HTML, photos on Flickr

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a-world-in-a-grain-of-sand-sl.blogspot.com/2014/09/sneaki...

tent art work at Mannheim Kunsthalle by Thierry Geoffroy / Colonel : Artist

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.emergencyrooms.org

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

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Uncle Tom's Cabin; or, Life Among the Lowly by elycefeliz

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.

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kern invite 08 - varsity by AndyNoise.Com

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

Varsity Girls - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tijerra Lynch 18:58.24 1 1 1

2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1

3. Garces Monica Guzman 19:15.89 3 3 1

4. North Celilia Lopez 19:21.87 4 4 1

5. Ridgeview Ashley Duran 19:23.47 5 5 2

6. Ridgeview Jessica Huizar 19:25.81 6 6 3

7. Foothill Natalie Fernandez 19:35.65 7 7 1

8. East Lucia Garcia 19:46.20 8 x 1

9. Stockdale Amber Nelson 19:59.40 9 8 1

10. Taft Megan Thompson 20:01.34 10 x 1

11. Stockdale Carolin Haney 20:01.70 11 9 2

12. Stockdale Shelbe Pennel 20:03.86 12 10 3

13. Shafter Moriah Milwee 20:05.23 13 11 2

14. Ridgeview Desiree Armendariz 20:08.00 14 12 4

15. Arvin Tanya Hernandez 20:10.02 15 x 1

16. Highland Nichole Berry 20:19:01 16 13 1

17. BHS Sarah Baker 20:25.37 17 14 1

18. North Medeline Maier 20:29.38 18 15 2

19. Ridgeview Monica Lazo 20:33.39 19 16 5

20. Shafter Lindsee Handel 20:36.70 20 17 3

21. Centennial Jessica Folsom 20:41.80 21 18 1

22. BHS Emily Shuford 20:45.35 22 19 2

23. Ridgeview Linda Gonzalez 20:58:28 23 20 6

24. BHS Gabrielle Lerma 21:03.97 24 21 3

25. Stockdale Courtney Moore 21:06.02 25 22 4

26. North Meagan Menzel 21:10.17 26 23 3

27. BHS Gracie Garcia 21:11.76 27 24 4

28. Foothill Perla Veloz 21:13.21 28 25 2

29. Foothill Crystal Rodriguez 21:20.30 29 26 3

30. Independence Katelynn Webb 21:21.51 30 27 1

31. Golden Valley Karina Rocha 21:23.57 31 28 1

32. Shafter Katerina Plaza 21:27.21 32 29 4

33. North Blanca Perez 21:27.98 33 30 4

34. Wasco Amanda Castellon 21:28.25 34 31 1

35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4

36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1

37. Highland Gabi Rodier 21:34.56 37 34 2

38. Centennial Margaret Martinez 21:35.39 38 35 2

39. Stockdale Cynthia Lopez 21:35.61 39 36 5

40. Centennial Jessica Crowe 21:43.49 40 37 3

41. Highland Hilaria Vasquez 21:43.76 41 38 3

42. North Yadira Perez 21:49.62 42 39 5

43. Foothill Erica Castro 21:53.39 43 40 5

44. Centennial Stephanie Dittman 21:55.56 44 41 4

45. Independence Natalie Ambriz 22:08.45 45 42 2

46. Stockdale Madison Schutzner 22:14.92 46 43 6

47. Highland Katherine Mayberry 22:16.42 47 44 4

48. Centennial Jorey Braughton 22:18.95 48 45 5

49. North Kaylee Meyer 22:20.98 49 46 6

50. Garces Lauren Brown 22:21.19 50 47 2

51. Golden Valley Denise Silva 22:23.90 51 48 2

52. Foothill Violeta Quintanar 22:24.92 52 49 6

53. Highland Desiree Martinez 22:25.59 53 50 5

54. Independence Sara Sullivan 22:25.95 54 51 3

55. Garces Lizbeth Lopez 22:28.11 55 52 3

56. Garces Tammy Vu 22:35.68 56 53 4

57. West Selam Habebo 22:39.75 57 x 1

