग से आत्मसात करना था। केवल अगर मैंने ऐसा किया तभी परमेश्वर प्रसन्न होगा और मेरा जीवन लगातार बढ़ेगा। नतीजतन, मैंने ऐसा करना शुरू कर दिया। जब ऐसी समस्याएं आतीं जिन्हें मैं समझ नहीं पाती थी, तो मैं उस बहन से उसकी सलाह माँगती। अगर मैं मुद्दों का सामना करती, तो मैं उनके साथ उन पर चर्चा करती। तब मैंने पाया कि वास्तव में उसमें ऐसी कई खूबियां थीं जिनका मुझमें अभाव था। मेरे दिल ने बहुत अपमानित महसूस किया। मैं यह भी समझ गयी कि परमेश्वर ने ऐसी व्यवस्था की थी कि मैं इस बहन के साथ काम करूँ क्योंकि वह चाहता था कि मैं अपनी कमियों को दूर करूँ। वह चाहता था कि जो काम उसने हमें सौंपा था उसको करने के लिए हम सामंजस्यपूर्ण रूप से सहयोग करें। धीरे-धीरे, इस बहन के साथ मेरा रिश्ता सामान्य हो गया और मुझे एक बार फिर पवित्र आत्मा का काम प्राप्त हुआ।
4. जब आप यह पाते हैं कि अन्य लोग ऐसी चीज़ें करते हैं जो आपके विचारों से मेल नहीं खाती हैं, तो दूसरे व्यक्ति पर अपनी नज़रें न गड़ायें। इसके बजाय, आपको पहले खुद को पहचानना चहिये और सत्य का अभ्यास करना चाहिये।
यीशु ने कहा: "तू क्यों अपने भाई की आँख के तिनके को देखता है, और अपनी आँख का लट्ठा तुझे नहीं सूझता? जब तेरी ही आँख में लट्ठा है, तो तू अपने भाई से कैसे कह सकता है, 'ला मैं तेरी आँख से तिनका निकाल दूँ?' हे कपटी, पहले अपनी आँख में से लट्ठा निकाल ले, तब तू अपने भाई की आँख का तिनका भली भाँति देखकर निकाल सकेगा" (मत्ती 7:3–5)। जब हम दूसरों के साथ बातचीत करते हैं, तो कुछ टकराव और पूर्वाग्रह होना निश्चित है। इन क्षणों पर, हमें इस बात पर ध्यान नहीं देना चाहिए कि दूसरा पक्ष क्या गलत कर रहा है और हमेशा यह नहीं मानना चाहिए कि दूसरे पक्ष की ही गलती है। इसके बजाय, हमें परमेश्वर के सामने आना और परमेश्वर के वचन के भीतर सत्य को तलाशना सीखना चाहिए ताकि हम यह पता लगा सकें कि हमारी अपनी समस्याएं कहाँ हैं। एक बार जब हम परमेश्वर के इरादे को समझ लेते हैं और अपने भ्रष्ट स्वभाव की समझ पा लेते हैं, तो हम खुद को अन्य लोगों की जगह रख कर देख पाएंगे और चीजों को उनके नज़रिए से समझ पाएंगे। हम दूसरों को समझ पायेंगे, उनके साथ सहानुभूति रखने और सहिष्णु होने में सक्षम होंगे। इस बिंदु पर, दूसरों के लिए हमारा पूर्वाग्रह स्वाभाविक रूप से कम हो जाएगा।
इस पहलू के संबंध में मुझे कुछ गहरे अनुभव हुए हैं। मुझे याद है कि एक बहन जिसके साथ मैंने काम किया था, उसने कई बार यह इशारा किया कि कलीसिया के काम के संबंध में मैंने अपना दायित्व नहीं निभाया था। हालाँकि, न केवल मैं इसे परमेश्वर से प्राप्त करने में असमर्थ थी, वास्तव में, मुझे यह भी संदेह था कि यह बहन जान-बूझकर मुझमें मीन-मेख निकाल रही थी और मेरी जिंदगी मुश्किल बना रही थी। मेरे दिल ने इस बहन की तरफ पूर्वाग्रह पैदा करना शुरू कर दिया और अब मैं इस बहन के साथ सेवा नहीं करना चाहती थी। जब मैंने परमेश्वर के वचन को पढ़ा और परमेश्वर की मंशा को ढूंढा, तो मुझे समझ में आया कि मेरा स्वयं का अहंकारी और दम्भी शैतानी स्वभाव मुझे नियंत्रित कर रहा था और मुझे इस बहन के सुझावों को स्वीकारने नहीं दे रहा था। इससे मुझे उसके बारे में संदेह भी हुआ। इसी कारण इस बहन के साथ सामान्य बातचीत करने में