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below from www.brainyquote.com/quotes/authors/s/soren_kierkegaard.html
are a few quotes from Soren Kierkegaard, Danish Philosopher
Date of Birth: May 5, 1813
Date of Death: November 11, 1855
Love does not alter the beloved, it alters itself.
Love is all, it gives all, and it takes all.
Marriage brings one into fatal connection with custom and tradition, and traditions and customs are like the wind and weather, altogether incalculable.
Most men pursue pleasure with such breathless haste that they hurry past it.
Not just in commerce but in the world of ideas too our age is putting on a veritable clearance sale. Everything can be had so dirt cheap that one begins to wonder whether in the end anyone will want to make a bid.
Old age realizes the dreams of youth: look at Dean Swift; in his youth he built an asylum for the insane, in his old age he was himself an inmate.
Once you label me you negate me.
One can advise comfortably from a safe port.
Our life always expresses the result of our dominant thoughts.
Patience is necessary, and one cannot reap immediately where one has sown.
People commonly travel the world over to see rivers and mountains, new stars, garish birds, freak fish, grotesque breeds of human; they fall into an animal stupor that gapes at existence and they think they have seen something.
People demand freedom of speech as a compensation for the freedom of thought which they seldom use.
People understand me so poorly that they don't even understand my complaint about them not understanding me.
Personality is only ripe when a man has made the truth his own.
Prayer does not change God, but it changes him who prays.
Purity of heart is to will one thing.
Since boredom advances and boredom is the root of all evil, no wonder, then, that the world goes backwards, that evil spreads. This can be traced back to the very beginning of the world. The gods were bored; therefore they created human beings.
Since my earliest childhood a barb of sorrow has lodged in my heart. As long as it stays I am ironic if it is pulled out I shall die.
Take away paradox from the thinker and you have a professor.
The function of prayer is not to influence God, but rather to change the nature of the one who prays.
The highest and most beautiful things in life are not to be heard about, nor read about, nor seen but, if one will, are to be lived.
The more a man can forget, the greater the number of metamorphoses which his life can undergo; the more he can remember, the more divine his life becomes.
The paradox is really the pathos of intellectual life and just as only great souls are exposed to passions it is only the great thinker who is exposed to what I call paradoxes, which are nothing else than grandiose thoughts in embryo.
The truth is a snare: you cannot have it, without being caught. You cannot have the truth in such a way that you catch it, but only in such a way that it catches you.
The tyrant dies and his rule is over, the martyr dies and his rule begins.
There are, as is known, insects that die in the moment of fertilization. So it is with all joy: life's highest, most splendid moment of enjoyment is accompanied by death.
There is nothing with which every man is so afraid as getting to know how enormously much he is capable of doing and becoming.
To dare is to lose one's footing momentarily. Not to dare is to lose oneself.
Trouble is the common denominator of living. It is the great equalizer.
What is a poet? An unhappy person who conceals profound anguish in his heart but whose lips are so formed that as sighs and cries pass over them they sound like beautiful music.
EXPLORE # ____ on Friday, April 11, 2008
Information From: www.city.cleveland.oh.us/around_town/city_highlights/land...
One of the most controversial works of art displayed in the City of Cleveland is Oldenburg and van Bruggen’s Free Stamp. Located in Willard Park to the East of City Hall, this massive aluminum and planted steel sculpture is difficult to miss with its large red handle sprawling across the lawn and metal base sinking into the ground displaying the word “FREE” in backwards letters to passersby on Lakeside Avenue. Some people see the Free Stamp as an inspiring work of Pop Art that represents our liberty as American citizens and reflects our City’s industrial progress. Others view it as an eyesore that is inappropriate for a location at the heart of the City’s Civic Center. This debate has been going on since the piece was first commissioned in 1982 and still echoes throughout the City today.
Artists Claes Oldenburg and Coosje van Bruggen designed the Free Stamp at the request of Standard Oil and admit that it was one of the most difficult works of art they have ever created. The controversy began soon after Standard Oil was awarded permission to tear down the old Standard Oil of Ohio (SOHIO) building located on Public Square. As construction of the new building began, SOHIO decided that it wanted a fresh work of art to display outside its doors, directly across from one of the City’s historical landmarks, the Soldiers and Sailors Monument. After seeing the “pad” of land with which they had to work, Oldenburg and van Bruggen, who are famous for making large replicas of common objects such as spoons, ice cream cones, and bowling pins, proposed the idea of creating an enormous stamp.
The original design for the sculpture was an upright, self-inking stamp, with a red handle which looked like a giant exclamation point. The first design allowed access so that people could actually walk around inside the stamp, but management at SOHIO soon agreed that such a structure would require a lot of maintenance. The design was then restructured to look like a hand stamp on an ink pad. The question was then raised as to what word would be placed on the stamp. The artists wanted a word that would serve as a statement, like a one-word poem, but could also be found on a real office stamp. The physical dimension of the work was also a consideration as the diameters of the Free Stamp left room for only 4 letters. Van Bruggen suggested the word “Free” to represent liberty and independence and to make a positive statement in the heart of the City.
Just as construction on a revised design began, SOHIO underwent a change in management. The new managers did not like the idea of placing a massive piece of pop art on Public Square, especially a 50-foot stamp. Several opponents of the Free Stamp feared that the message conveyed by the work would invite jokes about the condition of Downtown Cleveland, which during the 1980s was in need of revitalization. SOHIO gave Oldenburg and van Bruggen the opportunity to relocate the stamp, but the artists did not want to move it. The location at Public Square added to the artistic expression of the work in a way other locations could not.
