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Photos : Ingrid J.
Le 7ème Sceau brisé : du corps profane au corps Glorieux
La Vidéo
blog.ehrmann.org/films/corps-profane.html
Au terme du 7ème Sceau brisé, un grand silence d'une demi-heure marqua la fin de la Borderline Biennial. thierry, notre père, nous avait promis à tous, que la Bordeline Biennial à la Demeure du Chaos serait avec ses 40 jours et 40 nuits le temps de l'Epiphanie, de l'Apparition, de la Théophanie.
Précisons de suite que le mot Apocalypse que la Borderline Biennial a questionné de mille manières la transcription d’un terme grec (apokalupsis) qui lui-même traduit l’hébreu nigla, lequel signifie mise à nu, enlèvement du voile ou révélation.
L’Apocalypse désigne la civilisation mondiale ayant enfin atteint un état de conscience propice au retour du divin. C’est aussi celui du salut final. La Borderline est plus qu’une épiphanie ; l’Apocalypse dont nous traitons ici est une épiphanie. Nous avons donc obéi à l’injonction contenue dans l’Apocalypse, Chapitre 1 verset 19, lequel ordonne à notre conscience de se placer hors du temps, de l’espace et de l’histoire et d’embrasser synthétiquement l’histoire de l’humanité.
Et ce fut le cas précis de la Borderline Biennial. Toutes brides morales et esthétiques lâchées : “écris donc ce que tu as vu : le présent et ce qui doit arriver plus tard”.
Vers la nuit tombée sur la Demeure du Chaos et lorsque le 7ème Sceau fut brisé par thierry, un grand silence se fit, et tous les feux s'éteignirent, alors apparût avec violence le spectre de l'Entité Numérique Suprême comme au début de la Borderline Biennial lors de la proclamation de la République du Chaos.
Son message fut clair et court, elle demandait au Père de la République du Chaos de revenir en 1999 et lui rappeler qu'il devait accomplir ses propres écritures. Disparaître et mourir de son corps profane pour renaître dans l'Internet profond qui reste pour lui une métaphore du divin, une agora des éthers.
Comme le Père fondateur de la République du Chaos est aussi notre père, l'Entité Numérique Suprême lui demanda de mourir de son corps profane pour renaître par le corps Glorieux dans l'agora des éthers qu'est Internet.
Il nous lut, fatigué par le poison de la grande ciguë en hommage à Socrate, une bien étrange prédiction "Pendant la dernière persécution que souffrira la sainte église romaine siégera un Pierre le Romain, il fera paître les brebis au niveau des nombreuses tribulations, celles-ci terminées, la cité aux 7 collines sera détruite et un juge redoutable jugera le peuple, le sien et que le mot qui termine cette prophétie est "FINIS".
Ce mot nous semblait à tous familier, effectivement, dans le catalogue raisonné de la Demeure du Chaos/l'Esprit de la Salamandre, page 1229, le texte sacré était là ! "Finis Gloriae Mundi" le tableau magistral de Valdès Léal à Séville qui fit que Fulcanelli ne publia pas son 3ème ouvrage.
Cette scène intitulée "Finis Gloriae Mundi" qui est peinte en format monumental au cœur de la Demeure du Chaos indique que le phylactère attaché au premier cercueil montre que l'Eglise est ici à jamais déchue au seul profit de l'éveil initiatique symbolisé par le Chevalier simulant la mort.
Souvenons nous des écrits du premier tome de la DDC " le Juge viendra juger son peuple" et que le mot qui termine le premier des trois tomes secrets de l'ouvrage alchimique de la Demeure du Chaos est "FINIS". "Même si ce mot est dur à accepter, la révélation n'en constitue pas moins la fin d'une étape de par le fait qu'avec elle il y a apport d'une chose nouvelle jusqu'alors maintenue, cachée ou inintelligible". "Ne les craignez donc point car il n'y a rien de caché qui ne doit être découvert ni de secret qui ne doit être connu".
Nous étions au bord des larmes et du désespoir, il nous demanda dans un dernier spasme de ne point pleurer et de reposer en paix dans le temple Protestant de Saint Romain de Couzon sur la nécropole en rallumant les feux de la loge selon les landmarks ancestraux.
9 hommes enterrèrent dans la nécropole son corps cadavérique enroulé dans un linceul noir couvert du drapeau de la République du Chaos..
Vers quelle destinée allions nous avec la jeune République du Chaos ?
Quelle est vraiment cette Entité Numérique Suprême ?
Cette fiction apocalyptique marqua cruellement la fin de la Borderline Biennial du 18 octobre 2009 vers 21h.
Quand d'un seul coup l’Egrégore s'invita parmi nous pour nous rappeler le début de l'œuvre alchimique et les paroles de thierry notre Père qui résonnaient dans nos têtes "cesse de pleurer et réjouis-toi quand tu verras la noirceur car c'est le début de l'œuvre".
Kurt et Sydney Ehrmann
courtesy of Organ Museum
©2011 www.AbodeofChaos.org
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Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
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#kuma #kumamuseum
faizakhalida.blogspot.com.br/2009/01/em-2009-o-subsecreta...
Durante o período de férias, após a mudança de governo municipal com a posse do novo prefeito de Belford Roxo Alcides Rolim do PT (Partido dos Trabalhadores) e novo secretário municipal de educação William Campos, eu me dirigia até a secretaria de educação para tentar dar ciência ao novo governo municipal e ao novo secretário que eu me encontrava sem condições de trabalho pelos problemas de saúde, sociais e administrativos. Que eu me encontrava sob cuidados médicos desde março de 2008 com indicação de me manter afastada do trabalho. E que, segundo a médica que me avaliava, sem resolução da situação de estresse dificilmente haveria resolução do quadro apresentado.
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O secretário de educação William Campos nunca podia me atender. Na primeira vez, no dia 9 de janeiro de 2009 quem ouviu os meus relatos foi a subsecretária de educação Joana D'arc que também atendia pelo nome de Joelma e era esposa do outro subsecretário de educação Miguel de Sousa Ramiro. O subsecretário Miguel de Sousa Ramiro também ao lado dela participou do nosso encontro ouvindo tudo atentamente. O outro subsecretário de educação Clayton apareceu na sala para nos observar e me deu um tchauzinho. A senhora subsecretária Joana D'arc anotou o meu nome e as escolas municipais onde eu estava lotada no seu caderno e pediu que eu ordenasse melhor os relatos, grampeasse e fizesse constar a ciência ao secretário municipal de educação William Campos.
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 14 de janeiro de 2009 a subsecretária Joana D'arc me confirmou ter entregado e encaminhado o meu quadro para o secretário de Educação William Campos. Mas o secretário William Campos nunca me atendeu.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma funcionária pública da Prefeitura municipal de Belford Roxo que havia trabalhado comigo na primeira escola de 1995 a 2002 e ficou sabendo da situação em que eu me encontrava, mais uma vez precisando de ajuda, me ligou muito preocupada comigo e querendo me ajudar disse que era para eu ir com ela até a secretaria municipal de educação de Belford Roxo com o LAUDO MÉDICO que a MÉDICA PSIQUIÁTRICA que me tratava desde 16/05/2008 havia me dado de DOENÇAS MENTAIS influenciadas por PROBLEMAS SOCIAIS e referentes ao meu TRABALHO. Esse anjo que apareceu para tentar me ajudar foi a Creusa, funcionária de apoio da secretaria da escola municipal São Bento.
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Assim eu me encontrei com a Creusa na casa dela e fomos juntas até a secretaria municipal de educação de Belford Roxo (SEMED) onde mostramos o LAUDO MÉDICO para diversos funcionários da secretaria de educação. Por fim fomos levadas ao subsecretário Miguel de Souza Ramiro.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA PSIQUIÁTRICA CLÍNICA ATESTOU PARA FINS DE COMPROVAÇÃO JUNTO À PREFEITURA MUNICIPAL DE BELFORD ROXO que eu me encontrava sob os seus cuidados médicos desde maio de 2008 por motivo de DOENÇA.
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO é grandemente influenciado por PROBLEMAS SOCIAIS E REFERENTES AO MEU TRABALHO PELO FATO DE NÃO HAVER ACEITAÇÃO DA MINHA CONDIÇÃO SEXUAL E TODAS AS SITUAÇÕES QUE DAÍ DECORREM.
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO APRESENTADO DIFICILMENTE SERIA RESOLVIDO SE NÃO HOUVESSE A RESOLUÇÃO DESTA SITUAÇÃO DE ESTRESSE.
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA ATESTOU QUE EU APRESENTAVA A CAPACIDADE LABORATIVA E SOCIAL BASTANTE PREJUDICADA.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA AVALIAVA A NECESSIDADE DE AFASTAMENTO DO TRABALHO DESDE O INÍCIO DO MEU TRATAMENTO EM 16/05/2008.
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O subsecretário de educação nos garantiu que ele mesmo resolveria os meus problemas através do envio da frequência pela condição médica e DISCRIMINAÇÃO no trabalho. O subsecretário Miguel constatou que 21 processos meus continuavam com NOME e SEXO MASCULINOS, que eu nunca havia conseguido tirar uma licença prêmio e os 90 dias de férias que tinha direito por ter estado em período de férias a disposição do Juiz. O funcionário da secretaria de educação confirmou ao subsecretário Miguel que sabia que o meu nome e sexo nos registros já deveria ter sido alterado desde 2005. Naquele momento uma outra funcionária da secretaria de educação de Belford Roxo que era loira e tinha um cargo relacionado a área jurídica disse para mim e Creusa palavras muito confortadoras e bonitas contra a situação de preconceito.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Duas semanas depois, com a nomeação do supervisor educacional e consultor jurídico Jorge Silva (mat. 54368) como assessor jurídico da Secretaria de Educação de Belford Roxo, por telefone, o subsecretário Miguel de Sousa Ramiro disse que se esqueceu de tudo que ele havia prometido para mim e a Creusa, inclusive do LAUDO MÉDICO PSIQUIÁTRICO que ele havia tomado ciência. O subsecretário Miguel me disse que ele só faria o que o Jorge Silva mandasse ele fazer e passou o telefone celular dele para o Jorge Silva. Eu fiquei completamente descontrolada e bati boca com o Jorge Silva por telefone. Uma das coisas que eu me lembro que o Jorge Silva me falou ao telefone era que eu deveria comparecer na Secretaria Municipal de Belford Roxo na próxima segunda-feira onde eu seria exposta para a TV Globo como uma professora faltosa.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 05 de maio, na porta da sala do secretário de educação William Campos, me disseram como sempre que ele não poderia falar comigo. Desta vez a desculpa é que ele não estaria lá e sim ele estaria em Curitiba. O Jornal de Hoje publicou uma foto do secretário de educação de Belford Roxo William Campos lá na SEMED (secretaria municipal de educação) nesse dia relatando o encontro dele com várias pessoas. Eu nunca consegui conversar com ele.
FOTO: Secretário de Educação William Campos se encontrando com pessoas no dia 05/05/2009
www.jornalhoje.inf.br/bxd4.htm
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 8 de maio de 2009 a portaria SEMED número 36 designou comissão de sindicância para apurar o EXTRAVIO DE OFÍCIOS E PROCESSOS NA SECRETARIA MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO (SEMED). O artigo primeiro designou a abertura de sindicância a fim de buscar o Ofício número 165 que formulava a resposta ao Ofício número 73/SEMED/2009 referente a servidora Faiza Khálida Fagundes Coutinho. A comissão de sindicância era composta pelos servidores Antônio Carlos Lustosa (presidente) matrícula número 10/14714, Valéria Claudia Santos S.da Silva, matrícula número 10/5580 e Joelma Milão de Lemos, matrícula número 10/147/27, para sob a presidência do primeiro, constituírem a respectiva comissão. Esta portaria teria entrado em vigor em 12 de maio de 2009 e os trabalhos desta comissão deveriam estar concluídos em até 30 dias.
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
De primeiro de janeiro até o mês de abril de 2009 eu gastava em vão horas de ligações telefônicas falando com todos os setores que eu conseguia da Prefeitura Municipal de Belford Roxo (Gabinete do Prefeito, Procuradoria Municipal, Secretaria de Administração, Recursos Humanos, subsecretários e funcionários da SEMED). Eu não recebia mais pagamento, nenhum centavo sequer, nem mesmo um centavo de auxílio transporte, da passagem do ônibus, do triênio ou do quinquênio. Não recebia nenhum dinheiro para comprar meus remédios ou comer. Eu não recebia mais contracheque, não tinha livro de ponto para assinar, turmas para trabalhar e tarefas para cumprir. Ficava isolada na Escola Municipal Jorge Ayres de Lima. Até o dia 04/06/2009 às 9:24:46 permaneci nessa situação.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Além de me sentir humilhada, eu sentia o estresse, mal-estar, pressão alta, medo de ser assassinada, temores, pânicos, tristeza, inseguranças, desesperança, apatia, prostração, depressão, irritação, desespero, nervosismo, insônia, revolta, vontade de morrer, vontade de me matar, descontrole emocional e psíquico, perda do senso crítico e da realidade, confusão mental, visões sobrenaturais, experiências místicas, alegrias extremas, explosões de êxtase, etc.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em um dia, após vivência de intensa agonia, sofrimento e audições persecutórias perturbadoras, cheguei a ver o Espírito Santo no alto do céu como uma águia enorme que veio até onde eu estava onde eu moro e Deus fez uma aliança comigo.
(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo, matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)
Bendito é o preciosíssimo sangue do Senhor Jesus Cristo.
Jesus é o caminho.
Louvado seja o Senhor Jesus Cristo para sempre.
CLICAR ABAIXO PARA LER SOBRE:
1- Em processo administrativo de 2003 eu pedi para que a Prefeitura Municipal de Belford Roxo custeasse um tratamento Psicológico e Psiquiátrico para mim alegando que eu não me encontrava mais depois de tudo que havia passado no serviço público da rede de educação em condições de desempenhar minhas funções equilibradamente, mas eu não fui atendida. No mesmo parágrafo do processo de 2003 arquivado pela Procuradoria do Município, eu registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo um vazio muito grande e outros sintomas psiquiátricos que não conseguia explicar pedindo em nome do Senhor Jesus Cristo ajuda médica ".
2- Minha doença profissional começou em 2002 quando inclusive fui ameaçada de morte. Em 2003 após conseguir procurar ajuda médica passei a fazer uso de remédios psicotrópicos para conseguir exercer minhas funções como professora da rede municipal de Belford Roxo.
3- Após ser novamente ameaçada de morte em 2007 pela orientadora pedagógica que disse que eu tinha que sair da escola por ser transexual e que me perseguia, voltei a ter agravamento de quadro psicológico e emocional.
4- Em meio ao contexto de perseguição meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais de Belford Roxo em que eu lecionava.
5- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.
6- Procurador-geral Lorival Almeida de Oliveira mentiu dizendo que eu recebi cópia de processo para me defender. Não me permitiram tirar cópia nem ler o processo que me puniu.
7- Em maio de 2008 a médica psiquiátrica verificou que dificilmente haveria SOLUÇÃO do meu QUADRO DE DEPRESSÃO porque NÃO HAVIA RESOLUÇÃO DOS PROBLEMAS SOCIAIS referentes ao meu trabalho que me estressavam.
8- O suicídio era um dos pensamentos diários. Os remédios não faziam o efeito.
9- Orientadora pedagógica se mobilizava para me tirar da escola e me prejudicava. Vivenciava exclusão e isolamento.
10- Secretaria de Educação e Procuradoria Municipal de Belford Roxo abafavam o problema da discriminação.
11- Meu estado psicológico e mental era ignorado como que me ver mal e transtornada fosse justamente o que se desejasse.
12- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de mulheres travestis e transexuais.
13- Procuradores de Belford Roxo e Agentes de Inquérito Administrativo ignoravam o preconceito, o processo transexualizador, o uso de medicações psicotrópicas, hormônios e alterações bioquímas e hormonais.
14- Os danos ocasionados pelo relatório técnico de 2002 e procedimento administrativo decorrente nunca foram resolvidos.
15- Relatório técnico de conhecimento de supervisores educacionais de Belford Roxo que posteriormente sumiu e foi anunciado como inexistente foi usado para me ameaçar e impedir que eu acessasse, permanecesse e trabalhasse em escola que lecionava a 8 anos.
16- Os problemas ocasionados pelo relatório técnico e procedimento administrativo decorrente nunca foram resolvidos. (PARTE 2)
17- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.
18- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.
19- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.
20- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.
21- O Ato de Demissão nas 2 matrículas em 2010.
22- Defesa de inquéritos e procedimentos administrativos, e disciplinares referentes a professora em processo transexualizador Faiza Khálida.
Depressão não é covardia
Bipolaridade não é frescura
Ansiedade não é falta de trabalho
Preconceito também precisa de tratamento
Ho Chi Minh city tour information
Area: 2,095.5 sq. km
Population: 7,396.5 thousand habitants (2010)
Administrative divisions:
- Districts: District 1, District 2, District 3, District 4, District 5, District 6, District 7, District 8, District 9, District 10, District 11, District 12, Tan Binh, Binh Thanh, Phu Nhuan, Thu Duc, Go Vap, Binh Tan,Tan Phu.
- Rural districts: Nha Be, Can Gio Hoc Mon, Cu Chi Binh Chanh.
Ethnic groups: Viet (Kinh), Hoa, Khmer, Cham…
Geography
In the core of the Mekong Delta, Ho Chi Minh City, formerly known as Saigon, is second the most important in Vietnam
Saigon Vietnam
after Hanoi. It is not only a commercial center but also a scientific, technological, industrial and tourist center. The city is bathed by many rivers, arroyos and canals, the biggest river being the Saigon River. The Port of Saigon, established in 1862, is accessible to ships weighing up to 30,000 tons, a rare advantage for an inland river port.
Climate:The climate is generally hot and humid. There are two distinctive seasons: the rainy season, from May to November, and the dry season, from December to April. The annual average temperature is 270C. The hottest month is April and the lowest is December. It is warm all year.
