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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.
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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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
dialnet.unirioja.es/servlet/autor?codigo=1053859
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...
______________
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
____________
- 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
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Traslado de los Santos Titulares
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Via Crucis - Santísimo Cristo del Socorro
fotografiasdemelilla.blogspot.com.es/2012/04/via-crucis-s...
Nueva Marcha de la Banda del Flagelado
fotografiasdemelilla.blogspot.com.es/2012/04/nueva-marcha...
Pregón Semana Santa Melilla 2012 - Antonio García Castillo
fotografiasdemelilla.blogspot.com.es/2012/03/pregon-ofici...
Mis Carteles de Semana Santa
fotografiasdemelilla.blogspot.com.es/2012/03/carteles-sem...
Procesión Jueves Santo
fotografiasdemelilla.blogspot.com.es/2012/04/semana-santa...
Procesión Cofradía El Cautivo
fotografiasdemelilla.blogspot.com.es/2012/04/procesion-co...
Procesión Cristo de la Paz
fotografiasdemelilla.blogspot.com.es/2012/04/procesion-co...
Procesión Miércoles Santo
fotografiasdemelilla.blogspot.com.es/2012/04/procesion-mi...
Otro Jueves Santo con lluvia Procesión El Cautivo
fotografiasdemelilla.blogspot.com.es/2012/04/otro-jueves-...
Nuestro Padre Jesús Nazareno
fotografiasdemelilla.blogspot.com.es/2012/04/nuestro-padr...
María Santísima de los Dolores
fotografiasdemelilla.blogspot.com.es/2012/04/maria-santis...
Penitentes Cofradía El Humillado
fotografiasdemelilla.blogspot.com.es/2012/04/semana-santa...
Procesión Martes Santo
fotografiasdemelilla.blogspot.com.es/2012/04/la-procesion...
La Sentencia
fotografiasdemelilla.blogspot.com.es/2012/04/procesion-la...
Banda de Cornetas y Tambores Cofradía El Cautivo
fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...
Banda de Cornetas Tambores La Flagelacion
fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...
La Piedad
fotografiasdemelilla.blogspot.com.es/2012/04/la-piedad-pr...
Procesión la Soledad de Nuestra Señora
fotografiasdemelilla.blogspot.com.es/2012/04/procesion-la...
Procesión Viernes Santo
fotografiasdemelilla.blogspot.com.es/2012/04/procesion-vi...
SANTÍSIMO CRISTO YACENTE
fotografiasdemelilla.blogspot.com.es/2012/04/santisimo-cr...
SANTÍSIMO CRISTO DEL SOCORRO
fotografiasdemelilla.blogspot.com.es/2012/04/santisimo-cr...
MARÍA SANTÍSIMA DE LOS DOLORES EN SU SOLEDAD fotografiasdemelilla.blogspot.com.es/2012/04/maria-santis...
Recogida de la Virgen del Rocío
fotografiasdemelilla.blogspot.com.es/2012/04/recogida-de-...
Resucitado
fotografiasdemelilla.blogspot.com.es/2012/04/resucitado-d...
Virgen del Rocío - Domingo Resurreción
fotografiasdemelilla.blogspot.com.es/2012/04/virgen-del-r...
Banda de Cornetas y Tambores de La Flagelacion
fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...
Banda de Cornetas y Tambores Cofradía El Cautivo
fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...
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Please don't use this image on websites, blogs or other media without my explicit permission.
© Todos los derechos reservados.
Por favor, no use esta imagen en su web, blogs u otro medio de comunicación sin mi aprobación explícita.
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.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
LOS ANGELES METROPOLITAN TRANSIT AUTHORITY #1543
These were the "Balloon Cars" of the high speed Interurban, multiple unit, electric trains of Southern California's Pacific Electric, the famous "Big Red Cars". This car made it's last run April 6.1961, from Los Angeles, 6th and Main (where now stands a bus terminal) to Long Beach, CA at Ocean and Long Beach Blvd. just a block from The Pike. There was an elevated wooden trestle that allowed it to bridge dense downtown automotive traffic, then it came down to street level just short of Alameda and curved South to Long Beach Avenue. When it got to Clement's Junction (Washington Street) the roadbed opened up to four tracks, on the outside was the South and North bound Local Service using smaller cars. The interior pair of the four track sets was reserved for strings of these heavy, high speed electric commuter trains. The private right of way was four tracks through Watts and down to Long Beach Blvd., where these cars would then ride down the center of the street to downtown Long Beach. Another line branched from the end of four track operation at Willow, and rocked on down to Electric Avenue in Seal Beach, past Signal Hill, the Lagoon and Alamitos Bay.
The curious round windows on the end earned the cars their nickname and were the portholes for the motorman operator.
The wind up knob to the left of the end door was attached by rope to the hot shoe end of the trolley pole pickup the operator could open the door and adjust the pole or reel it in and let up the one on the other end to change direction, the end doors were for train crew only and were not used to communicate passengers between cars.
At first, when I was a child, I thought that these were batteries. They are sequential banks of resistor windings and vented to dump a great amount of heat. When the coach is at rest, it draws the most amount of current, and curiously, the next least amount of current is drawn at top speed. There was an electric motor connected by a gear to the axle and that axle completed the electric ground of 600 Volts, direct current. If that motor was connected directly to the line, the wheels would spin instantly but the coach would go nowhere. These resistors pictured were each connected to a switch terminal under the motorman’s handle so that, at first, all of the resistors were connected, drawing the most current and heating them all up like a toaster. As the motorman's handle was successively turned to a "higher speed" then fewer of these resistors would be engaged, until, at top speed, there was a direct connection from the line, through the motors to ground.
Silly me, why would they need batteries? These Big Red Cars are connected overhead to a 600V, extension cord carrying hugely immense current, enough to start a train, that is many miles long!
(Now, how do I connect household lamps, light bulbs, without them exploding when they are screwed in?)
dsc04394.208.05.06, 3D, Travel Town, MTA, resistors
This model was specifically built for the Arawasi Wild Eagles blog's "Hayabusa Model Contest" in April/May 2017 (arawasi-wildeagles.blogspot.de/2017/03/japanese-aircraft-...) - and it is the guesstimate, based on a conversion set and a vague frontal picture of a real aircraft.
Inspiration struck when I came across a Rising Decals conversion (from the Czech Republic)set for an experimental Ki43 with wooden, retractable skis - tested in Manchuria in 1944. The set comes with finely crafted and moulded resin skis, plus a decal sheet for the rather bleak aircraft in natural metal finish. Anyway, I found the idea worth to become an entry, and took action.
The kit and its assembly:
The basis is the venarable 1:72 Hasegawa kit of the Ki43-II, a simple kit with good detail and fit, even though you get raised (though very fine) panel lines. The kit was basically built OOB, with only some detail additions in the cockpit, and I modified the wings and lower fuselage in so far that the "butterfly flaps" were added in extended position.
Concerning the ski landing gear, I did some legwork, and eventually found a Ki43-II with the same landing gear arrangement as the conversion set, but it also featured a four-bladed propeller!
The wheeled landing gear was simply replaced by the resin struts from the conversion set, the skis are separate pieces that fit neatly into each other and into the kit.
The propeller was scratched from the three OOB blades, plus a trimmed donor blade. The spinner is the front end of a German 250 kg bomb. Inside of the engine, a styrene tube was added as propeller mount, which received a long metal axis.
A venturi tube was added under the fuselage, too, and the canopy separated into two pieces for better display.
The frontal benchmark picture of "my" Ki43-II shows the aircraft in clean configuration, but I decided to use/add the underwing tanks in order to avoid filling the respective holes in the wings - and it makes the aircraft look more interesting, IMHO.
Painting and markings:
Concerning the aircraft's livery, I basically stuck to the machine depicted in the conversion set and on the few pictures of such machines - even though the info sheet states that "markings are uncertain".
Anyway, I went the suggested overall NMF route with grey-green fabric (individually mixed from Humbrol 90 and 155) on all rudder surfaces. As a personal note, and as an interpretation of the benchmark photograph of the Ki43-II I tried to build, the model received a worn and flaking cowling in IJA Green and Grey. The latter was also used for the drop tanks, with red primer showing through the tanks' front end. A black anti glare panel was added in front of and behind the canopy.
The cockpit interior was painted, based on Hasegawa's recommendations, in a greenish brown tone (a mix of Revell 45 and 16). The landing gear wells and the interior of the flaps was painted with Aodake Iro - and instead of mixing a metallic blue tone as a single tone I rather laid down an Aluminum base and added a clear, greenish blue lacquer on top - just like the real thing. The deep yellow ID markings on the wings' leading edges were painted with RAL 1028 (Lufthansa Gelb, Revell 310).
The skis appear to be massive wood pieces, and they were painted accordingly with a wet-in-wet mix of red brown and cream, for a streaky look, mimicking the wooden structure.
After basic painting (a basic coat with acrylic Aluminum, Revell 99), everything done with brushes and minimal masking, the kit received a light black ink wash, in order to emphasize engravings. For some "depth" effect, panels were post-shaded with Polished Aluminum Metallizer (Humbrol 27002) on top of the acrylic Aluminum base. During the polishing process with a piece of soft cloth, some grinded graphite was rubbed over all surfaces, too, creating a slightly worn and uneven look. This little trick also enhances the metallic shine of the surface, making it look less "painted". Graphite was also used in order to simulate light exhaust stains on the Hayabusa's flanks.
Once the (very thin and delicate) decals were in place, they received a light treatment with Aluminium and sand paper, in order to simulate some wear on the aircraft's surface. Finally, everything was sealed with a coat of semi-matt acrylic varnish, just the rudders and the anti-glare panels received a completely matt coat.
A quick build, done in less than three days from sprues to photo shots. Anyway, the model should rather be regarded as fictional, since my information basis has been rather corny and relied on very limited references. But I am, nevertheless, happy with the result, and I hope the model conveys the original idea of the converted Ki43 with skis?