Production of the Stamp was halted for several years and pieces of it were placed in storage in Indiana. As BP America assumed management of SOHIO, executives wondered why the company was paying so much to house a huge stamp. Interest was renewed in the work of art and Mayor George Voinovich invited Oldenburg and van Bruggen to Cleveland in hopes of selecting another site to display their work. Although the Cleveland Museum of Art was considered, the artists wanted their work to be seen in the heart of Downtown and set their sights on Willard Park for its proximity to Public Square and because of its location to Cleveland’s government offices.
Placing the Free Stamp in Willard Park immediately drew opposition from Council President, George Forbes, who did not support the idea of the City of Cleveland accepting a rejected work of art and displaying it right outside of City Hall. Once again, the artists had chosen their location as part of their artistic statement and were unwilling to compromise their artistic integrity. This time, they threatened to destroy the work entirely if the City did not want to display it.
Before the artists could act on their threat, Election Day 1989 had passed and newly elected Mayor, Michael R. White, and Council President, Jay Westbrook, expressed their interest in this unique work. BP America finally decided that it would donate the Free Stamp as a gift to the City and offered to maintain it in its new location. City Council accepted this generous gift and the Free Stamp was brought out of storage and redesigned to accommodate its new space.
The lawn at Willard Park inspired Oldenburg and van Bruggen to alter the position of the Free Stamp so that it would lie on its side, as if it had toppled over on someone’s desk. Van Bruggen felt that the new design reflected the Free Stamp’s history as it was “flung” from Public Square only to “land” in Willard Park. Production on the Free Stamp resumed and it was brought to Cleveland in pieces to be assembled in its current spot.
The Free Stamp was officially inaugurated on November 15, 1991. The Dedication reads:
Free Stamp
Claes Oldenburg and Coosje Van Bruggen
1991- Planted Steel and Aluminum
Gift of BP America
To the City of Cleveland
Michael R. White- Mayor
Jay Westbrook- City Council President
Dedicated 11-15-1991
via KrakyLand.net Marvel: Avengers Alliance 2 MOD APK www.krakyland.net/2016/01/marvel-avengers-alliance-2-apk-...
“Si tienes una posición alta, una reputación honorable, posees un conocimiento abundante, tienes muchas propiedades, y muchas personas te apoyan, pero estas cosas no evitan que vengas delante de Dios para aceptar Su llamamiento y Su comisión, que hagas lo que Él pide de ti, entonces todo lo que haces será lo más significativo sobre la tierra y lo más justo de la humanidad.Si rechazas la llamada de Dios por causa de tu estatus o tus propios objetivos, todo lo que hagas será maldito e incluso detestado por Dios. Quizás seas un presidente, o un científico, un pastor, o un anciano, no importa cuán elevado sea tu oficio, si te apoyas en tu conocimiento y capacidad en tus empresas, entonces siempre serás un fracaso, y serás un hombre sin las bendiciones de Dios, porque Él no acepta nada de lo que haces, ni admite que tu carrera sea justa, ni acepta que estés trabajando para el beneficio de la humanidad. …”
Ver más：https:// www.kingdomsalvation.org/es/attached-piece-2-god-presides...
Recomendación: Promesas de Dios
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
• Pressurized lubrication system with thermostatically controlled cooling.
Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.
• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.
• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).
• Downshift Rev Matching (DRM).
• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.
Wheels and Tires
• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.
• Tire Pressure Monitoring System (TPMS).
• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).
Brakes
• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.
• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.
• 6-piston front/4-piston rear monoblock calipers.
Steering
• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
• 2.6 steering-wheel turns lock-to-lock.
Suspension
• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.
• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.
• Hollow front and rear stabilizer bars.
Body/Chassis
• Exclusive Premium Midship platform with jig-welded hybrid unibody.
• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.
• Carbon-reinforced front crossmember/radiator support.
Back to Top
Standard Features
Exterior
• Wide-beam headlights with High Intensity Discharge (HID) low beams.
• LED taillights and brake lights.
• Dual heated power mirrors.
• Flush-mounted aluminum door handles.
• Body-color rear spoiler with integrated center high-mounted stop light.
• UV-reducing tinted glass.
Audio/Navigation/Performance Monitor
• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.
• HDD Music Box system, including hard drive with 9.4 GB for audio storage.
• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.
• HDD-based GPS navigation with touch screen.
• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.
• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.
Interior
• Automatic Temperature Control (ATC).
• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.
• Power front windows with one-touch auto-up/down feature.
• Intelligent Key system with pushbutton start. Power door locks.
• Cruise control.
• Tilt/telescoping steering column.
• Bluetooth® Hands-free phone system with voice recognition.
Seating/Appointments
• Leather upholstered front seats with perforated Alcantara inserts.
• 8-way power front seats with entry/exit switch for rear-seat passengers.
• Driver-shaped bucket seat.
• Dual individual rear seats.
• Heated front seats.
• Leather-wrapped steering wheel and shift knob.
• Drilled aluminum pedals.
Safety/Security
• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.
• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
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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
This memorial has been researched by the Roll of Honour team, and where information has been used from that site it is identified as (RoH).
www.roll-of-honour.com/Norfolk/NorwichStSaviour.html
W H Ager
William Henry AGER (RoH)
Private 328231, 1st Battalion, Cambridgeshire Regiment. Killed in action 28th August 1918. Aged 19. Born and enlisted Norwich. Son of Mr. and Mrs. C. Ager, of 15, Golden Dog Lane, St. George's, Norwich. Buried in PERONNE ROAD CEMETERY, MARICOURT, Somme, France. Plot III. Row I. Grave 3.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=310602
There is a picture of William Henry on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read
Ager, Private William Henry, 3/4 Norfolk Regiment
Resident at 15 Golden Dog Lane, Norwich; enlisted 7 November 1915; killed in action in France, 26 August 1918.
The 2 year William , born Norwich, can be found on the 1901 Census at 15 Golden Dog Lane in the parish of St Saviour, This is the household of his parents, Charles, (aged 42 and a Carpenter from Norwich) and Caroline, (also aged 42 and from Norwich). Their other children are:-
Annie…….aged 18.….born Norwich…..Yarn Picker
Edith………aged 15.…born Norwich…..Yarn Twister
Sidney……aged 12.….born Norwich
Charles…..aged 8.……born Norwich
Alice…….aged 4.……born Norwich
However, while Charles senior still appears to be in Norwich for the 1911 census, his wife, William, Charles and Alice appear to be completely absent.
The Battalion would have been involved in the general advance following the Third Battle of Albert, which is one of the divisional Battle Honours.
Battle of Albert (1918) (August 21 - 22, 1918) was the third battle by that name fought during World War I, following the First Battle of Albert, and the Second Battle of Albert, with each of the series of three being fought roughly two years apart. This smaller third battle was significant in that it was the opening push that would lead to the Second Battle of the Somme, and heavily involved the New Zealand Division, formed after the disastrous Gallipoli campaign. This attack opened the advance, with the main attack being launched by the British Third Army, with the United States II Corps attached.
The attacks developed into an advance, which pushed the German 2nd Army back along a 50-mile (80 km) front line. On August 22, the New Zealand Division took Albert, with the British and Americans advancing on Arras. On August 29, Bapaume fell into British and American hands, which resulted in an advance by the Australian Corps, who crossed the Somme River on August 31 and broke the German lines during the Battle of Mont St. Quentin. Ultimately, the overall battle resulted in the German Army being pushed back to the Hindenburg Line, from which they had launched their spring offensive.
en.wikipedia.org/wiki/Battle_of_Albert_(1918)
www.cwgc.org/victory1918/content.asp?menuid=35&submen...
A Barber
Arthur BARBER (RoH)
Private 267239, 13th (Service) Battalion (Forest of Dean)(Pioneers), Gloucestershire Regiment. Died 26th April 1918. Born St Saviour, Norwich, enlisted Norwich. No known grave. Commemorated on TYNE COT MEMORIAL, Zonnebeke, West-Vlaanderen, Belgium. Panel 72 to 75.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=847003
(No personal details on CWGC).
We have a 2 year old Arthur A, born Norwich, and living at Tarrells Yard, which appears to be in the Cowgate \ Bull Close area in the neighbouring parish of St Pauls, as well as a 4 year old Arthur and his 26 year old father of the same name living in nearby St Augustines. There are then a further 5 Arthur \ Alfred’s of the right sort of age to have fought in WW1 in the ranks, i.e. born after 1875 and with a Norwich connection.
The division of which Arthur’s unit was part lists amongst its battle honours for 1918
Second Battle of Kemmel. 25-26 Apr.
As part of the German assault there was a heavy bombardment of the Artillery and rear areas with both conventional shell and gas.
www.webmatters.net/belgium/ww1_lys_4.htm
W Barber
William BARBER (RoH)
Private 6692, Depot, Norfolk Regiment. Died 9th July 1917. Aged 33. Husband of Ellen Barber, of 2, Mischief Yard, Peacock St., Norwich. Buried in NORWICH CEMETERY, Norfolk. Plot/Row/Section V. Grave 547.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=2803041
No match on Norlink
The 17 year old William,(born Norwich and employed as a Shoe Finisher), can be found on the 1901 census at 176 St George Street, in the parish of St Augustines. This is the household of his widower father, James, (aged 59 and a Publican from Norwich), Also resident is William’s brother, Walter, aged 19 and a shoe finisher from Norwich.
Wm A. Bassett
William A BASSETT (RoH)
Private 250620, 1st/6th Battalion, Durham Light Infantry. Killed in action 28th July 1918. Aged 23. Born and enlisted Norwich. Son of Mrs. L. E. Bassett, of 2, Ling's Court, Stump Goss, Magdalen St., Norwich. Formerly 5565, Norfolk Regiment. Buried in THELUS MILITARY CEMETERY, Pas de Calais, France. Plot V. Row C. Section 1.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=296709
CWGC only lists this soldier as W Bassett.
Brother of Walter Albert listed below.
No match on Norlink
The 1901 Census has the 4 year old Willie, born Norwich, recorded at 18, Gildencroft in the Parish of St Augustines. This is the household of his parents, George, (aged 45 and a sweep, no place of birth recorded), and Lottie, (aged 39 and from Norwich). The rest of their children are:-
Richard…………..aged 16.……born Norwich……Printers apprentice
Ethel………………aged 15.…..born Norwich
George……………aged 11.…..born Norwich
Walter…………….aged 10.….born Norwich
Lillian…………….aged 6.……born Norwich
Hilda…………..aged 2.……….born Norwich
The 1st/6th had been reduced to a cadre by the end of June, with surplus men being released to other units. As the Thelus Military Cemetery was used for battlefield casualties, I suspect Private Bassett was one of those surplus men, and he died while serving with another unit.