History
Many centuries ago, Saigon was already a busy commercial center. Merchants from China, Japan and many European countries would sail upstream the Saigon River to reach the islet of Pho, a trading center. In the year of 1874, Cho Lon merged with Saigon, forming the largest city in the Indochina. It had been many times celebrated as the Pearl of the Far East. After the reunification of the country, the 6th National Assembly in its meeting of the 2nd of July, 1976, has officially rebaptized Saigon, Ho Chi Minh City. The history of city relates closely with the struggle for the independence and freedom of Vietnam.
Tourism
Today, Ho Chi Minh City is the big tourism center in Vietnam, attracting a large of visitors to Vietnam. Ho Chi Minh City has various attractions as Ho Chi Minh Museum, formerly known as Dragon House Wharf, Cu Chi Tunnels, system of museums, theatres, cultural houses… Recently, many tourist areas are invested such as Thanh Da, Binh Quoi Village, Dam Sen Park, Saigon Water Park, Suoi Tien, Ky Hoa…, which draw numerous tourists.
Ho Chi Minh city cathedral
Despite its quite recent past, Ho Chi Minh City nevertheless possesses various beautiful buildings, displaying a characteristic combination of Vietnamese, Chinese and European cultures. These include Nha Rong (Dragon House Wharf), Quoc To Temple (National Ancestors Temple), Xa Tay (Municipal Office), Ho Chi Minh Municipal Theatre as well as many pagodas and churches (Vinh Nghiem, Giac Vien, Giac Lam, Phung Son pagodas…). After more than 300 years of development, Ho Chi Minh City presents many ancient architectural constructions, famous vestiges and renowned sights. It is remarkable for its harmonious blending of traditional national values with northern and western cultural features.
Transportation
Ho Chi Minh City is the main junction for trains, roads, water, and air transportation systems for domestic trips and for foreign destination.
- Roads: Ho Chi Minh City is 1,730km from Hanoi, 99km from Tay Ninh, 30km from Bien Hoa (Dong Nai), 70km from My Tho, 125km from Vung Tau, 168km from Can Tho, 308km from Dalat, and 375km from Buon Ma Thuot. The City has National Highway 13 which connects Vietnam with the rest of Indochina.
- Train: Thong Nhat express train connects Ho Chi Minh City and Hanoi, vie many provinces in Vietnam.
- Air: Tan Son Nhat International Airport, 7km from center of city, is the biggest airport with many domestic and international routes. There are flights from Hanoi and Danang to Ho Chi Minh City and between the City to many regions as well a lot of countries on over the world.
El cimborrio es una de las construcciones mas brillantes del monasterio. Construido sobre la intersección de la nave mayor con el crucero de la iglesia presenta ocho ventanales de arco ojival, uno sobre cada una de las caras del prisma de base octogonal. El inicio de su construcción se remonta al abad Ponce de Copons en el año 1330, siendo concebida inicialmente como campanario y utilizándose con esta función hasta 1668 cuando las campanas fuerón trasladadas a la torre situada a mediodia del cimborrio.
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.
AgendaTxt: fevereiro 2014
03 . T . SP: curso Python p/ Designers c/ Gustavo Ferreira. até 7.2
04 . D . PE: curso Encadernando o Nordeste c/ Daniel Barbosa. até 5.2
05 . I . SP: lançamento do livro Sex & Crime, vol. 2 de Benício
07 . I . SP: lançamento do livro Sex & Crime, vol. 2 de Benício em Campinas
08 . D . GO: curso Grid Artesanal c/ Elenay Oliveira
08 . D . PB: curso Encadernando o Nordeste c/ Daniel Barbosa
08 . T . RJ: curso A Evolução da Escrita c/ Carlos Horcades. até 22.2
08 . T . SP: curso de Lettering c/ Jorge Rufino em Araraquara
10 . D . RN: curso Encadernando o Nordeste c/ Daniel Barbosa. até 11.2
11 . D . SP: inscrições p/ Especialização em Design Gráfico da Unicamp. último dia
12 . B . ES: palestra O que é Branding?
12 . Q . DF: palestra O Quadrinho sou eu c/ Rafael Coutinho
13 . A . RJ: abre expo Risco de Rafo Castro. até 8.3
14 . B . RJ: curso de Naming c/ Delano Rodrigues na UniFOA. até 15.2
14 . D . PE: curso de Encadernação c/ Lia Alcântara
14 . Q . DF: palestra Das Charges aos Quadrinhos c/ Gustavo Duarte
14 . T . RJ: Encontro ADG c/ Bruno Maag e Fabio Haag
15 . D . CE: curso encadernando o Nordeste c/ Daniel Barbosa
15 . Q . DF: expo Liniers: mesa-redonda, palestra & filme
18 . D . NET: inscrições prorrogadas p/ Concurso Marca Rio 450 Anos. último dia
19 . A . RJ: curso Práticas com Exposições 2014. até 25.6
19 . D . PI: curso Encadernando o Nordeste c/ Daniel Barbosa. até 20.2
19 . T . GO: curso Tipografia Vernacular Comercial Varejista c/ Richard Melchiades. até 20.2
20 . T . NET: inscrições p/ a Tipos Latinos 2014. último dia
22 . D . ALE: Toca Me Design Conference
22 . D . DF: curso Golden Grids c/ Victor Guerra. até 23.2
22 . D . SP: cursos Tutoria (Revista Leaf)
23 . C . SP: expo Cazuza no MLP. último dia
24 . D . MA: oficina Encadernando o Nordeste c/ Daniel Barbosa. até 25.2
24 . D . RJ: lançamento do Catálogo da 10ª Bienal ADG no CCD
25 . D . SP: lançamento do Catálogo da 10ª Bienal ADG no MCB
28 . T . IND: TypoDay 2014. até 2.3
01 . I . RJ: 1ª Bienal Int. de Caricatura. último dia
02 . Q . DF: expo Macanudismo de Liniers. último dia
02 . T . NET: inscrições p/ o SOTA Catalyst Award. último dia
03 . T . RJ: curso A Evolução da Escrita c/ Carlos Horcades. até 24.3
04 . T . NOR: Typographic matchmaking c/ José Scaglione e Veronika Burian
07 . C . EUA: SxSW – South by Southwest 2014. até 16.3
08 . A . RJ: expo Risco de Rafo Castro. último dia
08 . D . SP: Feira Plana 2 no MIS. até 9.3
A . Arte & Arquitetura
B . Branding
C . Comunicação & Cultura
D . Design
E . Embalagem
F . Fotografia
G . Games
I . Ilustração & Infografia
J . Jóias
K . Marketing
L . Literatura
M . Moda
N . Negócios
P . Produto
Q . Quadrinhos
S . Software
T . Tipografia & Caligrafia
V . Video, Cinema & Animação
Eventos de Tipografia,
Design e afins pelo Brasil
e mundo
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Tipografia de fevereiro: Brasílica de Rafael Dietzsch.
Acompanhe a AgendaT pelo Facebook:
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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
Blogged here:
tinyhaus.blogspot.com/2010/12/making-money.html
From left to right:
US Cent in Copper. I chose this color for the ubiquitous penny. The cent symbol sits atop a pillar of coins.
Mexican Peso in Scarlet. Mexico's national colors are red, white and green. The $Peso symbol also sits on one of The Pillars of Hercules. It's theorized that the "$" came from the Spanish coat of arms where a ribbon wraps around the pillars.
Indian Rupee in Yellow-Orange. This is the color of marigolds and saffron dyes. Whenever I think of India I think of rich, vibrant colors.
Chinese Yuan in Dandelion. Yellow was China's imperial color and is still associated with wealth and status today. I used the Chinese word for Yuan instead of the Yuan symbol. Since both Yen and Yuan uses the same symbol I wanted to differentiate them
Brazilian Real (Reais) in Green-Yellow. Brazil's national colors are green and which symbolizes the country's lush forests and the country's wealth in gold. This was the perfect combo of both colors!
US Dollar in Fern. I chose this for the namesake of our beloved Greenback.
British Pound Sterling in Sky Blue. Blue is one of 3 national colors in the UK. I also think of the monarchy when I think of the UK. Hence royals and blue bloods. Royal Blue was too dark so I used Sky Blue.
The Euro in Orchid. This was the hardest color to choose because the EU represents so many countries. Tyrian purple was the color of wealth and royalty in early Western Civilization. Modern day Europe comes from those ancient empires so I chose purple.
Japanese Yen in Carnation Pink. Japan has many symbols, but perhaps one of the most popular one is the Sakura flower. I chose pink to reflect the many hues of the cherry blossom.
Russian Ruble in White. Russian Winters are well known around the world! I think of the snow and blinding whiteouts. Such harsh weather makes tough people. The Russian Ruble doesn't have an official symbol yet, so I just used the most popular one.
Although I had a rainbow color scheme planned I also wanted each nation's (EU) color to reflect it's identity.
www.huffingtonpost.com/visit-florida/a-banyan-tree-and-th...
The tree came to the inventor’s Fort Myers winter home in 1925, a four-foot Ficus benghalenis producing white sap that Edison and his friends Henry Ford and Harvey Firestone hoped to use in making natural rubber.
The banyan was not the answer. But it remained, growing to an acre in diameter, and becoming one of more than 1,000 plants from around the world ornamenting 25 acres dedicated mostly to the man who invented the electric light bulb, the phonograph and the motion picture.
Fifteen historic buildings stand in graceful restorative pose, including the Edisons’ home and guest house, a botanic research laboratory, an artesian-fed swimming pool dating to 1911, and Ford’s winter home. The combined Edison and Ford estates, museum, laboratory, and shops are open 363 days a year, closed only on Thanksgiving and Christmas Day.
The botanical specimens, many of them labeled for easy identification, offer shade for strollers - and sometimes a touch of the exotic. It is not every day one sees an African sausage tree bearing hot-dog shaped fruit.
Edison, of course, is more extensively associated with his inventions. He held more than 1,000 United States patents, and he submitted patent paperwork for a record 65 consecutive years. Among his lesser known creations: the talking doll, the electric train, alkaline batteries, a fruit preserver, and a stencil pen, the grandfather of today’s tattoo stylus.
“Really cool,” said Aaron Summers, a visitor from San Diego. “I didn’t realize how many patents Edison actually had.”
A 15,000-square-foot, air-conditioned museum details the world’s busiest inventor’s extraordinary career, which stretched from 1869 - when he was 22 years old - virtually to 1931, the year he died.
Among hundreds of items and documents in the museum is Edison’s original custom Model T, a gift from Ford. A more personal artifact is the frame Edison built for the phonograph he was devising. Hard of hearing, Edison rigged the phonograph to the frame, which he would bite to feel vibrations and “hear” the music. The wizard’s teeth marks are visible in the wood.
The museum’s newest exhibit chronicles the camping adventures of Edison, Ford, Firestone and turn-of-the-century naturalist and environmental writer John Burroughs. The “vagabonds,” as they referred to themselves, camped throughout Florida and the United States.
Also on display is “Edison After 40,” an exhibit on loan from the Smithsonian Institution. It includes images from Edison’s middle and later years. In counterpoint, “The Child Wizard” shows early images of Edison as a youth, as captured in Michael Dooling’s award-winning book, Young Thomas Edison.
And not to be missed are the entertainment artifacts: phonographs, movie projectors, nickelodeons and films.
“I learned a lot of new things. So many inventions. I loved the phonographic demonstrations,” said Susan Wood, who is from England.
More than 200,000 visitors per year come to the property, where Edison and his family spent winter seasons starting in 1885. For $2,750, the inventor bought the property from the family of Jacob Summerlin, a legendary Florida cowman known as the King of the Crackers.
“This house is a dream . . . and we are living in Fairyland,” Edison’s wife Mina wrote of the Florida retreat, which was dubbed “Seminole Lodge.” At its edge, the broad Caloosahatchee River whispers against a restored limestone-and-coquina seawall.
Edison was perhaps “green” before the word became fashionable. Some of his words on the subject are posted in the museum: “I’d put my money on the sun and solar energy. What a source of power! I hope we don’t have to wait until oil and coal run out before we tackle that.” Edison wrote that in 1931.
Ford bought property next door to his mentor in 1916. As a youth, the motor company founder worked at an Edison company in Detroit. The budding auto magnate used his spare time tinkering with gas-powered engines. The two entrepreneurs met at a convention in 1896, and Edison encouraged the younger man. The two proved to be kindred spirits. The automaker purchased property next to Edison in 1916, naming it “The Mangoes.”
The entrepreneurs spent hours sitting on their porches, discussing projects, planning trips to the Everglades, listening to Mina play the piano, and perhaps playing Parcheesi, Edison’s favorite game.
“It was interesting to learn how good of friends they actually were,” said Eric Rye, visiting from Sarasota.
Guests had to stay in line, though. The Edisons had seven rules, one in particular noting that discretion was important: “Don’t fail to retire to your room for part of each day - so that the family may squabble without embarrassment.”
— By Jon Wilson, VISIT FLORIDA
BODY
Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany
Model: 1959, Version 1.5.2, (A&R: 5, Hummmel: 048), (produced between 1959-60, quantity: 38300)
Special feature of Version 5: Exa on the front plate embossed, (not engraved like in all other versions).
Version, manufacturing year, body and lens info are as to Andrzej Wrotniak
The original Exa is known as Exa 0 also.
All Exa 0 produced between 1951-62
35mm SLR film camera
Engraving on the front plate: Ihagee Dresden
Lens release: via a lever on the left of the lens flange
Focusing: via Fresnel matte screen, ring and scalel on the lens, w/DOF scale
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B
setting: via a lever and scale on the right of the top plate
Shutter release: a knob, on front of the body, w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also
Cocking knob: also winds the film, on the right of the top plate
Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it
Viewfinder: SLR pentaprism finder , interchangeable with Waist level finder
Finder release: via a knob beneath the Exa logo
Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position
Re-wind knob: on the left of the top plate
Re-wind release: by a button just beside the cocking knob
Flash PC socket: two, on the right front side of the camera, F and X
Self-timer: none
Back cover: Hinged, removable, opens by a latch on the left side of the camera
Tripod socket: 378'' w/1/4'' adaptor
Strap lugs
Body: metallic, Weight:557g (wo/ the lens)
serial no. 545089 (inside the camera)
LENS:
Meyer-Optik Görlitz Lydith 30mm f/3,5 (Zebra), 5 elements,
preset type, Mount: Exakta bayonet mount, interchangeable with Exakta Varex lenses,
filter thread: 49mm, serial no. 4082192, (introduced in 1962)
Aperture: f/3.5-f/22, setting: ring and scale on the lens
Focus range: 0.33 - 6m +inf
+Original leather ever ready case
+ Waist level finder, Ihage Dresden, w/original leather case
+Sunlux Tele Converter, (Zebra), with Exacta bayonet mount and lens release, (Made in Japan), w/ original leather case
+ B+W Skylight filter, 49ES KR1,5 1,1x w/leather case
Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.
Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.
The true Exaktas and Exas are ones made by Ihagee in Dresden.
Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss (Jena), Meyer-Optik (Görlitz) and Joseph Schneider (Kreuznach). The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.
Notes about Exa/Exakta classification
I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.
Some opinions of a serious Exa/Exakta collector, F W Tappe :
Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!
Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.
Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.
Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.
More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia
Chiesa di Comologno
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piodadicranaplusch.blogspot.com/2008/10/parroci-della-par...
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Foto da
SONY SISTEM PAL
Digital Videocamera Recorder
DCR - HC85E
e migliorata con programma immagini
Vedi anche
www.fotocommunity.it/pc/account/myprofile/1028205
www.fotolog.com/ezio01021945/19767923
piodadicranaplusch.blogspot.com/
www.frasi.net/album/immagini.asp
www.frasi.net/diari/diario.asp?Nick=Ezio
www.frasi.net/video/default.asp?Nick=Ezio
video.google.it/videoplay?docid=8573925566193640685
www.photosig.com/go/photos/view?id=2080713&forward=vi...
www.twip.org/album:piodadicranach
en.sevenload.com/albums/3mM91JM
en.sevenload.com/albums/4tyCL1Z
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PARROCI DELLA PARROCCHIA DI COMOLOGNO CH, PAG. 1
____________________
Tratto dai Registri della
Parrocchia di
Comologno Onsernone CH
________
Era presente nel 1715
Bornaghi, Don Pietro Francesco
da Pura nel Malcantone CH
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Primo Parroco Presbitero di Comologno
_________
Era presente nel 1735
Ganzinotti, Don Tommaso
da Mosogno CH
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Parroco Presbitero di Comologno
__________
Era presente nel 1756
Remonda, Don Giacomo Antonio
da Vocaglia CH
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Parroco Presbitero di Comologno
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Sepolto nel Presbiterio
della Chiesa di Comologno Onsernone
_________
Era presente nel 1756
Broggini, Don Guglielmo Antonio
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Parroco Presbitero di Comologno
_________
Era presente dal 1756 al 1776
Albertolli , Don Giacomo da Bedano CH
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Parroco Presbitero di Comologno
_________
Era presente dal 1776 al 1784
Zanda Don Giuseppe Antonio
delle Terre di Pedemonte CH
----------------
Parroco Presbitero di Comologno
_________
Era presente dal 1784 al 1786
Terribilini Don Pietro Giuseppe,
Protonotario Apostolico,
da Vergeletto CH
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Parroco Presbitero di Comologno
___________
Rilevato ultima presenza il: 10.01.1786
Terribilini Don Pietro Giuseppe,
Protonotario Apostolico,
da Vergeletto CH
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Parroco Presbitero di Comologno
_________
Era presente dal 1786 al 1789
Trombetta Don Carlo Antonio
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Parroco Presbitero di Comologno
_________
Rilevato prima presenza il: 05.08.1786
Trombetta Don Carlo Antonio
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Parroco Presbitero di Comologno
_________
Era presente dal 1789 al 1792
Rilevato Presenza
17.04.1791 - 28.05.1792
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
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Parroco Presbitero di Comologno
________
Rilevato prima presenza il: 26.03.1789
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
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Parroco Presbitero di Comologno
__________
Rilevato ultima presenza il: 14.07.1792
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
---------------
Parroco Presbitero di Comologno
__________
Era presente dal 1792 (verso fine anno) al 1815
Rilevato presenza il 19.10.1792 - 12.11.1813 - 03.07.1815
Cantin Don Francesco Giuseppe,
Protonotario Apostolico,
da Friborgo (CH)
---------------
Parroco Presbitero di Comologno.