58. Shafter Leana Lara 22:51.69 58 54 5

59. Independence Carlie Croxton 22:55.06 59 55 4

60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1

61. Foothill Maria Zepeda 22:57.55 61 56 7

62. Garces Marissa Machado 22:57.92 62 57 5

63. Shafter Mayra Torres 23:00.88 63 58 6

64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3

65. Ridgeview M. Salgado 23:14.56 65 60 7

66. Golden Valley Anna Avina 23:20.23 66 61 4

67. Golden Valley Ninive Alveno 23:26.73 67 62 6

68. Golden Valley Mercedes Salgado 23:26.73 68 63 5

69. Centennial Paige Anderson 23:30.27 69 64 6

70. Garces Sammie Lobardo 23:34.37 70 65 6

71. Arvin Bianca Quinonez 23:41.85 71 x 2

72. Kern Valley S. Hinkey 23:42.47 72 x 1

73. Frontier Ariel Driskill 23:43.12 73 66 1

74. Centennial J. Estrada 23:50.91 74 67 7

75. Kern Valley S. Hazzard 23:51.80 75 x 2

76. Garces G. Ortiz 23:54.66 76 68 7

77. North Priscilla Cruz 23:55.51 77 69 7

78. BHS Kristina Logan 24:04.10 78 70 5

79. Frontier Jasmine Mattos 24:05.42 79 71 2

80. Stockdale Delilah Diaz 24:10.83 80 72 7

81. West Wennie Agbalog 24:28.90 81 x 2

82. Wasco Anna Orozco 24:29.57 82 73 2

83. Wasco Ruby Jacabo 24:30.22 83 74 3

84. Tehachapi Anna Duke 24:33.57 84 75 2

85. Wasco S. Castellon 24:42.66 85 76 6

86. Independence Shelby Woolf 24:58.35 86 77 6

87. BHS Sarah Stidham 24:58.76 87 78 6

88. Arvin Gaby Gomez 25:04.17 88 x 3

89. Highland Cristina Valenzuela 25:05.21 89 79 6

90. McFarland Monica Gonzalez 25:42.30 90 x 1

91. Tehachapi Susie Cuevas 25:57.15 91 x 3

92. Wasco B. Medina 26:00.11 92 80 4

93. Cesar Chavez Shannan Albay 26:00.32 93 x 2

94. BC Tiffany Rodriguez 26:26.77 94 x 1

95. Tehachapi Ariel Deval 26:50.73 95 81 4

96. Wasco A. Rios 27:14.74 96 82 5

97. Independence Samantha Antu 27:17.44 97 83 5

98. Tehachapi L. Shoemaker 27:44.92 98 84 5

99. BC Victoria Wheeler 28:09.47 99 x 2

100. Tehachapi J. Bahera 29:20:93 100 85 6

101. Frontier T. See 29:29.12 101 86 3

102. Frontier Savanah Olson 30:18.04 102 87 4

103. Frontier A. Rojas NT 103 88 5

fall btc half marathon 08 by AndyNoise.Com

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

www.andynoise.com/fallbtchalf08.html

Place Name Time Pace Div/Tot Sex/Tot Div

1 GALVIN GONZALEZ 1:11:30 5:28 1/8 1/98 M3034

2 David Bacus 1:14:52 5:43 1/4 2/98 M2024

3 ZACHARY HOLT 1:21:52 6:15 1/10 3/98 M1319

4 JORDAN PERRY 1:23:34 6:23 1/8 4/98 M2529

5 Rudy Montoya 1:23:49 6:24 1/11 5/98 M4044

6 Jose Salcedo 1:25:28 6:32 2/4 6/98 M2024

7 Timothy Anderson 1:25:33 6:32 1/18 7/98 M5054

8 Chris Anderson 1:26:31 6:37 2/10 8/98 M1319

9 Diego Diaz 1:26:58 6:39 1/14 9/98 M3539

10 JOHN PURCELL 1:28:22 6:45 3/10 10/98 M1319

11 SHAWNA ROUNTREE 1:29:00 6:48 1/8 1/73 F2529

12 CREGG WEINMANN 1:29:53 6:52 2/18 11/98 M5054

13 Craig Gardner 1:30:40 6:56 3/18 12/98 M5054

14 Javier Cruz 1:31:16 6:58 1/11 13/98 M4549

15 Steve Dirkse 1:31:23 6:59 2/14 14/98 M3539

16 WALTER PAVLAKOVICH 1:31:36 7:00 4/18 15/98 M5054

17 David Little 1:32:46 7:05 4/10 16/98 M1319

18 Ezequiel Gonzalez 1:32:47 7:05 5/10 17/98 M1319

19 Alec Briones 1:33:03 7:07 1/9 18/98 M5559

20 Damon Wilstead 1:33:55 7:11 2/8 19/98 M3034

21 BART VANDERWAL 1:35:35 7:18 2/11 20/98 M4044

22 John Lee 1:35:55 7:20 5/18 21/98 M5054

23 Roehl Caragao 1:36:29 7:22 2/11 22/98 M4549

24 MARK OGILVIE 1:37:25 7:27 3/11 23/98 M4044