Wr.A.Bassett
Walter Albert BASSETT (RoH)
Private 12784, 7th Battalion, Norfolk Regiment. Died 13th October 1915. Aged 24. Born St Saviour, Norwich, enlisted Norwich. Son of Mrs. L. Bassett, of 2, Ling's Court, Magdalen St., Norwich; husband of Laura V. Watling (formerly Bassett), of 2, St. Saviour's Alley, Magdalen St., Norwich. Commemorated on LOOS MEMORIAL, Pas de Calais, France. Panel 30 and 31.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=727290
Brother of William above.
No match on Norlink
See William above for 1901 Census details.
On 12th October 1915 the Battalion moved from billets to a line in front of the St Elie Quarries, taking over from the Coldstream Guards. The attack was planned to go ahead the following day under a smoke cloud with the Norfolks closing on the German trenches from both ends of their position thus straightening their line, their own trenches being in a semi-circle. The left side of the Battalion was also tasked with bombing a German communications trench. A bright sunny day with an ideal wind for moving the smoke towards the enemy positions, the artillery bombardment began at 12:00 and was intensive by 13:45. 54 heavy and 86 field howitzers and 286 field guns fired on enemy trenches in the area of the Hohenzollern Redoubt, Fosse 8, the Quarries, Gun Trench and the positions south to Chalk Pit Wood. It failed to cause sufficient damage to the enemy positions. The smoke barrage went wrong and ceased by 13:40, twenty minutes before the attack was launched at 14:00 and was thus very thin. German machine gun fire from in front and from the direction of Slag Alley, opposite the Norfolks right flank, enfiladed their attack. Whilst they gained a foothold in the Quarries and consolidated the position they were unable to advance further. In the battalions first serious engagement they lost 5 Officers killed or died of wounds and 6 wounded, and 66 other ranks killed, 196 wounded and 160 missing.
Source: 1914-1918.invisionzone.com/forums/index.php?showtopic=42270
W G Brown
William George BROWN (RoH)
Driver T/326178, Royal Army Service Corps. Died in India 6th October 1918. Born, resident and enlisted Norwich. Buried in Bangalore (Hosur Road) Cemetery and commemorated on MADRAS 1914-1918 WAR MEMORIAL, CHENNAI, India. Face 26.
Note: The MADRAS 1914-1918 MEMORIAL is situated at the rear of the Madras War Cemetery. It bears the names of more than 1,000 servicemen who died during the First World War who lie in many civil and cantonment cemeteries in various parts of India where it is not possible to maintain their graves in perpetuity.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1465419
No match on Norlink.
The 1911 Census high level search contains two individuals with the first names William George with a Norwich, (although there are also two George Williams). There are of course many William Browns who may be the man we are looking for. The details available are:
Circa 1901 born Norwich resident Norwich
Circa 1880 born Norwich resident Norwich
On the 1901 census the 1901 born individual doesn’t even appear, and therefore as its likely he was born after March 1901 its very unlikely he was serving overseas in the British Army in 1918.
There are two William Brown’s that match the 1880 individual and neither are listed with any middle names. Therefore any further information I add here would simply be mis-leading.
E D Brundish
Edgar Donald BRUNDISH (RoH)
Private 3/8042, 1st Battalion, Norfolk Regiment. Died 7th October 1915. Aged 39. Son of Edgar John and Ruth Brundish, of Norwich. Buried in POINT 110 OLD MILITARY CEMETERY, FRICOURT, Somme, France. Plot/Row/Section G. Grave 8.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=571013
There is a picture of Private Brundish on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read
Born at St. James's, Norwich on 22nd December 1879, Private Brundish was educated at Silver Road School. He enlisted 25th August 1914 and was killed in action in France on 7th November 1915
(NB, the Norlink date is different to the CWGC\Roll of Honour Date.)
The 21 year old Edgar, (born Norwich and a Boot and Shoe Maker by trade), is recorded at 12 Mousehold Street in the Parish of St James with Pockthorpe on the 1901 census. He is married to Edith , aged 21 and a Boot Machinist, also from Norwich. Edgar is the head of household.
On the 1891 Census the 11 year old Edgar D. is recorded at The Paddocks, Silver Road in the Parish of St James. He is already employed as a Domestic Servant - a House Boy. Unfortunately, Edgar’s name is at the top of the page, with his parents, (and any elder siblings) on the previous page. He has 5 younger siblings:-
Ronald N………..aged 9.…..born Norwich
Patricia R……….aged 7.…..born Norwich….recorded as deaf and dumb
Rupert Jn……….aged 5.…..born Norwich
Maud M………..aged 3.……born Norwich
Percy Ed……….aged 1.……born Norwich.
Fortunately Edgar is just old enough to make the 1881 census. There his parents are listed as John, (aged 34?, and possibly a Brewers Serv.?, from Horning) and Ruth, aged 24 and also from Horning. There are no older siblings listed.
Interestingly, a family history web-site gives some slightly difference information. Edgar’s father John married Ruth Thompson in Norwich in 1879. Their children are listed as
Beatrice R. Brundish, b. 1884, Norwich, England, d. 1896, Aged 12 London.