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
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
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
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
Two Men Who Escaped to Freedom, Including Their Own Narratives of Emancipation
By David W. Blight
NEW YORK TIMES
Freedom Just Ahead: The War Within the Civil War
By WILLIAM GRIMES, Published: December 5, 2007
The chaos of Civil War meant only one thing to America’s four million slaves: hope. With armies on the march, and the old social order crumbling, men like John Washington and Wallace Turnage seized the moment and made a break for freedom, issuing their own emancipation proclamations before the fact. They were “quiet heroes of a war within the war to destroy slavery,” as David W. Blight puts it in “A Slave No More.”
Both Washington and Turnage, near contemporaries, wrote vivid accounts of their lives as slaves and the bold bids for freedom that took them across Confederate lines and into the waiting arms of Union soldiers. Recently discovered, both texts have been reproduced by Mr. Blight as written, with misspellings and grammatical errors intact.
Mr. Blight, a professor of American history at Yale and the author of “Race and Reunion: The Civil War in American Memory,” has also provided an extended preface that provides historical context, fills in biographical gaps and extends the life stories of both men past the Civil War, when their manuscripts break off abruptly, to their deaths in the early 20th century. Two remarkable lives, previously lost, emerge with startling clarity, largely through the words of the principal actors themselves.
Washington, born in 1838, grew up in Fredericksburg, Va., and stayed there, in servitude to the widow of his master, after being separated from his mother and four younger siblings at 12. Unlike Turnage, who labored on an Alabama plantation and suffered constant whippings, Washington lived a town life, running errands or enduring hours of enforced idleness and staring longingly out the window.
In 1861 he was hired out to a tobacco factory in Richmond and got his first glimpse of Confederate troops, so many, he wrote, “that it appeard to be an impossiability, to us, colored people, that they could ever be conquord.” Soon, though, he began hearing of slaves making their way to the Union lines and freedom. Once back in Fredericksburg, where he worked as a hotel steward and barkeep, he decided to join their number.
Washington’s narrative captures both turmoil and nervous excitement as Union forces closed in on Fredericksburg, bayonets glinting across the Rappahannock River, their movements eagerly watched by black residents. Washington, in a characteristically sardonic aside, notes: “No one could be seen on the street but the colored people. and every one of them seemed to be in the best of humors.”
In the confusion Washington escaped to the Union lines. “I told them I was most happy to see them all that I had been looking for them for a long time,” he writes. When a Union soldier asks if he wants to be free, Washington answers simply, “by all means.”
In Alabama, Turnage met his oppressors with open defiance. He fought with bullwhip-wielding overseers, suffered repeated whippings and beatings and lit out for freedom repeatedly. Running for miles across creeks and through fields, cleverly talking his way out of tight spots and, more than once, fighting off enraged dogs, Turnage, a mere teenager, evaded pursuers for weeks at a time, enduring extreme deprivation.
“I went as long as four days without anything to eat but one hickery nut that the squirrels did not get,” he writes of one escapade.
Among other things, Turnage’s testimony sheds light on the support network among slaves, nearly all more than willing to feed or conceal a runaway, or provide information on how to evade capture on the road ahead. “They gloried in my spunk,” Turnage writes of a group of slaves who hid him at one plantation.
His final flight, from Mobile to the Union ships anchored offshore, caps his thrilling tale. After nonchalantly walking straight through a Confederate camp and wading barefoot through snake-infested swamps, he reaches an impasse, with Confederate pickets behind him and a broad expanse of water ahead of him.
“It was death to go back and it was death to stay there and freedom was before me,” he writes. He pressed forward and, by luck, found a rickety little boat on the shore.
“I Now dreaded the gun, and handcuffs and pistols no more,” he writes of his moment of deliverance, when Yankee sailors plucked him from Mobile Bay. “Nor the blewing of horns and the running of hounds; nor the threats of death from the rebel’s authority. I could now speak my opinion to men of all grades and colors, and no one to question my right to speak.”
Washington made his way to Washington, where he and his wife, whom he took from Fredericksburg, rose to middle-class prosperity. He died in 1918.
Turnage worked, at various times, as a janitor, sign painter, watchman and glass blower in New York. Eventually he moved to Jersey City, where he died in 1916.
By that time, slavery and the war were distant memories. In their all-too-brief narratives, Washington and Turnage, as Mr. Blight notes, offer a precious commodity: “unfiltered access to the process and the moment of emancipation.”
Fonte dell'immagine: Il Lampo da Levante
Condizioni d'Uso: Avviso legale e condizioni per l’uso
1. Ogni parola di Dio è un’espressione della Sua indole
Hu Ke Città di Dezhou, Provincia dello Shandong
Ogniqualvolta vedevo queste parole pronunciate da Dio mi sentivo ansiosa: “In ogni frase che ho pronunciato è contenuta l’indole di Dio. Fareste bene a ponderare attentamente le Mie parole, e ne trarrete di certo grande profitto” (“È molto importante comprendere l’indole di Dio” in “La Parola appare nella carne”). Mi sentivo ansiosa perché capire l’indole di Dio è fondamentale per l’uomo, sia per la sua comprensione di Dio, sia nel suo cercare di amarLo e soddisfarLo. Ma quando mangiavo e bevevo delle parole di Dio, avevo sempre la sensazione che la Sua indole fosse troppo astratta e io non sapessi come comprenderla. Successivamente, attraverso la condivisione da parte del mio leader, ho appreso che avrei dovuto capire ciò che piace a Dio e ciò che Egli odia dalle Sue parole, e in tal modo arrivare a comprendere la Sua indole. Di conseguenza, ho provato a metterlo in pratica per qualche tempo e ho visto dei risultati. Tuttavia ero ancora perplessa riguardo alle parole di Dio, “In ogni frase che ho pronunciato è contenuta l’indole di Dio” e non avevo idea di come intenderle esattamente.
Un giorno ho letto queste parole in un sermone: “L’indole di Dio contiene molti aspetti. Essa contiene ciò che Dio ha ed è, le Sue riflessioni, le Sue idee, il Suo pensiero e la Sua saggezza. Essa contiene l’atteggiamento di Dio verso ogni genere di persona, come il Suo sentimento di misericordia e di premura, e ancor più la Sua ira verso la ribellione e la resistenza del genere umano. Poiché ognuna delle frasi di Dio contiene il Suo pensiero, la Sua saggezza e le Sue idee, poiché tutte contengono il contesto e la fonte delle Sue parole, poiché esse esprimono tutte naturalmente l’atteggiamento di Dio verso l’umanità, e non c’è una sola frase che sia priva di fondamento, per questo è un fatto molto naturale che ogni frase contenga l’indole di Dio. Ogni parola che gli esseri umani dicono esprime la loro indole della vita, dunque ogni parola di Dio non conterrà a maggior ragione la Sua indole? Ciò è facile da comprendere, ma come scoprirlo e conoscerlo non è così semplice come si possa immaginare. Se, quando si leggono le parole di Dio, non si cerca di ponderarle a sufficienza, non ci si sforza abbastanza o non si ha esperienza sufficiente, allora l’indole di Dio non sarà facile da percepire, e ancor meno da capire. Ciò che è necessario, quindi, è che l’uomo si plachi davanti a Dio, che metta interamente il suo cuore nelle Sue parole e che la lettura e il tentativo di ponderarle avvengano durante la preghiera
; allora tu giungerai lentamente a scoprire l’ordine di idee che sta dietro le parole di Dio. Questo è l’inizio dell’ingresso” (La condivisione del Fratello). Quando ho letto questa condivisione tutto mi è diventato chiaro. Mi sono resa conto che l’indole di Dio contiene molte cose: contiene ciò che Egli ha ed è, le Sue riflessioni e le Sue idee, il Suo pensiero e la Sua saggezza, così come il Suo atteggiamento verso ogni genere di persona, e così via. Inoltre, ciascuna delle frasi di Dio contiene il contesto e la fonte di ogni Sua parola, e non c’è una sola frase che sia priva di fondamento, e ogni singola cosa che Dio fa e ogni frase che Egli pronuncia sono una naturale espressione di tutto ciò che Egli è nella vita. La mia comprensione dell’indole di Dio, d’altro canto, era limitata solo a ciò che Egli ama e a ciò che Egli odia. Questo tipo di comprensione era troppo unilaterale e dunque non era in grado di raggiungere una conoscenza dell’indole di Dio partendo da ogni Sua singola frase. Oltre a questo ho capito anche che, se volevo comprendere l’indole di Dio da ogni Sua frase, dovevo placarmi dinanzi a Lui e compiere uno sforzo molto più grande per cercare di capire a fondo le Sue parole. Inoltre, avevo bisogno di pregare e di cercare la guida dinanzi a Dio, focalizzandomi sulla comprensione dello stato d’animo dietro alle parole che Egli aveva pronunciato, così come sul contesto e sulla fonte dietro alle Sue azioni.