मैं असमर्थ हो गयी। साथ ही, मुझे पता था कि जिन लोगों, घटनाओं और चीजों का मैं हर रोज सामना करती थी, सभी परमेश्वर द्वारा निर्देशित और व्यवस्थित थे। यह परमेश्वर था जो सावधानी से इन चीजों को मुझे बदलने और बचाने के लिए व्यवस्थित कर रहा था, न कि वह बहन जानबूझकर मेरे लिए चीजों को मुश्किल बनाना चाहती थी। मुझे परमेश्वर को समर्पण करना चाहिए, खुद को जाने देना और उस बहन के सही सुझावों को स्वीकार करना सीखना चाहिए। इसके बाद, मैं परमेश्वर के सामने गयी और खुद पर विचार किया। बहन के सुझावों से, मैं देख सकती थी कि वास्तव में मैं कलीसिया के काम के संबंध में अपनी जिम्मेदारियों को नहीं उठा रही थी। जो भी अगुवा मेरे लिए करने की व्यवस्था करते थे, मैं वो करती थी, फिर भी मैंने कभी यह नहीं सोचा कि मैं कलीसिया के काम को और भी बेहतर कैसे कर सकती हूँ। एक बार जब मैं परमेश्वर के इरादे को समझ गयी, तो मैं चीजों को परमेश्वर की अपेक्षाओं के अनुरूप करने लगी। मैंने सक्रिय रूप से और खुले दिल से इस बहन के सामने अपना भ्रष्टाचार प्रकट किया और मैंने परमेश्वर से भी मुझे और अधिक ज़िम्मेदारियाँ देने को कहा। जब मैंने परिस्थितियों का सामना किया, तो मैंने इस बारे में और सोचा कि मैं कलीसिया को कैसे लाभ पहुंचा सकती हूँ। जब मैं चीजों को इस तरह से अभ्यास में लायी, तो एक समय जो गलतफहमी इस बहन के साथ हुआ करती थी वो खत्म हो गयी। हम आध्यात्मिक रूप से जुड़ गये और जो सद्भावना पहले हमारे बीच थी, वो एक बार फिर बहाल हो गयी।
अभ्यास के चार सिद्धांत वे चीजें थीं जिन्हें मैंने अपने अनुभवों से सीखा था। मैंने सचमुच अनुभव किया कि एक ईसाई के जीवन में परमेश्वर का वचन मार्ग दिखाने वाला प्रकाश है। यह हमारे पथ के लिए दिशासूचक है। परमेश्वर के वचन के मार्गदर्शन के बिना, हमारे पास चलने को कोई रास्ता नहीं होगा। हमें बस इतना करना है कि हम परमेश्वर की शिक्षाओं को अभ्यास में लायें और सभी के साथ समान रूप से व्यवहार करें। केवल तभी हम वास्तविक मनुष्य के समान जीवन जीने में सक्षम होंगे, दूसरों के साथ अच्छी तरह से मिल-जुलकर रह पाएंगे, हमारे आस-पास के लोगों को लाभ पाने देंगे, साथ ही, हम परमेश्वर को संतुष्ट करने और हमें सराहने का कारण देंगे।
परमेश्वर के मार्गदर्शन के लिए उसका धन्यवाद। परमेश्वर की महिमा बनी रहे!
संपादक की टिप्पणी: परमेश्वर के प्रबोधन और मार्गदर्शन के कारण, जब तक कि इस निबंध में वर्णित चार सिद्धांतों का कोई अभ्यास करता है, तो मानव संबंधों के विषय में जिन समस्याओं का सामना उसे करना पड़ता है, वे जादुई रूप से गायब हो जाएंगीं। कल्पना कीजिए कि हमारे जीवन कितने बेहतर होंगे यदि हम ईसाईयों के रूप में परमेश्वर के वचनों को अभ्यास में लाने और दूसरों के साथ सामंजस्यपूर्ण ढंग से जीने में सक्षम हों जाएँ! इस तरह का जीवन कोई कहाँ पा सकता है? संपादक की सलाह है कि आप इस ईसाई भजन को सुनें: "परमेश्वर का प्यार हमें एक दूसरे के करीब लाता है"। इस भजन को सुनने के बाद, आपको आपका जवाब मिल जाएगा।
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
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willowgrovedaycamp.com/willows.html
The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.
