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Wicca's Originals - Zen Bindi - The Warehouse December 23rd - January 18th
::Loa:: - Gata Eyes ~Lelutka/OMEGA/Mesh/BOM~
Knife Party - Mia Eyebrows // Evo X
Cazimi - Icicle Earrings
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Kaithleen's - Spa Temptation
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#Home #cozy #decor #art #fashion #style #portrait #homedecor #aesthetic #creative #lifestyle #photography #model #fashionphotography #design #mood #vibrant #Synnergy.Tavis #Kaithleen's #Black.Box #Backdrop #Pose
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FashionNatic - Pearl Set - Cosmopolitain
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Kaithleen's - Celeste Silky Sheer Romper
Buxom - Athens Heels
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ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
🎃🎃🎃
✰ Credit ✰
Osmia - Juniper Bodysuit - Equal 10 Event
Osmia - Juniper Sleeve Shrug Top - Equal 10 Event
.Tardfish. - Pumpkin Puppy
🎃🎃🎃
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Hair :
[Unorthodox - Scalpz UNITS
[Unorthodox - Scalpz- Bunny Hairbase
[Unorthodox - Bunny Hair
Outfit : Meva - Solea Bikini Set - Fameshed Event
Pose : Versuta. - Retroyse Pose
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Hair : Unorthodox - Flow Curls
Kaithleen's - Cozy Allure Dress
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Virginia Bluebell Wildflowers & Spring Growth
Loudoun County, Northern Virginia
Accessed via Bull Run Regional Park
Date taken: April 17, 2014
Unsigned prints are available for purchase at Fine Art America.
Website & Social Media Links: Facebook | Website | Google+
The saying “all knees and elbows” is often attributed to someone who has yet to mature or fully grow into their frame. Nature, likewise, goes through a similar stage in spring when the forest has yet to mature into its summer greens and much of what you see is all branches and mud and chaos. This can be a huge challenge during the seasonal shift for landscape photographers considering one of the primary goals of the craft is to reduce nature’s chaos and confusion into one, easily readable, so-called “clean” frame, free from distractions. Being somewhat naturally inclined to question guidelines and to gently poke at their limits, I often shoot scenes that I know at the moment of capture are not going to be received well by those who find comfort in the well-worn confines of the sandbox or who otherwise like to position themselves as the gatekeepers to the status quo. Most of my attempts in this vain are failures, rightfully so, but fun nonetheless. Some, on the other hand, come out personally satisfying, although still largely rejected by the critics and powers that be who stand between an image and its ability to reach market. This photograph is one that appears to be falling into the latter category.
The Occoquan Stream Valley accessed via the Occoquan-Bull Run National Recreational Trail comes alive in the spring season with Virginia Bluebells, a seasonal ephemeral wildflower that paints the forest floor with a carpet of blues and light pink hues. Being an ephemeral though, these guys have to sneak in before the canopy leafs out and steals all of the sunshine from the forest floor. By late May these flowers are all but completely gone, like an illusion, only to return again next spring. Thus, when the Bluebells poke through the ground in early spring much of the surrounding environment is scraggly branches, ample boot-sucking mud, and otherwise nature’s awkward early-season “knees and elbows.” Macro opportunities abound for the small-scene inclined, but contextual landscapes are complicated at best. A few things I learned this season, my first concertedly chasing a few photographs of these wildflowers: my initial thought that overcast and calm weather would provide the most optimal conditions for getting a pop of color were somewhat misguided. I found that late evening or early morning sun on a clear day made for the most dramatic spring scenic, as looking into the light provided for beautiful backlit spring green leaves. Once I thought about this it made perfect sense: sunlight is the driver of spring growth and thus an essential element in any composition that speaks towards the story of the season. However, any light on the bluebells would cause blowouts with exposure and thus, I went in search for late evening light that would make the newly minted spring green understory dance, while also being at such an angle as to mostly shade the delicate bluebells to maintain an even single-exposure. This proved to be a strategy that I continued to follow at both sun-up and sun-down for several days with mild to moderate success.
The resultant shot, what you see above/below, has been confirmed thus far by the critics and gatekeepers as poor composition and of little value to the commercial photography market. However, I find it honest and authentic to the chaos that is spring, and thus, for me personally, a satisfying take-away from a week of shooting. It could certainly be better, but then again, what photograph have you ever really taken that couldn’t be improved?
Have a wonderful weekend folks! Get outside if you can and enjoy the season!
✰ Credit ✰
[ADD] - Arime Set. - Dubai Event
Backdrop : Blaink. - Knockout Zone - Alpha Event
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Every year I lead an intensive workshop in Spain for beginning and intermediate wildlife photographers:
Wildlife Photography Boot Camp
Our location is the largest zoological park in the world, and with over 100 different species from the five continents, this is the perfect place to learn all the basics of wildlife photography.
This was shot on a late afternoon when it suddenly started to rain heavily. Instead of staying inside, I encouraged my group to go out and use the rain as an interesting bonus. This Watusi family preferred to stay dry though.
If you're a beginner or intermediate photographer and would like to learn more about wildlife photography and composition, and have a great time with a small group of like-minded enthusiasts, then join us on our next Wildlife Photography Boot Camp in Spain. Please have a look on my website for more information, pictures and tour impression video clips:
Squiver Photo Tours & Workshops
Hope to see you there!
Marsel
©2013 Marsel van Oosten, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
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For Her
Leven Ink - Cryptic Tattoo - Astrophe Event
Vanilla Bae - Rochelle Dress 2.0
CODEX - Lady Gloves
For Him
[Mazzaro] - Emanuel Set
Backdrop : The Bearded Guy - Metal Jungle Backdrop PBR
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Ricielli - Laure Outfit - Fameshed Event
Compatible with: Lara, LaraX, LaraXPetite, Legacy, Legacy Perky,
Legacy Bombshell, Reborn and Waifus
Tableau Vivant - leLutka EvoX Hairbase 49
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You will find 184+ of my poems HERE. fno.org/poetry/index.html
A poem from 2019
Where will you take me?
Where will you take me
My new love?
To the moon?
Past the stars?
All the way to heaven?
And beyond?
Or will we just cruise on down the Danube?
Enjoy the Don?
Stroll along the Seine?
Hand in hand
Trading wishes, dreams and fears
Hoping for the best
Shaking off the past
Creating the new
Where will you take me
My new love?
To new lows
Or new highs?
Surprise me
Delight me
Teach me what you can
Grab this moment
And make it last
Make it ours
Toss away your troubles
Pack up your sorrows
Join me in this crazy dance
Once and for all time
Kicking up your heels
Spinning madly
Shouting
And calling out my name
Love me with abandon
Make me yours
And I will make you mine
© Jamie McKenzie, all rights reserved
You will find more of my poems and songs here
and in The Storm in Its Passing and Flights of Fancy.
My songs are at
raindropsandtoads.blogspot.com/2017/10/the-darkness-preva...