Ringrazio Dio per l’illuminazione e la rivelazione che mi hanno permesso di rendermi conto di queste cose e, quindi, in seguito, ho iniziato a focalizzarmi sulla pratica e l’ingresso in questo aspetto. Un giorno ho letto un brano delle parole di Dio: “Se quest’opera sia importante o meno, dipende dai bisogni del genere umano, dalla realtà della sua depravazione, dalla gravità della disobbedienza di Satana e dal suo disturbo dell’opera. Il giusto, cioè colui che è all’altezza del compito, è stabilito in base alla natura della propria opera e all’importanza di quest’opera. Quando si tratta dell’importanza di quest’opera, in termini di quale metodo di lavoro adottare − opera compiuta direttamente dallo Spirito di Dio, opera compiuta dal Dio incarnato
, o opera compiuta attraverso l’uomo − la prima ad essere eliminata è l’opera compiuta attraverso l’uomo e, in base alla natura dell’opera e alla natura dell’opera dello Spirito rispetto a quella della carne, è infine stato stabilito che l’opera compiuta dalla carne è più benefica all’uomo dell’opera compiuta direttamente dallo Spirito, e offre più vantaggi. Questo è il pensiero di Dio, al momento di decidere se l’opera debba essere compiuta dallo Spirito o dalla carne” (“L’umanità corrotta ha maggiormente bisogno della salvezza del Dio incarnato” in “La Parola appare nella carne”). Quando ho cercato con attenzione di comprendere questo brano, ho sentito di aver scoperto un grande dono. Le parole di Dio mostrano lo sviluppo del Suo pensiero in quel momento, mentre rifletteva su quale metodo utilizzare per l’opera degli ultimi giorni. Durante il corso del Suo pensiero, la prima cosa che Dio ha considerato è stata quale metodo usare che fosse di maggiore beneficio per l’uomo in quest’opera, quale fosse il modo migliore per raggiungere l’esito della salvezza dell’uomo e cosa fare per portare Satana ad accettare la sconfitta, vincendolo in tal modo e portando alla salvezza completa le persone che sono state così profondamente danneggiate. Durante l’intero processo di pensiero, Dio ha costantemente tenuto in considerazione l’uomo e mai i Propri interessi o la Propria incolumità. Dio sapeva chiaramente che la Sua incarnazione avrebbe patito molta sofferenza, ma ciò non è stato preso in esame quando si è trattato di salvare l’umanità. Invece, Egli ha scelto comunque il metodo del Dio che Si fa carne per compiere l’opera degli ultimi giorni, basandosi sulle necessità dell’umanità e sulla realtà della depravazione del genere umano. Egli corre un grande pericolo addentrandosi nella tana della tigre; Egli subisce la persecuzione selvaggia e la caccia del gran dragone rosso, sopporta gli abusi e la blasfemia delle varie religioni e confessioni e tollera la resistenza, la ribellione e l’incomprensione di quelli di noi che le seguono. Le ferite e gli attacchi inflitti al cuore di Dio e l’umiliazione che Egli sopporta sono veramente cose che nessuno può comprendere. Tutto ciò che Dio esprime e rivela è tutto quello che Egli è nella vita: la Sua dedizione disinteressata all’umanità e il Suo pagare il prezzo per essa. La grandezza di Dio e il Suo altruismo sono rivelati naturalmente nella Sua opera e in ogni Sua frase, e queste esprimono anche la grande misericordia e l’amore disinteressato di Dio. Il Suo amore per l’umanità non è solo parole vuote, ma un prezzo concreto che Egli paga. In quel momento, ho avuto una vivida percezione che Dio è davvero così grande e così amabile! Quindi, sebbene avessi letto queste parole di Dio in precedenza, non avevo mai capito il contesto dietro le parole che Cristo
aveva pronunciato o tutto ciò che esse rivelavano, né l’amore di Cristo per l’umanità. Solo in quel momento ho avuto un’autentica comprensione di queste parole di Dio: “In ogni frase che ho pronunciato è contenuta l’indole di Dio”.
Prima, poiché non avevo mai quietato il mio cuore o provato seriamente a capire le parole di Dio, avevo perso tante buone opportunità di comprenderLo, al punto che persino oggi ho ancora tante nozioni e fraintendimenti verso di Lui e sono ancora estraniata da Lui. Solo ora comprendo che, se desidero capire l’indole di Dio, devo provare seriamente a capire e a cercare la verità all’interno di ogni Sua frase. In questo modo trarrò certamente un grande beneficio. Da oggi in poi desidero concentrarmi sul porre più impegno nelle Sue parole, e cercare di diventare presto una persona che ha una certa comprensione di Dio.
Fonte: Il Lampo da Levante
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
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
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
#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
So, here it is, the reason I drove across Norfolk: Trunch in all it's glory And it is glorious.
It has so many fascinating details, each one alone would be reason enough to visit, but together, in a fine village, next to the village pub, and with that font canopy, one of only four such in all of England, and one of two in the county.
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The oldest building in Trunch is St. Botolph's Church. It is mainly 14th. and 15th. Century but there are some fragments of stone in the walls which are believed to have been reused from an earlier Saxon church, which was recorded in the Domesday Book. There is much of interest in the church including a Rood Screen, a hammer beam roof and a rare Font Canopy.
trunchhistory.weebly.com/buildings.html
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The large village of Trunch is located about 5 miles from the north Norfolk coast. In the centre of the village, surrounded by a lovely collection of cottages and the more modern Crossroads Inn, is St Botolph's church. Much of what you see of the church is early 15th century, built upon earlier foundations.
Upon entering the church the first feature you will see is the font, which dates to the mid 14th century. Though the font is attractive, it is the carved and painted font canopy that really makes a visit to Trunch worthwhile.
This is a quite remarkable piece of woodwork, one of only four such canopies surviving in the entire country (the others are at St Peter Mancroft in Norwich, Durham Cathedral, and Luton). The canopy is supported on six beautifully carved legs. The carving detail is exquisite; with fanciful animal figures and foliage and a bit of political commentary, in the shape of a pig wearing a bishop's mitre.
In addition to the font canopy, Trunch features a superb 15th century hammer beam roof, a feature of many churches in Norfolk and Suffolk. Here the carvings of angels are beautifully performed. It is worth bringing along a pair of binoculars or a telescope in order to see the carvings properly.
Much easier to see are the medieval misericords (mercy seats) in the chancel. Each carving is unique; some represent angels, and others are more grotesque in nature. In addition there are some beautifully carved pew ends and a painted medieval rood screen that rivals many more famous churches in detail and colour.
There are 12 niches in the screen, each painted with a depiction of a single figure - 11 disciples plus St Paul. Much of the costume detail is well preserved, but the faces of the figures were destroyed during the upheavals of the Protestant Reformation in the 16th century.
www.britainexpress.com/counties/norfolk/churches/Trunch.htm
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William Earl Warren had the lordship of this town, (fn. 1) of which 3 freemen were deprived; one of them belonged to Herold, late King of England, another to Ralph Stalre, and the 3d to Ketel, who held 90 acres of land, and 14 borderers belonged to it, with 5 carucates among them; there was a church endowed with 10 acres, &c. 3 acres of meadow always valued at 30s. and there were also 5 freemen of Edric in King Edward's time, who had 34 acres of land, with 2 carucates, 2 acres and an half of meadow, always valued at 7s. 4d. (fn. 2)
This town also belonged to the Earl Warren's capital manor of Gimmingham, and paid suit and service to it. In the 34th of Henry III. Maud de Norwich granted by fine, to Richer, son of Nicholas, a messuage, 48 acres of land, a mill, and the sixth part of another in this town, Swathefeld and Bradfeld. In the 15th of Edward I. the Earl Warren claimed a weekly mercate, on Saturday, in this manor; and on the death of John Earl Warren, in the 21st of Edward III. the mercate was valued at 10s. per ann. the manor came after to the Earl of Lancaster, (as is before observed,) and so to John of Gaunt Duke of Lancaster, and King Henry IV. and is still in the Crown, as part of the dutchy of Lancaster.
The tenths were 4l. 10s. deducted 15s.
The Church is dedicated to St. Botolph, and is a regular pile, with a nave, 2 isles, and a chancel covered with lead, and has a tower with 4 bells.
In the chancel, on a little monument,
Lancelotus Thexton cappellanus Regis Edw. VI. sacre theologie baccalaureus, et rector de Trunch obt. 25. Febr. 1588, and this shield of arms, quarterly, in the first and fourth a cross between four lions heads erased, gules, in the 2d and 3d, ermine, fretty, azure.
In a window here, argent, a fess between two chevrons, sable.
On a gravestone
Hic jacet Magr. Robt. Cantell, quo'd. rector isti. ecclie, qui. obt. 1 Sept. Ao. Dni. 1480.
Gravestones
In memory of Thomas Worts, gent. who died November 13, 1693, aged 45, with his arms, three lions rampant, - - - — William Worts. gent. who married Elizabeth, daughter of Riches Brown of Fulmodeston, Esq. died August 25, 1694, aged 60, with the arms of Worts impaling Brown; two bars, between three spears heads, - - -
¶The patronage of the church was granted to the priory of Castleacre, by William Earl Warren, the first on his founding that priory. In the reign of Edward I. the rector had a manse, and 13 acres of land valued at 16 marks, Peter-pence 13d. and the prior of Castleacre had a pension or portion of tithe valued at 40s. the present valor is 10l. 13s. 4d. and pays first fruits, &c. the Norwich registers say that William, the second Earl Warren, granted the patronage, and Eborard Bishop of Norwich, confirmed it; and that Simon the Bishop confirmed the pension in 1268.
www.british-history.ac.uk/topographical-hist-norfolk/vol8...
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Trunch is the largest of the villages between North Walsham and the sea; but as all the industrialisation and tawdry caravan sites are hard against the coast, and Trunch is several miles inland, it has avoided these excesses and retains a great rural charm. It has a magnificent church with lots of fascinating treasures, as well as a shop, a green, a pub run by an ex-professional footballer, and generally all the typical features you expect to find in a large village in deepest rural Norfolk.
The church is perhaps the most interesting of all round about; and, while the large village lends it an urban quality that lacks the charm of, say, the churches of neighbouring Edingthorpe and Crostwight, it has by no means the Victorianised sterility of those at Bacton or Happisburgh.
St Botolph is a big church, and its tight graveyard makes it rather hard to photograph. The whole piece seems to have been rebuilt in the early 15th century, although the chancel may be a little later, and there is a hint of Decorated about the nave. The tower is quite simple, even slight. It builds boldly enough, but at the top of the second stage fades into a simple bell stage, understated, elegant and probably intended. This is not a building that shouts at you. A curiosity is the massive priest porch surrounding the door in the chancel. These are very unusual, although there is another, smaller one at neighbouring Knapton.
The great treasure, of course, is the marvellous font canopy. It is particularly fascinating because of its date, coming in the early 16th century right on the eve of the English protestant reformation. Like all church furnishings at this time - the tombs at Oxborough, for instance - it gives us a hint of what the English renaissance might have been like if it had been allowed to flower. Here, the massive structure tumbles with intricacy; fruit and flowers, leopards and lions peep around the silvery oak of the six octagonal columns which are fluted with interlocking chains of detail. The glory is the massive crown of canopied niches, with the haunting ghosts of crucifixion groups still apparent on three of the faces. The whole thing is at once in perfect harmony with the west end of the church, but exists because it was believed to be beautiful rather than known to be useful.There is only one other font canopy in Norfolk, at St Peter Mancroft in Norwich; Outside of the county there is another at Durham Cathedral, and a fourth at the parish church in Luton - but that is it.