25 Dave Hoglund 1:37:26 7:27 2/9 24/98 M5559

26 JEFF GIUMARRA 1:37:29 7:27 3/8 25/98 M3034

27 Jacob Scott 1:37:32 7:27 6/10 26/98 M1319

28 JAMES BELL 1:37:32 7:27 6/18 27/98 M5054

29 Charolette Cholometes 1:37:40 7:28 1/9 2/73 F3034

30 DAVE MEEK 1:38:36 7:32 3/14 28/98 M3539

31 Daniel Ramirez 1:39:18 7:35 3/9 29/98 M5559

32 AARON ALBAY 1:39:25 7:36 7/10 30/98 M1319

33 COURTNEY MOORE 1:40:16 7:40 1/1 3/73 F1319

34 Richard Black 1:40:35 7:41 7/18 31/98 M5054

35 JOSE MONTELONGO 1:40:44 7:42 4/14 32/98 M3539

36 Klaus Benamy-Hackel 1:41:14 7:44 4/9 33/98 M5559

37 MICHAEL RAMIREZ 1:41:20 7:45 2/8 34/98 M2529

38 Raul Gonzalez 1:41:31 7:45 5/14 35/98 M3539

39 Freddie Bingham 1:42:33 7:50 4/8 36/98 M3034

40 Mike Gonzalez 1:42:47 7:51 3/11 37/98 M4549

41 Gerry Saba 1:43:55 7:56 4/11 38/98 M4044

42 DAVE PEGLER 1:44:04 7:57 5/11 39/98 M4044

43 DEBBIE WALLACE 1:45:03 8:02 1/12 4/73 F4549

44 EDDIE PAULSEN 1:45:25 8:03 6/14 40/98 M3539

45 Gary Enns 1:45:33 8:04 7/14 41/98 M3539

46 GREG FONTES 1:45:33 8:04 4/11 42/98 M4549

47 JOE SWEET 1:45:35 8:04 5/8 43/98 M3034

48 Sara Bradford 1:45:52 8:05 2/9 5/73 F3034

49 Daniel Tavarez 1:46:31 8:08 8/14 44/98 M3539

50 Connie Tavarez 1:46:35 8:09 1/5 6/73 F3539

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

51 Todd Witwer 1:47:12 8:11 8/18 45/98 M5054

52 MARK WITCHER 1:48:41 8:18 9/18 46/98 M5054

53 Roy Walford 1:50:02 8:24 1/3 47/98 M6064

54 HAYLEY TOBIN 1:50:13 8:25 1/14 7/73 F4044

55 Amy Fredericks 1:50:33 8:27 1/2 8/73 F6064

56 KELLY LOPEZ 1:50:45 8:28 2/14 9/73 F4044

57 ROBERT JOHNSON 1:50:48 8:28 5/9 48/98 M5559

58 JOSHUA GARZA 1:50:50 8:28 6/11 49/98 M4044

59 Eric Wolf 1:50:52 8:28 3/4 50/98 M2024

60 Derek Jeffery 1:51:02 8:29 3/8 51/98 M2529

61 BROOKS RICHARDSON 1:51:25 8:31 10/18 52/98 M5054

62 Tony Jeffery 1:52:52 8:37 7/11 53/98 M4044

63 Mike Moore 1:53:34 8:41 5/11 54/98 M4549

64 DAVE COWLES 1:54:34 8:45 8/11 55/98 M4044

65 Brian Cisneros 1:55:06 8:48 8/10 56/98 M1319

66 John Wilson 1:55:22 8:49 2/3 57/98 M6064

67 Mike Barella 1:55:26 8:49 9/11 58/98 M4044

68 FRANCISCO RAMIREZ 1:55:29 8:49 9/14 59/98 M3539

69 Jose Torres 1:56:33 8:54 9/10 60/98 M1319

70 Yolanda Hughes 1:56:38 8:55 3/14 10/73 F4044

71 Keith Stearmon 1:56:40 8:55 4/8 61/98 M2529

72 BOB BARTON 1:57:15 8:57 6/11 62/98 M4549

73 JOHN OPHEIM 1:57:22 8:58 3/3 63/98 M6064

74 Margaret Patterson 1:57:26 8:58 2/12 11/73 F4549

75 Jim Cowles 1:57:28 8:58 1/2 64/98 M6569

76 PHILIPPE IGOA 1:58:11 9:02 7/11 65/98 M4549

77 KATE QUINN 1:58:11 9:02 1/7 12/73 F5559

78 Ken Berckes 1:58:18 9:02 11/18 66/98 M5054

79 CARMEN ALBANES 1:58:25 9:03 1/11 13/73 F5054

80 KATHRYN JOSLIN 1:58:28 9:03 3/9 14/73 F3034

81 Darlene Savage 1:59:12 9:06 3/12 15/73 F4549

82 CHRIS DANFORTH 1:59:57 9:10 8/11 67/98 M4549

83 JUAN CERVANTES 2:00:23 9:12 4/4 68/98 M2024

84 JOSIE MARTIN 2:00:31 9:12 2/11 16/73 F5054

85 TAMMY GARCIA 2:01:31 9:17 4/14 17/73 F4044

86 Carol Weston 2:01:47 9:18 2/2 18/73 F6064

87 Esther Ray 2:02:16 9:20 2/7 19/73 F5559

88 Bob Ziemet 2:02:25 9:21 2/2 69/98 M6569

89 TRACY HUBBELL 2:02:40 9:22 5/14 20/73 F4044

90 ERIC BERLIN 2:03:45 9:27 12/18 70/98 M5054

91 craig smith 2:04:15 9:30 9/11 71/98 M4549

92 Jialan Su 2:04:21 9:30 4/9 21/73 F3034

93 DANIEL RODRIGUEZ 2:04:29 9:31 13/18 72/98 M5054