FEATURING
Sweet Evil @ Gacha Life Event
SongBird
Avada @ Swank
.kosmetik @ Twe12ve
Porcelan @ Mad Circus
!IT! @ Gacha Life
OUTFIT
PANTS - ~SongBird~ Spoopy Capris
Main store - maps.secondlife.com/secondlife/Dark%20Hill/69/198/26
Owner - nimil blackflag
PASTIES - Sweet Evil - Evil Pasties - Gacha LIfe Event
Main Store - maps.secondlife.com/secondlife/Dream%20Beach/224/33/22
Event - maps.secondlife.com/secondlife/Brewery/88/130/21
Owner - kelli sideways
TATTOO
Avada~ Metropolis Tattoo @ Swank
Main Store - maps.secondlife.com/secondlife/Elmira/99/50/23
Event - maps.secondlife.com/secondlife/Spring%20Retreat/160/138/3003
Owner - Stephanie Fishnet
EYES
.kosmetik - Eyes.candid @ Twe12ve
Main Store - maps.secondlife.com/secondlife/Dark%20Eternal%20Rose/83/1...
Event - maps.secondlife.com/secondlife/Brewery/79/200/21
Owner - Merredyth
MAKEUP
!IT! @ Gacha Life
Tres Gothique Eyeshadows
Tres Gothique LIpstick
Main store - maps.secondlife.com/secondlife/Jewelry/223/182/37
Event - maps.secondlife.com/secondlife/Brewery/88/130/21
Owner - Aneanu
NAILS
Porcelan - Graveyard Nails @ Mad Circus
Main Store - maps.secondlife.com/secondlife/Forgotten%20Cove/213/11/3502
Event - maps.secondlife.com/secondlife/Brewery/88/130/21
Owner - Porcelan
SKIN: *YS&YS* Kitty Skin Applier for CATWA - April Powder Pack
maps.secondlife.com/secondlife/Feel%20Beautiful/110/147/502
HEAD/EYES: CATWA HEAD Catya
maps.secondlife.com/secondlife/Catwa%20Clip/143/3/22
SHAPE: Custom
HAIR:Tableau Vivant \\ Spring curls 4 - Black&Whites @ Tableau Vivant \\ Catwa HB - Bloom FatPack - RARE
maps.secondlife.com/secondlife/Beauty%20Avatar%20couture/...
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, 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, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, 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,[43] 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.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Mother bear and her three kids. Photographed from a hide in Finland.
If you would like to join me on one of our photo tours and workshops, please check out my website for more information:
Squiver Photo Tours & Workshops
Marsel
©2013 Marsel van Oosten, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
✰ Credit ✰
For Her
Dead Dolls - We who are not as others Tattoo EvoX 4KHD - TOKYO ZERO Event
Tiny Blep - Summer Stripe Kini - TOKYO ZERO Event
For Him
IMPACTS - Short Billi
ENZO/JAKE/GIAN/ATHL/KARIO
Pose :
Lush Poses - Stoner GF -Couple Bento Pose
NEW ATTITUDE
● Tumblr
● Flickr
● Primfeed
The Birds of Ireland: A Field Guide with Jim Wilson
Shorebirds of Ireland with Jim Wilson.
Freshwater Birds of Ireland with Jim Wilson NOW OUT OF PRINT
www.markcarmodyphotography.com
The Grey Heron (Ardea cinerea) is a long-legged predatory wading bird of the heron family, Ardeidae, native throughout temperate Europe and Asia and also parts of Africa. It is resident in much of its range, but some populations from the more northern parts migrate southwards in autumn. A bird of wetland areas, it can be seen around lakes, rivers, ponds, marshes and on the sea coast. It feeds mostly on aquatic creatures which it catches after standing stationary beside or in the water or stalking its prey through the shallows.
Standing up to a metre tall, adults weigh from 1 to 2 kg (2.2 to 4.4 lb). They have a white head and neck with a broad black stripe that extends from the eye to the black crest. The body and wings are grey above and the underparts are greyish-white, with some black on the flanks. The long, sharply pointed beak is pinkish-yellow and the legs are brown.
The birds breed colonially in spring in "heronries", usually building their nests high in trees. A clutch of usually three to five bluish-green eggs is laid. Both birds incubate the eggs for a period of about 25 days, and then both feed the chicks, which fledge when seven or eight weeks old. Many juveniles do not survive their first winter, but if they do, they can expect to live for about five years.
The main call is a loud croaking "fraaank", but a variety of guttural and raucous noises are heard at the breeding colony. Grey herons have the ability to live in cities where habitats and nesting space are available. In the Netherlands, the grey heron has established itself over the past decades in great numbers in urban environments. In cities such as Amsterdam, they are ever present and well adapted to modern city life. They hunt as usual, but also visit street markets and snackbars. Some individuals make use of people feeding them at their homes or share the catch of recreational fishermen. Similar behaviour on a smaller scale has been reported in Ireland (Dublin, Galway and Cork). (wikipedia)
This individual was quite fearless at Trader's Wharf, Dun Laoghaire, Dublin. It landed on one of the local trawlers and proceeded to walk around the fish boxes on the quayside. Such stunning birds but looking a bit awkward trying to stand in the strong wind!
Huffington Post post about Billy Gomez.
The translation of the text that appears in the blog (which you can read below) is the work of Mark Donnelly . A great thank you to Mark for always looking for the best translation and to Billy Gomez for his great work and collaboration.
Don´t forget that you can share this on facebook, tweet, mail, subscribe etc…
Shadow Hunter
There are methodical photographers who dedicate hours to every photo controlling every little detail of light and composition. On the opposite side there are those who armed with their cameras are hungry for images like a hunter looking for his prey. They don’t know where nor when they’ll find this image. They’re not familiar with the place, the light or “the model”. But at any given time they’ll stumble upon it and shoot without thinking twice, feeling the rush of the hunter becoming the hunted.
Billy Gómez belongs to this lineage of camouflaged, instinctive, risk-taking, quick draw and crack shot photographers. He has become a creative and active witness of the streets of Seoul. Its inhabitants are the driving force behind his work with their hectic routines, their depression and loneliness etched on their faces. The metro, train and the streets are his usual scenes. As in this image, the people he photographs are alone, lost in thought and with an expression of defeat almost as if they were prisoners to a life they hadn’t dreamt of. They look through the windows with their imagination trying to escape but all they find are others like them who are just as lonely and lost.
Billy is aware of the fact that with his camera he is going to steal sad and intimate moments in public places with no previous permission and this has its risks. However this also turns the moment of capture into something exciting, disturbing and unpredictable. With his sensitive and lyrical voyeurism he turns everything he sees into art.
He develops his photographs in a way to increase the loneliness of the lives of the human beings he portrays. By adding a vignette to every one of his subjects and darkening the borders it seems like they are surrounded by shadows. With his camera he immortalizes these sad inhabitants and it can be said that his voyeurism of anonymous men and women is taxidermal.
Billy Gómez (Los Angeles, 1971)
Born in America he moved to Seoul in 2005 to teach English. His job leaves him with a lot of free time and soon he decides to make the most of it by taking photographs. After a few years of fooling around, experimenting and searching he starts to define his style - a combination of voyeurism and spontaneous portrait. The result is a lucid and sad x-ray of a city, Seoul and its inhabitants.
With a telephoto lens, a 50mm and lately an iPhone that allows him to go unnoticed, he hits the streets in search of the right light and perfect moment. Not being able to control light as one would in a studio makes post-production more laborious. The search for the right light is now one of this visual poet’s priorities in the streets of Seoul. A hunter of light and above all shadows.
rare & beautiful case of a well done double spread.
shot by Ji Hyuk Park
W magazine
more pics from JHP
english.chosun.com/w21data/html/news/200702/200702280033....
a friend sent me this a while back,
something from 2005 at www.wwd.com
sorry they didn't tell me the exact page it came from.