Sepolto a Comologno
__________
Rilevato presenza il: 29.11.1792 - 03.03.1794 - 03.07.1815
Cantin Don Francesco Giuseppe,
Protonotario Apostolico,
da Friborgo (CH)
----------
Parroco Presbitero di Comologno.
Sepolto a Comologno
_________
Il 03.03.1794
Mons.
Giovanni Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
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Diede la licenza a un Matrimonio a Comologno
__________
Il 03.03.1794 - 05.05.1794 - 25.06.1795 - 03.08.1795
09.09.1797 - 11.09.1797 - 08.01.1798
22.08.1798 - 14.01.1799 - 27.06.1799 - 06.02.1802
Mons.
Giovanni Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
-----------
Diede la licenza a un Matrimonio a Comologno
___________
Il 05.05.1794
Mons.
Giovanni Francesco
Marchione de Guerrieri
Delegato della Sede
Apostolica di Como (I)
e Nunzio Apostolico in Svizzera
---------
Diede la licenza
a Mons. Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
--------------
per un Matrimonio a Comologno
__________
Il 26.08.1796
Mella Don Pietro
--------
Sacerdote Presbitero che battezzò
Mordasini, Giovanni Antonio,
di Mordasini, Giovanni Domenico,
fu Mordasini, Giovanni da Corbella CH
e
di Mordasini - Cranini, Anna Maria,
di Cranini, Pietro da Crana CH,
residente a Corbella CH
_______
Il 29.05.1798
Remonda Don Carlo Maria
di Comologno,
Parroco Presbitero di Russo CH,
Vicario Foraneo Amministratore
--------
Battezzò a Comologno
Cavallini, Maria Caterina Rosa da Crana CH,
residente a Vocaglia CH
_________
Il 20.10.1798
Remonda Don Carlo Maria di Comologno,
Parroco Presbitero di Russo CH,
Vicario Foraneo Amministratore
----------
Battezzò a Comologno
Candolfi, Carlo Maria da Spruga CH
__________
Il 21.04.1799
Mons. Carlo Rovelli
Delegato della
Commissione Apostolica
di Como (I)
----------
Diede la licenza a un Matrimonio a Comologno
__________
Il 06.02.1802
Mons.
Giulio Geronimo Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
di Como (I)
----------
diede la licenza a un Matrimonio a Comologno
___________
Il 21.04.1804
Carmine Don Cesare,
Parroco Presbitero di Locarno CH
-------------
Celebrò un battesimo a Comologno
Il 16.06.1803
Celebrò un funerale a Comologno
_________
Il 12.11.1804 - 29.11.1806 - 06.02.1807 - 24.10.1808
24.03.1809 - 14.11.1809 - 20.11.1810 - 04.02.1811
04.04.1811
Mons. Giulio Cesare Caglioni
Arciprete Vicario
Foraneo d’Ascona
e Delegato della Commissione
Apostolica di Como (I)
-------------
Diede la licenza a un Matrimonio a Comologno
___________
Il 24.12.1804
Carmine Don Cesare,
Parroco Presbitero di Locarno CH
--------
celebrò un battesimo a Comologno
__________
Il 12.05.1805
Carmine Don Cesare
Parroco Presbitero di Locarno CH
----------
celebrò un battesimo a Comologno
__________
Il 20.10.1805
Carmine Don Cesare
Parroco Presbitero di Locarno CH
------------
celebrò un battesimo a Comologno
_________
Il 26.01.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
-----------
celebrò un battesimo a Comologno
_______
Il 02.04.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
--------
era padrino a un battesimo a Comologno
_________
L'11.05.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
-----------
celebrò un battesimo a Comologno
________
Il 14.05.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
--------
celebrò un battesimo a Comologno
_________
Il 09.11.1806
Vacci Don Filippo
Parroco Presbitero di Crana CH
----------
celebrò un battesimo a Comologno
_________
Il 17.03.1807
Carmine Don Cesare
Parroco Presbitero di Locarno C H
--------
celebrò un battesimo a Comologno
________
Il 27.04.1808
Carmine Don Cesare
Parroco Presbitero di Locarno
----------
celebrò un battesimo a Comologno
__________
Il 24.03.1809
Don Domenico
Lafranchini,
Parroco Presbitero
della Parrocchia di Crana
-------------
Diede la licenza a un matrimonio a Comologno
__________
Il 23.05.1809
Lafranchini Don Giovan Domenico
da Bironico
Parroco Presbitero di Crana
-----------
celebrò un battesimo a Comologno
__________
Il 10.10.1809
Lafranchini Don Giovan Domenico
da Bironico
Parroco Presbitero di Crana
-------------
celebrò un battesimo a Comologno
___________
28.07.1810
Righetti Don Remigio
Parroco Presbitero
di Grugliasco [Grugiascha]
nel Regno Italico
-----------
celebrò un battesimo a Comologno
_____________
Il 21.10.1810
Don .......
Simoni Conti,
Parroco Presbitero di Crana
----------
Diede la licenza per un Matrimonio a Comologno
__________
Il 14.11.1809 - 21.10.1810 - 04.02.1811 - 04.04.1811
22.02.1824 - 09.10.1832
Mons. Giulio Cesare Caglioni,
Arciprete Vicario
Foraneo d’Ascona
e Delegato della
Commissione Apostolica di Como (I)
-----------
Diede la licenza a un Matrimonio a Comologno
_________
Il 17.09.1810 - 21.10.1810 - 31.10.1811
Don Simoni Conti Parroco Presbitero di Crana
-------------
celebrò un battesimo a Comologno
_________
Il 04.08.1812
Righetti Don Remigio
Parroco Presbitero
di Grugliasco [Grugiascha]
nel Regno Italico
--------------
celebrò un battesimo a Comologno
__________
Il 05.08.1813
Serodino Don Domenico Giuseppe
da Russo
Amministratore Cappellano
Presbitero di Spruga
-------------
celebrò un battesimo a Comologno
______________
Il 06.11.1813
Serodino Don Domenico Giuseppe
da Russo
Amministratore Cappellano
Presbitero di Spruga
--------------
Celebrò un battesimo a Comologno
_________
Il 29.12.1813 - 03.04.1814 - 05.04.1814 - 05.05.1814
09.10.1814 - 04.06.1815
Don Domenico Giuseppe Serodino
da Russo
Amministratore Cappellano
Presbitero di Spruga
-----------
Celebrò un battesimo a Comologno
______
Rilevato presenza il 29.12.1813
Lafranchini Don Domenico
Protonotario Apostolico Luganese
Vicario Foraneo
Parroco Presbitero di Russo
Il 26.12.1813 - 11.01.1814 - 21.01.1814 - 03.02.1814
07.02.1814 - 08.02.1814 - 10.02.1814 - 11.02.1814 - 21.02.1814
22.02.1814
Celebrò un funerale a Comologno
Il 13.01.1814
Celebrò a Comologno il funerale di Don Francesco Giuseppe Cantin, da Friborgo, Parroco Presbitero di Comologno
_____________
L'11.01.1814
Autorizzò un battesimo a Comologno,
celebrato dal
Cappellano Presbitero di Spruga
Don Domenico Giuseppe Serodino da Russo
______________
Il 27.02.1814 - 15.03.1814 - 17.03.1814 - 27.03.1814
06.04.1814 - 13.04.1814 - 20.04.1814 - 21.04.1814
Don Giuseppe Antonio Serodino
da Russo
----------
Celebrò un funerale a Comologno
Il 21.03.1817
Celebrò un Battesimo a Comologno
_____________
Il 24.04.1814
Don Pietro Giovanni Ganzinotti
da Mosogno
---------
Parroco Presbitero di Crana
Celebrò un battesimo a Comologno
________
Il 12.05.1814 - 18.01.1822 - 02.02.1822 - 25.03.1822
30.05.1822 - 02.12.1822 - 10.12.1822 - 11.01.1825
21.02.1825
Don Domenico Ghezzi
Parroco Presbitero di Crana
--------
Celebrò un Funerale a Comologno
Il 15.07.1816 - 24.08.1816 - 13.09.1816 - 12.10.1816
08.12.1817 - 27.01.1819 - 19.10.1821
Celebrò un Battesimo a Comologno
___________
Rilevato Presenza il 29.05.1814 - 30.05.1814
Don Paolo Orelli
Parroco Presbitero
di Locarno
-------
Celebrò un battesimo a Comologno
________
Rilevato Ultima Presenza: il 03.07.1815
Don Francesco Giuseppe Cantin
del Canton Friborgo
Parroco Presbitero di Comologno
______________
Era presente dal 06.05.1814 al 1816
Rilevato Presenza il
13.05.1815 - 29.05.1814 - 15.12.1815 - 15.02.1816 - 27.03.1816
24.05.1816 - 21.06.1816
Don Pietro Gaia
d’Ascona
Parroco Presbitero di Comologno
_____________
Era presente dal 1816 al 1817
Rilevato Presenza il
09.11.1816 - 13.01.1817 - 19.04.1817 - 14.06.1817
Don Giuseppe Navone
di Villanova d’Asti
nel Regno di Sardegna
in Piemonte (Italia)
Parroco Presbitero
di Comologno
-------
In questo periodo ci fu a Comologno la visita del
Monsignor Vescovo
di Como (Italia)
________
Il 10.11.1816
Don Cesare Carmine
Cappellano Presbitero
di Vergeletto
-------
Celebrò un Funerale a Comologno
Celebrò un Battesimo a Comologno il 04.08.1816
l’Arciprete d’Ascona,
Don Giulio Cesare Caglioni
diede la licenza per
questo battesimo
________
Era presente il
18.12.1817 - 10.01.1818
Don Felice d’Alberti
Parroco Presbitero
di Comologno
________
Era presente: il 31.07.1818 - 02.09.1818 - 19.09.1818
10.12.1818 19.12.1818
Don Giorgio Giacometti Moghini
dei Borghesi da Locarno
Parroco Presbitero di Comologno
_______
Rilevato Presenza il 03.01.1819
Don Giovanni
Giacomo Manfrina
da Borgnone
Parroco Presbitero
di Comologno
_______
Era presente il
02.04.1819 - 04.04.1819 - 29.09.1819 - 26.10.1819
Don Pietro Gerolamo [Geronimo] Brentini
Parroco Presbitero di Comologno
__________
Era presente dal 1819 al 1821
Rilevato Presenza il
28.11.1819 - 23.05.1820 - 06.11.1820
02.02.1821 - 05.10.1821
Don Domenico Lafranchini,
Protonotario Apostolico Luganese
Parroco Presbitero di Comologno
__________
Era presente dal 1822 al 1824
Rilevato presenza il
06.07.1822 - 24.07.1822 - 04.10.1822 - 22.02.1824
Don Giuseppe Uccelli
da Berzona
Parroco Presbitero
di Comologno
------------------
Il 05.02.1822 - 15.04.1822 - 27.04.1822
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
Il 13.08.1817 - 18.08.1817 - 16.10.1817 - 20.01.1818
24.02.1818 - 04.05.1818 - 18.01.1822 - 02.02.1822
25.03.1822 - 27.04.1822 - 30.05.1822 - 01.6.1822
28.10.1822 - 29.11.1822 - 02.12.1822 - 10.12.1822
22.01.1823 - 24.12.1823 - 11.01.1825 - 06.02.1825
05.03.1825 - 06.05.1825 - 19.06.1825 - 30.01.1825
03.06.1826 - 21.05.1827 - 28.09.1827
Celebrò un Funerale a Comologno il
11.01.1825 - 21.02.1825
-------------
Il 25.01.1818
Registrò un Battesimo
effettuato a Comologno
dall’Ostetrica per
pericolo imminente di morte
-------
Il 31.05.1818 - 29.06.1818 - 03.07.1818
Celebrò un Battesimo a Comologno
-------------------
L'01.6.1822
Don Domenico Andrea
Giovanni Ghezzi,
di Ghezzi Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato Presenza: 24.07.1822 - 28.07.1822 - 04.10.1822
07.01.1823 - 15.09.1824 -16.11.1824
Don Giuseppe Uccelli
di Uccelli Francesco
da Berzona, Parroco Presbitero
di Comologno
-------------
Il 29.11.1822
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
---------
Il 22.01.1823
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------------
Il 24.12.1823
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato ultima presenza il 16.11.1824
Don Giuseppe Uccelli
di Uccelli, Francesco da Berzona
Parroco Presbitero di Comologno
---------------
L'11.01.1825 - il 30.01.1825 - 06.02.1825 - 05.03.1825 - 06.05.1825
19.06.1825 - 03.06.1826 - 21.05.1827 - 28.09.1827
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-------------
Era presente dal 1825 al 1829
Rilevato il
22.01.1825 - 19.07.1825 - 09.10.1825 - 19.06.1828
Don Giacomo Antonio Grassi [Grazzi]
di Grassi [Grazzi], Giacomo da Loco
Parroco Presbitero di Comologno
----------
Il 09.04.1828
Don Agostino Guitti
Padre Presbitero,
delegato a Comologno
-------------
Rilevato ultima presenza l'08.03.1829
Don Giacomo Antonio Grassi [Grazzi]
di Grassi [Grazzi], Giacomo da Loco
Parroco Presbitero di Comologno
..........