Edgar Donald Brundish, b. 1880, Norwich, England, d. 07 Oct 1915, World War 1 France.
Percy Edward Brundish, b. 1890, Norwich, England, d. 1937, Wisbech.
Reginald Victor Brundish, b. 1882, Norwich, England, d. 1916, World War 1.
Rupert John Brundish, b. 1886, Norwich, England, d. date unknown, Australia. +Maud Maria Brundish, b. 04 Oct 1887, Norwich, England, d. 1981, Norwich, England.
Hilda R. Brundish, b. 1897, Norwich, England, d. date unknown.
familytreemaker.genealogy.com/users/t/h/o/Donald-J-Thorpe...
Name: BRUNDISH, REGINALD V.
Rank: Bombardier Regiment/Service: Royal Field Artillery Unit Text: 35th Div. Ammunition Col. Age: 35 Date of Death: 17/07/1916 Service No: 6942
Grave/Memorial Reference: 27. 242. Cemetery: NORWICH CEMETERY, Norfolk
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2803070
The 1st Battalion were on rotation in and out of the front-line trenches at Fricourt at this time, in what was then a comparatively quiet sector. Sniping and the occasional artillery \ mortar barrage would take their toll. For a glimpse of this, take a look at the War Diary of the 1st Battalion Bedfordshire Regiment who were in the same Brigade as the 1st Norfolks and frequently fought together.
www.bedfordregiment.org.uk/1stbn/1stbtn1915diary.html
F B Edwards
Benjamin Frederick EDWARDS (RoH)
[Listed as F B on memorial and CWGC] Private 3673, 1st/4th Battalion, Norfolk Regiment. Killed in action 4th October 1915. Enlisted Norwich. Buried in 7th FIELD AMBULANCE CEMETERY, Turkey. Special Memorial Plot/Row/Section A. Grave 64.
Note: There are now 640 Commonwealth servicemen of the First World War buried or commemorated in this cemetery. 276 of the burials are unidentified but special memorials commemorate 207 casualties known or believed to be buried among them.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=605477
No match on Norlink
There is no Frederick Benjamin or Benjamin Frederick with a Norfolk connection listed on the 1911 Census. There are numerous Frederick Edwards on the 1901 Census including one aged 6, born Norwich and currently resident at 30 Silver Road, Norwich in the neighbouring parish of St.Pauls, while there is also a 19 year old Benjamin Edwards, a Boot and Shoe Operator from Norwich who was currently residing at 43 Barracks Street, in the neighbouring parish of St James.
Fortunately the baptism records for some of these parish’s are on line. There is a Frederick Benjamin listed who was born 12th January 1895 and baptised the 24th September 1896 at the church of St.James, Pockthorpe. His parents are listed as Ellis William and Ellen Elizabeth. His fathers occupation is given as drayman. Going back to the census, this ties in with the 6 year old at Silver Road.
At the time of the 1901 census, Ellis was aged 34 and a Drayman from Long Stratton. Ellen was 36 and probably also from Long Stratton. As well as Frederick, their other children are:-
Alfred…….aged 14.…born Norwich……occupation undecipherable
Charles……aged 13.…born Norwich
Gertie…….aged 10.…born Norwich
Florence….aged 4.….born Norwich
After the fighting in the middle of August, the struggle was more against disease and hardship than against Turkish guns and rifles. Dysentery caused havoc in all ranks, and in the middle of October there remained of the 1/4th Battalion only sixteen officers and 242 men fit for duty.
user.online.be/~snelders/sand.htm
H E Fitt
Frank Herbert FITT (RoH) - but see my notes.
[Listed as H F on memorial and CWGC] Private 235096, 1st/5th Battalion, The King's (Liverpool Regiment). Killed in action 31st July 1917. Aged 27. Born Norwich, enlisted and resident Lowestoft. Son of Harry and Sally Fitt, of Eden Villa, 2, Eden St., Lowestoft; husband of Hilda Pearl Fitt, of 146, Raglan St., Lowestoft. No known grave. Commemorated on YPRES (MENIN GATE) MEMORIAL, Ieper, West-Vlaanderen, Belgium. Panel 4 and 6.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=1612459
I’ve looked at all the shots I took and its definitely an E, not an F. There is no H E Fitt listed on CWGC but there is a possible H Fitt.
Name: FITT Initials: H
Rank: Lance Corporal Regiment/Service: Norfolk Regiment Unit Text: 1st Bn.
Date of Death: 25/04/1917 Service No: 9672
Grave/Memorial Reference: VI. H. 22. Cemetery: CABARET-ROUGE BRITISH CEMETERY, SOUCHEZ
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=585647
However, the 1901 Census throws up a new possibility - the 3 year old Harrold Fitt, born Norwich and living at 2, Cat & Fiddle Yard in the parish of St,Saviour. This is the household of his parents, Walter, (aged 40 and a Shoemaker from Norwich), and Emma, (aged 36 and from Norwich). Their other children are:-
Alice…………..aged 14.……………born Norwich
Walter…………aged 11.……………born Norwich
Sidney…………aged 9.…………….born Norwich
Maude…………aged 8.…………….born Norwich
May……………aged 5.……………born Norwich
Hilda…………..aged 1.……………born Norwich
As the 1st Battalion man is the only one of the four H. Fitt listed on the CWGC database who doesn’t have parents shown, and as the other three have parents who are not a Walter and Emma, the guesswork for now is that he is our man.