How a cover shoot happens
What does it take to produce a magazine cover? Well, start with $100,000. Considering the many expenditures involved, that’s almost a minimum budget for creating a memorable image. From the basics of a studio photo shoot to the extravagant requests celebrities often make on location, here’s a look at what’s behind those coy smiles on the newsstand.
BOOKING CELEBRITIES
In the earliest stages of planning a magazine issue, a special projects or entertainment editor will approach a potential cover subject. This initial outreach typically happens two to eight months before the shoot, though major stars are often sought out for covers more than a year in advance.
“We approached [the Olsen twins] a year and a half before the shoot,” said Allure editor in chief Linda Wells, of her May 2004 cover. “Everyone thought I was crazy at the time because they were still doing tween movies. But we pegged it to their 18th birthday, and it ended up being one of our bestsellers.”
“It depends how much competition there is over them and their project,” said Teen Vogue editor in chief Amy Astley. “For peace of mind, I like to have covers booked a little ahead.…But a lot of [celebrities] like to leave their options open now, so it’s hard.”
Once the celebrity has signed on, the star’s publicist and the magazine then haggle over various contract riders. These are additional requests made by the star and might include, but are not limited to, the type of transportation and accommodations provided by the magazine, what kind of motor home will be available if the shoot is on location, extra space for the star’s privacy, the names of hair and makeup artists the star would prefer to use, specific food requests for catering and stipulations that publicists and/or bodyguards be brought to the shoot at the magazine’s expense.
“Usually, it’s not just a diva-esque request,” Wells said diplomatically. “There might be an awkward history [with a stylist or a writer], or there’s been some violation of trust.” However, she added, “Sometimes we’ve had celebrities ask for their own hair and makeup people.…When we’ve bent the rules and acquiesced, it usually hasn’t yielded the best results.”
Since top hair and makeup people can charge upward of 10 times the standard editorial rate of $200 to $250 per day, upgrading can be an expensive request to indulge. However, when a star insists on bringing in his or her own team, the studio behind the project the celebrity is promoting will sometimes step in to defray costs.
INSPIRATION
Shortly after the cover is booked, someone from the magazine talks to the celebrity or the celebrity’s publicist about the direction of the shoot. Photographers are discussed, as are styles of clothing and locations that might be used. If the celebrity favors certain designers or has a cosmetics contract, those relationships are disclosed. Also discussed are styles and designers the star prefers not to wear, angles at which he or she prefers not to be shot and body parts he or she does not want shown. Independently, the editor in chief and art and/or photo directors will meet to discuss what they want from the cover image.
“We look to see what’s been done before, all the covers [the celebrity has] done, who’s photographed them. Are they comfortable posing in front of the camera? Are they comfortable moving their bodies?” said Laurie Kratochvil, the photo director of In Style. “We look at our last few covers. Have we done a tight headshot? Have we done a full body?….For a while, we were doing very much a head and shoulder thing, which got a little boring.” Now, celebrities appear on In Style’s mostly white backgrounds shot over the shoulder, in the “crouching starlet” pose or just sitting on the floor.
Then a photographer is booked. Most magazines have a select group they use for covers. At some titles, the photographers are on contract and are paid a flat fee for their work — anywhere from five to seven figures annually. Other companies simply have a verbal understanding with their photographers and pay them on a daily and/or per-page basis.
High-profile photographers often have a great deal of say in creating the cover image, and they also have their own sources of inspiration. Just as fashion designers consult vintage stores like What Comes Around Goes Around, and chefs frequent Bonnie Slotnick’s cookbook shop, many photographers look to Gallagher’s Fashion and Design magazine archive in Manhattan’s East Village for ideas. The influence of images past is sometimes barely perceptible. In other cases, such as in Esquire’s November 2003 cover with Britney Spears, which re-created a classic 1966 Angie Dickinson pose, the photographer makes an overt homage.
“Nothing ever dies in fashion,” said Michael Gallagher, magazine archive owner. “It just comes back around. Art directors are the worst — they copy too much sometimes. But when it works, it works. Why not re-create something beautiful and put your own spin on it?”
MODEL COVERS
Should the publication so choose — or should, say, a celebrity cancel at the last minute — a model might be booked for the cover instead. Models are reserved anywhere from a few months in advance to just days before the shoot. The going rate for editorial work is $225 a day plus 10 percent to the model’s agency — even for supermodels such as Daria Werbowy, Karolina Kurkova and Liya Kedebe, who is currently on the May cover of Vogue.
“[Editorial work] is not going to pay the same rate as selling jewelry or cosmetics [in an advertising campaign],” said Ivan Bart, senior vice president of IMG Models. “But doing covers leads to other opportunities.…In the same way that Julianne Moore does a magazine cover to promote a film, models are on covers to promote their interests, too.”
LOGISTICS
About a month before the shoot, a photo editor from the magazine reserves a studio space — usually Milk or Pier 59 in New York or SmashBox or Quixote in Los Angeles — or hires an outside producer to begin scouting and coordinating locations.
“When the editor or photographer comes to me, there’ll generally be an overall idea of where the shoot should be, what the clothes are and who the subject is,” said Victoria Brynner, an executive producer with Stardust Visions, a production company based in Los Angeles. “We’ll scout locations and post our pictures on a Web site, so that everybody — the photographer, the editor, the stylist — has a chance to take a look and decide which location is most appropriate.”
Prop stylists, hair and makeup people, a manicurist and a caterer are put on hold, as are any other extras that might be used — say, the lions that appeared with Drew Barrymore in the April Vogue cover shoot. The photo editor or independent producer also books all necessary travel arrangements, accommodations and limousine services. A few days before the shoot, call sheets are sent out to everyone who will be attending, and anyone at the magazine who might need to reach someone on set.
THE CLOTHES
Shortly after the direction is established, the fashion editor and stylist working on the story begin assembling inspiration boards of runway shots and photos. At least three weeks before the shoot, market editors begin calling in clothes and accessories for consideration. A run-through is scheduled, and more clothes are called in if necessary. Once the looks have been picked, all items are sent to the location. If the clothes have to fly, they are usually accompanied by a stylist’s assistant. Since celebrities are typically not sample size, there will often be a fitting the day before so that clothes can be altered to fit the cover subject’s frame. If that doesn’t work, often designers will offer clothes straight from the racks of their stores.
THE SHOOT
The photographer and crew are usually the first to arrive and set up. If a set needs to be built, it’s constructed.
The caterers get there to set up for breakfast and lunch.
“I think there are a lot of misconceptions about photo shoots and models and celebrities,” said Pam D’Orazio, who owns Palma in the West Village and caters many magazine shoots in New York. “People think they don’t eat dessert — they love dessert.” And some love it so much they make special requests. One star’s manager is known for calling ahead and asking for specific dessert recipes. If there are any leftovers, he’s apparently not shy about taking them home.