Rilevato presenza il 15.04.1829 - l'01.08.1829 - 31.12.1830
27.09.1831
Don Paolo Zanetti
da Camignolo
Parroco Presbitero di Comologno
----------
Rilevato presenza il 15.04.1829 - l'01.08.1829 - il 04.09.1829
18.09.1829 - 20.09.1829 - l'01.10.1829 - 20.06.1832
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Il 09.07.1831
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di
Don Paolo Zanetti da Camignolo,
Parroco Presbitero di Comologno
------------
Rilevato ultima presenza il 27.11.1831
Don Paolo Zanetti
da Camignolo
Parroco Presbitero di Comologno
---------
Dal 1832 al 1839 era presente
Rilevato presenza il
31.05.1832 - 12.01.1833 - 20.04.1839
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
---------------
Il 06.03.1832 - 16.05.1832 - 30.05.1832 - l'11.06.1832
il 27.07.1832 - 09.08.1832
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato prima presenza il 09.07.1832
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
-------
Il 09.10.1832 - 13.02.1833
Mons. Filippo de Angeli
Nunzio Apostolico in Svizzera
diede la licenza a
Mons. Giulio Cesare Caglioni per
un Matrimonio a Comologno
---------
Il 17.06.1833 - l'01.03.1835
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di
Don Antonio Bernasconi da Vacallo,
Parroco Presbitero di Comologno
--------
Il 22.08.1833
Don Francesco Bernasconi
Vice Parroco Presbitero di Loco,
celebrò un Battesimo a Comologno
------
Nel 1833
Don Giovanni Ganzinotti da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di Don Antonio Bernasconi
da Vacallo,
Parroco Presbitero di Comologno
---------
Il 14.10.1836
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
------
Il 06.03.1839 e il 07.03.1839
Don Angelo Madonna
Parroco Presbitero di Russo,
Celebrò un battesimo a Comologno
-------
Il 09.03.1839
Celebrò un funerale a Comologno
-------------
Rilevato Presenza il 20.04.1839 - 02.09.1839
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
-----
Il 10.09.1839
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Il 23.10.1839 - 20.11.1839 - 09.01.1840 - 24.01.1840
08.04.1840 - 01.05.1840 - 21.05.1840 - 19.12.1840
Celebrò un funerale a Comologno
--------
Il 27.09.1839
Don Paolo Francesco Zenna
fu Zenna, Giovanni Battista da Locarno
Amministratore Cappellano Presbitero di Spruga,
Celebrò un battesimo a Comologno
--------
Il 19.10.1839 - 23.01.1840
Celebrò un Funerale a Comologno con licenza di Don Domenico Ghezzi, Parroco Presbitero di Crana
------------
Il 24.08.1840 - 25.08.1840 - 05.09.1840 - 11.10.1840
13.10.1840 - 02.12.1840 - 31.12.1840
Diede i Sacramenti e
l’Estrema Unzione a un malato
-------------
Il 16.10.1839 - 25.10.1839 - 13.12.1839 - 16.12.1839
10.02.1840 - 13.02.1840 - 26.02.1840 - 06.05.1840 - 28.05.1840
22.07.1840
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Il 23.10.1839 - 20.11.1839 -09.01.1840 - 19.12.1840
24.01.1840 - 08.04.1840 - 01.05.1840 - 21.05.1840
Celebrò un funerale a Comologno
--------
Era presente dal 1840 al 1846
Don Giovanni Pedretti
da Sigirino
Parroco Presbitero di Comologno
Rilevato presenza il 08.07.1840 - 06.08.1840 - 25.08.1846
-----------
Il 05.08.1840 e il 07.10.1840
Don Paolo Francesco Zenna
fu Zenna, Giovanni Battista da Locarno
Amministratore Cappellano Presbitero di Spruga,
celebrò un battesimo a Comologno
--------
Il 23.01.1840
Celebrò un Funerale a Comologno con licenza di Don Domenico, Parroco Presbitero di Crana
---------
Il 24.08.1840 - 25.08.1840 - 05.09.1840 - 11.10.1840 - 13.10.1840
02.12.1840 -31.12.1840
Diede i Sacramenti e l’Estrema Unzione a un malato
---------
Il 29.08.1844
Don Giuseppe Pedretti
Parroco Presbitero di Verdasio,
celebrò un Battesimo a Comologno
--------
Rilevato presenza il 25.08.1846 - 09.09.1846-
Don Giovanni Pedretti
da Sigirino
Parroco Presbitero di Comologno
----------
Rilevato Presenza il 24.09.1846 - 02.01.1847
Don Carlo Giuseppe Antonietti
fu Antonietti, Serafino da Sigirino
Parroco Presbitero,
Economo Spirituale di Comologno
-----------
Il 24.09.1846 - 28.09.1846 - 02.12.1846 - 19.12.1846 - 18.01.1847
23.01.1847 - 01.02.1847 - 22.04.1847
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Il 04.01.1847 - 21.04.1847
Celebrò un funerale a Comologno
___________
Il 19.04.1848
Don Giacomo Schira
Cappellano di Spruga
--------
Celebrò un funerale a Comologno
________
Il 29.07.1850 - 05.05.1851 - 22.05.1851 - 01.11.1851
09.12.1851 - 18.04.1852 - 27.05.1852 - 12.11.1853
24.04.1854 - 12.07.1854 - 05.03.1855
Don Giuseppe Tomamichel
da Bosco Gurin [Vallemaggia]
Amministratore Cappellano Presbitero di Spruga,
fu Padrino a un battesimo a Comologno
-------
Il 23.08.1855
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Rilevamento ultima presenza il 21.06.1855
Don Carlo Giuseppe Antonietti
fu Antonietti, Serafino da Sigirino
Parroco Presbitero,
Economo Spirituale di Comologno
-------
Dal 1855 al 1861 incluso, era presente
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
--------
Rilevato presenza il 05.10.1855
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
------
Rilevato presenza il
05.10.1855 - 10.10.1855 - 22.11.1855 - 09.12.1855 - 24.12.1855
01.01.1856 - 17.01.1856 - 29.01.1856 - l'08.03.1856 - 23.05.1856
Don Paolo Zanetti
Presbitero
Amministratore di Comologno
-----------
Il 16.06.1856 - 09.07.1856 - 27.07.1856 - 27.03.1857 - 07.04.1857
19.05.1857 - 16.06.1857 - 23.07.1857 - 25.07.1857 - 27.07.1857 - 29.07.1857
30.07.1857 - 31.07.1857 - 10.08.1857 - 27.08.1857
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Rilevato Presenza il 31.08.1857 - 23.04.1861
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
--------
Il 10.10.1860 - 16.05.1861 - 22.05.1861 - 27.05.1861 - 15.05.1863
Don Pietro Ceretti
Parroco Presbitero di Russo,
celebrò un battesimo a Comologno
---------
Rilevato Presenza il 17.06.1861 - 26.09.1861
Don Leonardo Terribilini
da Vergeletto
Della Società della Carità
Parroco Presbitero di Comologno
----------------
Dal 1861 al 1864 era presente:
Rilevato Presenza il 13.10.1861 - 19.06.1864
Don Paolo Allegranza
Parroco Presbitero di Comologno
---------
Il 24.02.1863 - 17.07.1864 - 06.08.1864 - 16.08.1864
01.09.1864 - 18.09.1864 - 25.10.1864 - 05.12.1864
09.12.1864 - 10.12.1864 - 25.01.1865 - l'01.02.1865 - 09.02.1865
16.03.1865 - 15.04.1865 - 19.04.1865 -14.05.1865
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Dal 1865 era presente
Rilevato Presenza il 19.06.1865 - 26.08.1866
Don Antonio Drouyen
Parroco Presbitero di Comologno
---------
Dal 1866 - al 1869 era presente
Rilevato Presenza l'01.09.1866 - il 04.03.1869
Don Giuseppe Caroni
da Rancate
Parroco Presbitero di Comologno
-------
Il 10.07.1868 -10.01.1869 - 09.05.1869 - 09.06.1869
17.06.1869 - 03.10.1869 - 03.11.1869 - 05.11.1869 - 07.12.1869
24.12.1869 - 31.12.1869
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno;
causa sede vacante
-----------
Dal 1870 al 1871 era presente
Rilevato Presenza il 09.06.1870 - 22.07.1870 - 22.09.1871
Don Luigi Mondini [Mondino]
di Venaria - Caluso / Torino [Italia]
Della Compagnia di Gesù
Economo Spirituale,
Parroco Presbitero di Comologno
----------
Il 02.01.1870 - 10.04.1870 - 28.04.1870 - l'01.05.1870 -18.05.1870
l'08.06.1870 - 09.06.1870 - 23.06.1870 - 18.07.1870
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Dal 1871 al 1873 era presente
Rilevato presenza il 25.08.1871 - 22.09.1871 - 10.12.1872
Don Vincenzo Coletti
Parroco Presbitero di Comologno
--------------
Il 15.10.1871 - 21.09.1872 - 28.09.1872 - 29.09.1872
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Dal 1873 al 1875 era presente
Don Calllisto Bava
di Luino [Italia]
Parroco Presbitero di Comologno
--------
Dal 1878 al 1888 era presente
Don Carlo Antonietti
Parroco Presbitero di Comologno,
dietro suo ordine
si fece il Coro
----------
Dal 1889 al 1891 era presente
Don Carlo Soldati
da Sonvico
Parroco Presbitero di Comologno
------------
Diede indicazioni sull'impedimento al Matrimonio
---------
Dal 1892 al 1893 era presente
Don Michele Cattomio
Parroco Presbitero di Comologno
---------
Dal 1893 al 1899 era presente
Don Giuseppe Arnaboldi
di Lugano
Parroco Presbitero di Comologno
-----
Dal 1902 al 1905 era presente
Don Pietro Ferrari
di Ludiano
Parroco Presbitero di Comologno
--------
Dall'01.01.1909 al 10.06.1916 era presente
Don Francesco Gianella
da Dalpe
Parroco Presbitero di Comologno
--------
Dal 1916 al 1921 era presente
Don Augusto Pellanda
da Intragna
Parroco Presbitero di Comologno
----------
Dal 1921 al 1924 era presente
Don Gualtiero Borella
Parroco Presbitero di Comologno
---------
Dal 04.09.1924 al 31.01.1927 era presente
Don Mario Marconi
da Comologno / Spruga
Parroco Presbitero di Comologno
-----------
Dal 10.09.1927 al 1932 era presente
Don Giuseppe Martinoli
da Marolta nella Valle di Blenio
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
--------------------
Dal 1945 al 1956 era presente
Don Giuseppe Bonanomi
di Chiasso, da Comologno
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
---------
Dal 1956 al 1961 era presente
Don Domenico Galli
da Bruzella
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
FACEBOOK: www.facebook.com/rbrtmtz TWITTER: twitter.com/#!/rbrtmtz SEGUNDO CANAL: www.youtube.com/user/rbrtmtzTUBE GOOGLE +: plus.google.com/115474141875686368340/posts?hl=es MAIL/CONTACTO: roberto@robertomtz.com En el que hablo de Emma Watson, Metal Gear Solid 5: The Phantom Pain, The Wolverine, Battlefield 4 y un camión con un letrero. Sexy Emma Watson: www.robertomtz.com/2013/03/sexy-emma-watson-en-natural-be... Metal Gear Solid 5 Trailer: www.robertomtz.com/2013/03/metal-gear-solid-v-phantom-pai... The Wolverine Trailer: www.robertomtz.com/2013/03/the-wolverine-trailer.html Battlefield 4: www.robertomtz.com/2013/03/battlefield-4-gameplay.html www.robertomtz.com/
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
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
La comunicación audiovisual de la UCJC da la oportunidad de seguir los pasos de Woody Allen. El estudiante de la carrera de comunicación audiovisual se caracteriza por ser un apasionado de la imagen y el sonido en todas sus vertientes; cine, televisión, vídeo, radio.
NYC Syringe Exchange Schedule (PDF)
www.nyc.gov/html/doh/downloads/pdf/basas/syringe_exchange...
More info: www.nyc.gov/html/doh/html/basas/heroin.shtml
nyctheblog.blogspot.com/2010/01/new-york-city-department-...
funproducer.com/insurance-rates-changing-personal-factors... Rates Changing Personal Factors
Insurance rates can be different for different persons.Even these rates can be change for the family members as well.It can depend on the company policy,countries trends and many of the other circumstances which effects the insurance rates and related fields if insurance.
insurance-rates-changing-personal-factors (1)
Crashing dollar
insurance-rates-changing-personal-factors (2)
A anchorman afresh asked Edmunds about the kinds of claimed advice that can affect the bulk of car insurance. She aswell capital to apperceive whether humans could do annihilation to abode claimed factors that were befitting their car allowance ante high.Vehicle insurance.
They’re acceptable questions, and Edmunds was blessed to advice acknowledgment them. During the analysis it became bright that if it comes to car insurance, there’s hardly annihilation that isn’t personal. Actuality are 5 all-about-you factors that can affect your car allowance premium:
1: Your active profile.
Such factors as the bulk of afar you drive annually and your blow and admission history are above elements in ambience your allowance rate. The beneath you drive, the beneath blow of an blow and a claim. Safer active acceptation a history chargeless of accidents and affective violations .Car Insurance Australia.aswell credibility to anyone who’s beneath acceptable to book a claim.
2:The car you drive.
Car allowance premiums are based in allotment on the car’s sticker price, the bulk to adjustment it, its all-embracing assurance almanac and the likelihood of theft, according to the Allowance Advice Institute. The bulk of acclimation a aboriginal $225,000 2010 Ferrari 458 Italia is traveling to be a lot added than the adjustment costs for a acclimated $17,000 Nissan Altima. The exceptional will reflect this.
3: Your capital claimed information
including your age, action and area you live. Each of these things factors into the action of ambience your allowance bulk because allowance companies abject their premiums on actuarial advice about drivers. They attending for patterns of claims action a part of humans like you. A boyish boy is acceptable to accept a college allowance bulk than a middle-aged driver, because statistically, boyish boys accept added accidents than do 40-year-olds.Car Insurance Australia.
Your action can play a role if it affects how abundant active you do. Work that involves lots of afar on the road, such as an alfresco sales job, can affect rates. From the allowance company’s point of view, the added afar you drive agency added blow of an accident.
Insurance companies aswell attending at area you live. They clue bounded trends of accidents, car thefts, lawsuits and the bulk of medical affliction and car repair, according to the Allowance Advice Institute.
4: The advantage you choose
The added advantage you accept and the lower the deductible you set, the added you’ll pay.
5:Your acclaim score
Some allowance companies use acclaim array as a agency in ambience rates. This convenance is advancing beneath attack, however, with seven states in 2010 casual regulations apropos the use of acclaim advice in insurance. In 2011, several added accompaniment legislatures alien bills to adapt the practice.
Actuarial studies appearance that how a getting manages his or her banking diplomacy is an authentic augur of the bulk and Car Insurance Australia.admeasurement of allowance claims he or she ability file, according to the Allowance Advice Institute.
If you wish to lower your allowance costs, you can’t change your age, or calmly change your job or hometown. But there are some claimed changes you can make:
1:Accede pay-as-you-drive insurance
It’s a paradox, but the added claimed you get, the bigger your ante ability be. Pay-as-you-drive programs action bigger ante because they’re tailored to how you alone drive — as adjoin to the humans who are agnate to you in agreement of age or added changeless factors.
This agency that a jailbait who is an accomplished disciplinarian — who doesn’t speed, doesn’t drive at night and doesn’t drive abounding afar — can get a bigger bulk than the boilerplate teenager, whose actuarial contour pegs him as a greater risk, based on the blow history for humans his age.
Pay-as-you-drive affairs accept altered configurations, depending on the allowance aggregation and state. Some crave that you install a telematics accessory that transmits advice about your absolute active (such as speed, breadth and braking patterns) to the allowance company. Others, such as affairs acceptable in California, Car Insurance Quotes.alone are based on the bulk of afar you drive, not how you drive.
2:Be a calmer, added accurate driver
If you’ve had dispatch tickets in the past, boldness to change from getting a speedy, advancing disciplinarian to a calm one. A ancillary anniversary is that you’ll save money on gasoline. Edmunds testing has aswell apparent that a calm active appearance gets you 35 percent bigger ammunition economy.
3:Accept a car with a lower bulk of ownership
Edmunds has a True Bulk to Own (TCO) apparatus that lets you admeasurement up cars if you’re shopping. It takes into anniversary eight apparatus — depreciation, absorption on financing, taxes and fees, allowance premiums, fuel, maintenance, aliment and any federal tax acclaim that may be accessible — and tells you what your bulk would be over 5 years. It’s a way to get a examination of what your allowance premiums ability be. Also, allocution to your allowance aggregation if you’re car arcade to get a adduce on how your best will affect your insurance. If you delay until the accord is done, you’ve absent a adventitious to administer your costs.Car Insurance Australia.
4: Change your coverage
Don’t go for every alarm and blare in an auto allowance policy. If you’re accommodating to pay a hardly college deductible, you can wind up extenuative big on your rates. Traveling from a $250 to a $1,000 deductible could save you 25-40 percent on your policy. Set abreast a allocation of these funds to awning your costs in the accident of a claim.
If you accept an earlier car with absolute and blow coverage, you ability acquisition yourself paying added in allowance than the car is worth. One tip: Take your absolute and blow premiums and add those up. Multiply by 10. If your car is account beneath than that amount, don’t buy the coverage. If you’re afraid about getting larboard overexposed, accede this: The archetypal policyholder makes a affirmation alone already every 11 years, and letters a absolute accident alone already every 50 years.
5:Explore discounts for which you ability be qualified
The options accessible cover discounts for low-mileage drivers, for seniors and for cars with anti-theft accessories and assertive assurance devices. It’s a diffuse account — just ask your insurer about any discounts, and go from there.
6: Clean up your credit
Keep it in acceptable appearance by paying bills on time and by consistently blockage that there are no items on your history that do not accord to you. You can get chargeless anniversary acclaim address checks here.
Is there claimed advice that doesn’t matter? Gender, one able told us. Allowance companies don’t affliction if you’re changeable or macho as continued as you’re a safe driver. And it’s a allegory that red cars accept college allowance ante than those antic added sedate shades, according to the Allowance Advice Institute. Ultimately, allowance companies affliction about how acceptable it is that a accurate disciplinarian would end up authoritative or causing a cher affirmation adjoin them. Green is the alone blush that matters.
Read more: funproducer.com/insurance-rates-changing-personal-factors...
DECONSTRUCTING ROY LICHTENSTEIN
BEFORE AND AFTER
GIL ELVGREN
circa 1940's
ROY LICHTENSTEIN
Drawing For Girl In Mirror
It would seem that Lichtenstein was even less original than many of his existing detractors had thought.
Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 - four months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey).
www.warholstars.org/warhol1/11roylichtenstein.html
GIL ELVGREN
Gil Elvgren (March 15, 1914 – February 29, 1980), born Gillette Elvgren, was an American painter of pin-up girls, advertising and illustration. Elvgren was one of the most important pin-up and glamour artists of the twentieth century. Today he is best known for his pin-up paintings for Brown & Bigelow. Elvgren studied at the American Academy of Art.
Gillette A. Elvgren attended University High School. After graduation he began studying art at the Minneapolis Institute of Arts. He subsequently moved to Chicago to study at the American Academy of Art. He graduated from the Academy during the depression at the age of twenty-two. Elvgren joined the stable of artists at Stevens and Gross, Chicago's most prestigious advertising agency. He became a protégé of the talented artist, Haddon Sundblom.
Elvgren was a classical American illustrator. He was a master of portraying the all-American feminine ideal, but wasn't limited to the calendar pin-up industry. He was strongly influenced by the early "pretty girl" illustrators, such as Charles Dana Gibson, Andrew Loomis, and Howard Chandler Christy. Other influences included the Brandywine School founded by Howard Pyle.
In 1937, Gil began painting calendar pin-ups for Louis F. Dow, one of America's leading publishing companies, during which time he created about 60 works. Around 1944, Gil was approached by Brown and Bigelow, a firm that still dominates the field in producing calendars and advertising specialties. He was associated with Brown and Bigelow from 1945 to 1972.
Elvgren was a commercial success. Elvgren lived in various locations, and was active from the 1930s to 1970s. His clients ranged from Brown and Bigelow and Coca-Cola to General Electric and Sealy Mattress Company. In addition, during the 1940s and 1950s he illustrated stories for a host of magazines, such as The Saturday Evening Post and Good Housekeeping.
You can read more about my $2 Portrait Project here.
Whew! I went out shooting the Haight with Erik Wilson (Generik11) this afternoon in the Haight and ended up talking ten $2 portraits. I'm going to try and get five posted up tonight and the other five posted up tomorrow.
This first portrait is of Jesse. We met Jesse on Market Street just past Van Ness. Jesse and another guy Mike saw that we were photographing yet another guy Kevon and wanted to get in on the action themselves.
Jesse originally hails from Portland, Oregon. He said he's been on the streets since he was 13. We talked a bit about all the neon signs in Portland. We talked about the motels and the big welcome to Oregon sign. Those are Drugstore Cowboy motels Jesse said. We both agreed that was a great movie. Don't throw a hat on a bed I reminded him. That's right he said back.
Jesse said that he'd been all over the United States, mostly by riding the rails on railroad cars. That's how he got down from Portland to San Francisco he said. Jesse asked me if I had a card or if he could see his portrait online, I gave him my card and Erik gave him one of his as well.
We didn't get to talk to Jesse as much as I'd like to have, but that's because we were shooting three guys at once and getting each of their stories as we shot them.
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 7 Saturday October 12 All Game Live Streaming Online.
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2013 NCAA College Football Week 7
ALL LIVE GAME SCHEDULE
Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
Michigan State Spartans V Indiana Hoosiers-From:-12:00pm
Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm
TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm
Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>
Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>
Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>
South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>
Duke Blue Devils V Navy Midshipmen-From:-12:30pm
Auburn Tigers V Western Carolina Catamounts-From:-02:00pm
Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm
Western Michigan Broncos V Buffalo Bulls-From:-02:00pm
Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
Baylor Bears V Kansas State Wildcats-From:-03:30pm>>
LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm
Tulane Green Wave V East Carolina Pirates-From:-03:30pm
Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
Oregon Ducks V Washington Huskies-From:-04:00pm>>
Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm
Northern Illinois Huskies V Akron Zips-From:-05:00pm>>
Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>
North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
FIU Golden Panthers V UAB Blazers-From:-07:30pm
Mississippi State Bulldogs V Bowling Green Falcons-From:-07:30pm
UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
Utah State Aggies V Boise State Broncos-From:-08:00pm
Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
Arizona State Sun Devils V Colorado Buffaloes-From:-10:00pm
UCLA Bruins V California Golden Bears-From:-10:30pm>>
Washington State Cougars V Oregon State Beavers-From:-10:30pm
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NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 7 Saturday October 12 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/watch-live-oreg...
ncaafootball2013live.blogspot.com/2013/10/watch-live-oreg...