During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html
Callies Compstar 3.750" Stroke "Large Main Journal" 2.650" Small Block Chevy Crank with rod journal lightening holes to reduce weight and rounded counterweight edges to reduce windage.Removing the counterweights at each end of the crank{and the forging} should go along way to relieve flex at the main bearings,and crank twist.The large main journal has more crank overlap for a stronger crank:
www.popularhotrodding.com/tech/0710phr_crankshaft_tech/ph...
but it also thins the block web some,{along with 4-bolt versus 2-bolt main}so it's pick your poison using a OEM block{350 versus 400 blocks}the smaller journal would decrease friction but for the RPM range intended for this build I doubt that any of the advantages/disadvantages will make a noticable difference,I wanted the 400 block for the bore size,and budget,so the crank journal size choice was simply one that fit.SBC 383 build guide article from a 350 block:
www.carcraft.com/techarticles/ccrp_0808_383_stroker_small...
Rear main cap oil pump passage smoothed for oil flow.I blueprinted the bearing clearances to .003"mains,.002"rods by measuring,mixing and matching the upper and or lower bearing shells within the set.Two of the rods ended up just under .002" at .0018"and .0019" and one of the mains was .0028".All of the clearance variances were much less than .0005" out of the box,but by mixing and matching I got them all consistent with the exception of the two rods and one main.All of the parts and measuring tools were kept in the house for a constant measuring temp.and was much more comfortable for me to do the detail work{My wife rolls her eyes and shakes her head at me}but I actually do have a method to my madness.After I had everything measured,matched,and labeled I moved it all back to the garage for assembly.I went with the old rule of thumb for bearing clearance,.001"clearance for every inch of journal size to help keep as much oil control as possible.If this engine was planned to see extended high RPM use from the start, I would have used a .001" oversize bearing half in the rods to open the clearance up to .0025".
www.carcraft.com/techarticles/ccrp_0805_high_performance_...
Material = 4340
Rod Pins = 2.100"
Bob Weight =1,743 g
Bob weight is the rotating weight of the piston,pin,locks,rings,and rods.
Note: Typical Chevy 350 bob-weights are in the 1,910-1,930 gram range,and a typical bob-weight for a 6" rod 383 SBC is around 1800 grams.
Bearing clearance link:
www.carcraft.com/techarticles/ccrp_0805_high_performance_...
Engine Balancing and crankshaft info:
www.carcraft.com/howto/ccrp_0803_engine_balancing/index.html
Crankshaft Developments:
www.circletrack.com/drivetraintech/ctrp_0410_crankshaft_d...
Crankshaft Talk from the Experts:
www.chevyhiperformance.com/tech/engines_drivetrain/shortb...
Crankshaft Tech:
www.popularhotrodding.com/tech/0710phr_crankshaft_tech/in...
This is a link to a SBC 401cu.in. build from a .060"over "stroker" 350 block,4.060" bore,3.875" stroke,I thought it was interesting to see what the longer stroke did to the torque curve compared to other builds with about the same cubic inch.and was thinking about a longer stroke for my own build,but decided against it to keep the rod/stroke ratio a little higher and relieve some cylinder wall thrust.
airflowresearch.com/articles/article031/A-P1.htm
SBC 408cu.in. from a 350 block.4.000" stroke
www.popularhotrodding.com/tech/0805phr_408_cubic_inches_w...
SBC 408cu.in. from a .040" over 400 block.3.750" stroke
airflowresearch.com/articles/article045/A-P2.htm
SBC 412cu.in. 4.155"bore, 3.800" stroke
www.superchevy.com/technical/engines_drivetrain/completeb...
SBC 420cu.in. 4.155"bore 3.875" stroke
www.carcraft.com/techarticles/ccrp_0406_chevy_brutus_smal...
SBC 450cu.in from a Dart block,with the same 215 heads I used.
www.hotrod.com/techarticles/engine/113_0312_dart_450ci_sm...