Hair and makeup people come in an hour or two before the celebrity, who is the last person to arrive on set. While most celebrities have cars in Los Angeles, and many have homes just blocks from the two major studios in New York, few stars offer to get themselves to and from a shoot. Notable exceptions are Julianne Moore, who has been known to walk to locations in New York, and Jennifer Aniston, who frequently drives herself to shoots in Los Angeles. (Uma Thurman, on the other hand, reportedly prefers to be chauffeured, even if it’s just a few blocks.)
If the shoot is not in New York or Los Angeles, chances are everyone has to be flown to the location. A-list celebrities, top photographers and top editors and stylists are almost always flown first class. B-list stars, assistants, hair and makeup people and publicists fly coach and must upgrade on their own. While most magazines will only make commercial flight arrangements, there have been instances where celebrities have requested and gotten private jet and helicopter flights to “save time” on a cover shoot.
LAYING OUT THE COVER
Within a week, contact sheets from the photographer arrive at the magazine. Film is picked by the art and photo departments and the editor in chief. A print order is made and the retouching and color correcting process begins, which can take up to two weeks. Most magazines and photographers use Box Studios in New York. Simultaneously, an editor in chief and other editors at the magazine generate cover lines, while the art department uses scans from the original contact sheets to mock up versions of the cover. While stars often ask for photo approval, it’s rarely ever granted. However, many celebrities and models are able to see polaroids during the shoot and can make objections if something looks off to them then.
COVER TESTING
Once the editor in chief has narrowed down the possibilities, two to five potential covers are tested, typically by an outside vendor using an e-mail survey. The vendor sends an e-mail blast to people who are asked to rate cover lines and images. Within 48 hours, the editor in chief receives the results of the test and makes his or her final decisions about which image and cover lines to use for the issue.
While some editors argue cover testing limits the creative process, its devotees say the opposite is true. Astley ended up going with a riskier cover choice for the June issue of Teen Vogue in part because of cover tests. “We had lots of different options that were all fairly conventional, with [cover subject Lindsay Lohan] just sitting there,” said Astley. “We thought here at the magazine that the image with her eyes closed was fun and different, but we didn’t know if it would work. The feedback we got [from kids through testing] just helped us follow our convictions.”
THE COVER SHIPS
Once the cover has been finalized, the image is sent to the printing plant — typically located in some far off, glamorous locale like Baraboo, Wisc., or Dyersburg, Tenn. — in an electronic file, along with a color proof. Depending on the magazine, someone from production may go with the magazine to the plant. It takes roughly two weeks to print and bind the issue. Within seven days after the issue is bound, magazines arrive on newsstands and in subscribers’ mailboxes. And then, of course, the process begins all over again.
✰ Credit ✰
Elune. - Giulia Set - Kustom 9
Fits: Ebody Reborn/Waifu/v-tech and Legacy/Perky.
Pose : Versuta. - Tess Pose
NEW ATTITUDE
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#Home #cozy #decor #art #fashion #style #portrait #homedecor #aesthetic #creative #lifestyle #photography #model #fashionphotography #design #mood #vibrant #Versuta #Elune #Kustom9 #K9 #Pose # Event
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J.E.F - Sandra Black - Wip Event
Noveny - Patio Lounger - Adult - Wip Event
Noveny - Pina Colada - Wip Event
Noveny - Rattan Diamond Palmera - Wip Event
Noveny - Rattan Mini Table - Wip Event
Noveny - Rattan Mirror Clear Dark - Wip Event
Pose : [DPSP] - Kissing Frogs
NEW ATTITUDE
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JOSE' LUIS PERALES - QUE CANTEN LOS NINOS
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LA LOTTA DELLE MADRI DEL CORNO D'AFRICA .
Namanakwee Ngamor
Ho sempre creduto che sotterrare un figlio o una figlia sia la più traumatica esperienza che possa accadere a una madre, in quanto è una violazione dell’ordine naturale della vita. Ma se, nel peggiore dei casi, tuo figlio muore perché non sei in grado di fornirgli il cibo, il tuo dolore è aggravato per non essere in grado di rispondere all’istinto materno basilare: nutrirlo.
Ecco perché, quando Namanakwee Ngamor mi confida che meno di un mese fa suo figlio è morto di fame, nei suoi occhi affranti ho letto molto più che semplice dolore. “Mio figlio aveva cinque anni. Non abbiamo mangiato per intere settimane, ma lui non ce l’ha fatta a sopravvivere”, spiega la donna, mentre tiene in mano un sacco vuoto che utilizzerà per raccogliere la propria porzione di cibo distribuita oggi da Oxfam a Kanukurdio.
Questo piccolo villaggio nel nord del Kenya, è solo uno dei tanti colpiti dalla grave crisi alimentare del Corno d’Africa che minaccia più di 12 milioni di persone nella regione.
La fame non perdona, sta addosso ai più deboli, uccidendo soprattutto vecchi e bambini, ma è talmente devastante che colpisce anche gli adulti.
Le madri, dopo anni di avversità, hanno i corpi fragili e sono sempre più deboli: potrebbero soccombere da un momento all’altro.
Mary Nsaniana ha da poco seppellito sua figlia, madre dei suoi nipoti, morta a seguito di una malattia che, secondo la sua saggezza di donna cinquantenne, era dovuta al perdurare costante di fame e sete. La fame e la sete, infatti, sono due fattori che violano il naturale ordine della vita.
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La popolazione locale non può comprendere le ragioni di questa siccità, il perché non piova da oltre cinque anni e nemmeno dove possano trovare la forza per andare avanti dopo aver perduto circa il 60% del loro bestiame. Le loro capre, le pecore, il bestiame, e anche i loro cammelli stanno morendo. E con la loro scomparsa sta venendo meno la loro unica fonte di reddito. “Nel momento in cui gli animali muoiono, capiamo che le persone seguiranno lo stesso destino ”, afferma Mary con un’espressione che tradisce un sentimento di rabbia e disperazione.
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Un sentimento di disperazione, ma anche una determinazione a cercare un’alternativa alla morte. “Abbiamo bisogno di grano, così possiamo preparare le pappe per i nostri bambini prima che sia troppo tardi”, esclama Aite Eknba mentre tenta di sorreggere le sue bimbe, Apùa e Evei, i cui piccoli corpi stanno cedendo al tremendo peso della fame.
Dopo tre settimane in cui l’unico alimento a disposizione dei bambini è stato l’ edapal, uno dei frutti selvatici che cresce nella regione, i piccoli sono talmente deboli che per molto tempo non potranno digerire cibo solido. Nel caso in cui le madri non trovino al più presto del cibo appropriato per nutrirli, un’altra violazione dell’ordine naturale della vita minaccerà anche il villaggio di Nakimnet, dove più di 4.400 persone dipendono totalmente dagli aiuti umanitari.
In questo villaggio già sono stati seppelliti quattro bambini, vittime della fame e altri 626 stanno soffrendo a causa della malnutrizione. È impossibile misurare il sentimento di impotenza di queste madri, che sono obbligate ad aspettare per giorni gli aiuti umanitari per poter sfamare i propri figli.
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Aite, Mary e Namanakwee sono solo tre delle migliaia di madri della regione che non hanno niente da mangiare e tantomeno hanno cibo da dare ai propri figli. I loro mariti, che una volta erano fieri pastori nomadi, oggi possono solo aspettare che cada finalmente la pioggia di cui hanno disperato bisogno.