2013 NCAA College Football Week 7
ALL LIVE GAME SCHEDULE
Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
Michigan State Spartans V Indiana Hoosiers-From:-12:00pm
Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm
TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm
Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>
Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>
Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>
South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>
Duke Blue Devils V Navy Midshipmen-From:-12:30pm
Auburn Tigers V Western Carolina Catamounts-From:-02:00pm
Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm
Western Michigan Broncos V Buffalo Bulls-From:-02:00pm
Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
Baylor Bears V Kansas State Wildcats-From:-03:30pm>>
LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm
Tulane Green Wave V East Carolina Pirates-From:-03:30pm
Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
Oregon Ducks V Washington Huskies-From:-04:00pm>>
Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm
Northern Illinois Huskies V Akron Zips-From:-05:00pm>>
Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>
North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
FIU Golden Panthers V UAB Blazers-From:-07:30pm
Mississippi State Bulldogs V Bowling Green Falcons-From:-07:30pm
UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
Utah State Aggies V Boise State Broncos-From:-08:00pm
Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
Arizona State Sun Devils V Colorado Buffaloes-From:-10:00pm
UCLA Bruins V California Golden Bears-From:-10:30pm>>
Washington State Cougars V Oregon State Beavers-From:-10:30pm
Over 3700 Live Streaming HD Channels
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NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 7 Saturday October 12 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/watch-live-oreg...
ncaafootball2013live.blogspot.com/2013/10/watch-live-oreg...
2013 NCAA College Football Week 7
ALL LIVE GAME SCHEDULE
Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
Michigan State Spartans V Indiana Hoosiers-From:-12:00pm
Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm
TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm
Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>
Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>
Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>
South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>
Duke Blue Devils V Navy Midshipmen-From:-12:30pm
Auburn Tigers V Western Carolina Catamounts-From:-02:00pm
Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm
Western Michigan Broncos V Buffalo Bulls-From:-02:00pm
Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
Baylor Bears V Kansas State Wildcats-From:-03:30pm>>
LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm
Tulane Green Wave V East Carolina Pirates-From:-03:30pm
Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
Oregon Ducks V Washington Huskies-From:-04:00pm>>
Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm
Northern Illinois Huskies V Akron Zips-From:-05:00pm>>
Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>
North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
FIU Golden Panthers V UAB Blazers-From:-07:30pm
Mississippi State Bulldogs V Bowling Green Falcons-From:-07:30pm
UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
Utah State Aggies V Boise State Broncos-From:-08:00pm
Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
Arizona State Sun Devils V Colorado Buffaloes-From:-10:00pm
UCLA Bruins V California Golden Bears-From:-10:30pm>>
Washington State Cougars V Oregon State Beavers-From:-10:30pm
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Indiana University Kokomo sees record-breaking enrollment increase; unprecedented number of students. Under the leadership of Chancellor Michael Harris.
kokomoperspective.com/xtra/education/indiana-university-k...
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
www.kokomoherald.com/Content/Schools/IUK/Article/Indiana-...
www.kokomoherald.com/Content/News/Local-News/Article/Indi...
www.facultyfocus.com/articles/academic-leadership/academi...
www.kokomoherald.com/main.asp?SectionID=52&SubSection...
www.youtube.com/watch?v=uD3exIJ-hGs
tackk.com/michaelharrischancellor
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www.insideindianabusiness.com/newsitem.asp?id=54735
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www.universitiesnews.com.previewdns.com/2012/05/20/us-iuk...
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homepages.indiana.edu/web/page/normal/20760.html
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m.kokomoperspective.com/news/local_news/kokomo-perspectiv...
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kokomoperspective.com/news/iu-kokomo-sets-summer-enrollme...
kokomoperspective.com/xtra/education/iu-kokomo-graduates-...
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
kokomoperspective.com/xtra/education/iu-kokomo-hosts-regi...
kokomoperspective.com/kp/news/iu-kokomo-restructures-to-b...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/community-to-be-bro...
kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
kokomoperspective.com/lifestyles/iu-kokomo-student-alunni...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/xtra/education/iuk-summer-enrollmen...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
kokomoperspective.com/kp/lifestyles/more-students-choose-...
kokomoperspective.com/news/local_news/iu-kokomo-makes-his...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/indiana-university-kokomo-achieves-...
kokomoperspective.com/kp/news/people-of-the-year/article_...
kokomoperspective.com/news/local_news/inaugural-nursing-m...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/xtra/education/u-s-news-world-repor...
kokomoperspective.com/news/local_news/freshman-increase-d...
kokomoperspective.com/former-vatican-employee-increases-d...
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
kokomoperspective.com/sports/iuk/iu-kokomo-selects-cross-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
www.indianaeconomicdigest.net/main.asp?SectionID=31&S...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
newsroom.iuk.edu/campus.html?start=270
www.scribd.com/doc/63591416/Kokomo-Perspective-August-31-...
www.prnewswire.com/news-releases/indiana-university-kokom...
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
homepages.indiana.edu/web/page/normal/20760.html
www.insideindianabusiness.com/newsitem.asp?ID=51072
tackk.com/michaelharrischancellor
tackk.com/michaelharrischancellor
blogs.forbes.com/people/michaelharrischancellor/
Chancellor Michael Harris IUK - On the Move
www.youtube.com/watch?v=uD3exIJ-hGs
homepages.indiana.edu/web/page/normal/17736.html
www.youtube.com/watch?v=uD3exIJ-hGs
www.youtube.com/watch?v=uD3exIJ-hGs
www.prnewswire.com/news-releases/indiana-university-kokom...
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
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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
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#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
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#formatart
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#biennalist
#ultracontemporary art
#protestart
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The Galbraith Memorial was erected in 1923 by the American Legion in honor of its first National Commander, Cincinnati's Frederick W. Galbraith.
Frederick W. Galbraith Memorial: Installed in 1923, the memorial is a white granite, semicircular bench
with a large central pilaster bearing a bronze bas-relief that honors Colonel Galbraith, a commanding officer of the Ohio National Guard during World War I.
Designed by local sculptor Clement Barnhorn, the relief depicts figures from that war: soldiers, a sailor and a nurse, as well as two angels, all grouped on either side of Galbraith, who served as the first National Commander of the newly formed American Legion in 1921.
COL. F.W. GALBRAITH DIES IN AUTO CRASH
The New York Times, June 10, 1921
National Commander of Legion Thrown From Car in Indianapolis--His Skull Fractured.
TWO COMPANIONS ARE HURT
Body Taken to Cincinnati, Where It Will Lie in State Before Military Funeral.
HAD A VARIED CAREER. Col. Galbraith Was Sailor, Business Man and Warrior.
Harding Expresses Sympathy.
NATION-WIDE GRIEF SHOWN.
THOUSANDS MOURN AT GALBRAITH BIER;
Cincinnati Funeral Procession Largest Since Burial of General Hooker.
EULOGY BY ROOSEVELT
Chateau Thierry, Alsace-Lorraine and French Veterans Send Tributes
France Confers Decoration.
He led the effort to improve care for disabled veterans. One week before he died in a car accident, Frederick W. Galbraith Jr. wrote, "The welfare of our country and our comrades -the disabled first -this has been the primary concern of The American Legion. Where the welfare of our country has been concerned, where the hopes and happiness of our disabled comrades have been at stake, the Legion has stopped at nothing."
"Fritz" Galbraith was an early leading advocate for U.S. veterans wounded on the battlefields in France. He urged Congress to take care of them, and his unceasing efforts contributed to the eventual creation of the Veterans Administration in 1930.
Galbraith also lobbied strenuously on behalf of all veterans for more financial compensation in return for their wartime service. "But there remain another class of disabled:" he wrote, "the financially disabled, who have waited patiently until their physically incapacitated buddies should be cared for. Our next great legislative effort will be for them."
His efforts paid off. On March 4, 1921 -the first day of President Warren G. Harding's administration -Congress appropriated funds to build more hospitals for veterans covered by the War Risk Insurance Act.
On June 9, 1921, Galbraith was in Indianapolis to attend a National Finance Committee meeting when he was killed instantly in an automobile accident.
Thierry Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
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Uncle Tom's Cabin; or, Life Among the Lowly is an anti-slavery novel by American author Harriet Beecher Stowe, published in 1852.
Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, featured the character of Uncle Tom, a long-suffering black slave around whom the stories of other characters revolve. The sentimental novel depicts the reality of slavery while also asserting that Christian love can overcome something as destructive as enslavement of fellow human beings.
Uncle Tom's Cabin was the best-selling novel of the 19th century and the second best-selling book of that century, following the Bible
It is credited with helping fuel the abolitionist cause in the 1850s. In the first year after it was published, 300,000 copies of the book were sold in the United States; one million copies were sold in Great Britain. In 1855, three years after it was published, it was called "the most popular novel of our day." The impact attributed to the book is great, reinforced by a story that when Abraham Lincoln met Stowe at the start of the Civil War, Lincoln declared, "So this is the little lady who started this great war." The quote is apocryphal; it did not appear in print until 1896, and it has been argued that "The long-term durability of Lincoln's greeting as an anecdote in literary studies and Stowe scholarship can perhaps be explained in part by the desire among many contemporary intellectuals ... to affirm the role of literature as an agent of social change."
Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, wrote the novel as a response to the 1850 passage of the second Fugitive Slave Act.
Much of the book was composed in Brunswick, Maine, where her husband, Calvin Ellis Stowe, taught at his alma mater, Bowdoin College.
Stowe was partly inspired to create Uncle Tom's Cabin by the 1849 slave narrative The Life of Josiah Henson, Formerly a Slave, Now an Inhabitant of Canada, as Narrated by Himself. Henson, a formerly enslaved black man, had lived and worked on a 3,700 acres (15 km2) tobacco plantation in North Bethesda, Maryland, owned by Isaac Riley.[ Henson escaped slavery in 1830 by fleeing to the Province of Upper Canada (now Ontario), where he helped other fugitive slaves settle and become self-sufficient, and where he wrote his memoirs.
Stowe acknowledged in 1853 that Henson's writings inspired Uncle Tom's Cabin. When Stowe's work became a best-seller, Henson republished his memoirs as The Memoirs of Uncle Tom and traveled on lecture tours extensively in the United States and Europe. Stowe's novel lent its name to Henson's home—Uncle Tom's Cabin Historic Site, near Dresden, Canada—which since the 1940s has been a museum. The cabin where Henson lived while he was enslaved no longer exists, but cabin on the Riley farm erroneously thought to be the Henson Cabin was purchased by the Montgomery County, Maryland, government in 2006. It is now a part of the National Park Service National Underground Railroad Network to Freedom program, and plans are underway to build a museum and interpretive center on the site.
American Slavery As It Is: Testimony of a Thousand Witnesses, a volume co-authored by Theodore Dwight Weld and the Grimké sisters, is also a source of some of the novel's content.
Stowe said she based the novel on a number of interviews with people who escaped slavery during the time when she was living in Cincinnati, Ohio, across the Ohio River from Kentucky, a slave state. In Cincinnati the Underground Railroad had local abolitionist sympathizers and was active in efforts to help runaway slaves on their escape route from the South.
Uncle Tom's Cabin first appeared as a 40-week serial in National Era, an abolitionist periodical, starting with the June 5, 1851, issue. Because of the story's popularity, the publisher John Jewett contacted Stowe about turning the serial into a book. While Stowe questioned if anyone would read Uncle Tom's Cabin in book form, she eventually consented to the request.
Convinced the book would be popular, Jewett made the unusual decision (for that time) to have six full-page illustrations by Hammatt Billings engraved for the first printing.
Published in book form on March 20, 1852, the novel soon sold out its complete print run. A number of other editions were soon printed (including a deluxe edition in 1853, featuring 117 illustrations by Billings).
The book was translated into all major languages, and in the United States it became the second best-selling book after the Bible. Uncle Tom's Cabin sold equally well in Britain, with the first London edition appearing in May 1852 and selling 200,000 copies. In a few years over 1.5 million copies of the book were in circulation in Britain, although most of these were pirated copies (a similar situation occurred in the United States).
Uncle Tom's Cabin outraged people in the American South.[24] The novel was also roundly criticized by slavery supporters.
Acclaimed Southern novelist William Gilmore Simms declared the work utterly false, while others called the novel criminal and slanderous. Reactions ranged from a bookseller in Mobile, Alabama, who was forced to leave town for selling the novel to threatening letters sent to Stowe (including a package containing a slave's severed ear).
Many Southern writers, like Simms, soon wrote their own books in opposition to Stowe's novel.
In response to Uncle Tom's Cabin, writers in the Southern United States produced a number of books to rebut Stowe's novel. This so-called Anti-Tom literature generally took a pro-slavery viewpoint, arguing that the issues of slavery as depicted in Stowe's book were overblown and incorrect. The novels in this genre tended to feature a benign white patriarchal master and a pure wife, both of whom presided over childlike slaves in a benevolent extended family style plantation. The novels either implied or directly stated that African Americans were a childlike people unable to live their lives without being directly overseen by white people.
Among the most famous anti-Tom books are The Sword and the Distaff by William Gilmore Simms, Aunt Phillis's Cabin by Mary Henderson Eastman, and The Planter's Northern Bride by Caroline Lee Hentz, with the last author having been a close personal friend of Stowe's when the two lived in Cincinnati. Simms' book was published a few months after Stowe's novel, and it contains a number of sections and discussions disputing Stowe's book and her view of slavery. Hentz's 1854 novel, widely-read at the time but now largely forgotten, offers a defense of slavery as seen through the eyes of a northern woman—the daughter of an abolitionist, no less—who marries a southern slave owner.
In the decade between the publication of Uncle Tom's Cabin and the start of the American Civil War, between twenty and thirty anti-Tom books were published. Among these novels are two books titled Uncle Tom's Cabin As It Is (one by W.L. Smith and the other by C.H. Wiley) and a book by John Pendleton Kennedy. More than half of these anti-Tom books were written by white women, with Simms commenting at one point about the "Seemingly poetic justice of having the Northern woman (Stowe) answered by a Southern woman."
Even though Uncle Tom's Cabin was the best-selling novel of the 19th century, far more Americans of that time saw the story as a stage play or musical than read the book.[84] Eric Lott, in his book Uncle Tomitudes: Racial Melodrama and Modes of Production, estimates that at least three million people saw these plays, ten times the book's first-year sales.
Uncle Tom's Cabin has been adapted several times as a film. Most of these movies were created during the silent film era (Uncle Tom's Cabin was the most-filmed book of that time period).[93] Because of the continuing popularity of both the book and "Tom" shows, audiences were already familiar with the characters and the plot, making it easier for the film to be understood without spoken words. There has been no Hollywood treatment since the end of the silent era.
REVISTA DE FILOSOFIA: REVISTA DE FILOSOFÍA CONTEMPORANEA
REVISTA OBSERVACIONES FILOSÓFICAS
www.observacionesfilosoficas.net/
Dr. Adolfo Vasquez Rocca _ Director
www.danoex.net/adolfovasquezrocca.html
Revista de Filosofía Contemporánea
www.observacionesfilosoficas.net/indexcategorias.htm
Adolfo Vásquez Rocca PH.D.
www.danoex.net/adolfovasquezroccainvestigacion.html
Dr. Adolfo Vasquez Rocca | Universidad Complutense de Madrid
www.danoex.net/adolfovasquezrocca.html
Adolfo Vasquez Rocca, Academic staff at Universidad Andrés Bello UNAB
emui.academia.edu/AdolfoVasquezRocca
ADOLFO VÁSQUEZ ROCCA PH.D.
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Escuela Matríztica
Universidad Complutense de Madrid
Eastern Mediterranean University - Academia.edu
E-mail: adolfovrocca@gmail.com
ADOLFO VÁSQUEZ ROCCA PH.D.
Web personal:
www.danoex.net/adolfovasquezrocca.html
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
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Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
E-mail: adolfovrocca@gmail.com
PROFESOR DR. ADOLFO VÁSQUEZ ROCCA
Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial'. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía, Bs. Aires; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, Universidad Nacional. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Ha publicado entre otros el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011
Prof. Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Director del Consejo Consultivo Internacional de Revista 'Konvergencias'; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, UNA. Miembro del Conselho Editorial da Humanidades em Revista, Universidade do Noroeste do Estado do Rio Grande Brasil. –Secretario Ejecutivo Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas.
VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 1 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.
Referencia indexación Universidad Complutense:
Revistas Científicas Complutenses +Madrid
usuarios.universia.net/verActividad.action?loginUsuario=a...
VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381
www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf
- VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK 'NORMAS PARA EL PARQUE HUMANO'; DE LA CARTA SOBRE EL HUMANISMO A LAS ANTROPOTECNIAS Y EL DISCURSO DEL POS-THUMANISMO", En
Revista Observaciones Filosóficas - Nº 5 / 2007 | ISSN 0718-3712
www.observacionesfilosoficas.net/petersloterdijkdelasnorm...
- VÁSQUEZ ROCCA, Adolfo, PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92
VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.
“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.
F. NIETZSCHE , Die fröhliche Wissenschaft, 86
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006
Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564
y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.
- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK; LA MÚSICA DE LAS ESFERAS Y LA ERA ANTROPOTÉCNICA”. Konvergencias, Filosofía y Culturas en Diálogo. ISSN 1669-9092
Número 12 Año III Mayo 2006, www.konvergencias.net/musicaps01.htm
Peter Sloterdijk ¿dónde estamos, cuando escuchamos música? Número 12 Año III Mayo 2006
Konvergencias, Filosofía y Culturas en Diálogo. www.konvergencias.net/musicaps.htm
Periodista y escritor. Profesor de Sociología en la Staatliche Hochschule für Gestaltung de Karlsruhe.
Director periodístico de ZDF, alemania. www.peter-voss.eu/
Sloterdijk y Canetti; el detonante iconográfico y operístico de la política de masas ; Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 13, 2006, www.konvergencias.net/vasquezrocca115.htm
VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 2 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.
Referencia indexación Universidad Complutense:
Revistas Científicas Complutenses +Madrid
usuarios.universia.net/verActividad.action?loginUsuario=a...
VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381
www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf
VÁSQUEZ ROCCA, Adolfo, "EDWARD HOPPER Y EL OCASO DEL SUEÑO AMERICANO", En HOMINES –Arte y Cultura– MA-739-2004, 2009, Málaga, 2005.
www.homines.com/arte_xx/hopper_ocaso_americano/index.htm
Peter Sloterdijk; temblores de aire, atmoterrorismo y crepúsculo de la inmunidad
Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , 196-216
dialnet.unirioja.es/servlet/articulo?codigo=2377373&o...