Above the canopy is a rich 15th century hammerbeam roof, by no means as dramatic as that at nearby Knapton, but more beautiful, I think. In the space beneath the tower there is what appears to be a gallery like the plough guild gallery at Cawston. This is not as elaborate, but its oak has silvered and it is painted beautifully with trailing rose foliage.
The benching, unfortunately, is pretty much all 19th century, but along with the font canopy and roof the medieval screen survives. Like the canopy, this is richly ornamented in relief, including a bold dedicatory inscription in diagonal ribbons across the top part of the dado. The twelve figures (11 disciples and St Paul) are boldly placed and coloured, but their faces have been completely vandalised by the 16th century reformers. Low down on the north side of the doorway is a rare surviving carved consecration cross, suggesting that this screen was already installed in the newly built church of the 15th century. The screen had detached buttressing running vertically at intervals in front of it, as at Ludham. They have been almost entirely destroyed, but you can still see the fixings between the panels. It must have been magnificent.
The return stalls in the chancel are pretty much all Victorian, but they retain medieval misericords, and also you can see quatrefoil holes set into a sounding chamber to amplify the singing. There is a very curious memorial above the priest door, featuring the instruments of the passion. I have no idea how old it is.
All of these features would be enough, but part of the attraction of St Botolph is the sense of harmony, the way everything works together. You can add to these the sedilia, the magnificent organ, and the modern design of the glass in the east window. It is a peaceful, inspiring space.
Cottages and houses hem in the graveyard, and in the corner is the modern pub. Incidentally, I don't really know if the bloke who runs it is an ex-professional footballer. But, like many rural Norfolk landlords, he seems to be a cheerful 40-something cockney who serves a decent pint and cheap food - a recommended stop for churchcrawlers.
Simon Knott, April 2005
www.norfolkchurches.co.uk/trunch/trunch.htm
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And the pub is still good.
Chantilly 2016 - Concours d'élégance
www.bonhams.com/auction/23603/lot/26/horch-853-spezialroa...
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Horch 853 Spezialroadster vers 1937
Châssis n° 853177
Moteur n° 851234
•Marque allemande de prestige
•L'une des 950 construites
•Entièrement restaurée par Horch Classic
•Boîte cinq rapports
August Horch, l'un des pères fondateurs de l'industrie automobile allemande, était né à Winningen en 1868 et, après des études techniques dans une école d'ingénieur, avait travaillé pour un constructeur de moteurs marins à Leipzig. Il dirigea ensuite l'usine de moteurs de Kral Benz à Mannheim, mais sa frustration devant l'approche conservatrice de son patron le poussa à chercher des fonds pour monter sa propre entreprise. Horch jugeait la « voiture sans chevaux » à moteur arrière de Benz archaïque et sa première voiture, en 1900, arborait un moteur bicylindre installé à l'avant et un arbre de transmission aux roues arrière, une première en Allemagne. Des modèles à moteur quatre et six cylindres suivirent et Horch devint incontournable dans les compétitions et les courses de côtes de l'époque, mais cette pratique l'amena par la suite à entrer en conflit avec sa direction et entraina son départ en 1909 pour fonder Audi.
En 1923, Horch embaucha Paul Daimler, le fils de Gottlieb, comme ingénieur en chef, la première voiture à porter sa griffe étant la 300. Elle était animée par un huit cylindres en ligne à double arbre à cames en tête de 3, 2 litres, un type de moteur qui allait avoir les faveurs de Horch tout au long des années 1920 et 1930. Après le départ de Daimler, Fritz Fiedler (qui allait ensuite s'illustrer chez BMW) prit sa succession et conçut une huit cylindres en ligne à simple arbre à cames – la Horch 450 – qui fut suivi par les modèles 600 et 670 à moteur V12 de 6 litres en 1931 et par la 830 B à moteur V8 de 3, 5 litres en 1933.
En 1932, la société fut intégrée à Auto Union qui réunissait Audi, DKW et Wanderer. Horch sortit une véritable pléthore de versions de ses modèles dans les années 1930, avec des choix incroyables de cylindrées, d'empattements et de styles de carrosseries, tous destinés au marché du luxe sur lequel Horch était le seul concurrent national sérieux face à Mercedes-Benz. La 853 de 4, 9 litres, dévoilée pour l'année-modèle 1936, était propulsée par un huit cylindres en ligne simple arbre reposant sur dix paliers, conçu par Fiedler et installé dans un robuste châssis doté d'une transmission à quatre rapports avec overdrive et de freins hydrauliques assistés. La 853/853a, un élégant cabriolet sportif, fut produite jusqu'à l'entrée en guerre, date à laquelle 950 de ces voitures très exclusives avaient été construites.
Après la seconde guerre, l'usine Horch de Zwickau se retrouva dans la partie est de l'Allemagne où elle fut utilisée pour la construction des utilitaires Trabant, une bien triste fin pour cette marque aristocratique qui avait figuré parmi les meilleures du monde.
Malheureusement la carrosserie d'origine de cette 853 a été perdue pendant la seconde guerre ou peu après. Selon les informations fournies par le vendeur, le dernier propriétaire de la voiture l'avait équipée d'une carrosserie pick up et l'avait utilisée pour transporter des denrées sur son exploitation agricole en Ukraine. On ne sait donc pas si elle avait reçu la carrosserie Sportcabriolet d'usine ou une carrosserie réalisée par un artisan indépendant à l'origine.
La voiture a été achetée en Ukraine en 2009 par Horch Classic qui a aussitôt entrepris une restauration de sept années qui a demandé des milliers d'heures de travail. Il a été décidé de construire une réplique de la légendaire carrosserie Spezialroadster Horch Classic a fait des recherches dans diverses archives (mais aussi dans des documentations privées) pour retrouver des photos d'usine d'époque.
Grâce à la longue expérience de Horch Classic, à la documentation photographique et aux gabarits maison, une forme en trois dimensions fut construite. On la recouvrit de tissu pour visualiser les lignes et les volumes de la carrosserie. De nombreuses modifications furent apportées à cette forme de départ, avant de trouver les bonnes proportions. C'est seulement à ce stade que l'on put commencer à construire la structure en bois de la carrosserie.
Des gabarits furent à nouveau utilisés pour reporter les volumes de la forme et réaliser la structure avec de nombreux essais pour ajuster et trouver les bonnes lignes. À l'aide d'un niveau laser, on a assemblé et collé les composants de la structure entre eux et on les a vissés au châssis. Puis, les panneaux métalliques de la carrosserie ont été fabriqués, ajustés et soudés ensembles. Le châssis Horch avait auparavant été nettoyé et l'épaisseur de son métal et son éventuelle corrosion vérifiées. Les parties trop corrodées ou jugées trop fines avaient été remplacées apprêtées puis recouvertes de plusieurs couches de peinture.
Dès le départ, on considéra de la plus haute importance, non seulement de trouver l'harmonie de couleurs parfaite entre la carrosserie et l'intérieur, mais aussi de trouver un aspect conforme à celui de l'époque pour l'ensemble de la voiture. En conséquence, une couleur de base gris métallisé fut donc choisie, changeant en fonction de l'éclairage, du gris métal pur à un gris avec une légère pointe de rouge. Pour accentuer les lignes fluides de la voiture, des filets furent tracés à la main sur les garde-boue, sur le capot, les portes et l'arrière de la carrosserie.
L'intérieur de la voiture a été tendu de velours noir de haute qualité avec un passepoil du même cuir rouge que les sièges. Le cuir des sièges a été choisi car son aspect ressemble à celui des cuirs utilisés à l'époque. Le logotype Horch a été brodé sur le dos des sièges avant et sur les contre-portes au fil noir. De gros efforts ont été consentis pour le ciel de capote en Alcantara.
Le tableau de bord, constitué d'une seule pièce de bois, a été plaqué de ronce du Canada, laquée et polie pour obtenir un effet miroir. Les boiseries intérieures ont un léger reflet rouge qui s'harmonise à merveille avec les couleurs de l'intérieur et de l'extérieur. Les écussons Horch, sur le radiateur et le coffre, ont été plaqués en or 24 carat par un joailler. Tous les chromes ont été préparés et rechromés ou ont été reconstruits et chromés quand c'était nécessaire.
Le moteur d'origine, les essieux avant et arrière, le différentiel, la boîte de vitesses et la direction ont été démontés et révisés quand cela était nécessaire. Le moteur a été entièrement démonté et toutes les pièces calibrées et vérifiées. De nouveaux roulements ont été montés, de nouveaux pistons installés, l'arbre à cames et les commandes de soupapes révisés. Des joints de soupapes neuf ont été montés et des joints modernes à lèvres d'étanchéité ont été montés sur le moteur, à l'avant et à l'arrière. Le vilebrequin et le volant moteur ont été équilibrés avec précision. Le moteur, essayé au banc pendant une vingtaine d'heure avant d'être réinstallé dans la voiture, tourne parfaitement avec douceur, tandis qu'une boîte a cinq rapports révisée vient augmenter le plaisir de conduite et permet de tenir une bonne vitesse de croisière à des régimes peu élevés. Un faisceau électrique neuf a été refait et recouvert de coton vernissé pour reproduire l'aspect d'époque. Il va sans dire que tous les éléments de sécurité des freins et de la direction ont été rénovés. Un système d'allumage additionnel a été installé.