La carenza di pascoli e i conflitti etnici che hanno colpito alcune aree al confine della regione un tempo fertili, sottopone i villaggi ad un virtuale stato di assedio, obbligando le persone a restare in questa drammatica attesa.
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Tuttavia, per molte di queste donne, la sosta obbligata è stata l’occasione per prendere delle iniziative. Nel villaggio di Mila Matatu, ho parlato con Alice Atabo, l’agente designata da Oxfam per favorire la distribuzione del cibo. Questa donna intraprendente si è occupata di metter su un piccolo negozio di alimentari e può così aiutare la comunità a rifornirsi di cibo.
“Tutto cominciò quando decisi di investire una piccola somma, che Oxfam mi aveva donato, perché partecipai a un progetto che prevedeva dei finanziamenti per avviare attività. Io comprai prodotti come latte, farina e zucchero. Non appena le persone vennero a sapere del mio negozio, iniziarono a comprare gli alimenti basilari da me. Nel corso del tempo”, spiega Alice, “sono stata in grado di rientrare economicamente con le spese e anche di fare richiesta di un ulteriore credito per espandere la mia attività. Inoltre, mi venne data una parte di cibo da distribuire gratuitamente alle famiglie più bisognose che venivano a prenderlo nel mio negozio”.
“Oggi il cibo arriva dal centro di distribuzione e le persone, che possiedono dei buoni d’acquisto, sono impazienti di comprarlo, perché scarseggia e sta per finire”, afferma la donna mentre tiene in braccio il più piccolo dei suoi otto figli, un bimbo sorridente che, mentre la madre parla, gioca con la sua collana.
Alice è consapevole di essere una madre fortunata, perché ha abbastanza cibo per nutrire i suoi bambini.
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Con i fondi raccolti, Oxfam Italia porterà alle popolazioni del sud dell’Etiopia cibo, acqua e servizi igienici, e creerà posti di lavoro retribuiti (programma cash for work) per far ripartire l’economia locale. L’Etiopia è uno dei paesi più colpiti dalla crisi. Con il suo intervento Oxfam assisterà circa 15mila persone e 750 famiglie.
“In questo momento il Corno d’Africa è la priorità assoluta. Basti pensare che con tutta probabilità le Nazioni Unite dichiareranno lo stato di carestia in tutta la Somalia.
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ESPANOL
La lucha de una madre en el Cuerno de África
10 Agosto, 2011| Blog channel: Conflicto y Desastres
Siempre he pensado que enterrar a un hijo es la experiencia más traumática que puede ocurrirle a una madre, una alteración del orden natural de la vida. Pero si además, tu hijo muere porque no has podido alimentarle, a ese dolor se añade la impotencia de no haber podido responder al más básico de los instintos maternales: nutrir a los hijos.
Por ello, cuando Namanakwee Ngamor, me cuenta que hace menos de un mes el hambre mató a su hijo, sus ojos abatidos expresan más que dolor. “Mi hijo tenía 5 años. Estaba cada vez más débil y yo no tenía nada más para darle qué frutos silvestres. Llevábamos semanas sin comer y mi hijo no pudo aguantar”, explica la mujer mientras sostiene entres sus manos un saco vacío, que utilizará para recoger la parte que le corresponde de la distribución de alimentos que hoy está realizando Oxfam en Kanukurdio. Esta aldea del norte de Kenia, es una más de las afectada por la grave crisis alimentaria en el Cuerno de África, que amenaza a más de 15 millones de personas en la región.
Namanakwee Ngamor, instalada en Kanukurdio, en el norte de Kenia, ha perdido a su hijo de 5 años. Foto: Irina Fuhrmann /Oxfam
El hambre se mece lentamente sobre los más débiles, adormeciendo primero a los niños y a los ancianos, pero sus estragos empiezan a alcanzar también a los adultos. Las madres, con sus cuerpos ya frágiles por años de penuria, se están debilitando cada vez más y en cualquier momento ellas también pueden caer. Mary Nsaniana enterró hace poco a su hija, la madre de sus dos nietos, tras una enfermedad que según la experiencia de esta mujer de 50 años, fue una acumulación de hambre y sed. Hambre y sed que alteran el orden natural de la vida.
Tampoco los habitantes de la zona comprenden por qué hay sequia, por qué ya hace más de cinco años que no llueve ni cómo van a poder seguir adelante cuando han perdido cerca del 60% de su ganado. Las cabras, ovejas, vacas, e incluso ahora los camellos, se están desvaneciendo y con ellos su única fuente de ingresos. “Cuando mueren los animales sabemos que los siguientes somos nosotros, los humanos”, explica Mary, con ademanes que muestran el enojo de su desesperanza.
Desesperanza y urgencia para que no mueran más personas. “Necesitamos cereales para poder darles papilla a los niños, antes de que sea demasiado tarde” clama Aite Eknoba, tratando de sostener erguidos a sus dos hijos, Apúa y Evei, cuyos cuerpecitos se doblegan ante la fuerza del hambre. Tras haber pasado tres semanas comiendo edapal, uno de los frutos silvestres que se encuentra en la zona, los niños están tan débiles que ya no retienen ningún alimento sólido. Si su madre no encuentra algo adecuado para alimentarles rápidamente, otra nueva alteración del orden natural de la vida se cernirá sobre Nakinomet, una aldea dónde más de 4.400 personas dependen totalmente de la ayuda humanitaria.
Esta comunidad ya ha enterrado a cuatro niños víctimas del hambre y otros 626 sufren desnutrición. Según las recientes evaluaciones que se han llevado a cabo en la región de Turkana, 37 niños de cada 100 muestran signos de desnutrición. Lo que no podemos medir todavía es el grado de impotencia de sus madres, obligadas a esperar que llegue la ayuda humanitaria para poder alimentar a sus hijos unos días más.
Aite, Mary y Namanakwee son sólo tres madres entre miles de mujeres afectadas en la región, que no tienen nada con qué alimentarse, ni ellas ni sus hijos. Sus maridos, antes orgullosos pastores trashumantes, sólo esperan que llegue la tan ansiada lluvia. La falta de pasto y el conflicto interétnico que afecta ciertas zonas de pastoreo fronterizas han sitiado a estas comunidades, obligándolas a permanecer en esta dramática espera.
Alice Atabo abrió una pequeña tienda de comestibles de su comunidad, Mila Matatu, en el norte de Kenia. Foto: Irina Fuhrmann /Oxfam
Sin embargo, para algunas de estas madres, la espera no carece de iniciativa. En Mila Matatu, otra aldea de la zona, me encuentro con Alice Atabo, la agente de intercambio designada por Oxfam para apoyar la distribución de alimentos. Esta emprendedora mujer ha hecho crecer una pequeña tienda de alimentación que provee a la comunidad. “Todo empezó cuando decidí invertir una pequeña cantidad, que me había dado Oxfam al participar en un proyecto al cash x work, en comprar productos como leche, harina, azúcar. Tan pronto supieron que en mi tienda podían abastecerse de lo básico, empezaron a venir de todos lados. Y con el tiempo, pude volver a pedir otro crédito y ampliar mi aprovisionamiento. Ahora además, recepciono los alimentos de la distribución gratuita y las familias más necesitadas vienen a recogerlos a mi tienda” explica Alice.