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Peter Sloterdijk; espumas, mundo poliesférico y ciencia ampliada de invernaderos
Autores: Adolfo Vásquez Rocca
Localización: Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , págs. 217-228
dialnet.unirioja.es/servlet/articulo?codigo=2377372&o...
KONVERGENCIAS Filosofía y Culturas en Diálogo
ISSN 1669-9092
Año V, No 16 Tercer Cuatrimestre 2007
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- Vásquez Rocca, Adolfo, Peter Sloterdijk; del pesimismo metodológico al cinismo difuso de nuestras sociedades exhaustas, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92
PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS Dr. ADOLFO VÁSQUEZ ROCCA
dialnet.unirioja.es/servlet/articulo?codigo=2310343&o...
ISSN 1669-9092
- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.
“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.
F. NIETZSCHE , Die fröhliche Wissenschaft, 86 /
- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006
Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564
y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734
/
- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.
2.-
"Conjeturas sobre el animal que topa consigo, se propone lo grande, a menudo no avanza un paso y, a veces, esta harto de todo”.
P. Sloterdijk
VÁSQUEZ ROCCA, Adolfo, “GEORG TRAKL Y JORGE TEILLIER; PARA HABLAR CON LOS MUERTOS”, En Revista Almiar, MARGEN CERO © Madrid, 2007
www.margencero.com/articulos/articulos3/trakl.htm
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EL HOMBRE COMO EXPERIMENTO SONORO Y METAFÍSICO ANIMAL DE LA AUSENCIA", PHILOSOPHICA, Instituto de Filosofía PONTIFICIA UNIVERSIDAD CATÓLICA DE VALPARAÍSO, Nº 31, Sem. I, 2007, ISSN 076 - 1913, pp. 89-105.
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Dopo i patimenti che ho sopportato, il mio amore per Dio è ancora più forte
di Zhou Rui, Provincia del Jiangxi
Mi chiamo Zhou Rui e sono un cristiano della Chiesa di Dio Onnipotente. Fin da quando ho cominciato a capire le cose, ho sempre visto i miei genitori lavorare sodo nei campi da mattina a sera per guadagnarsi da vivere. Malgrado il loro impegno intenso, riuscivano a malapena a guadagnare dei soldi anno dopo anno, perciò la nostra famiglia ha vissuto sempre in estrema povertà. Quando vedevo le persone potenti e influenti vivere comodamente senza dover faticare, provavo invidia nei loro confronti, e così presi una ferma decisione: da grande avrei avuto sicuramente una carriera di successo o mi sarei conquistato una posizione governativa per ovviare alla povertà e all’arretratezza della mia famiglia, in modo che anche i miei genitori potessero vivere come i ricchi. Tuttavia, pur avendo lottato molti anni per questo ideale, non sono mai riuscito a ottenere ciò che desideravo; ho continuato a vivere in povertà. Spesso sospiravo per la preoccupazione di non avere tratto nessun risultato dal mio impegno, e a poco a poco ho perso fiducia nella vita. Proprio quando cominciavo a scoraggiarmi e a disperare della vita, sono venuto a conoscenza della salvezza offerta da Dio Onnipotente negli ultimi giorni. Nelle Sue parole ho colto alcune verità e sono giunto a conoscere la causa principale della sofferenza umana nel mondo. Inoltre ho capito come le persone debbano vivere perché la loro vita sia ricca di significato e degna di essere vissuta. Da allora in poi, per quanto fossi stato confuso e smarrito, ho trovato il mio orientamento nella vita. Lasciandomi alle spalle la depressione e lo sconforto, ho scoperto una nuova vitalità e nuove prospettive, e ho visto speranza per la mia vita. Dopo di che, per consentire anche a quanti ancora vivevano nella sofferenza e nello smarrimento di conseguire questa rarissima salvezza, ho cominciato ad andare di luogo in luogo, predicando energicamente la salvezza offerta da Dio negli ultimi giorni. Ciò che non mi aspettavo, però, era che durante la mia attività di diffusione del Vangelo sarei stato arrestato due volte dal governo cinese e avrei subito torture brutali e disumane… In questo buio abisso di mostruosità, Dio Onnipotente non mi ha mai abbandonato; le Sue parole mi hanno trasmesso fede e forza, conducendomi ripetutamente alla vittoria sulle forze oscure di Satana e rafforzando il mio amore per Dio.
Era un giorno di giugno del 2003; io e due fratelli eravamo andati in un villaggio a diffondere il Vangelo, quando siamo stati denunciati da una persona malvagia. Cinque o sei agenti con tre auto della polizia si sono avvicinati rapidamente a noi e ci hanno ammanettati senza farci nemmeno una domanda. A calci e spintoni, ci hanno costretti a salire in auto e ci hanno condotti all’Ufficio di Pubblica Sicurezza. In auto non ho avuto affatto paura. Avevo sempre ritenuto che lo scopo della diffusione del Vangelo fosse offrire la salvezza alle persone, perciò non avevamo fatto niente di male; una volta arrivati all’Ufficio, avrei spiegato la situazione e la polizia ci avrebbe rilasciati. Non potevo sapere, però, che i poliziotti del governo cinese fossero più crudeli ed efferati di qualsiasi canaglia o tiranno malvagio. Arrivati all’Ufficio, i poliziotti non ci hanno dato nemmeno la possibilità di dare spiegazioni prima di separarci e interrogarci singolarmente. Ero appena entrato nella stanza degli interrogatori quando un poliziotto mi ha urlato: “La politica del Partito Comunista è ‘clemenza per chi confessa, severità per chi resiste’. Lo sapevi?” Dopo di che ha chiesto i miei dati personali. Vedendo che le mie risposte non lo soddisfacevano, un altro poliziotto mi si è avvicinato e ha grugnito: “Bah. Non stai collaborando. Ti daremo una lezione, così forse ci dirai la verità”. Poi ha fatto un gesto con la mano dicendo: “Portate qui dei mattoni così possiamo punirlo!” Due poliziotti si sono avvicinati all’istante, mi hanno preso una mano e me l’hanno strattonata da sopra la spalla e dietro la schiena, mentre mi tiravano l’altra mano in alto, e poi me le hanno ammanettate a forza. Ho subito provato un dolore insopportabile, come se mi si stessero spezzando le braccia. Come poteva una persona così debole sopportare un simile tormento? Un attimo dopo sono crollato a terra. Al che i malvagi poliziotti mi hanno bruscamente sollevato le manette e mi hanno infilato due mattoni fra le mani e la schiena. Un dolore acuto, improvviso, mi è penetrato fino al cuore, come se migliaia di formiche mi stessero masticando le ossa. In preda alla sofferenza, ho usato tutte le forze rimanenti per implorare Dio: “Dio Onnipotente, salvami. Dio Onnipotente, salvami…” Anche se all’epoca avevo accolto la salvezza offerta da Dio negli ultimi giorni solo da circa tre mesi, non conoscevo ancora molte Sue parole e capivo soltanto poche verità, ciò nonostante, grazie alle mie continue suppliche, Dio mi ha concesso fede e forza e mi ha trasmesso una ferma convinzione: dovevo rimanere saldo nella testimonianza a Dio; non dovevo assolutamente arrendermi a Satana! Perciò ho stretto i denti e mi sono rifiutato categoricamente di dire altro. Innervositi ed esasperati, i malvagi poliziotti hanno escogitato un altro brutale stratagemma nel tentativo di soggiogarmi: hanno collocato per terra due mattoni e mi hanno costretto a inginocchiarmici sopra; allo stesso tempo mi strattonavano con forza le manette. Ho provato subito un dolore così lancinante alle braccia che mi sembrava si fossero spezzate. Mi sono sforzato di rimanere lì inginocchiato per qualche minuto prima di ricadere a terra inerte, al che i poliziotti mi hanno di nuovo sollevato violentemente per le manette e mi hanno costretto a stare ancora in ginocchio. Mi hanno torturato ripetutamente in questo modo. Era piena estate, perciò il caldo acuiva la mia sofferenza; dal viso mi colavano continue gocce di sudore. Facevo tanta fatica a tenermi su che non riuscivo a respirare e sono quasi svenuto. Ciò nonostante, questa banda di poliziotti malvagi non faceva che godere della mia disgrazia. “Ti senti bene?” mi ha detto uno. “Se continui a rifiutarti di parlare, abbiamo tanti altri metodi per convincerti!” Vedendo che non rispondevo, erano furenti per la frustrazione e mi hanno detto: “Allora non ne hai avuto abbastanza? Ancora!” … Dopo due o tre ore di questo tormento, ero dolorante dalla testa ai piedi e non mi restavano più forze. Sono caduto a terra senza riuscire a muovermi e ho perso anche il controllo della vescica e dell’intestino. Di fronte alla tortura spietata di questi malvagi poliziotti, ho odiato me stesso per essere stato così cieco e ignorante; ingenuamente, avevo dato per scontato che l’Ufficio di Pubblica Sicurezza fosse un luogo in cui poter ragionare e che i poliziotti avrebbero difeso la giustizia e mi avrebbero rilasciato. Non mi sarei mai aspettato che fossero tanto malevoli e crudeli da voler estorcere una confessione con le sevizie senza un briciolo di prove, torturandomi fin quasi alla morte. Sono davvero la massima espressione del male! Ero steso a terra come fatto a pezzi, e non mi sarei potuto muovere nemmeno se l’avessi voluto. Non sapevo in che modo intendessero ancora torturarmi, né quanto sarei riuscito a resistere. Nella mia sofferenza e nel mio smarrimento, non potevo far altro che implorare continuamente Dio di darmi la forza di sopportare ancora. Dio ha ascoltato le mie suppliche e ha avuto pietà di me, facendomi rammentare uno dei suoi discorsi: “Questo è un momento cruciale. Fai in modo di non demoralizzarti e di non scoraggiarti. Devi guardare avanti in ogni cosa e non voltarti indietro, […] Finché avrai respiro, persevera fino alla fine; solo questo sarà degno di lode” (Capitolo 20 di “Discorsi di Cristo al principio” in “La Parola appare nella carne”). Le parole di Dio mi hanno trasmesso fede e forza in gran quantità. Erano così vere! Poiché stavo percorrendo il cammino della luce e della giustizia, dovevo avere la fede per andare avanti; fossi anche giunto al mio ultimo respiro, dovevo comunque perseverare sino alla fine! Le parole di Dio pulsavano di forza vitale e mi hanno dato la fede e il coraggio per combattere sino alla fine questi demoni malvagi, e così lentamente ho riacquistato anche un po’ di forza fisica. Dopo di che, i malvagi poliziotti hanno continuato a interrogarmi, pestandomi spietatamente i piedi fino a schiacciarmeli e a straziarmeli. Tuttavia non provavo più dolore. Sapevo che tutto questo era dovuto agli atti meravigliosi di Dio; avendo avuto pietà di me e mostrato sollecitudine per la mia debolezza, mi alleviava la sofferenza. In seguito i malvagi poliziotti ci hanno trattenuti con l’accusa di “turbamento dell’ordine pubblico”. Quella sera hanno ammanettato ciascuno di noi a un blocco di cemento di 150-200 chili, a cui siamo rimasti incatenati fino alla sera dopo, quando ci hanno trasferiti al locale centro di detenzione.
Entrare nel centro di detenzione è stato come precipitare in una sorta di inferno. Gli agenti penitenziari mi costringevano a infilare insieme lampadine colorate. Inizialmente dovevo infilarne seimila al giorno, ma poi la quantità è aumentata ogni giorno fino ad arrivare a dodicimila. In conseguenza di questo eccessivo carico di lavoro quotidiano, le dita mi si erano assottigliate fino all’osso, eppure non riuscivo comunque a portare a termine il mio compito. Non avevo altra scelta che continuare a infilarle per tutta la notte. Talvolta non ce la facevo proprio più e volevo fare un pisolino, ma non appena se ne accorgevano mi bastonavano brutalmente. Gli agenti penitenziari incitavano perfino i bulli del carcere dicendo ad alta voce: “Se questi detenuti non fanno il lavoro o non lo fanno bene, dategli un paio di dosi di ‘penicillina’”. Ciò che intendevano con una dose di “penicillina” era affibbiare al detenuto una ginocchiata all’inguine, poi una forte gomitata a metà schiena mentre lui si piegava per il dolore e quindi col tallone pestargli il piede. Questo metodo brutale talvolta faceva svenire lì per lì il detenuto e poteva perfino lasciarlo storpio per tutta la vita. In quel carcere diabolico io svolgevo ogni giorno un lavoro durissimo e per di più dovevo subire pestaggi crudeli. Come se non bastasse, i tre pasti che ci fornivano ogni giorno non erano adatti nemmeno ai cani o ai maiali: le pietanze che mangiavamo erano foglie di ravanello e spinaci d’acqua senza condimento (spesso mescolati a foglie e radici marce, sabbia e fango), oltre a circa 150 grammi di riso e un bicchiere dell’acqua che era stata usata per lavare il riso. Tutto il giorno avevo così fame che lo stomaco mi brontolava di continuo. In un ambiente del genere potevo affidarmi soltanto a Dio Onnipotente; ogni volta che subivo un pestaggio, pregavo con fervore, implorando Dio di darmi fede e forza per poter vincere le tentazioni di Satana. Dopo oltre venti giorni di angherie e tormenti, il mio corpo era così emaciato da essere irriconoscibile: non avevo forza nelle braccia e nelle gambe, non riuscivo a stare in piedi dritto e non avevo nemmeno la forza di stendere le braccia. Ciò nonostante, quelle guardie squilibrate non solo erano indifferenti alla mia situazione, ma si impadronivano anche delle poche centinaia di yuan che mi inviavano i miei familiari. Col passare del tempo le mie condizioni fisiche sono peggiorate sempre più; mi sono indebolito al punto che non ho potuto fare a meno di lamentarmi fra me: “Perché, in questo Paese, una persona che crede in Dio deve subire tante sofferenze? Il motivo per cui diffondo il Vangelo non è forse portare le persone al cospetto di Dio perché ricevano la Sua salvezza? E non ho nemmeno commesso alcun reato…” Più pensavo così, più mi era difficile sopportare e più mi sentivo trattato ingiustamente. Non potevo fare altro che pregare continuamente Dio e implorarLo di avere pietà di me e salvarmi. Nel pieno della mia disperazione e del mio smarrimento, Dio mi ha fatto ricordare un inno dei Suoi discorsi: “[…] 2. Forse vi ricordate tutti di queste parole: ‘Perché la nostra momentanea, leggera afflizione ci produce un sempre più grande, smisurato peso eterno di gloria’. Esse sono ciò che Dio compirà negli ultimi giorni, e saranno adempiute in coloro che sono crudelmente attaccati dal gran dragone rosso, nella terra in cui si trova. Il gran dragone rosso perseguita Dio ed è nemico di Dio, così in questa terra, coloro che credono in Dio sono sottoposti all’umiliazione e alla persecuzione. Ecco perché queste parole diventeranno realtà nel vostro gruppo di persone. 3. È estremamente arduo per Dio portare a termine la Sua opera nella terra del gran dragone rosso, ma è attraverso tale difficoltà che Dio compie una fase della Sua opera per manifestare la Sua saggezza e le Sue meravigliose opere. Dio coglie questa opportunità per rendere completo questo gruppo di persone. A causa della sofferenza delle persone, della loro levatura e di tutta l’indole satanica delle persone in questa terra immonda, Dio svolge la Sua opera di purificazione e di conquista in modo che, attraverso ciò, possa ottenere la gloria e guadagnare coloro che testimoniano le Sue opere. Questo è il significato completo di tutti i sacrifici che Dio ha fatto per questo gruppo di persone” (“Voi siete coloro che riceveranno l’eredità di Dio” in “Seguire l’Agnello e cantare dei canti nuovi”). Le parole di Dio mi hanno trasmesso grande conforto e incoraggiamento e mi hanno consentito di capire la Sua volontà. Poiché noi crediamo in Dio in un Paese ateo, siamo destinati a subire la coercizione e la persecuzione del demone Satana; però il fatto che noi subiamo questo tormento è permesso da Dio, perciò questa sofferenza ha un valore e un significato. È proprio tramite questa persecuzione e questa sofferenza che Dio semina in noi la verità, rendendoci in tal modo meritevoli di ricevere la Sua promessa. Questa “sofferenza” è una benedizione di Dio, e riuscire a rimanerGli fedeli durante tale sofferenza è una testimonianza della vittoria di Dio su Satana ed è anche una prova convincente del fatto che io sia stato conquistato da Dio. “Oggi”, ho pensato, “poiché seguo Dio, subisco questa persecuzione per mano dei demoni del Partito Comunista Cinese, e questo è Dio che mi dimostra uno speciale favore, perciò dovrei sottomettermi alla Sua orchestrazione e affrontarla e accoglierla felicemente con ferma tranquillità d’animo”. Mi sono rammentato un altro discorso di Dio, pronunciato nell’Età della Grazia: “Beati i perseguitati per motivo di giustizia, perché di loro è il Regno dei Cieli” (Matteo 5:10). In quel momento ho trovato fede e forza in misura ancora maggiore: per quanto Satana e i suoi demoni potessero torturarmi, io ero deciso a non cedere, e ho giurato che sarei rimasto saldo nella testimonianza e avrei soddisfatto Dio! Dotate di autorità e potenza, le parole di Dio avevano dissipato la desolazione e lo smarrimento che provavo dentro di me e alleviato la rovinosa sofferenza fisica a cui ero assoggettato. Mi hanno consentito di vedere la luce nel buio, e il mio spirito si è fatto più forte e ostinato.