Rod/Stroke Ratio,and Bore/Stroke of Common Engines:
Mopar 340----1.85R/S............ Bore=4.040"......Stroke=3.310"
Mopar 360----1.71R/S.............Bore=4.000"......Stroke=3.580"
Mopar 383----1.88R/S.............Bore=4.250"......Stroke=3.375"
Mopar 426Hemi---1.83R/S....Bore=4.250"......Stroke=3.750" {same stroke as SBC400}
www.carcraft.com/techfaq/ccrp_0809_building_hemi_for_less...
www.moparmusclemagazine.com/techarticles/37345_favorite_e...
SBC 302----1.90R/S................Bore=4.000"......Stroke=3.000"
SBC 305----1.64R/S................Bore=3.736"......Stroke=3.480"
SBC 307----1.75R/S................Bore=3.875"......Stroke=3.250"
www.superchevy.com/technical/engines_drivetrain/completeb...
SBC 327----1.75R/S................Bore=4.000"......Stroke=3.250"
SBC 350----1.64R/S................Bore=4.000"......Stroke=3.480"
www.carcraft.com/techarticles/116_0108_chevy_350_crate_en...
SBC 383/6"rod---1.60R/S.......Bore=4.030"......Stroke=3.750"{same stroke as SBC400}
www.hotrod.com/projectbuild/hrdp_0609_500hp_small_block_c...
"Stock" SBC 400---1.48R/S....Bore=4.125"......Stroke=3.750"{POOR R/S Ratio}
SBC406/ 6"rod---1.60R/S.......Bore=4.155"......Stroke=3.750"{The combo I used,internal ballance}
BB Chevy 427----1.63R/S.......Bore=4.251"......Stroke=3.760"{Ideal for Corvette,"My opinion"}
carcraft.automotive.com/115830/ccrp-0910-chevy-l88-427-en...
BBC 454----1.53R/S................Bore=4.251"......Stroke=4.000"{external ballance}
Ford 302----1.70R/S................Bore=4.000"......Stroke=3.000"
Ford 460----1.72R/S................Bore=4.360"......Stroke=3.850"
Buick 455----1.69R/S..............Bore=4.3125"....Stroke=3.900"
Olds 455----1.58R/S...............Bore=4.125".......Stroke=4.250"{same bore as SBC400}
www.popularhotrodding.com/tech/1006phr_1965_oldsmobile_cu...
www.carcraft.com/techarticles/116_0010_455ci_engines/inde...
www.popularhotrodding.com/tech/0302phr_oldsmobile_455ci_e...
Pontiac 455--1.57R/S.............Bore=4.150".......Stroke=4.210"
www.carcraft.com/techarticles/ccrp_0408_500_hp_street_her...
www.carcraft.com/techarticles/ccrp_0706_v8_engine_perform...
General guidelines is that a R/S ratio of 1.55 or higher is needed to reduce side thrust of the piston and reduce friction,this becomes more critical above 5500 RPM.
Rod Length Article:
www.stahlheaders.com/Lit_Rod Length.htm
Various SBC Engine Builds:
SBC406 Vortec heads and AFR 180 Comparison with 9.5:1 CR:
www.popularhotrodding.com/enginemasters/articles/hardcore...
A comparison of two 500hp SBC street engines 355 cu.in.and 406 cu.in.:
airflowresearch.com/articles/article096/A-P1.htm
9.8:1 CR 515hp Dart 406:
www.chevyhiperformance.com/techarticles/90719_dart_215cc_...
Stroker Soup:
www.superchevy.com/technical/engines_drivetrain/completeb...
400 Block-381ci. 680hp 12.2:1 CR:
www.hotrod.com/techarticles/engine/0304_chevy_400_block_3...
SBC 406ci. 11.1:1 CR 583hp:
www.chevyhiperformance.com/tech/engines_drivetrain/comple...
Beehive spring upgrade:
www.chevyhiperformance.com/tech/engines_drivetrain/shortb...
10.4 comp. 383 SBC with Dart 215 heads:
www.chevyhiperformance.com/techarticles/0304_beck_racing_...
Dart 440 SBC 10:1 comp. with Dart 215 heads:
www.dragzine.com/tech-stories/engine/dart-builds-the-ulti...
Video of a 406 SBC from Nelson Racing Engines.New EFI Hilborn 8 Stack.Very Cool induction system,and Responsive!!!!!! :
Based on Bonsaibirder's blog, I think it's a rock bunting...