“Hoy han llegado los alimentos de la distribución y la gente ya está impaciente con sus tarjetas de intercambio preparadas, pues ya no les queda nada para comer”, nos explica mientras sostiene en sus brazos al último de sus ocho hijos, un bebé sonriente que juega con los collares de su madre. Alice sabe que es una madre afortunada pues tiene con qué nutrir a sus hijos.
Oxfam interviene en la región del norte de Kenia, distribuyendo alimentos a más de 200.000 personas. La organización trabaja desde hace años con las comunidades de pastores, apoyando la habilitación de puntos de agua, interviniendo con programas de dinero a cambio de trabajo y acompañando en el desarrollo de nuevos medios de vida alternativos para las comunidades de pastoralistas.
Más información
Crisis alimentaria en el Cuerno de África
Apoya el trabajo de Oxfam: Haz un donativo
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FRANCAIS
Le combat quotidien des mères dans la Corne de l'Afrique
15 Août, 2011| Blog channel: Conflits et Urgences
Devoir enterrer son enfant m'a toujours semblé être l'expérience la plus traumatisante que pouvait vivre une mère, une sorte de bouleversement de l'ordre naturel de la vie. Mais si en plus, cet enfant meurt car vous n'avez pas été en mesure de le nourrir, alors vient s'ajouter à la douleur de la perte d'un enfant celle de ne pas avoir pu répondre à un des instincts maternels primaires : celui de nourrir ses enfants.
Namanakwee Ngamor, installée à Kanukurdio, au nord du Kenya, a perdu son fils, âgé de 5 ans. Photo : Irina Fuhrmann /Oxfam
Quand Namanakwee Ngamor m'explique comment, il y a moins d'un mois, elle a perdu son fils, mort de faim, ses yeux trahissent bien plus que de la douleur. "Mon fils avait 5 ans. Il était de plus en plus faible, et je n'avais rien d'autre à lui donner que des baies. Nous sommes restés des semaines sans manger et il n'avait plus assez d'énergie pour se tenir debout", m'explique-t-elle, en tenant dans ses mains le sac vide qui lui servira à garder la ration distribuée plus tard par Oxfam à Kanukurdio. Cette zone du nord du Kenya est une des plus gravement touchées par la crise dans la Corne de l'Afrique, qui menace à terme plus de 15 millions de personnes.
La faim s'installe lentement parmi les populations les plus faibles, frappant en priorité les enfants et les personnes âgées, mais ses effets sont également de plus en plus visibles chez les adultes. Les mères, dont les corps ont déjà été éprouvés par des années de pénuries, sont très affaiblies et peuvent succomber à tout moment. Mary Nsaniana a enterré il y a peu sa fille, la mère de ses deux petits-enfants, morte de complications qui, selon cette femme de 50 ans, sont consécutives à la faim et la soif persistantes. Cette faim et cette soif qui bouleverse l'ordre naturel de la vie.
Les habitants de ces régions ne savent pas non plus d'où vient cette sécheresse, pourquoi il n'a pas plu suffisamment depuis cinq ans, ni comment ils vont pourvoir continuer à vivre en ayant perdu presque 60% de leurs réserves de grain. Chèvres, moutons, vaches et maintenant également les chameaux périssent lentement, et avec eux l'unique source de revenus des populations. "Quand les animaux commencent à mourir, nous savons que nous, les humains, sommes les suivants", explique Mary, désespérée.
Il est urgent d'intervenir, pour éviter que davantage de personnes ne perdent la vie. "Nous avons besoin de céréales, pour préparer des bouillies pour les enfants, avant qu'il ne soit trop tard", demande Aite Eknoba, tout en essayant de maintenir debout ses deux enfants, Apúa et Evei, dont les petits corps sont meurtris par la faim. Après avoir mangé de l'edapal, une baie locale, pendant trois semaines, les enfants étaient tellement faibles qu'ils n'arrivaient plus à digérer des aliments solides. Si leur mère ne trouve pas rapidement de quoi les nourrir, l'ordre naturel de la vie sera une nouvelle fois bouleversé à Nakinomet, où 4 400 personnes dépendent entièrement de l'aide humanitaire.
Cette communauté a déjà dû enterrer quatre enfants des suites de la famine, et 626 autres souffrent de malnutrition. Selon des évaluations récentes effectuées dans la région de Turkana, 37% des enfants sont sous-alimentés. Il est à l'heure actuelle encore impossible d'évaluer ce taux chez les mères, obligées d'attendre l'arrivée de l'aide humanitaire pour pouvoir nourrir leurs enfants un jour de plus.
Alice Atabo a ouvert un petit magasin d'alimentation pour sa communauté, à Mila Matatu, au nord du Kenya. Photo : Irina Fuhrmann /Oxfam
Aite, Mary et Namanakwee ne sont que trois des milliers de femmes touchées par la crise et qui ne trouvent plus de quoi s'alimenter, ni pour elles, ni pour leurs enfants. Leurs maris, de fiers bergers itinérants, en sont réduits à attendre l'arrivée tant espérée de la pluie. Le manque de pâturages et le conflit ethnique qui touche certaines zones de la région ont coincé ici ces communautés, les obligeant à poursuivre cette attente dramatique.
Cependant, pour certaines de ces mères, l'attente n'exclut pas la prise d'initiatives. À Mila Matatu, une autre zone de la région affectée, j'ai rencontré Alice Atabo, désignée par Oxfam comme agente de liaison pour aider à la distribution de nourriture. Cette femme entreprenante a mis en place un petit magasin d'alimentation pour la communauté. "Tout a commencé quand j'ai décidé d'investir une petite partie de l'argent reçu par Oxfam dans le cadre d'un projet 'argent-contre-travail' pour acheter des produits comme du lait, du sucre et de la farine. Dès que le bruit s'est répandu qu'on pouvait trouver des produits dans mon échoppe, les gens ont commencé à affluer. Peu de temps après, j'ai pu demander un autre crédit et ainsi remplir mon magasin. Je reçois également les rations alimentaires des familles les plus faibles, qui peuvent ensuite venir les retirer chez moi", explique Alice.
"La distribution de nourriture a eu lieu aujourd'hui, et les gens attendent avec impatience, leur carte d'approvisionnement à la main, car il ne leur reste plus rien à manger,", nous raconte-t-elle en tenant à la main le dernier de ses huit enfants, un bébé souriant qui joue avec les colliers de sa mère. Alice sait qu'elle a de la chance, car elle possède de quoi nourrir ses enfants.
Oxfam intervient dans la région du nord du Kenya en distribuant des produits alimentaires pour 200 000 personnes. L'organisation travaille depuis des années avec les communautés pastorales, en appuyant l'installation de points d'eau, en mettant en place des programmes "argent-contre-travail" et en les accompagnant dans le développement de moyens de subsistance alternatifs.
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MEDJUGORIE -
WEB MULTILINGUAL SITE - www.medjugorje.ws/
L'ULTIMO MESSAGGIO DEL 25 SETTEMBRE 2011
Quote of the day ( 25 settembre 2011 )
"Cari figli, Oggi, figlioli, vi invito, ad essere con Gesù attraverso la preghiera, per poter scoprire la bellezza delle creature di Dio tramite l'esperienza personale nella preghiera. Non potete parlare né testimoniare della preghiera se non pregate, perciò, figlioli, nel silenzio del cuore rimanete con Gesù, perché Lui vi cambi e vi trasformi con il Suo Amore."