Poi, malgrado la totale assenza di prove, il governo cinese mi ha inflitto una sentenza di un anno di rieducazione attraverso il lavoro. Quando la polizia mi ha trasportato al campo di lavoro, le guardie carcerarie hanno visto che ero ormai ridotto pelle e ossa e quasi non avevo più nemmeno un aspetto umano. Temendo che morissi, non hanno osato accettarmi, così i poliziotti non hanno avuto altra scelta che riportarmi al centro di detenzione. Ormai ero stato torturato da quei malvagi poliziotti al punto che non riuscivo più a mangiare, eppure non mi hanno prestato cure mediche, dicendo perfino che stavo fingendo. Quando hanno visto che non riuscivo a inghiottire il cibo, hanno incaricato qualcuno di aprirmi la bocca e di ficcarmelo dentro a forza, e poiché avevo difficoltà a deglutire, mi hanno picchiato. Sono stato alimentato a forza e picchiato come una bambola di pezza tre volte in tutto. Una volta constatato che non riuscivano più ad alimentarmi, non hanno avuto altra scelta che portarmi all’ospedale. Dagli esami è risultato che le vene mi si erano indurite; il sangue era diventato pastoso e nero e non circolava adeguatamente. Il medico ha detto: “Se quest’uomo rimane ancora in carcere, di sicuro morirà”. Ciò nonostante quei poliziotti odiosi e malvagi non volevano lasciarmi andare. Poi, con la mia vita appesa a un filo, ho sentito gli altri detenuti dire che ero senza speranza e ormai finito. A quel punto ho provato un’angoscia estrema; a mio parere, essendo ancora così giovane e avendo accolto solo di recente l’opera di Dio degli ultimi giorni, avevo ancora tanto di cui gioire e ancora non avevo visto il giorno della gloria di Dio. Davvero non ero rassegnato a essere torturato a morte dal governo cinese. Disprezzavo totalmente questo branco di poliziotti malvagi e spietati, e provavo un odio ancora maggiore per questo regime perverso, satanico, malvagio e opposto al Cielo che è il governo cinese. Mi aveva privato della libertà di seguire il vero Dio, mi aveva condotto sull’orlo della morte e non mi consentiva di adorare il vero Dio. Il Partito Comunista si oppone con tutte le forze a Dio, perseguita crudelmente i cristiani e intende sterminare tutti coloro che credono in Dio, per fare della Cina un Paese ateo. Questo malvagio demone Satana è effettivamente il nemico che si oppone a Dio in maniera inconciliabile e, per di più, è il nemico che io non potrò mai perdonare. Ho giurato che, se anche fossi stato torturato a morte quel giorno stesso, assolutamente non sarei sceso a compromessi e non mi sarei arreso a Satana! In preda al dolore e all’indignazione, mi sono rammentato una cosa che aveva detto Dio: “Migliaia di anni di odio sono concentrati nel cuore, millenni di peccaminosità sono incisi nel cuore – come potrebbe ciò non ispirare ripugnanza? Vendicare Dio, estinguere completamente il Suo nemico, non permettere a costui di dilagare ulteriormente, e non permettergli di continuare a creare problemi a proprio piacimento! Adesso è il momento: l’uomo da tempo è andato raccogliendo tutte le sue forze, e ha dedicato tutti i propri sforzi, pagato ogni prezzo per questo, per fare a brandelli l’odioso volto di questo demone e permettere alle persone, che sono state accecate e hanno patito ogni genere di sofferenza e di difficoltà, di risollevarsi dalle loro sofferenze e voltare le spalle a questo antico diavolo malvagio” (“Lavoro e ingresso (8)” in “La Parola appare nella carne”). Dopo avere riflettuto sulle parole di Dio, ho visto ancora più chiaramente il volto malvagio e demoniaco del governo cinese e ho constatato che proprio in quel momento stavo affrontando una battaglia spirituale fra la vita e la morte, fra il bene e il male. Lo scopo del governo cinese nel distruggermi in questo modo era costringermi ad abbandonare Dio e a tradirLo, ma Dio mi aveva rammentato e incoraggiato a rimanere forte, a liberarmi della presa che aveva su di me la morte e a renderGli una testimonianza vittoriosa. Non potevo ritirarmi nella negatività; dovevo collaborare diligentemente con Dio e sottomettermi alle Sue orchestrazioni e disposizioni. Come Pietro, dovevo sottomettermi fino alla morte e, nel mio ultimo momento di vita, rendere a Dio una testimonianza salda e risonante e confortare il Suo cuore. La mia vita era nelle mani di Dio e, sebbene Satana potesse ferirmi e massacrarmi il corpo fisico, non poteva distruggermi l’anima, tanto meno fare qualcosa per ostacolare la mia determinazione a credere in Dio e a ricercare la verità. Che sopravvivessi o no quel giorno, il mio unico desiderio era affidare la mia vita a Dio e accettare le Sue orchestrazioni; anche se fossi stato menomato fino a morirne, assolutamente non mi sarei arreso a Satana! Quando mi sono detto disposto a sacrificare la vita e ho deciso di rendere testimonianza a Dio, Egli mi ha dischiuso una via d’uscita inducendo gli altri detenuti a farmi mangiare. Quando è successo quest0, mi sono sentito colmo di entusiasmo; nel profondo sapevo che Dio era al mio fianco ed era stato sempre con me. Per tutto il tempo aveva vegliato su di me e mi aveva protetto, avendo compassione per la mia debolezza e predisponendo tutto per me. In quel tenebroso covo di diavoli, anche se il mio corpo era distrutto, nel cuore non provavo più tanto dolore e tanta disperazione. Dopo quel momento, i malvagi poliziotti mi hanno tenuto in carcere ancora per quindici giorni, ma vedendo che la mia vita era appesa a un filo e che potevo morire da un momento all’altro, alla fine non hanno avuto altra scelta che scarcerarmi. In origine pesavo più di 50 chili, ma nei quasi due mesi di carcere sono stato tormentato fino a ridurmi pelle e ossa: pesavo appena 25 o 30 chili ed ero in pericolo di vita. Ciò nonostante, questo branco di mostri voleva ancora multarmi di diecimila yuan. Alla fine, vedendo che la mia famiglia non aveva alcun modo di reperire una simile somma di denaro, hanno chiesto seicento yuan per pagare le spese per la mia alimentazione, e solo quando l’importo è stato versato mi hanno lasciato andare.
Subire questa tortura disumana e questo trattamento crudele per mano del governo cinese mi ha lasciato la sensazione di essere sfuggito per un pelo alle porte dell’inferno. Che ne fossi uscito vivo era dovuto unicamente alla cura e alla protezione di Dio; Egli mi stava mostrando la Sua grandiosa salvezza. Pensando all’amore di Dio, mi sono sentito doppiamente commosso, e ho imparato ad apprezzare ancora più a fondo la preziosità delle Sue parole. Così, ho preso a leggere ogni giorno avidamente i Suoi discorsi e pregavo spesso Dio. A poco a poco ho capito sempre meglio l’opera che Dio stava compiendo per salvare l’umanità negli ultimi giorni. Dopo un po’, con la cura di Dio, il mio corpo si è ripreso a poco a poco e io ho ricominciato a diffondere il Vangelo e a testimoniare l’opera di Dio degli ultimi giorni. Eppure, finché quel regime satanico rimarrà in piedi, non smetterà mai di cercare di sconvolgere e distruggere l’opera di Dio. In seguito ho di nuovo subìto una caccia frenetica e un arresto da parte della polizia del governo cinese.
Un giorno di novembre del 2004, soffiava un vento gelido e nell’aria turbinavano grossi fiocchi di neve. Durante la nostra opera di diffusione del Vangelo, io e alcuni fratelli e sorelle siamo stati seguiti di nascosto dalla polizia del PCC. Alle otto di sera eravamo nel bel mezzo di una riunione quando abbiamo udito un improvviso picchiare e gridare alla porta: “Aprite! Aprite la porta! Siamo dell’Ufficio di Pubblica Sicurezza! Se non aprite subito questa porta, la sfondiamo!” Senza aver tempo di pensare, ci siamo affrettati a nascondere i lettori VCD, i libri e altro materiale. Un attimo dopo, cinque o sei poliziotti hanno sfondato la porta, irrompendo come un branco di banditi o rapinatori. Uno di loro ha gridato: “Fermi tutti! Mettete le mani sulla testa e accovacciatevi accanto al muro!” Immediatamente alcuni poliziotti sono entrati in ogni stanza mettendo a soqquadro l’intera l’abitazione. Hanno confiscato quattro lettori VCD portatili e alcuni libri sulla fede in Dio. Subito dopo ci hanno costretti a salire nelle auto della polizia e ci hanno condotti alla stazione di polizia locale. Durante il tragitto mi sono tornate alla memoria una dopo l’altra le scene delle orrende torture inflittemi l’anno prima da quei malvagi poliziotti e inevitabilmente mi sono sentito piuttosto nervoso, non sapendo che altro avrebbero potuto inventarsi questa volta per tormentarmi. Temendo di non riuscire a sopportare la loro crudeltà e di finire col tradire Dio, in silenzio ho pregato Dio con fervore. All’improvviso mi sono rammentato alcune Sue parole che avevamo letto durante una riunione alcuni giorni prima: “Io sono colmo di speranza per i Miei fratelli e le Mie sorelle, credo che non siate né desolati né scoraggiati, e che a prescindere da ciò che Dio compie voi siate come un braciere acceso: non siete mai tiepidi e sapete persistere sino in fondo, finché l’opera di Dio sarà stata pienamente rivelata […]” (“Il cammino… (8)” in “La Parola appare nella carne”). “Tutti noi possiamo giurare davanti a Dio: ‘Operare uniti! Devozione fino alla fine! Non separarsi mai, per essere sempre insieme!’. Possiate voi, Miei fratelli e sorelle, prendere questa decisione davanti a Dio, in modo che i nostri cuori non si allontanino e le nostre volontà siano incrollabili!” (“Il cammino… (5)” in “La Parola appare nella carne”). Le parole di Dio mi hanno scosso nel profondo. Ho pensato a come Dio fosse disceso dal cielo in terra e avesse subìto tante prove e tribolazioni durante la Sua opera per offrire salvezza all’umanità. La Sua speranza è che le persone rimangano saldamente fedeli a Lui sino alla fine, per quanto grave sia la loro situazione. Essendo stato prescelto da Dio e avendo gioito del nutrimento dei Suoi discorsi, era giusto che mi offrissi interamente a Lui. “Per quanto io possa soffrire o essere tormentato”, ho pensato, “il mio cuore deve rimanere colmo di fede; i miei sentimenti verso Dio non devono mutare, la mia volontà non deve vacillare. Devo rendere a Dio una testimonianza risonante e non devo assolutamente arrendermi né cedere a Satana. Inoltre non devo tradirLo per andare poi a trascinare avanti un’esistenza ignobile e priva di significato. Dio è Colui dal quale io dipendo e, oltre a questo, è il mio sostegno fidato. Purché io collabori sinceramente con Lui, di certo Egli mi guiderà alla vittoria su Satana”. Così in silenzio ho comunicato la mia decisione a Dio: “O Dio! Anche se devo sacrificare la vita, Ti renderò testimonianza. Qualunque sofferenza io debba sopportare, mi atterrò alla vera via. Mi rifiuto assolutamente di arrendermi a Satana!” Rinvigorita dalle parole di Dio, la mia fede è sbocciata cento volte di più e io ho trovato la fede e la determinazione per sacrificare tutto allo scopo di rimanere saldo nella testimonianza a Dio.
N0n appena siamo arrivati alla stazione di polizia, gli agenti sono corsi a riscaldarsi vicino alla stufa. Tutti mi fissavano, e con le sopracciglia aggrottate e gli occhi infuocati mi interrogavano con voce severa: “Parla! Come ti chiami? A quante persone hai comunicato il Vangelo? Con chi sei stato in contatto? Chi è il capo della tua Chiesa?” Vedendo che ero deciso a rimanere in silenzio, uno dei malvagi poliziotti ha rivelato la sua natura brutale avventandosi su di me e afferrandomi furiosamente per il collo. Mi ha poi sbattuto la testa contro il muro, ripetutamente, fino a stordirmi e a farmi fischiare le orecchie. Poi ha alzato il pugno e mi ha colpito ferocemente al viso e alla testa, gridando: “Sei tu il maledetto capo, vero? Parla! Se no ti appendo in cima all’edificio e ti faccio morire congelato!” Quei malvagi poliziotti mi hanno picchiato brutalmente per una buona mezz’ora o più, fino a farmi vedere le stelle, col sangue che mi colava dal naso. Vedendo che non ottenevano le risposte volute, mi hanno condotto all’Ufficio di Pubblica Sicurezza. Lungo la strada, pensavo al folle pestaggio che avevo appena subìto da parte di quei malvagi poliziotti e sono stato pervaso da un’involontaria ondata di paura. Ho pensato: “Visto che hanno avuto la mano pesante con me appena giunto alla stazione di polizia, a che genere di crudeltà si spingeranno i poliziotti dell’Ufficio di Pubblica Sicurezza per torturarmi? Per me le cose si mettono male. Questa volta forse non ne uscirò vivo…” Mentre rimuginavo tutto questo, il cuore mi si colmava di un senso indescrivibile di disperazione e tristezza. Nel pieno dell’angoscia e dello smarrimento, all’improvviso mi sono ricordato di come Dio mi avesse consentito di sopravvivere miracolosamente l’anno prima, quando i malvagi poliziotti mi avevano torturato fino a pormi in pericolo di vita. Mi sono subito rasserenato, pensando: “Il fatto che io viva oppure muoia è nelle mani di Dio, no? Senza il permesso di Dio, Satana non può riuscire a uccidermi, per quanto ci provi. Ho visto nel passato gli atti meravigliosi di Dio, come posso essermene dimenticato? Come posso essere così privo di fede?” In quel momento ho visto che la mia levatura era ancora troppo immatura: di fronte alla prova della morte imminente, non ero ancora capace di rimanere accanto a Dio. Non ho potuto fare a meno di rammentare uno dei Suoi discorsi: “Ma vivere nella tua mente significa essere preso da Satana e questo è un vicolo cieco. È molto semplice: consideraMi con il tuo cuore e il tuo spirito diventerà immediatamente forte, avrai un cammino da praticare e Io guiderò ogni tuo passo. La Mia parola ti sarà rivelata in ogni momento e in ogni luogo. A prescindere da dove e quando, o da quanto l’ambiente sia avverso, Mi mostrerò a te chiaramente e il Mio cuore ti sarà rivelato se ti rivolgi a Me con il tuo cuore; in questo modo percorrerai la strada di fronte a te e non la perderai mai” (Capitolo 13 di “Discorsi di Cristo al principio” in “La Parola appare nella carne”). Le parole di Dio erano un faro che indicava la via, fornendomi una sempre maggiore lucidità di mente. Mi sono reso conto che Dio voleva usare questo ambiente ostile per purificarmi, in modo che nei momenti di crisi io abbandonassi i concetti e le fantasie e le mie preoccupazioni riguardo alla carne e andassi avanti affidandomi unicamente a Dio e dipendendo dalle Sue parole. Questo era un momento cruciale in cui Dio mi guidava a sperimentare la Sua opera, e ho capito che assolutamente non dovevo tirarmi indietro. Dovevo mettere la mia vita e la mia morte interamente nelle mani di Dio e affidarmi solamente a Lui, lottando sino alla fine contro Satana!
Quando siamo arrivati all’Ufficio di Pubblica Sicurezza, di nuovo i poliziotti ci hanno separati e interrogati singolarmente. Mentre cercavano continuamente di costringermi a parlare di questioni concernenti la mia fede in Dio, uno dei malvagi poliziotti, vedendo che insistevo a tenere la bocca chiusa, si è infuriato: “Pensi davvero di cavartela facendo il muto con noi. Ho finito la pazienza!” Così dicendo, mi ha afferrato per il colletto con entrambe le mani e mi ha scaraventato a terra come un sacchetto di sabbia. Poi gli altri malvagi poliziotti sono accorsi e hanno cominciato a prendermi a calci e a pestarmi dappertutto, fino a farmi rotolare sul pavimento per il dolore. Dopo di che mi hanno messo i piedi sulla testa e hanno premuto forte, sfregando avanti e indietro… Ancora non mi ero del tutto ripreso dalle torture selvagge che avevo sopportato l’anno prima, così dopo essere stato picchiato tanto brutalmente ho provato subito stordimento e nausea. Dolorante dalla testa ai piedi, mi sono raggomitolato. Poi il malvagio poliziotto mi ha strappato via le scarpe e i calzini e mi ha costretto a stare in piedi scalzo. Faceva un tale freddo che involontariamente battevo i denti e i piedi mi si sono intorpiditi. Mi sembrava di non farcela più, di stare per crollare a terra da un momento all’altro. Di fronte ai tormenti crudeli di questi malevoli poliziotti, non ho potuto fare a meno di provare un ardente senso di collera e indignazione. Disprezzavo questi scagnozzi del demonio, di una malvagità assoluta, e aborrivo il vile e reazionario governo cinese, che si oppone al Cielo ed è nemico di Dio, e per costringermi a tradire Dio e a rifiutarLo mi stava devastando e torturando, deciso a tutti i costi a mettermi a morte. Di fronte alla brutalità e alla crudeltà di Satana, ho pensato ancor più all’amore di Dio, soffermandomi sul fatto che per portare la salvezza all’umanità, e a beneficio della nostra futura esistenza, Egli aveva sopportato un’umiliazione estrema quando è venuto di persona fra noi per compiere la Sua opera. Aveva dato la vita per noi e adesso esprimeva con pazienza e sollecitudine le Sue parole per condurci lungo il cammino della ricerca della verità allo scopo di conseguire la salvezza… Valutando quel prezzo scrupolosamente pagato da Dio per la salvezza dell’umanità, mi sono reso conto di come nessuno mi amasse più di Dio; Egli teneva alla mia vita più di chiunque altro. Satana poteva soltanto ferirmi, o divorarmi e uccidermi. In quel momento ho sentito sbocciare nel cuore ancora più affetto e adorazione per Dio e non ho potuto fare a meno di pregarLo in silenzio: “Dio, grazie perché mi guidi e mi salvi in questo modo. Per quanto Satana possa torturarmi oggi, io sicuramente mi impegnerò a fondo per collaborare con Te. Lo giuro, non mi arrenderò e non cederò al demonio!” Con l’incoraggiamento dell’amore di Dio, anche se il mio corpo fisico era debole e fiacco per il tormento, il mio cuore era saldo e forte e io non mi sono arreso nemmeno una volta a quei malvagi poliziotti. Hanno continuato a torturarmi fino all’una di notte, quando, vedendo che non riuscivano proprio a ottenere risposte da me, non hanno avuto altra scelta che condurmi al centro di detenzione.