94 Greg Adkins 2:04:32 9:31 10/14 73/98 M3539

95 Tawnie McCaa 2:04:55 9:33 1/2 22/73 F2024

96 ROY PIERUCCI 2:04:56 9:33 6/9 74/98 M5559

97 ALICIA BROWN 2:05:39 9:36 2/5 23/73 F3539

98 Kevin Higgins 2:05:49 9:37 14/18 75/98 M5054

99 Guido Climer 2:06:11 9:38 11/14 76/98 M3539

100 Lonnie Stockton 2:06:16 9:39 6/14 24/73 F4044

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

101 CHARLES MATHER 2:06:55 9:42 5/8 77/98 M2529

102 Meg Reimers 2:07:10 9:43 7/14 25/73 F4044

103 Barb Johnston 2:07:27 9:44 3/11 26/73 F5054

104 Katie Nickell 2:07:27 9:44 8/14 27/73 F4044

105 HOPE ROE 2:07:39 9:45 4/12 28/73 F4549

106 RODERICK MARCIA 2:07:45 9:46 6/8 78/98 M3034

107 Connie Taylor 2:07:46 9:46 5/9 29/73 F3034

108 Nicole Panero 2:07:50 9:46 2/8 30/73 F2529

109 Cory Bringman 2:08:26 9:49 3/5 31/73 F3539

110 LONDO WHITNEY 2:09:11 9:52 12/14 79/98 M3539

111 Odette Hudson 2:09:27 9:53 3/7 32/73 F5559

112 Clarissa Wilstead 2:09:49 9:55 3/8 33/73 F2529

113 JEFF COOMBER 2:09:58 9:56 15/18 80/98 M5054

114 Susan James 2:10:43 9:59 4/11 34/73 F5054

115 JOAN COLLIN S 2:11:42 10:04 5/11 35/73 F5054

116 Denise Haynes 2:11:43 10:04 5/12 36/73 F4549

117 Peg Baird 2:13:42 10:13 6/11 37/73 F5054

118 REBECCA WALKER 2:15:22 10:20 4/8 38/73 F2529

119 Troy Wells 2:15:29 10:21 10/11 81/98 M4044

120 Fred Little 2:15:29 10:21 16/18 82/98 M5054

121 Brock Sheela 2:16:35 10:26 7/8 83/98 M3034

122 Pedro Segura 2:16:59 10:28 7/9 84/98 M5559

123 DELORES CORTEZ 2:17:12 10:29 1/2 39/73 F7099

124 Jennifer Fendrick 2:17:26 10:30 4/5 40/73 F3539

125 Rachel Taylor 2:17:48 10:32 5/8 41/73 F2529

126 DANIEL J. RAMIREZ 2:17:49 10:32 13/14 85/98 M3539

127 Angelica Rogers 2:18:22 10:34 7/11 42/73 F5054

128 Jason Gutierrez 2:19:10 10:38 6/8 86/98 M2529

129 Maria Steele 2:19:13 10:38 8/11 43/73 F5054

130 Janice Horcasitas 2:19:16 10:38 4/7 44/73 F5559

131 DALE VAN SCHAACK 2:20:54 10:46 5/7 45/73 F5559

132 MARILYN JOHNSON 2:20:56 10:46 6/7 46/73 F5559

133 Deanna Koelewyn 2:23:11 10:56 6/12 47/73 F4549

134 Karen Briltz 2:23:15 10:57 9/14 48/73 F4044

135 PEGGY SCHUH 2:23:29 10:58 9/11 49/73 F5054

136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549

137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319

138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529

139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529

140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044

141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054

142 carol montez 2:29:10 11:24 7/12 52/73 F4549

143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549

144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529

145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529

146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044

147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549

148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099

149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559

150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549

Bakersfield Track Club Half Marathon and 5K

November 15, 2008

Half Marathon

Place Name Time Pace Div/Tot Sex/Tot Div

151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549

152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054

153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044