La voiture est vendue avec un reportage photographique de la restauration, ses papiers d'immatriculation allemands et un contrôle technique (TüV) daté du 11 juillet 2014. Un grand nombre d'articles et de publications sur la marque accompagnent la voiture, ainsi que son manuel du propriétaire (copie), une liste des pièces détachées (copie), un atlas Horch des routes secondaires allemandes, Horch: Typen-Technik-Modelle de Peter Kirchberg et Jürgen Pönisch et The Coachwork of Erdmann & Rossi, Berlin de Rupert Stuhlemmer. Une plaque émaillé Horch Dienste, un thermomètre Horch et un parapluie Horch Classic font également partie du lot.
c.1937 Horch 853 Spezialroadster
Chassis no. 853177
Engine no. 851234
•Premier German marque
•One of only 950 made
•Fully restored by Horch Classic
•Five-speed gearbox
One of the founding fathers of the German automobile industry, August Horch was born in Winningen in 1868, and following an technical education at engineering school, worked for a marine engine manufacturer in Leipzig. His next job was managing Karl Benz's motor works at Mannheim, but frustration with his employer's conservative approach prompted Horch to seek financial backing for his own venture. Horch regarded Benz's rear-engined 'horseless carriages' as out-dated, and his first automobile of 1900 featured a front-mounted, twin-cylinder engine and shaft-driven rear axle, the first time this latter innovation had been seen in Germany. Larger four- and six-cylinder models followed, and Horch became active in the trials and competitions of the day, though ultimately this policy would bring August into conflict with his fellow directors and force his departure in 1909 to found Audi.
In 1923 Horch engaged Paul Daimler, son of Gottleib, as Chief Engineer, the first car to bear his stamp being the '300'. This was powered by a 3.2-litre, double-overhead-camshaft, straight eight engine, and power units of this type would be favoured by Horch throughout the 1920s and 1930s. After Daimler's departure Fritz Fiedler (later of BMW fame) took over, designing a single-overhead-cam straight-eight - the Horch 450 - which was followed by 6-litre V12-powered 600 and 670 models in 1931 and the 3.5-litre V8-engined 830B in 1933.
In 1932 the company became part of the Auto Union together with Audi, DKW and Wanderer. Horch produced a veritable plethora of model variations in the 1930s, ringing the changes on engine capacity, wheelbase and styles of coachwork, but all were aimed squarely at the prestige end of the market, where Horch was the only serious domestic rival to Mercedes-Benz. Introduced for the 1936 season, the 4.9-litre Type 853 was powered by a Fiedler-designed, SOHC, ten-bearing straight eight mounted in a solidly built chassis boasting a four-speed overdrive gearbox and servo-assisted hydraulic brakes. A stylish sports cabriolet, the 853/853a was produced up to the outbreak of war, by which time a mere 950 of these exclusive cars had been built.
After WW2, Horch's Zwickau factory ended up on the eastern side of the border where it would eventually be pressed into service manufacturing the utilitarian Trabant - a sad end to a once noble marque that had ranked among the very best.
Unfortunately, the original body of this Horch 853 was lost either during WW2 or soon after. According to information supplied by the vendor, this car's last owner had fitted a pick-up body, and used the car to transport materials on his farm in Ukraine; thus it was not possible to tell whether a factory Sportcabriolet or an independently coachbuilt body had been fitted originally.
The car was purchased in the Ukraine in 2009 by Horch Classic, which then embarked on a seven-year restoration that took thousands of working hours to complete. It was decided to build a replica body in the style of legendary Spezialroadster. Horch Classic researched in numerous archives (and also private sources) to find original factory photographs.
Utilising Horch Classic's long term experience, researched photographic documentation, and in-house made templates, a three-dimensional body buck was fabricated. This buck was then covered in fabric to create a first impression of the body's lines and proportions. Numerous changes had to be made to the original buck before the form and proportions were right; only then could the construction of the wooden body frame begin.
Templates were again used to transfer the buck's shape to the wooden frame, with lots of trial fittings until the right shape and form had been achieved. Using a laser spirit level, the frame components were then glued together and screwed onto the chassis. Then the individual components of the metal body were fabricated, measured again and welded together. The Horch chassis frame had already been cleaned, measured and the metal checked for thickness and corrosion. Parts of the frame which showed either too much corrosion or were deemed too thin were replaced and then primed and painted with several coats.
From the start it was considered very important, not only to achieve perfect harmony of the body colour and interior, but also to arrive at a period-correct look for the car as a result. Accordingly, a base colour of silver metallic was chosen, which changes under different lighting conditions from a pure silver to a silver with a slight red tinge. To emphasise the car's flowing lines, a coach line was applied by hand to the mudguards, bonnet, doors and the rear of the body.
The car's interior was clad in high quality black velour carpet, which was piped in the same red leather as was used for the seats. The leather for the seats itself was chosen for its period-authentic surface texture. The Horch logo has been stitched into the back of the front seats and the door cards with a black thread. A great deal of effort went into the Alcantara hood lining.
The dashboard, made from a single piece of wood, has been covered with Canadian burr veneer that has been lacquered and polished to provide a mirror-like finish. The interior woodwork also shows a slight red tinge, which harmonises beautifully with the interior and exterior colours. The Horch Logo on the radiator and the boot lid were plated with 24 carat gold by a jeweller. All chromed parts were either prepared and re-chromed, or where necessary newly fabricated and plated.
The original engine, front and rear axles, differential, gearbox and steering were dismantled, measured and overhauled where necessary. The engine was completely dismantled and all parts measured and checked. New bearings were fitted, new pistons installed, and the camshaft and valve gear overhauled. New seals were fitted to the valve guides, and modern radial oil seals fitted to the engine at front and rear. The crankshaft was finely balanced together with the flywheel. Dynamometer tested for some 20 hours before fitting to the car, the engine is reported to run very smoothly, while a comprehensively overhauled five-speed gearbox enhances the already pleasurable driving experience and helps to keep the engine revs low at cruising speeds. A new wiring loom has been made and covered with woven cotton to replicate the appearance of the original. It goes without saying that safety-critical components for the steering and hydraulic brakes were renewed also. An additional ignition system is fitted.
The car is offered with photographic documentation of the restoration; German registration papers; and an historic TüV dated 11.07.14. A quantity of marque-related literature comes with it to include an owner's manual (copy); spare parts list (copy); Horch B-Road Atlas Germany; 'Horch: Typen-Technik-Modelle' by Peter Kirchberg and Jürgen Pönisch; and 'The Coachwork of Erdmann & Rossi, Berlin' by Rupert Stuhlemmer. A 'Horch Dienste' advertising enamel sign; a Horch thermometer; and an umbrella with Horch Classic print are included in the sale.accompagnent la voiture, ainsi que son manuel du propriétaire (copie), une liste des pièces détachées (copie), un atlas Horch des routes secondaires allemandes, Horch: Typen-Technik-Modelle de Peter Kirchberg et Jürgen Pönisch et The Coachwork of Erdmann & Rossi, Berlin de Rupert Stuhlemmer. Une plaque émaillé Horch Dienste, un thermomètre Horch et un parapluie Horch Classic font également par
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●台北店：(02) 2311-5721
台北市中華路1段59號7樓 (西門捷運站２號出口)
●士林店：(02) 2836-0066
台北市士林區中正路122號2樓 (全聯士林中正店對面)
●松山店：(02) 2765-7666
台北市松山區八德路4段678號12樓 (近松山車站)
●新北店：(02) 8964-5999
新北市板橋區重慶路1號5樓 (府中捷運站1號出口,仁愛眼鏡/特香齋樓上)
●桃園店：(03) 283-0776
桃園市中壢區中北路2段483號 (中壢大潤發斜對面)
●新竹店：(03) 523-1188
新竹市經國路2段100號5樓 (「中正市場」停車場對面,步行約1分鐘)
●台中店：(04) 2202-0066
台中市西區台灣大道一段728號3樓 (合作金庫樓上)
●台南店：(06) 267-0086
台南市東區崇學路20巷2號 (崇學路、崇明路交叉路口,「榮譽公有停車場」,步行約3分鐘)
●高雄店：(07) 322-2592
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Catedrales e Iglesias
© Álbum S003
By Catedrales e Iglesias
Arquidiócesis de Xalapa
QUIERO AGRADECER AL PROFESOR ANDRÉS GUZMÁN OLMOS
causasdelossantos@live.com
DE LA OFICINA DE PROMOCIÓN PARA LAS CAUSAS DE LOS SANTOS DEL ARZOBISPADO DE XALAPA
LAS ATENCIÓNES RECIBIDAS EN MI VISITA
www.rafaelguizar.org/martindelcampo-html
San Rafael Guizar
Infancia y Educación
Rafael Guízar y Valencia nació en Cotija (Michoacán) el 26 de abril de 1878. Aprendió sus primeras letras en la escuela parroquial de su tierra natal y más tarde en un colegio jesuita en la Hacienda de San Simón de Cotija. Inició sus estudios eclesiásticos en el seminario de la diócesis de Zamora en 1894 y en junio de 1901 fue ordenado sacerdote en la catedral de Zamora.
Vida sacerdotal
Al poco tiempo de ser ordenado presbítero, acompañó al entonces obispo de Zamora, Mons. José María Cázares en las visitas pastorales a las poblaciones de su diócesis.
Durante las batallas de la Revolución mexicana, disfrazado de vendedor, actuó, de manera oculta, como sacerdote ayudando a los soldados moribundos y dándoles los auxilios espirituales de la Iglesia.
Luego de ser Director Espiritual y catedrático del Seminario de Zamora y canónigo de la Catedral, sufrió varios destierros por causa de la persecución religiosa que había en esos tiempos, y entre 1913 y 1919 viajó misionando a Cuba, Guatemala, Colombia y el Sur de los Estados Unidos.
Episcopado
Estando desterrado en Cuba, en agosto de 1919 fue preconizado 5º obispo de Veracruz por el Papa Benedicto XV, y el 30 de noviembre del mismo año recibió en la Habana, Cuba, la consagración episcopal.
Tomó posesión de su diócesis el 9 de enero de 1920 en la ciudad de Xalapa.
Durante su episcopado realizó varias misiones a prácticamente todas las parroquias de su territorio y luchó por su seminario, el cual mantuvo abierto, aún en contra de las leyes persecutorias.
Debido a dichas leyes, sufrío persecución y destierro ya siendo obispo, particularmente durante el conflicto de 1926 a 1929
Enfermedad y muerte
Afectado por diversas enfermedades (diabetes, flebitis, insuficiencia cardiaca y otros padecimientos) y estando desterrado de su diócesis, el 6 de junio de 1938 murió en la ciudad de México y su cuerpo trasladado a Xalapa, Veracruz, donde recibió sepultura. Al ser exhumado en 1950 se encontró su cadáver incorrupto y fue conducido a la Catedral de esa ciudad.