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IL SANTO DEL GIORNO
OGGI MARTEDI' 26 SETTEMBRE - .S. VINCENZO DE PAOLI .
Cosma e Damiano, medici anàrgiri (gratuiti), secondo un'antica tradizione subirono il martirio a Ciro in Siria e il loro culto fu assai diffuso in tutta la Chiesa fin dal sec. IV. Il 26 settembre è la probabile data della dedicazione della basilica che a Roma porta il loro nome, edificata da Felice IV (525-530). Di loro si fa memoria nel Canone romano
youtu.be/VZOssXaTt4w
LITURGIA DEL GIORNO
www.chiesacattolica.it/cci2009/chiesa_cattolica_italiana/...
Christian Music Video | Feel the Love of God | "When You Open Your Heart to God"
www.holyspiritspeaks.org/videos/open-your-heart-to-god-mv/
When You Open Your Heart to God
When you do not understand God and do not know His nature,
your hearts can never truly open, open up to God.
Once you understand your God,
you will understand what's in His heart,
and savor what lies in Him
with all your faith and heed.
When you savor what is in God's heart, bit by bit,
day by day,
when you savor what is in God's heart,
your heart will open up to Him.
When your heart is truly open,
when your heart is truly open,
you will see the contempt,
you will see the shame of your extravagant and selfish requests.
When your heart is truly open,
when your heart is truly open,
you will see an infinite world in God's heart,
and be in a realm of wonder untold.
In this realm there is no cheating,
no deception, no darkness, and no evil.
There is only sincerity and faithfulness;
only righteousness and kindness.
He is love, He is caring,
infinite compassion.
In your life, joy is felt,
when you open your heart to God.
His wisdom and power fill the infinite world,
so do His authority and love.
You can see what God has and is,
what brings Him joy,
what brings Him woes, what brings Him sadness and anger,
is there for all to see,
when you open your heart up to God
and invite Him in.
from The Word Appears in the Flesh
Eastern Lightning, The Church of Almighty God was created because of the appearance and work of Almighty God, the second coming of the Lord Jesus=, Christ of the last days. It is made up of all those who accept Almighty God's work in the last days and are conquered and saved by His words. It was entirely founded by Almighty God personally and is led by Him as the Shepherd. It was definitely not created by a person. Christ is the truth, the way, and the life. God's sheep hear God's voice. As long as you read the words of Almighty God, you will see God has appeared.
Terms of Use en.godfootsteps.org/disclaimer.html
copyright © Mim Eisenberg/mimbrava studio. All rights reserved.
Let's welcome in spring! with a bright yellow dandelion, shall we? The curse of some gardeners, dandelions make delicious wines and salads and have been used medicinally for centuries. I can't vouch for this recipe for dandelion wine or this one, so if any of you have a better or different one, please share it. And here's just one of many recipes one can find on Google for a dandelion greens salad.
And best wishes to our friends in the Southern Hemisphere for a happy autumn.
Thank you for visiting.
See my shots on flickriver:
www.flickrriver.com/photos/mimbrava/
Please join us on Super Eco and enter our March photo contest, Whatever the Weather.
Excerpt from centrewellington.maps.arcgis.com/apps/Shortlist/index.htm...:
36 Henderson Street
The Parish of St. John the Evangelist was formed in 1830. The present church was opened in 1875. Besides being a place of worship for over 125 years, St. John’s has evolved into a community centre, and has been an incubator for many organizations. It has been a community meeting place for such diverse groups as the Girl Guides, Canada World Youth, the Elora-Salem Horticultural Society and Alcoholics Anonymous. St. John’s-Kilmarnock School, the amalgamation of St. John’s College and St. Margaret’s Schools, which were founded in Elora, still have close ties with the church. Well known for its music, St. John’s was the birthplace of the Elora Festival in 1979. The Festival and its Singers hold concerts in the church throughout the year. In recent years a strong bond has developed with Portage, an organization offering a drug free therapeutic rehabilitation program for juveniles. Students at Portage serve at church services and a number of members of the parish do volunteer work at Portage. St. John’s is the home of the famous communion set reportedly donated by Florence Nightingale to her cousin and reputed lover, John Smithurst, Rector of the church from 1852-1857. The building is an excellent example of Victorian Gothic Revival architecture. Hallmarks of the Gothic Revival style in St. John’s include buttresses, vaulted arches, steeply pitched gable roofs, elaborate cast iron ornaments such as rooftop cresting and pointed arch windows. The polychrome colour scheme of red and yellow brick buttresses and external woodwork are all features of Gothic Revival architecture. The church was designed by Henry Langley (1836-1907) an architect with extensive experience in church design. Langley was responsible for the design of the Metropolitan Methodist, Jarvis Street Baptist, and St. Andrew’s Presbyterian (now United) churches in Toronto. Year Built: 1875
el.kingdomsalvation.org/videos/how-the-Lord-returns.html
Η βίβλος λέει: «ιδού, έρχεται μετά των νεφελών, και θέλει ιδεί αυτόν πας οφθαλμός… » （Αποκ. 1:7）Από αυτό το κεφάλαιο, δευτέρα Παρουσία του Κυρίου θα πρέπει να έρχεται σε σύννεφο εμφανίστηκε ανοικτή σε όλα τα έθνη; Αλλά, η Βίβλος λέει και πάλι: «θέλω ελθεί επί σε ως κλέπτης». （Αποκ.3:3）Αυτό το κομμάτι λέει ότι ο Κύριος έρχεται ξανά μυστικός, είναι να κλέψει θησαυρό. πώς είναι διαφορετικός ο τρόπος με τον οποίο ο Κύριος έρχεται σε αυτά τα δύο κεφάλαια; Ο Κύριος έρχεται με τα σύννεφα ανοιχτή, οι άνθρωποι μπορούν να δουν; Ή μυστικοπαθής να έρχεται; Χριστιανική Εκκλησία ταινία "Yearning" θα αποκαλύψει τις αμφιβολίες.
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Νομική Γνωστοποίηση και Όροι Χρήσης:
✰ Credit ✰
Unorthodox - Scalpz UNITS v2.2
Unorthodox - Gabby Hair w/ All Scalpz
Unorthodox - Edges- Madi Front
eXxEsS - Top No.11
Cazimi - Love Bites Earrings - Available at the Love Bites hunt only.
::House of Pain::. - Japan Neko Tattoo
NEW ATTITUDE
● Tumblr
● Flickr
Einwohner: 45.777 - Stand 9. Januar 2017
Entwicklung der Einwohnerzahlen
Landkreis: Esslingen am Neckar
Bundesland: Baden-Württemberg
Postleitzahl: 70794
KFZ-Kennzeichen: ES
Bonlanden 575 ha
Telefonvorwahl:
0711 für Bernhausen, Bonlanden, Plattenhardt
07158 für Harthausen und Sielmingen
Geographische Lage: 9 12' 50" östliche Länge und 48 40' 10" nördliche Breite.