Wednesday 19 February 2014: Neltner Refuge (3207 m / 10522 ft) - Toubkal (جبل توبقال) (4167 m / 13671 ft) - Neltner Refuge (3207 m / 10522 ft)
An early rise and shine at the Neltner Refuge - 5.53am alarm, breakfast back down in the dining room at 6.30am ish, donning waterproofs, boots, then outside for crampon lacing and ice axe wrangling (and photos) and we were ready and raring to go on our Mt Toubkal ascent by 7.15am. Beautiful clear blue skies, pristine snow and very cold. We'd had feather patterned ice on the inside of our dorm window this morning.
After a bit of stopping and starting we found our pace, with Hussein-the-guide leading the way and Mohammed bringing up the rear, and eventually splitting into two groups. Strong winds en route brought the temperature down further and whipped up the snow - beautiful but occasionally painful. You needed to keep moving. My ears got very cold (hence the scarf-as-headscarf look in the photos). Towards the top of the valley, the morning sun caught up with us, providing a touch of warmth but making the snowscape very bright. Time to don the Julbo sunglasses (another image element I'd rather be without!).
Just after 11am we reached the head of the valley - Tizi'n'Toubkal (3940 m / 12926 ft) - and were rewarded with a magical view east of misty blue ridges and, somewhere beyond that, the Sahara. Looking behind us we could see the valley we'd climbed through, to the north the path up to the peak - the metal pyramid on top making it easy to identify. A very photogenic stop, and Hussein found us a sheltered spot for a bit of a breather before the final push up and round to the very top of Toubkal.
We summited at 11.45am or there abouts, and once we'd caught our breaths it was time for celebratory snaps, sweets and mélange courtesy of Hussein. Tara, Liz, Denyse and Mohammed arrived about half an hour later accompanied by another group who were carrying skis on their packs, planning to a ski descent. Now that's what I call nuts (but then again, I don't ski....). More photos, plus bread and cheese triangles to celebrate. Beautiful panoramic views under blue skies - who could ask for more?
A speedy descent - due to a combination of taking a more direct path down and gravity, plus the lure of lunch back at the refuge. The wind had dropped and it got hot clad in accumulated thermals. I'd settled on Uniqlo polo neck base layer, M&S thermal top, Mountain Kingdoms fleece, plus my Goretex jacket on top; for bottoms, Icebreaker thermal leggings, Gelert trousers, Tibetan waterproof trews (admittedly a little on the short side) plus gaiters - a lower half look reminiscent of Little Lord Fauntleroy. As I'd absent-mindedly done yesterday's crampon training in my Salomon hiking boots (Women's Sector Mid GTX), I'd worn them again today - my new Scarpas didn't get a look in on this trip. My Mountain Equipment Women's Randonee Mitts were invaluable, as were (Hazel's - thank you...) trekking poles.
We were back at the refuge around 3.30pm, and by 4 o'clock were feasting on a late lunch of pasta, lentils, carrots, peas, cucumber/tomato/red onion/sweetcorn salad, bread and olives, accompanied by lots of tea and rounded off with the zingyest clementines I've ever tasted - it's citrus season, and these are fully ripened, fresh fruit.
As the wood stove warmed the dining room, afternoon tea followed at 5.30pm - paratha-y pancakes drizzled with honey - followed by dinner at 7pm. Bed followed not long after (and a good night's sleep, partly due to escaping last night's condensation drips).
A fantastic day.
PS It looks like we did the South Col / Cwm (Irhzer n'Ikhibi Janoub) route.
Read more on sparklytrainers.com ....
DSC04003_small
This trek offers an outstanding combination of amazing mountain and valley scenery in a remote area, the visit will really get an in-site into the Authentic Quechua Communities and see thatched stone houses surrounded by herds of llamas and alpacas, and even guinea pigs running loose inside the houses. This hike starts in the Lares Valley and village of the same name, where you can enjoy a night dip in its relaxing hot springs, to then follow to the Andean communities of Huacahuasi, Patacancha and Willoq, reaching the village of Aguas Calientes on the third night, after a 2-hour train-ride from Ollantaytambo. Finally, the fourth day is devoted to visiting the impressive Inca citadel of Machupicchu
Package Name:Lares Trek
Duration: 4 Days / 3 Nights
Type of Trek : Alternative Trek to Machu Picchu
Group Size : To suit group requirements - (no more than 12 Persons)
Difficulty degree of this hike: Moderate / Challenge
Departures Day:
Daily Departures - Small Groups
All private service departure dates are adapted to your request.