154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559

155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034

156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044

157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044

158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034

159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044

160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529

161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549

162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024

163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559

164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054

165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539

166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054

167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549

168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034

169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034

170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034

171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539

Salkantay--Trek-to-Machu-Picchu by salkantay trekking

SALKANTAY TREK TO MACHU PICCHU

7 DAYS - 6 NIGHTS

SALKANTAY TREK TO MACHU PICCHU

7 DAYS - 6 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 drive west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Sayllapata.

Duration: 7 days/ 6 nights

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, Intrepid People

Altitude: 2,800 masl to 4,650 masl

Inka 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 Next Departures 2014.You can also form your own tour to be advertised on this page. Maximum group size 10.

ITINERARY - SALKANTAY TREK TO MACHU PICCHU 7 DAYS - 6 NIGHTS

DAY 1: : Transfer Airport - Cusco Hotel, City Tour(Afternoon)

See and hear about the 6 archaeological sites of Cusco - the Cathedral, Koricancha (Temple of the Sun), Sacsayhuaman, Q'enqo, Pucapucara and Tambomachay.

DAY 2: Sacred Valley Tour (Full Day)

Visit the Sacred Valley of the Incas on this full-day monumental tour.

Sacred Valley Itinerary:

Visit Pisac Market & Ruins

Ollantaytambo

Chinchero

Chinchero Market

DAY 3: 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 4: 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 5: 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 6: 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 7: 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?

Hoteles in Cusco

Day 1: City Tour Half Day

Day 2: Sacred Valley Tour Full Day

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?

Entrance fees - You need to purchase the Boleto de Turistico at the first site you enter (Soles 130 per person; valid for 10 days and allows you entrance into 16 various sites around Cusco and the Sacred Valley).

Entrance to visit the Cathedral of Cusco. S/25 Soles

Entrance to Visit Coricancha. S/ 10 Soles

Meals in Cusco

Day 3: 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.

documenta kassel 2022 by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

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

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

www.emergencyrooms.org

www.colonel.dk/

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

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