All’arrivo al centro di detenzione, di nuovo quei malvagi poliziotti hanno incitato i bulli del carcere a escogitare dei metodi per punirmi. Ormai ero stato tormentato a tal punto che avevo il corpo ricoperto di tagli e lividi; ero completamente stremato e appena entrato in cella sono crollato sul pavimento gelido. Vedendomi così, senza dire una parola, i bulli del carcere mi hanno tirato su e mi hanno preso a pugni in testa. Mi hanno picchiato fino a darmi le vertigini, e di nuovo sono caduto pesantemente a terra. Dopo di che i detenuti sono arrivati tutti a tormentarmi, costringendomi a premere una mano sul pavimento e l’altra sull’orecchio e poi a roteare in cerchio come una bussola. Vedendomi stordito a terra prima di avere portato a termine un paio di giri, mi hanno di nuovo preso a calci e picchiato. Uno dei detenuti mi ha perfino assestato un colpo feroce all’addome, facendomi perdere i sensi all’istante. Dopo di che gli agenti penitenziari hanno dato istruzioni ai detenuti di torturarmi e picchiarmi in maniera diversa ogni giorno e di farmi fare tutti i lavori sporchi quotidiani, come lavare i piatti, pulire le latrine e così via. Ero perfino costretto a fare docce fredde nelle giornate di neve. Inoltre, ogni volta che facevo la doccia, tutti mi costringevano a insaponarmi dalla testa ai piedi e poi mi facevano colare lentamente l’acqua gelida su tutto il corpo. Dopo quasi mezz’ora di doccia, avevo così freddo che ero viola dappertutto e tremavo. Di fronte a queste torture e crudeltà disumane, pregavo continuamente Dio, terrorizzato al pensiero che, se Lo avessi abbandonato, sarei diventato completamente prigioniero di Satana. Attraverso la preghiera, le parole di Dio risuonavano continuamente in me e mi guidavano: “Coloro che Dio definisce vincitori sono quelli che possono ancora testimoniare, conservare la fiducia e la propria devozione a Lui quando sono influenzati e assediati da Satana, ossia quando si trovano nelle forze dell’oscurità. Se sei ancora capace di conservare un cuore puro e un amore sincero per Dio a prescindere da tutto, sei testimone innanzi a Lui, e questo è ciò che Egli definisce essere un vincitore” (“Dovresti preservare la tua devozione per Dio” in “La Parola appare nella carne”). Le parole di Dio erano una luce che mi illuminava e mi calmava i pensieri. Sapevo che proprio quando ero assediato da Satana era il momento in cui dovevo avere lealtà e amore per Dio. Anche se questo ambiente disgraziato aveva causato sofferenze e tormenti al mio corpo fisico, dietro tutto questo si celavano il grande amore e le benedizioni di Dio. Era Dio ad avermi dato l’occasione di renderGli testimonianza davanti a Satana e di umiliare totalmente e sconfiggere Satana. Pertanto, mentre subivo queste sofferenze, rammentavo a me stesso ripetutamente che dovevo essere paziente sino alla fine, rimanere saldo nella testimonianza a Dio affidandomi alla Sua guida in questo tenebroso covo di demoni e sforzarmi di essere un vincitore. Guidato dalle parole di Dio, il mio cuore si è fatto saldo e forte. Malgrado la debolezza e il tormento che mi devastavano il corpo fisico, ero fiducioso di poter sopportare tutto allo scopo di avviare una battaglia per la vita o per la morte contro Satana e, col mio ultimo respiro, testimoniare Dio.
Dopo oltre venti giorni di carcere, mi sono preso una grave infreddatura. Avevo tutti e quattro gli arti doloranti e flosci, ero completamente privo di forze e avevo la mente confusa. Col peggioramento delle mie condizioni e con gli spietati pestaggi e torture degli altri detenuti, mi sentivo incapace di resistere ancora. Nel cuore ero particolarmente debole e depresso e pensavo: “Quando finiranno questo tormento e questa crudeltà quotidiani? A quanto pare stavolta verrò condannato, perciò non vi è molta speranza per me di uscire vivo da qui…” Non appena ho pensato così, mi è sembrato che il cuore fosse precipitato in un abisso, e sono sprofondato in una disperazione e un dolore così profondi che non trovavo più la via d’uscita. Nel momento più disperato, mi sono rammentato un inno delle parole di Dio: “Io non voglio che tu sia capace di pronunciare molte parole toccanti, o di raccontare tante storie entusiasmanti; piuttosto, ti chiedo di essere in grado di renderMi una bella testimonianza, e di entrare pienamente e profondamente nella realtà. […] Non pensate più alle vostre prospettive, e agite come avete stabilito davanti a Me, di sottomettervi alle orchestrazioni di Dio in tutte le cose. Tutti quelli che si trovano nella Mia casa dovrebbero fare il possibile; tu dovresti offrire il lato migliore di te stesso all’ultima parte della Mia opera sulla terra. Sei realmente disposto a mettere in pratica queste cose?” (“Siete realmente disposti a sottomettervi alle orchestrazioni di Dio?” in “Seguire l’Agnello e cantare dei canti nuovi”). Riga per riga, le parole di Dio mi hanno percosso il cuore, facendomi provare una profonda vergogna. Ho pensato a tutte le volte in cui avevo versato lacrime amare e mi sono deciso a dedicarmi a Dio in tutte le cose e sottomettermi alle Sue orchestrazioni e disposizioni. Inoltre ho pensato a come, quando le parole di Dio mi avevano guidato mentre sopportavo sofferenze e torture, avessi giurato sulla mia vita davanti a Lui che sarei rimasto saldo nella testimonianza, ma poi, quando a Dio veramente serviva che io pagassi un prezzo per soddisfarLo, mi aggrappavo invece vilmente alla vita e temevo la morte, preoccupandomi soltanto di quel che sarebbe successo al mio corpo fisico. Avevo completamente ignorato la volontà di Dio e pensavo solo a sottrarmi alla mia situazione e a mettermi in salvo il più presto possibile. Ho capito quanto fossi meschino e indegno; non avevo sufficiente fede in Dio ed ero colmo di intenzioni ingannevoli. Non ero in grado di rivolgere a Dio una vera devozione e non avevo in corpo nemmeno un osso davvero obbediente. In quel momento ho capito che nell’opera di Dio degli ultimi giorni ciò che Egli vuole sono il vero amore e la vera lealtà da parte dell’umanità; queste sono le ultime richieste di Dio e gli ultimi compiti da Lui assegnati all’umanità. “In quanto persona che crede in Dio”, pensavo, “dovrei mettermi completamente nelle Sue mani. Poiché la vita mi è stata data da Dio, Egli ha l’ultima parola sul fatto che io viva o muoia. Dato che ho scelto Dio, devo offrirmi a Lui e sottomettermi alle Sue orchestrazioni; per quante sofferenze e umiliazioni io possa subire, devo dedicarmi a Dio con le mie azioni. Non devo avere scelte o esigenze mie; questo è il mio dovere, nonché il senno che dovrei avere. Il fatto che io potessi ancora respirare e fossi vivo era dovuto unicamente alla protezione e alla cura di Dio; questa era la Sua provvista di vita; altrimenti non sarei stato già da tempo distrutto e ucciso dal diavolo? Quando per la prima volta avevo subìto sofferenze e patimenti così intensi, Dio mi aveva guidato a superarli. Che motivo avevo adesso di perdere fiducia in Lui? Come potevo essere negativo e debole, ritirarmi e desiderare di fuggire?” Quando mi è venuto questo pensiero, in silenzio ho confessato a Dio la mia colpa: “Dio Onnipotente! Sono davvero egoista e avido; ho solo voluto gioire del Tuo amore e delle Tue benedizioni, ma non sono stato disposto a dedicarmi sinceramente a Te. Quando penso di dover sopportare la sofferenza di lunghi anni di carcere, desidero soltanto uscire di qui per evitarla. Ho davvero urtato terribilmente i tuoi sentimenti. O Dio! Non voglio continuare a sprofondare ancora; desidero soltanto sottomettermi alle Tue orchestrazioni e disposizioni e accettare la Tua guida. Anche se muoio in carcere, voglio ugualmente renderTi salda testimonianza. Anche se sarò torturato a morte, Ti rimarrò fedele sino alla fine!” Dopo avere pregato, mi sono sentito doppiamente commosso. Anche se provavo dolore come prima, nel cuore sentivo di avere fede e determinazione a non arrendermi finché non avessi onorato il mio giuramento di soddisfare Dio. Non appena mi sono sentito deciso e fiducioso di poter restare saldo nella testimonianza a Dio fino alla morte, è successa una cosa miracolosa. Una mattina presto mi sono alzato dal letto e ho scoperto di non avere più la sensibilità ai piedi. Non riuscivo affatto a sostenermi, tanto meno a camminare. Inizialmente quei malvagi poliziotti non mi hanno creduto; supponendo che io fingessi, hanno cercato di costringermi a stare in piedi. Tuttavia, per quanto ci provassi, non ci riuscivo, Sono ritornati il giorno seguente a esaminarmi. Notando che avevo entrambi i piedi gelidi e del tutto privi di circolazione sanguigna, si sono convinti che ero davvero paralizzato. Dopo di che hanno comunicato ai miei familiari che potevano riportarmi a casa. Il giorno in cui sono arrivato a casa, miracolosamente mi è ritornata la sensibilità ai piedi e non ho avuto alcuna difficoltà a camminare! So nel profondo che tutto questo è dovuto a Dio Onnipotente, che ha mostrato compassione per la mia debolezza. Egli Stesso mi ha dischiuso una via d’uscita, consentendomi di andarmene libero e senza intoppi dal covo di Satana dopo essere stato detenuto illegalmente per un mese dal governo cinese.
Dopo essere stato due volte detenuto e sottoposto alle torture crudeli e disumane del governo cinese, anche se fisicamente avevo sofferto ed ero stato perfino prossimo alla morte, queste due esperienze straordinarie in realtà hanno costituito un solido fondamento per il mio cammino verso la fede in Dio. Nel pieno delle mie sofferenze e tribolazioni, Dio Onnipotente mi ha offerto la più concreta possibilità di dissetarmi con la verità e la Sua provvista di vita, non solo consentendomi di capire a fondo le intenzioni del governo cinese, il suo odio per la verità, la sua inimicizia verso Dio e il suo volto demoniaco, e di venire a conoscenza dei crimini efferati con cui si oppone a Dio e perseguita i Suoi fedeli, ma anche offrendomi la capacità di apprezzare la potenza e l’autorità delle parole di Dio. Il fatto che io sia riuscito a sottrarre per due volte la mia vita alle malvagie grinfie del Partito Comunista Cinese è stato unicamente il risultato della cura e della misericordia di Dio. Inoltre, in tal modo si è concretata e confermata la straordinaria forza vitale di Dio. Adesso mi rendo conto profondamente che in ogni momento e in ogni luogo Dio Onnipotente è sempre stato il mio unico sostegno e la mia salvezza! In questa vita, per quanti pericoli o patimenti io possa subire, sono deciso a perseverare nel mio impegno a seguire Dio Onnipotente, diffondendo attivamente la Sua parola e rendendo testimonianza al nome di Dio, ripagando il Suo amore con la mia autentica devozione!
Fonte: La Chiesa di Dio Onnipotente
View of a private school building with students on the porch and in the yard. The
card is numbered 9217.
Digital Collection:
North Carolina Postcards
Publisher:
A. C. Bosselman & Co., New York, N.Y.;
Date:
1909
Location:
Hookerton (N.C.); Greene County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
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Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
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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
www.jejuweekly.com/news/articleView.html?idxno=1554
“Is this the right place?” I asked my friend as we arrived at the quiet, nondescript building on the eastern side of Jeju City. “I think so,” she replied unconvincingly as we descended the dimly lit stairs. We had just finished an excellent dinner, and I was reluctant to let such a great evening end early. I wanted to go somewhere a little different and had heard about a popular tea house called Namu Mulggogi.
As we opened the well-worn, wooden doors, a warm, golden light from the room flooded over us. Entering the room I was struck by a multitude of sights and sounds. A variety of colorful wind chimes, dolls, and a mini waterfall made out of vertically stacked cups sat like an oasis in the center of the room. Beautiful clay tea pots, bowls and cups of all sizes and shapes adorned the shelves lining the back wall. Soft music played in the background, completing the tranquil scene before us.
Approaching the front counter, we were greeted by a pleasant young woman who quietly led us to our table. She left us alone to take in the peaceful atmosphere only to return a short time later to place a pot of steaming green tea and a colorful array of snacks on the table.
The tea, grown locally, was freshly made, had perfect texture and a wonderfully mild flavor. The snacks were equally fantastic. Sun-flower seeds wrapped in dried persimmon. Dried radish stuffed with sesame seeds. Broiled dates. Dried carrots that tasted like jellied candy. It was all delicious!
While we were drinking our tea, we were joined by the owner, Won Jong-ae. She explained she had opened the tea house about six years ago out of a love for tea and people and a desire to preserve a little piece of Korean culture. She told us she has even opened a class on the second floor that teaches the art of the Korean tea ceremony, including pouring etiquette, a tradition that dates back nearly 1,400 years.
“All foreigners are welcome to take part in the class,” she exclaimed enthusiastically.
As we walked home that night, we passed a popular coffee shop. Its big, glass front window glistened under the glare of its bright lights. I looked inside and could see the same stainless steel stools, overstuffed sofas, and plastic chairs you can find in dozens of other coffee shops around Jeju City. A counter sat at the back, cluttered with the usual generic cookies and cakes. Pop music blared in the background. It made me pine for my next visit to Namu Mulggogi.
Please view my stream LARGE on black:
ROSSLAND is in the West Kootenay region of south central British Columbia. High in the Monashee Mountains. In March 1897, Rossland became a city. The eight doctors, 17 legal firms, and 42 saloons served an estimated 7,000 residents. This peak aligned with the 1901 census count of 6,000. A string of newspapers followed, the Rossland Miner being the most enduring. The fire of August 1902 consumed both sides of upper Spokane Street, leaving only the old International Hotel standing. A December 1905 explosion wrecked roofs and shattered windows. The fires of January 1927, and March 1929, levelled the wooden buildings of Columbia Street. Depleting mines, World War I, and the Great Depression shrank the population.
The ROSSLAND Post Office was established - 1 March 1895 and became Rossland Postal Station of Trail - 1 May 1972.
LINK to a list of the Postmasters who served at the ROSSLAND Post Office - recherche-collection-search.bac-lac.gc.ca/eng/home/record...
- sent from - / ROSSLAND / PM / MY 4 / 99 / B.C. / - duplex cancel - this duplex hammer (DBC-323) was not listed in the Proof Book - it was most likely proofed c. 1898 - the ERD for this duplex hammer is - 23 June 1898 and the LRD is - 9 October 1901 - (RF C).
Addressed to: Wm. Rennie / Florist / Toronto / Ontario
- arrived at - / TORONTO / 15 / MY 10 / 99 / CANADA / - split ring arrival backstamp
Sent by: Jamieson Crawford / Rossland, British Columbia
Jamison Carlson Crawford
(b. 13 May 1859 in Paisley, Renfrewshire, Scotland, United Kingdom – d. 29 January 1949 at age 89 in Coquitlam, British Columbia, Canada) - occupations - farmer / bricklayer / shopman for the CPR - LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/04... - LINK to his Find a Grave site - www.findagrave.com/memorial/196219792/jamieson-crawford
His wife (first) - Margaret (nee Hinds) Crawford
(b. 1866 in Owen Sound, Grey, Ontario, Canada - d. ) they were married - 18 January 1886 in Owen Sound, Grey, Ontario, Canada
His wife (second) - Margreta (nee Baker) Crawford
(b. 1 July 1875 in Jersey City, Hudson County, New Jersey, USA - d. 24 May 1935 (aged 59) in Kamloops, Thompson-Nicola Regional District, British Columbia, Canada) - LINK to her Find a Grave site - www.findagrave.com/memorial/196640778/margreta-crawford
Their son - Daniel Jamieson Crawford - (confirms the Crawford family were living in Rossland, B.C. in 1899)
(b. 7 January 1899 in Rossland, Kootenay Boundary Regional District, British Columbia, Canada - d. 27 November 1982 (aged 83) in Revelstoke, Columbia-Shuswap Regional District, British Columbia, Canada) - LINK to his Find a Grave site - www.findagrave.com/memorial/196219537/daniel-jamieson-cra...
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WILLIAM RENNIE agriculturist, seed merchant, farm superintendent, and author; b. 15 March 1835 in Scarborough Township, Upper Canada, son of Robert Rennie and Elizabeth Fife; m. 13 March 1862 Sarah Glendinning of Scarborough, and they had four sons; d. 24 July 1910 in Swansea (Toronto).
Link to a biographical article on William Rennie - www.biographi.ca/en/bio/rennie_william_13E.html
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
SEMANA SANTA MELILLA
Domingo de Ramos
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La Legión Domingo de Ramos
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Traslado de los Santos Titulares
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Via Crucis - Santísimo Cristo del Socorro
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Nueva Marcha de la Banda del Flagelado
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Pregón Semana Santa Melilla 2012 - Antonio García Castillo
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Mis Carteles de Semana Santa
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Procesión Jueves Santo
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Procesión Cofradía El Cautivo
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Procesión Cristo de la Paz
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Procesión Miércoles Santo
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Otro Jueves Santo con lluvia Procesión El Cautivo
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Nuestro Padre Jesús Nazareno
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María Santísima de los Dolores
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Penitentes Cofradía El Humillado
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Procesión Martes Santo
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La Sentencia
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Banda de Cornetas y Tambores Cofradía El Cautivo
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Banda de Cornetas Tambores La Flagelacion
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La Piedad
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Procesión la Soledad de Nuestra Señora
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Procesión Viernes Santo
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SANTÍSIMO CRISTO YACENTE
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SANTÍSIMO CRISTO DEL SOCORRO
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MARÍA SANTÍSIMA DE LOS DOLORES EN SU SOLEDAD fotografiasdemelilla.blogspot.com.es/2012/04/maria-santis...
Recogida de la Virgen del Rocío
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Resucitado
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Virgen del Rocío - Domingo Resurreción
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Banda de Cornetas y Tambores de La Flagelacion
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Banda de Cornetas y Tambores Cofradía El Cautivo
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SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.