Beatificación
Beatificado en 1995 por el Papa Juan Pablo II, en sus imágenes figura con vestimenta e insignias episcopales.
En Roma, el padre Rafael González, vicepostulador de la causa, y los padres de Rafael de Jesús Barroso, el niño del milagro, asistieron a su beatificación.
Canonización
El domingo 15 de octubre del 2006 en la Ciudad del Vaticano fue canonizado por el papa Benedicto XVI el beato Rafael Guízar y Valencia, quien ha sido el primer obispo mexicano en ser declarado santo.
El Sumo Pontífice encabezó el rito mediante el cual se declaró nuevo santo al quinto obispo del estado de Veracruz, México, quien se convirtió en el santo número 30 de México, el país de hispanohablante con más católicos en Latinoamérica y que cuenta con 25 beatos (Beatos de México).
Rafael Guízar, junto a otros tres beatos, fueron elevados al honor de los altares
Se trata de Filippo Smaldone (1848-1923), presbítero y fundador de la Congregación de las Hermanas Salesianas de los Sagrados Corazones y Rosa Venerini (1656-1728), fundadora de la Congregación de las Maestras Pías Venerinas.
También la francesa Theodore Guérin (1798-1856), virgen y fundadora de la Congregación de las Hermanas de la Providencia de Santa María de los Bosques en Indiana, Estados Unidos, donde pasó gran parte de su vida.
El milagro por el cual fue canonizado Rafaél Guízar y Valencia ocurrió en el año 2002, cuando a la señora Valentina Santiago se le detectó, a través de un ultrasonido, una malformación en su embarazo.
Al conocer la noticia, la mujer pidió la intervención del santo mexicano. Tiempo después, el niño Rafael de Jesús Barroso nació sano y sin ninguna complicación.
La Comisión Médica, el 18 de mayo de 2005, comprobó la cura milagrosa del labio leporino que padecía el feto desde el seno materno a las 31 semanas de su gestación, y que no apareció en el niño recién nacido.
El congreso de los Teólogos Consultores, aprobó el milagro el 15 de noviembre de 2005, por lo que concedió el juicio resolutivo de curación completa y milagrosa, inexplicable científicamente.
Durante la ceremonia litúrgica 10 peregrinos mexicanos recibieron la comunión de manos del Papa Benedicto XVI. En la canonización también estuvieron presentes algunos obispos mexicanos, entre ellos los cardenales Norberto Rivera Carrera y Juan Sandoval Iñiguez. Y en la Ciudad de México, en la Basilica de Guadalupe Amelia Cristina Guízar sobrina nieta, asistió con el Coro Suizo de la Ciudad de México a compañar la misa. La noche del sábado 14 de octubre de 2006, en el zócalo de Xalapa y frente a la catedral donde yacieron los restos del santo, comenzó una vigilia de oración y verbena popular esperando la transmisión directa de la ceremonia desde Ciudad del Vaticano, que fue dada el domingo 15 de octubre de 2006.
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
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#thierrygeoffroy
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protestart
заказать деревянные окна sotdel.ru/dereviannye-okna.html #sotdel #vk #скидки #сотдел #окна Преимущества современных деревянных окон: прослужат до 50 лет сохранят тепло и микроклимат жилища защитят от посторонних шумов благотворно отразятся на Вашем здоровье благодаря смоле, выделяемой хвойными породами деревьев Обо всем этом свидетельствуют многочисленные положительные отзывы о деревянных окнах. заказать деревянные окна sotdel.ru/dereviannye-okna.html Современные деревянные окна не только защищают наш дом от капризов природы, но и вносят заметный штрих в интерьер. Технологический процесс и новейшие разработки в области остекления позволяют эксплуатировать современные деревянные окна более 100 лет. Современная технология изготовления деревянных окон – из специального клееного бруса. Благодаря этой технологии рама и створки окна не деформируются во время всего срока службы. Изготовление деревянных окон – процесс трудоемкий и долгий. Помимо сборки самих конструкций, необходимо также тщательно подобрать составы для их пропитки. Дерево – натуральный природный материал и нуждается в особой защите от насекомых, влаги и ультрафиолета. Всех этих проблем легко избежать, используя лаки, краски и грунты на водной основе финской компании Teknos, применяемые на нашем производстве. www.facebook.com/110372909302943/photos/a.274679919538907...
Первое тюнинг-ателье по загородным домам - отделка фасадов, кровельные работы. Монтаж сайдинга под ключ. Гарантия 5 лет на монтаж сайдинга
Строительные блоки WOODBE из древесины www.sotdel.ru/stroitelnye-bloki-woodbe.html
Панели ДВП (Древесно Волокнистая Плита) www.sotdel.ru/paneli-dvp-drevesno-voloknistaya-plita/
ПАНЕЛИ KMEW fasadnye-panely.sotdel.ru/
Фартук для кухни (Кухонный фартук) www.sotdel.ru/fartuk-dlya-kuhni.html
Москва ул. Верхние Поля, 48а
пн–пт 09:00–18:00; сб 09:00–15:00
+7 (495) 258-62-08
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.
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.
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
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
Quality prints and greeting cards can be purchased at >> kaye-menner.artistwebsites.com/featured/washing-machines-... Just right click on link and open in new tab
Description
**ACHIEVED 2ND PLACE IN FAA CONTEST - "Active Abc Group Members Only - M Is For Memories" October 2021
One of my best selling images on #FineArtAmerica - not all noted here
fineartamerica.com/saleannouncement.html?id=1ae6b4d429b6d...
fineartamerica.com/saleannouncement.html?id=12be798f77196...
Kaye Menner sold a 30" x 20" print of Washing Machines of Yesteryear to a buyer from Montecito, CA - United States
fineartamerica.com/featured/washing-machines-of-yesteryea...
/saleannouncement.html?id=a893d68ff9ff689b3be47463336c16ca/saleannouncement.html?id=ae9700a11dca182f8c63adadc548554d
fineartamerica.com/saleannouncement.html?id=380c767b802e6...
fineartamerica.com/saleannouncement.html?id=1de6116fcf3e2...
fineartamerica.com/saleannouncement.html?id=74b6df58a6556...
fineartamerica.com/saleannouncement.html?id=d788ca1c1182c...
fineartamerica.com/saleannouncement.html?id=ac69ce36d6717...
And numerous more sales....
**ACHIEVED 1ST PLACE IN FAA CONTEST - "ABC Group - "O" is for Old" May 2018
**ACHIEVED EQUAL 1ST PLACE IN FAA CONTEST - "Vintage Images and Antiques" March 2018
** ACHIEVED EQUAL 2ND PLACE IN FAA CONTEST - "Vintage Artwork" February 2018
** ACHIEVED EQUAL 3RD PLACE IN FAA CONTEST: "Vintage" November 2017.
** ACHIEVED 1ST PLACE IN FAA CONTEST: 'Days Gone By' October 2017.
** ACHIEVED 1ST PLACE IN FAA CONTEST: 'Nostalgic Photos' December 2014.
** Equal 2nd place in FAA Contest: 'Antiques and just plain old things' July, 2013.
Some old "retro" washing machines, tubs and other equipment used around the middle of the 19th century.
THE FINE ART AMERICA LOGO WILL NOT SHOW ON PURCHASED PRINTS OR PRODUCTS.
Clothes washer technology developed as a way to reduce the manual labor spent, providing an open basin or sealed container with paddles or fingers to automatically agitate the clothing. The earliest machines were hand-operated and constructed from wood, while later machines made of metal permitted a fire to burn below the washtub, keeping the water warm throughout the day's washing.
The earliest special-purpose washing device was the scrub board, invented in 1797.
By the mid-1850s, steam-driven commercial laundry machinery was on sale in the UK and US. Technological advances in machinery for commercial and institutional washers proceeded faster than domestic washer design for several decades, especially in the UK. In the US there was more emphasis on developing machines for washing at home, though machines for commercial laundry services were widely used in the late 19th and early 20th centuries. The rotary washing machine was patented by Hamilton Smith in 1858. As electricity was not commonly available until at least 1930, some early washing machines were operated by a low-speed single-cylinder hit and miss gasoline engine.
After the items were washed and rinsed, water had to be removed by twisting. To help reduce this labor, the wringer/mangle machine was developed.
The mangle used two rollers under spring tension to squeeze water out of clothing and household linen. Each laundry item would be fed through the wringer separately. The first wringers were hand-cranked, but were eventually included as a powered attachment above the washer tub. The wringer would be swung over the wash tub so that extracted wash water would fall back into the tub to be reused for the next load. As implied by the term "mangle," these early machines were quite dangerous, especially if powered and not hand-driven. A user's fingers, hand, arm, or hair could become entangled in the laundry being squeezed, resulting in horrific injuries.
[From Wikipedia]
Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
MAY DAY IN WHITSTABLE
From my blog: rangefinderchronicles.blogspot.co.uk/2014/08/may-day-in-w...
Toyo 45/ 45 slide
The Cincinnati Law Library Association is a private, nonprofit corporation which, until January 1, 2010, operated the law library in the Hamilton County Courthouse under the provisions of Ohio Revised Code §3375.48 et seq. Since January 1, 2010, the Law Library is governed by the Hamilton County Law Library Board.
Originally created in 1834, this Bench and Bar library was incorporated June 5th. 1847 for "the improvement of its members and the cultivation of the Science of Law." Members pay annual dues but use of the library is provided without charge to elected and appointed officials of Hamilton County and the State of Ohio.
Cincinnati, like many other settlements in the Northwest Territory, had grown up near the shores of the Ohio River. The first courthouse was traditionally considered to be a log cabin built by volunteers in 1790. The log cabin was located on a public square donated to the City and Hamilton County commissioners by Mathias Dennan, Robert Patterson, and Israel Ludlow, the original owners of all of what eventually became downtown Cincinnati. That first courthouse, the jail, and a whipping post, were all contiguous with a swamp & frog pond on that site.