Höchster Punkt: Wasserreservoir Stadtteil Plattenhardt - 474,1 m ü NN
Niedrigster Punkt: Bombachtal, Stadtteil Bonlanden - 327,0 m ü NN
Länge Stadtgrenze: 33,0 Kilometer
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Stadtporträt
Filderstadt ist die zweitgrößte Stadt im Landkreis Esslingen und verkehrstechnisch sehr günstig gelegen: direkt an der B 27, Autobahn A 8, dem Flughafen Stuttgart, der Landesmesse und nahe der Landeshauptstadt Stuttgart.
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Artefakt (aus lateinisch ars (ursprünglich) „Bearbeitung“ und facere „machen, herstellen“) bezeichnet in der Archäologie und der Anthropologie einen von Menschen hergestellten Zustand oder Gegenstand. (Sujet).
Artefakt (Fotografie), Bilddetails, die einen unbeabsichtigten Unterschied* zur Bildquelle darstellen.
Kinetic Art Photography
*Die kinetische Energie des schwarzen Autos verschwindet soeben in einem schwarzen Loch.
siehe notes
Panorama: Der Mitzieh-Effekt holt das Auto ein.
Das Vorderteil des Autos verschmilzt mit dem hinteren Drittel.
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Was ist: 4.0? Industry 4.0 Value Chain?
-
de.wikipedia.org/wiki/Industrie_4.0
:
Im All sind wir schon bei Industrie 5.0, aber auch an Industrie 4.0 arbeiten wir natürlich.
Perfect Industry value chain - Die industrielle Wertschöpfungskette wird optimiert -
Industry 4.0 is the current trend
en.wikipedia.org/wiki/Industry_4.0
of automation and data exchange in manufacturing technologies.
It includes cyber-physical systems, the Internet of things and cloud computing.
The characteristics given for the German government's Industry 4.0 strategy are: the strong customization of products under the conditions of highly flexibilized (mass-) production.
--- gleichnamiges Projekt in der Hightech-Strategie ---
Die Plattform Industrie 4.0 hat zum Ziel, IT-Technologien mit Produktionstechnologien zu verschmelzen.
Es ergeben sich zahlreiche bis heute ungeklärte rechtliche Fragen.
Industrie 4.0 -> 5.0
„Industrie-4.0-ready“ - Next Generation 5.0
Deutschlands naiver Traum von der smarten Fabrik:
Zudem basiert Industrie 4.0 auf dem Denkfehler, dass ein nicht lineares und - soziales System wie eine Fabrik - mit Algorithmen steuerbar ist.
Wo bleibt der Mensch?
www.kuka.com/de-de/technologien/industrie-4-0/industrie-4...
Mensch-Roboter-Kollaboration (Cobotics) und Mobility an. Mobile Cobots reagieren bereits heute intelligent auf ihr Umfeld und sind universell einsetzbar. „Kollege Roboter“ wird bei KUKA Realität.
L'Industrie 4.0?
La robotique industrielle?
Ses bases technologiques sont l'Internet des objets et les systèmes cyber-physiques.
Les robots industriels sont très utilisés en automobile.
Constructeurs
Drapeau de la Suisse Suisse : Stäubli
Drapeau de la Suisse Suisse : ABB Robotics
Drapeau des États-Unis États-Unis : Adept Technology
Drapeau de l'Allemagne Allemagne : Bosch
Drapeau de l'Allemagne Allemagne : Cloos GmbH
Drapeau de l'Allemagne Allemagne : Festo
Drapeau de l'Allemagne Allemagne : Dürr (peinture)
Drapeau de l'Allemagne Allemagne : Roteg
Drapeau de l'Autriche Autriche : IGM
Drapeau de l'Italie Italie : Comau
Drapeau du Japon Japon : DENSO Robotics
Drapeau du Japon Japon : Epson Robots
Drapeau du Japon Japon : FANUC Robotics
Drapeau du Japon Japon : Fuji Yusoki Robotics
Drapeau de la Corée du Sud Corée du Sud : Hyundai Robotics
Drapeau du Japon Japon : Intelligent Actuator (IAI)
Drapeau des États-Unis États-Unis : Intelitek
Drapeau du Japon Japon : Janome
Drapeau du Japon Japon : Kawasaki Heavy Industries
Drapeau de l'Allemagne Allemagne : KUKA Robotics
En 2003, les robots industriels KUKA apparaissent dans Lara Croft Tomb Raider : Le berceau de la vie et en 2005 dans Les Sentinelles de l'air et dans Da Vinci Code avec Tom Hanks en 2006.
Vergeblich hatte die Bundesregierung versucht, eine Übernahme von Kuka durch die chinesische Firma Midea
(besitzt offizielle nur 48,5 %) abzuwehren und hatte dafür geworben, dass sich deutsche Unternehmen beteiligen.
Die Robotik gilt als Schlüsseltechnologie des 21. Jahrhunderts und man versuchte zu verhindern, dass zukunftsträchtige Technologie aus Deutschland nach China abwandert.
KUKA Systems (Maschinenbau seit 1898, Augsburg) ist ein internationaler Anbieter für Produkte und Dienstleistungen im Bereich der industriellen Verarbeitung von metallischen und nichtmetallischen Werkstoffen, bedient hier verschiedene Branchen (Automobil, Schienenverkehr, Luft- und Raumfahrt, Photovoltaik, Industrie) und zählt sich selbst zu den Marktführern auf diesem Gebiet.
(Midea (China) dürfte nach der Übernahme Patente, Daten und anderes Know-how aus Kuka herausziehen und selbst nutzen könnte - es fehlt ein europäisches Aussenwirtschaftsgesetz )
Umsatz
2,966 Mrd. Euro 2015
"Es sind echte Charaktere, die bei KUKA die Zukunft der Automatisierung gestalten. Lernen Sie unsere Vordenker kennen!
Born for Industrie 4.0 - Die KUKA Stories"
"Die Industrie 4.0 wird vorangetrieben von Menschen, die die Fähigkeit haben, völlig neue Arten von Verbindungen herzustellen: zwischen realer und digitaler Welt, zwischen Mensch und Maschine, zwischen heute und morgen."
Drapeau de l'Espagne Espagne : Loxin
Drapeau de la France France : Chavériat Robotique
Drapeau de la France France : LUCAS France
Drapeau de la France France : MIP robotics
Drapeau du Japon Japon : Mitsubishi Electric
Drapeau du Japon Japon : Yaskawa-Motoman
Drapeau du Japon Japon : Nachi Robotic Systems Inc.
Drapeau du Japon Japon : Nidec Sankyo
Drapeau du Japon Japon : OTC-Daihen
Drapeau du Japon Japon : Panasonic Corporation
Drapeau de l'Allemagne Allemagne : Reis Robotics
Drapeau de la Corée du Sud Corée du Sud : Samsung
Drapeau de la France France : SCEMI (ex-filiale d'Alsthom) dont l'activité robotique a pris fin dans les années 1980
Drapeau de la France France : SEPRO Group
Drapeau de la Suisse Suisse: Stäubli Robotics
Drapeau des États-Unis États-Unis : ST Robotics
Drapeau du Japon Japon : Toshiba Machine
Drapeau du Japon Japon : Yamaha Motor Company
Drapeau de la France France Drapeau de la Slovaquie Slovaquie France Slovaquie : Robot-Delta
Video
4.0 by Kuka
www.youtube.com/KukaRobotGroup "Hello Industrie 4.0_we connect you," from April 24 to 28, 2017