And indeed Lance Corporal H Fitt,9672, is down on the Great War Roll of Honour as a “Harold” Fitt.
Lance Corporal Fitt probably died as a result of wounds received in the attack of the 23/24th April.
From the War Diary of the 1st Bedfords
Report on action at La Coulotte.. Lt. Colonel P.B. Worrall M.C. Commanding 1st Battalion, Bedfordshire Regiment.
Sir, I have the honour to report that I received orders to attack LA COULOTTE from T.1.d.1/9 to T.1.a.3/9. and attach a copy of my Operation Orders which I personally explained in detail to all Officers and NCO’s. Briefly, I had to make:
(a) a frontal attack to the N.
(b) a flank attack East on WATER TOWER TRENCH.
AND (c) attack on triangle south of WATER TRENCH from the south, including a large part of CYRIL TRENCH held by the Germans.
The whole undertaking seemed to be most hazardous.
I considered the WATER TOWER TRENCH to be key to the situation and so attacked it frontally and in enfilade. Had I not got this footing, my Battalion must haave been wiped out by WATER TOWER TRENCH if we were held up by wire.
NARRATIVE.
4.40am. For half an hour previous to this I heard no M.G. fire and this proved a successful deployment.
5.15am. Two wounded reported that left company had reached 1st line German trench. It proved afterwards to be correct but with regard to extreme left only.
6.15am. 24 prisoners marched in from DEVONS and BEDFORDS captured at the junction of these two Battalions. 6.5am O.C. right assault company reported wounded but right company going through gaps. This Officer in charge and many others afterwards reported that it took at least five minutes to get through the wire, that there were few gaps, and a double belt (the first one 15 yards thick) in front of the first line.
7.05am. Touch with NORFOLKS reported.
7.55amj. Right 2nd wave (“C” Coy.) report they had passed through first objective (second German line) met with strong resistance, machine gun fire from houses and minerwerfer, but captured 9 prisoners (sent back), and 2 machine guns which they later smashed, and parties actually reached buildings T.1.b.5/9 and made a great attempt to rush LA COULOTTE from there, patrols were also sent out from there to try and get touch with the NORFOLKS , and companies on the left.
9.50am. NCO’s from “B” and “D” (left companies) reported that their right was held up, they had been surrounded and several prisoners had been taken. I have satisfied myself that these men were between two belts of wire with wire and a communication trench on the right from which they were enfiladed, and the gaps through which they had advanced were covered, and that they were bombed from the front and like rats in a trap.
Lt. Hunter from the right and who was on the other side of the road witnessed it and stated they were absolutely powerless.
10.00am. I sent orders to “A” and “C” to hang on and throw a defensive flank from junction of LENS-ARRAS ROAD and 1st German line and make strenuous efforts to get in touch with “B” and “D” .
11.05am. Lt. Woodford wounded, reported that “B” and “D” took the German 2nd line and were at once driven out of it with the exception of extreme left (communication trench T.1.a.30/95). Capt. C.A.S. Morris O.C. B Company was killed in rallying his men to make a gallant attack on machine guns, holding up their advance from 2nd line. At the same time I received a message that the remnants of A and C Companies were under 100 in WATER TOWER TRENCH and TRIANGLE, and that there were some NORFOLKS fighting with them and that they could not hold out much longer. They asked for reinforcements and bombs.
1.30pm. I applied at once for permission to conduct retirement in person but on this being refused I despatched Lt.H.J.EVERERTT MC with all available men from headquarters with 700 bombs and detailed orders for retirement if forced back, and I considered it imperative:
1. To hold the strong point in CYRIL TRENCH and not save the OUTPOST LINE
2. To evacuate my wounded (some 30) in the TUNNEL before evacuation.
My orders were more than carried out, the bombs were taken up under heavy fire, though some sent up by another Regiment failed to arrive, a splendid attack was led by a Sergeant of the NORFOLKS before the withdrawal, all the wounded were got away, and barricade strengthened before withdrawal.
[Cannot read time]. Verbal message received that A and C Companies had withdrawn to our original OUTPOST LINE and that Lt. H.J.EVERETT MC again sent up with a further supply of ammunition and bombs for strong point in CYRIL TRENCH.
[Cannot read time]. My position at the time of this withdrawal was:
1. About 60 men of “A” and “C”, all me effective rifles and some NORFOLKS from about T.1.a.6/7 to T.1.a.9/0 (German Front Line).
2. On my left from T.1.a.5/6 to T.1.a.1/8 the remnants of “B” and “D” lying out in front of German Wire till dusk, being continually bombed, grenaded and minenwerfened.
[Cannot read time]. A proportion of “B” and “D” Companies withdrew under the smoke of a protective barrage on German 2nd Line trench, to left of OLD OUTPOST LINE.
Copy of orders of my forced retirement attached.
I consider that my Officers, NCO’s and men showed great devotion to duty against untold odds, particularly wire and machine guns and I am forwarding under separate cover a list of recommendations.