A minimum of 2 persons is needed for this trek
Activities: Adventure / Trekking / Biking / Ecological/
High Season: April - November
Route: Closed in February
Lares Trek Itinerary:
Day 1: Cusco - Lares (Hot Spring)
Day 2: Lares (Hot Spring) - Ipsaycocha)
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
Day 4: Aguas Calienties - Machu Picchu - Cusco
Day 1: Cusco - Lares (Hot Spring)
We leave Cusco at 6:00am in a private transport and drive for an approximated 4h through part of the Sacred Valley to then head towards Lares (3100m/10168ft), a little rural village located in the beautiful valley of the same name, hosting some well-known hot springs. Upon arrival, we leave our equipment and continue towards Choquecancha, an impressive archaeological site with amazing views of the neighboring valleys. After our visit, we hike back to Lares, where we can enjoy an evening dip in its hot springs before or after our dinner is served. Our camp will be set next to the thermal baths and access is free the whole night.
Day 2: Lares (Hot Spring) - Ipsaycocha)
After an early wake up and breakfast, we meet our horsemen and horses and leave our campsite at around 9.00am to walk along an ascending path that will lead us to Huacahuasi, (3600m/11808ft). This remote Andean community is located in an impressive valley, where the typical lifestyle and house constructions of the Quechua communities living at high altitude can be appreciated. We stop to visit a typical house and family, before we enjoy our lunch. In the early afternoon, we continue our hike ascending toward the mountain pass of Ipsay (4450m/14596ft/3h), walking across little communities and Andean flats (pampas) with the presence of llamas and alpacas. The pass offers impressive views of Mount Veronica and the surrounding snow-capped peaks. Just half an hour from this point is Ipsayqocha, a beautiful lagoon next to which we set our camp and spend the night, amidst awesome scenery.
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
After two full days of hiking today is much easier. After an early breakfast we walk downhill through a wide-open valley for about 2½ hours until we arrive at the village of Patacancha. We will have a chance to view some textiles made by the people of this community - the high quality weavings are famous for their intricate designs reflecting aspects of their everyday lives and culture. After we also get the chance to walk slowly down the valley to Willoq, another Quechua village where the locals still wear their traditional dress and are proud to maintain their cultural identity. From Patacancha we will take our transport further down the valley to Inca town of Ollantaytambo where we will rest and have lunch, then catch our afternoon train to AguasCalientes. This is an amazing journey that starts in the Quechua highlands and slowly descends to lush tropical vegetation as we near AguasCalientes. Total journey time about 1½ hours. Tonight we stay in the small quaint town of Machu Picchu.
Day 4: Aguas Calienties - Machu Picchu - Cusco
5 am breakfast then at 5.30am we get the bus to Machu Picchu. We need to depart early so those who wish to climb Huayna Picchu will need to sign up before the 2 hour guided tour. During your visit to these ancient ruins you will see clouds fly past and Machu Picchu will disappear with in them, so make sure you take pictures whilst the ruins are visible. After the tour you will have free time to explore the mountain of Huayna Picchu overlooking all of Machu Picchu - by far the best view! Huayna Picchu will take approximately 2 hours return trip. It is now your choice to enjoy lunch just outside the ruins or take the bus back to AguasCalientes to explore this small and quaint village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.
What is Included:
English speaking guide
Pre-departure information meeting,
Machu Picchu entrance fees.
First aid kit, portable oxygen Tank,
3 night accommodation in tourist hostel,
Transfers,
Bus ticket Aguas Calientes Machu Picchu - Aguas Calientes,
Expedition train ticket Aguas Calientes - Ollantayatmbo,
Transfer from Ollantaytambo - Cusco Hotel
What is NOT Included:
International air fares to Peru,
Domestic flights, airport taxes,
Meals other than those specified in your itinerary,
Personal insurance.
Recomended Things To Take
Sleeping bag (you can rent at Cusco Expeditions office).
Bottle of mineral water.
Rain gear and/or plastic poncho (can be purchase in Cusco).
Hiking boots.
Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.
Flashlight.
Sun block.
Insect repellent.
Toilet paper and garbage bag.
Small towel and bathing suit (hot springs optional).
Camera, extra film and extra batteries.
Snacks, chocolates, energy bars.
Emergency money.
Walking stick (optional).
CALL US We are ready to take your call.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)
Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com
MSN: cuscoexpeditions@hotmail.com
Website: www.cuscoexpeditions.com/
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