A second, two-story limestone brick building was constructed at the same location around 1802. That courthouse was used as a barracks during the War of 1812. A fire caused by careless soldiers burned the structure to the ground in 1814.
In 1815, Hamilton County commissioners accepted the gift of one of the city’s "out-lots" from a man named Jesse Hunt as the location of its next courthouse. This third courthouse stood on a 200-foot circular plot of ground, in the Federal style of architecture prevalent at that time. Being 62 feet long and 50 feet wide, its walls rose another 50 feet to a cornice, then 120 feet to the top of its dome on a cupola centered on a four-sided roof, with another 160 feet to the top of its spire. Completed in 1819, it had -- as the term "out-lot" well implies -- the profound disadvantage of having been quite remote from the centers of business and major law firms at that point in time.
In 1834, the need for a centrally-located law library was on the minds of a number of local attorneys. On February 25th of that year, the Ohio General Assembly passed " an act to incorporate the ‘Cincinnati Law Library’," naming twenty-one men, including William Henry Harrison, as officers. Harrison was also involved in the formation of the Mercantile Library. No action was taken on the law library, and the idea remained dormant for another twelve years. The attorneys complained of the inconvenience of carrying books to the Courthouse. The judges considered it a conflict of interest to borrow books from counsel in pending matters.
In the Fall of 1846, a meeting was called, and William R. Morris, Daniel Van Matre, William Corry, Alphonse Taft, and George E. Pugh were appointed to a Committee. The Committee was charged to devise a plan, and, if possible, raise money for the establishment of a law library association. On Sept. 3, 1846, a subscription drawn up by Morris began to circulate. William B. Caldwell, the presiding judge of the Court of Common Pleas at the time, became involved in the effort, and between him and George Pugh an initial roster of 102 pledges had been obtained by January 1847 with the committee beginning to buy the first books. By February of that same year a large walled bookcase had been purchased, and the first library was set up in the actual courtroom of the Court of Common Pleas.
On February 8, 1847, Bernard Bradley was appointed the first librarian. On June 5th, The Cincinnati Law Library was reincorporated and its first board of trustees elected. The first board consisted of Morris, as president; Oliver Spencer, as vice-president; Van Matre, who had acted as treasurer for the committee, continued in that capacity now; R.B. Warden, secretary; Alphonse Taft, and Jordan Pugh.
On March 28, 1884 riots broke out in Cincinnati over the verdict which had been rendered on a murder trial involving a livery stable owner who had been killed by two employees. The trial of the first defendant ended in a verdict of guilty of manslaughter and a sentence of 20 years imprisonment. A crowd numbering more than 10,000 gathered but Sheriff Morton Lytle Hawkins refused to turn over the prisoner and established defenses for the Jail. Unable to get to the prisoner, the mob centered their hostilities on the courthouse. On March 29th the mob ransacked the Courthouse and set it on fire. The courthouse and law library were total losses. National Guard, then called the Militia, armed with two Gatling guns, restored order. Shots were exchanged and a lawyer, John J. Desmond, serving as Militia Captain was killed. Captain Desmond’s picture is in the Law Library and a statute of him is located in the Courthouse Lobby.
The Law Library reopened on April 3rd with nine books. The Library Association assessed each member $100 to rebuild the collection. Support & substantial donations poured in from around the country as well. Contributions in the form of books came from the Secretary of State’s Office of both Ohio and Kentucky; the City of Cincinnati, and from libraries and law firms in New York, Connecticut, and as far away as the then Territories of Montana and Wyoming. In June 1884, the Library’s treasury was $6,852 in cash receipts. A year later it had grown to $19,808. By June 1893, the Library’s collection had been rebuilt to 16,373 volumes, and by 1899, over 20,000. The single largest contributor, over time, was Rufus King leaving the Library Association $20,000 in his will. Edwin Gholson succeeded Myers as law librarian in 1899, and further built the collection to well over 50,000 volumes.
After the riot in 1884, the Ohio General Assembly passed a bill creating a board of trustees to oversee the renovation of that structure and construction of a fifth courthouse which remained until 1908. Then, agitation started growing about conditions in the County jail and County Commissioners passed a resolution providing for the construction of a new one. The measure was approved by voters, and a planning committee appointed to oversee the project. The committee recommended that not only a new jail be built, but another whole new courthouse as well; and on Sept. 26, 1911, the Commissioners prepared a new resolution calling for the issuance of $2,500,000 in bonds to rebuild both the jail and courthouse.
The sixth and present courthouse was dedicated on October 18, 1919. The exterior remains essentially unchanged to this day, but there have been interior renovations and new courtrooms. It is made of New Hampshire granite and Bedford limestone in a Renaissance Revival style of architecture. Like the courthouses of 1853 and 1887, the building is elevated on a one-story base set at grade-level. Three main tiers are grouped together by a row of Corinthian columns. Currently, since security was increased in 1996, the public entrance is one of three wide-arched doorways featuring polished, wrought bronze doors facing the Main Street entrance.
The Law Library is on the sixth floor of this courthouse, extending almost the width of the building. Its main reading room is flanked by six pairs of polished marble columns extending fifteen feet to cornice stained glass windows bearing the names of the Library’s founders and others important the history of the law.
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.
vigyanprasar.gov.in/isw/Dr-harsh-vardhan-dedicates-two-ne...
Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
The database on `S&T Awards in India’ is an attempt to build and manage the information about science and technology awards that have been instituted since 1928 in India. It provides data on various aspects such as discipline, periodicity, categories, awards level, chronology and state wise distribution of awards and their sponsors. It will be useful for planners, policy makers, funding agencies and other stakeholders to chalk out their programmes as per the priorities of R&D activities.
The database on `Indian Origin Academicians’, in turn, has information on 23,472 Indian academicians and research scholars working in various countries. It is of immense relevance/importance in the present-day scenario where international collaborations with knowledge experts are the key factor for S&T led growth and competitiveness. The project team explored around 2,700 academic university websites to gather this information from selected countries (US, UK, Australia and Canada).
The Minister released the databases at a function to mark the National Science Day, which is celebrated every year since 1987 in remembrance of Nobel Laureate Sir C.V.Raman’s path breaking discovery of Raman Effect in 1930.
He also presented the National S&T Communication Awards, AWSAR (Augmenting Writing Skills for Articulating Research) Awards, and SERB (Science and Engineering Research Board)’s Women Excellence Awards on the occasion.
Under the National S&T Communication Awards, Dr. S. Anil Kumar (Anilkumar Vadavathoor), a well known popular science writer in Malayalam has won the Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines; Indian Resource and Development Association and Mr. Mihir Kumar Panda the Award for Outstanding Efforts in Science & Technology Popularization among Children; Dr Sheffali Gulati, Delhi and Mr.Rakesh Khatri the Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods; and Dr. Krishna Kumari Challa the Award for Outstanding Efforts in Science & Technology Communication in Electronic Media.
National Science Communication Award Winner - Dr. S. Anil Kumar, Mihir Kumar Panda, Dr. Sheffali Gulati, Rakesh Khatri, Dr. Krishna Kumari Challa (top to bottom)
Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
In the case of AWSAR awards, Dr. Sangeeta Dutta of Jawaharlal Nehru Centre for Advanced Scientific Research (JNCASR) has won the AWSAR Award for Outstanding Story under the Post-doctoral fellow category; Ms. Pooja Maurya of CSIR- Central Drug Research Institute, Lucknow, the AWSAR Award: First Prize (PhD category); Ms. Indu Joshi of Indian Institute of Technology Delhi, the AWSAR Award: Second prize (PhD category); and Ms. Shruti Soni of Indian Institute of Science, Bangalore the AWSAR Award: Third prize (PhD category).
Photo-1: Winners of 'AWSAR' contest- Dr. Sangeeta Dutta (top left), Pooja Maurya (top right), Indu Joshi (bottom left), Shruti Soni (bottom right)
The winners of SERB Women Excellence Award are Dr. Shobhna Kapoor of Indian Institute of Technology Bombay, Dr. Antara Banerjee of National Institute for Research In Reproductive Health, Dr. Sonu Gandhi of National Institute of Animal Biotechnology, and Dr. Ritu Gupta, Indian Institute of Technology Jodhpur, Rajasthan
SERB Women-Excellence Award Winners- Dr. Shobhna Kapoor (top left), Antara Banerjee (top right), Dr. Ritu Gupta (bottom left), Dr. Sonu Gandhi (bottom right)
Speaking on the occasion, the Minister noted that India's global position both in innovations and scientific publications has seen a rising trend over the last six years, with its Global Innovation Index (GII) ranking improving rapidly to 48 (2020) from 81 (2015) and Scientific Publication ranking to 3rd position (2018) from 6th (2014)
Further, he pointed out that India ranked 8th in patents filed by resident scientists/innovators from respective countries as per WIPO Statistics and ranked 3rd in number of PhD degrees awarded (24,474) in Science and Engineering. Besides, women’s participation in R&D has increased to 16.6% (2018) from 13.9% (2016). India has reached 3rd position in the world in terms of number of startups.
He pointed out that compared to last year there has been a 30 per cent increase in the budget of the Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 and said that the Country’s upcoming Science, Technology and Innovation (STI) Policy aspired to position India much higher among globally competitive and innovative economies and the coming policy on Scientific Social Responsibility will seek to provide a big impetus to create the mindset and value systems to recognize, respect, and reward performances which create wealth from S&T derived knowledge.
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Ministry of Science & Technology
Dr Harsh Vardhan gives away awards to science communicators and women scientists on National Science Day
The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country: Dr Harsh Vardhan
“Fundamental and Translational Research have to be people centric. So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”: Dr Harsh Vardhan
Dr. Harsh Vardhan also releases the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad
Also confers an appreciation shield to National S&T database developers
Posted On: 28 FEB 2021 7:10PM by PIB Delhi
Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &
Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year's challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.
“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.
“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.
He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.
Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.
The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.
Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.
Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.
Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.
Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.
National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.
National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.