I have the honour to be, Sir, your obedient servant
P.R.WORRALL, Lt.Colonel commanding 1st Battalion, Bedfordshire Regiment www.bedfordregiment.org.uk/1stbtn/1stbtn1917appendices.html
F Futter
F FUTTER (RoH) - but see my notes
Either Frank Charles FUTTER, Private 10554, 3rd Battalion, Coldstream Guards. Killed in action 11th May 1915. Aged 20. Born Burnham Thorpe, enlisted Norwich, resident Wells, Norfolk. Son of Charles and Elizabeth Futter, of Graver's Cottage, Burnham Thorpe, King's Lynn. Buried in CUINCHY COMMUNAL CEMETERY, Pas de Calais, France. Plot II. Row A. Grave 1.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=594134
Or Frederick FUTTER, Private G/10190. 1st Battalion, Duke of Cambridge's Own (Middlesex Regiment). Killed in action 25th September 1915. Born St Bartholomew's. Norfolk, enlisted Norwich. Formerly 13023, Norfolk Regiment. Buried in CAMBRIN CHURCHYARD EXTENSION, Pas de Calais, France. Plot/Row/Section H. Grave 25.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=170678
The 1911 census has a Frederick Futter, born Norwich circa 1896 and still recorded in the district. There are no Futters recorded living in Norwich on the 1901 census, and no Norwich baptisms on the transcribed records available for the period 1881 to 1901. Frank is up at Burnham Thorpe, along with his nephew Walter Frederick who also died in the Great War.
The register of births doesn’t appear to have anything for 1896, but in 1895 in the April June quarter there is a Frederick John H recorded at Yarmouth.
The Great War Roll of Honour has Frederick down as Fred., and Frank Charles down as Charles F.
Therefore the balance is looking more like Frederick rather than Frank.
25th September-30th September 1915.
When dawn broke on the morning of 25th it seemed as if the elements had again conspired to make the attack abortive, for heavy rain fell and the wind, what there was of it, shifted almost continually; it was a bad day for the projection of gas. Indeed, one Brigade of the 2nd Division (6th) notified Divisional Headquarters that the wind was unfavourable, but was ordered to proceed with the projection. So, at 5.50 a.m., the cylinders were opened and great clouds of asphyxiating gas were projected into the air, whilst the smoke candles were lighted. But instead of the gas floating across No Man's Land and settling down over the German trenches, it hung lifeless in the air or blew back upon the British trenches from which it had been projected, in many places with disastrous effects.
The left Battalion (the Highlanders) of the 19th Brigade fared worse than the right-the Middlesex-for the ground in front of the former was much cut up by craters, and in these the gas hung about with exasperating stillness.
Across No Man's Land the Germans could be seen donning gas masks and using sprays-in order to dispel the gas-whilst all along their parapets, at intervals of about 20-30 yards, they lighted fires for the same purpose, and by their activities they appeared quite unaffected by the noxious fumes. For forty minutes the gas projection lasted and then, at 6.30 a.m., the signal was given for the assault.
"A", "B" and "C" Companies of the 1st Middlesex, awaiting the order to go forward, at once began their advance; "D" Company was in reserve. But the men had not gone more than a few yards ere a storm of rifle and machine-gun bullets tore their ranks to shreds and No Man's Land was soon littered with killed and wounded. Undeterred by the gas fumes the Germans stood up in their trenches, in many places upon the parapets, and poured a deadly accurate fire upon the advancing British troops. For not alone from in front of the gallant Die-Hards did fierce resistance take place, but all up and down the line. Unable to make further progress, the Middlesex men laid down. By this time the German trenches, which when the advance began had been lightly held, were packed with men and the volume of fire increased. With orders to reinforce the three forward companies, "D" Company now "went over the top," only to share a similar fate, and survivors lay close to the ground with a rain of bullets pouring overhead. The Battalion Diary records the action in the following and all too brief words: "At 5.50 a.m. a gas attack was opened on the German trenches for 40 minutes. This was not, however, very successful, and did not have much effect. At 6.30 the Battalion attacked with three Companies in the front line and one Company ("D") in reserve. The Battalion was all flung into the line, but failed to get further forward than 100 yards and were then hung up. Gunners again shelled the hostile line, but no further advance was made. At 12 noon the Battalion was ordered to withdraw into Brigade Reserve, having lost very heavily in both officers and men. A large proportion of N.C.Os. were casualties."
The 19th Brigade Diary throws but little further light on the action, though the position of the Brigade at 7.30 a.m. is given thus: "1st Middlesex about 100 yards in front of our front-line trenches; 2nd A. and S. Highlanders being under cover of the German parapet by the wire " (a terrible position). Then a little later the narrative states: "2nd A. and S. Highlanders withdrawn to their original trenches, leaving many men behind, including two complete platoons who reached the German front trenches. 1st Middlesex, trying to get on, are a hundred yards in front. Artillery shell the German front line very heavily. A bombardment under 2nd Divisional orders was arranged to start at 9a.m., after which infantry were to advance. 2nd Royal Welch Fusiliers now put out two companies to support the Middlesex, but they were met with fierce opposition and lose heavily. Bombers of 1st Middlesex reach the craters at "D," but are heavily fired on by our own artillery." At 9.45a.m. orders were received at Brigade Headquarters stating that as the attack on the right of the 2nd Division was progressing favourably, no further attack was to be made for the present by the 19th Brigade and the 6th Brigade ( the latter was on the left of the former).
Amongst the appendices to the Diary of the 19th Infantry Brigade, however, are several field messages of special interest to the Middlesex Regiment, and although there are gaps in the story it is possible to follow the course of the Battle from a battalion point of view.