List of Awardees:
Science and Technology Communication Awardees
National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala
National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha
National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi
National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana
Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala
Appreciation Shield for National S&T Databases
S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi
Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh
AWSAR Awardees
Outstanding Story (PDF category)
Dr. Sangeeta Dutta, Bengaluru, Karnataka
AWSAR Award: First Prize (Ph.D. category)
Ms. Pooja Maurya, Lucknow, Uttar Pradesh
AWSAR Award: Second prize (Ph.D. category)
Ms. Indu Joshi, New Delhi, Delhi
AWSAR Award: Third prize (Ph.D. category)
Ms. Shruti Soni, Bangalore, Karnataka
SERB Women Excellence Awardees
Dr. Shobhna Kapoor
Assistant Professor
Indian Institute of Technology Bombay
Mumbai, Maharashtra
Dr. Antara Banerjee
Scientist B
National Institute for Research in Reproductive Health
Mumbai, Maharashtra
Dr. Sonu Gandhi
Scientist D
National Institute of Animal Biotechnology
Hyderabad, Telangana
Dr. Ritu Gupta
Assistant Professor
Indian Institute of Technology Jodhpur
Jodhpur, Rajasthan
(PLEASE CLICK HERE FOR DETAILS OF AWARDEES):
1… AWASAR
2….NCSTC
Click here to see Brochure NSD
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
Trong cơn giông người ta mới thấy cái sự chói chang gắt gỏng của mặt trời thực sự rất quý .
mp3.zing.vn/bai-hat/Sao-Chang-Ve-Voi-Em-Tran-Nguyen-Uyen-...
Socola nóng - Chap 1
Những cơn gió đầu tháng 9 thổi se lạnh . Người ta hân hoan đón chút lạnh và tiễn biệt cái nóng nực vừa qua đi . Cái lạnh đến bật chợt làm người ta phải sà vào lòng nhau , phải ôm lấy nhau và những người độc thân phải đi tìm một cái gì đó ấm áp một chút .
Con phố nhỏ xào xạc tiếng gió thổi lạnh , loẹt xoẹt tiếng lá xát vào nhau , chốc chốc đâu đó tiếng rào rào từ đâu vang lên như sắp đổ một cơn mưa lạnh đến tê người đến nơi . Con phố nhỏ sau 2 năm vẫn vậy , vẫn mộc mạc , vẫn là lạ một cách cổ kính , vẫn cuộc sống trầm lắng sau những con ngõ nhỏ hun hút , vắng lặng . Nhưng con phố nhỏ có lẽ đã trầm đi một ít , lẳng lặng và thiếu một cái gì đó so với cách đây 2 năm .
2 năm - không quá dài và cũng chẳng ngắn ngủi gì . Quãng thời gian ấy tưởng chừng có thể đưa cái hạnh phúc giản đơn ấy đi tiếp thì bỗng nó lại bị chặn lại một cách ngỡ ngàng , ai mà ngờ được chứ . Đời mà , ai học được chữ ngờ đâu !
Con phố nhỏ ấy cũng nhà cũng cửa như bao con phố khác , cũng ngõ cũng ngách như mọi nơi đều có , cũng cây to cây bé như bao con phố Hà Nội vậy , cũng vài ba quán xá chật hẹp giống cái điều hiển nhiên ở nơi thủ đô đất chật người đông thế này . Chỉ duy nhất là có 1 quán cafe hẹp hẹp , vắng vẻ , yên ắng và phảng phất chút ấm áp - âu cũng là điều dĩ nhiên ở một con phố nhỏ ít ồn ào như thế này .
Cái quán nhỏ bé và yên ả ấy là khởi đầu cho một chuyện tình lãng mạn như chỉ có trong những câu chuyện đầy mầu hồng và giờ nó lại kết thúc tại con phố nhỏ nhoi và trầm lắng như các tiểu thuyết đầy màu xám xịt . Đời mà , ai biết được chữ ngờ !
Quán vẫn thế , vẫn bàn ghế trắng muốt dưới ánh đèn ấm , vẫn chút thoang thoảng mùi socola đen đăng đắng . Chả biết quán đã đổi chủ chưa nhưng nhân viên chắc cũng phải đổi đến chục đợt , người này đi người kia đến . Nhưng cái mùi nồng ấm phảng phất socola đắng thì vẫn còn . " Hay nhỉ , 2 năm rồi mà cứ ngỡ như mới ngày hôm qua ! "
Vẫn chỗ ngồi quen thuộc cạnh cái cửa sổ ngả vàng , vẫn một cốc socola đen nóng đặc trưng của quán , vẫn cái loa cắm điện cả ngày cho khách tự cắm nhạc của mình để nghe , quán vẫn vắng , khung cảnh bên ngoài vẫn yên ả và tĩnh lặng như xưa . Có vẻ quán này dành cho một người tự kỉ hơn là một không gian ấm áp . "Thôi kệ , với anh vẫn là sự ấm ấp , ngòn ngọt và phảng phất vị đắng của socola , mặc dù cái ấm áp đấy đã có phần quá khứ trong đấy rồi ! " .
Anh còn nhớ ngày đầu anh lang thang đến cái quán bé này là một ngày thu ấm , lá rơi vàng những con đường Hà Nội , nắng trải vàng trên những con đường quen thuộc anh đi , những ngõ nhỏ anh ngồi . Nắng ngày ấy ấm và vàng đẹp lắm , nắng vàng ruộm trên những con đường lớn và ồn ào , nắng tinh nghịch và le lói qua những tán cây cao cao , nắng nhảy nhót trên mặt nước Hồ Tây rồi phản chiếu lung linh đẹp lạ . Lá vàng mùa thu ngày ấy cũng đẹp đâu kém - lá vàng trải dài và xào xạc trên con đường chiều , lâu lâu một cơn gió vờn qua những tán cây cho thêm những chiếc lá rơi nhẹ nhàng xuống như cơn mưa nhẹ , chỉ khác là cơn mưa này ấm và vàng ruộm màu vàng nghiêng ngả của cái đặc trưng mùa thu - đẹp lạ .
Anh thích cái mùa thu nắng vàng nghiêng ngả này , anh thích lưu giữ những cái khoảng khắc đẹp lạ đến nhường này . Anh hay nằm rạp xuống đám lá mà chụp , kệ bẩn , kệ cho người qua đường thấy lạ lẫm cố ngoái lại nhìn . Anh thích thế thôi , đơn giản là vậy . Anh thích đơn giản , thích tĩnh mịch , thích không gian là lạ mà yên ả , ấm áp một chút như sắc nắng mùa thu , thích những gì nhỏ nhỏ như một chiếc lá mùa thu vậy . Anh đi qua khắp các con phố , chui vào các con ngõ nhỏ , lê la vào một cái nghách hẹp lạ lẫm và cứ cố tìm kiếm một cái gì đấy hay ho hơn cho những thước phim ảnh của mình . Và anh thích đi một mình !
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
You can view the set as a slideshow here:
www.flickr.com/photos/dmacs_photos/sets/72157626188109075...
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"PRAYING FOR JAPAN"
www.jejuweekly.com/news/articleView.html?idxno=1371
I had just finished dinner on Friday, March 11th when a friend called me with the news that Japan had been hit by a massive earthquake. I had been busy all afternoon and hadn't heard the news. I immediately turned on my computer and watched in horror as streamed video from various news networks showed the tsunami racing across Japan's northeastern coastline, washing away everything in its path. It was an incredible sight.
Unfortunately, this was only the beginning as damage to four of Japan's six nuclear reactors caused by the earthquake threatened to create an even grreater disaster. Daily warnings about radiation levels followed. And then, just when it looked like things couldn't get any worse for Japan, it began to snow...
Nearly two weeks have past since Japan suffered its worst crisis since World War II. A stream of photos from the disaster stricken area show the magnitude of the catastrophe. One image shows rescue workers sifting through the rubble of a destroyed factory looking for survivors as snow falls heavily around them. Another shows an old woman staring at empty shelves as she pushes a cart along the aisle of a supermarket. A third picture shows a group of men sitting in dirty lawn chairs around a camp fire, cooking noodles and reading tattered newspapers while another shows a lone aid worker on a bicycle speeding through what was once a bustling city, piles of rubble on either side of the mangled road. Over 7,000 people have died, thousands more are missing, about 450,000 people are now homeless, and more than one million people have no drinking water.
Having lived in Japan for many years in the 1990's, it saddened me to see such a terrible thing happen to such a wonderful country. So, when I heard that Gwaneumsa temple here in Jeju was going to do a special ceremony for the people of Japan on Sunday, March 20th, I jumped at the chance to take part.
I arrived at the parking a lot in front of Ora stadium at 8 am and hopped onto the bus bound for the temple. Nearly every seat was taken. A good sign that Japan is in the hearts of many Korean people. Within 10 minutes we had arrived at Daewonjeongsa temple, the starting point for our aproximately 7 km "meditation" walk to Gwaneumsa temple. As we headed out, rain started falling. It rained... and rained... and rained.
Two rain soaked hours later, we finally arrived at Gwaneumsa. Not wasting any time, the monks shepparded us to a pagoda in the central courtyard area. Around the pagoda we went, a sort of "cleansing" ritual for the soul that removes bad spirits.
Next we headed inside for the main ceremony. It was packed with people. The temple's senior members entered the room and the ceremony quickly began. The next hour was similar to what most Buddhist ceremonies look like in Korea. But, about half way through, the priest began to pray for Japan, calling for health, happiness, and a strong future for the country. Then, near the end of the ceremnony, another priest called out the names of Japanese people and prayed for their strength in the face of such trying times. It was a touching moment.
A blanket of fog had moved in while we were inside, creating a wonderful atmosphere around Gwaneumsa and prompting me take a few extra minutes to walk around the complex and gather my thoughts before heading back to the bus. I rounded a corner and saw a young monk make his way across a courtyard and between two buildings. I took one photo before he disappeared into the foggy unknown.
It brought my thoughts back to Japan, its future also unknown. Rebuilding the tsunami ravaged areas will take time. It will be difficult and there will be a lot of pain. My thoughts go out to the people of Japan and I pray for a speedy recovery for the country.
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