The first message, timed 6.57 a.m., is from Brigade Headquarters to Battalion Headquarters Middlesex and reads: "Any news aaa How far have you advanced aaa Is gas returning you aaa Keep me well informed so that artillery barrage may be altered to suit if you want it." In reply to this message there follow several, one after the other, from the O.C. Middlesex, and they are given in their correct order, though the first was evidently despatched while the Brigade message was on its way to Battalion Headquarters: (i) "6.50 a.m. Much opposition to our front. Please ask guns to shell Les Briques trench." (ii) "7 a.m. Reserve company has got on, but we are being very heavily fired at." (iii) "7.16 a.m. Line held up. Very heavy fire aaa Have " (here the message is overwritten and is unreadable. (iv) "7.20 a.m. Ask guns to shell German front-line trench aaa Railway trench I mean." (v) "7.26 a.m. Don't think gas is affecting us or Germans. They are holding their front-line trench aaa Our Battalion is all out in area between their front trench and ours aaa 2nd Royal Welch Fusiliers are now up aaa It is essential to now shell hostile front trench." (vi) "7.30 a.m. Reported casualties probably 400, but impossible to tell aaa Have observed an enormous number fall." ( vii) "7.55 a.m. Must shell German first line aaa Our men are all out in front aaa Almost all must be killed or wounded aaa Please shell first line aaa Welch Fusiliers are now advancing." And, at 8 a.m. the Commanding Officer asks for men for the attack on his left: "Is there any news re Argylls and Sutherlands ?"
It is apparent from the last message that no news had reached the Commanding Officer of the Middlesex from his own front line of the situation on his left flank. About 8 a.m., however, Colonel Rowley received the following message from Lieut. A. D. Hill ( commanding "C" Company): "Enemy very strong in front with machine-guns and rifles. "C" Company strength only about 30 or 35 men. Impossible to advance on account of machine guns. Mr. Henry and 3 men alone remain out of two platoons. Can we have reinforcements ? We are in Square 27B in crater S.E. of road and about 60 yards south Point 79." To which, at 8.12 a.m., Colonel Rowley replied: "Hang on where you are until reinforced." The next message is written on a small muddy and blood-stained piece of paper: "8.30 a.m. "B" Company attack held up 100 yards out of own trench. Major Swainson wounded. "B" Company knocked out, few men stand fast." It is signed "P. Choate, 2nd Lieutenant."
The only other information received by Colonel Rowley from No Man's Land was a second message from Lieut. Choate, timed 10.50 a.m.: "So far as can ascertain "B" Company nearly wiped out. A few men are lying near me 100 yards in front of our front trench to left of wrecked aeroplane and facing Les Briques Farm. I have not enough men to advance further. Can you reinforce or give orders ?" There is no reply in the Diaries to this message.
The one bright spot in the attack was an assault from the left flank carried out by the Grenade Reserve platoon, assisted by a platoon of the Reserve Company ("D"). These gallant fellows attacked a large crater (at D) and actually captured it.
There is little more to tell ! At 1.15 p.m. the Battalion- all that was left of it-was ordered into reserve at Siding No. 3 and Braddell Trench. When this movement had been carried out, but a handful of men-84 other ranks-were mustered, though when darkness had fallen over the battlefield on the night of 25th other men, who had been lying out all day in No 2 Man's Land, were able to withdraw. The little party of "D" Company who had hung on to the crater they had captured were also withdrawn. During the day they had actually pushed beyond the crater, but were held up by very thick hostile wire entanglements, and the grenade officer was killed whilst trying to force a way through. A machine gun had also been pushed forward into the crater and did great execution, but the machinegun officer being wounded, the gun had to be withdrawn. Throughout the morning the Battalion stretcher-bearers performed many gallant deeds and worked heroically
Ten officers killed (Captains N. Y. L. Welman, F. V. A. Dyer, L. G. Coward and R. J. Deighton; 2nd Lieuts. C. A. J. Mackinnon, C. Pery, B. U. Hare, A. L. Hill, R. C. Mellish, J. H. Linsell; Lieut. A. W. R. Carless died of wounds on 27th September.) and 7 wounded; 73 other ranks killed, 285 wounded, 66 missing, 7 gassed and 2 suffering from shell concussion-a total of 455-were the casualties suffered by the 1st Middlesex throughout the day. Well indeed might the Brigadier-General (P. R. Robertson) commanding 28th Brigade write in a letter to Colonel Rowley, dated 26th September: "Please convey to all ranks my very high appreciation of the splendid behaviour of all ranks in yesterday's action. They did all that it was possible to do under such circumstances; their conduct was most gallant and fully upheld the fine reputation of the Die-Hards."
Source freespace.virgin.net/howard.anderson/loos.htm
S Guyett
Sidney GUYETT (RoH)
Private 241797, 1st/5th Battalion, Northumberland Fusiliers. Died 14th November 1916. Born Norwich, enlisted Norwich. Formerly 3165, Norfolk Regiment. Buried in THIEPVAL MEMORIAL, Somme, France. Pier and Face 10 B 11 B and 12 B.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=788145
No match on Norlink
No match on either the 1911 or 1901 Census, although there are plenty of Guyett’s in Norfolk,
The attack on Hook Sap 14th November 1916
Captain Francis Buckley wrote, in Q6a and Other Places:
The position in front was now as follows. The 1st Division had pushed the enemy back to a line running along the top of a ridge running from the Butte of Warlencourt practically due east. This ridge prevented our seeing the enemy's approaches and support positions in Le Barque. On the other hand from Loupart Wood the whole of our approaches and support trenches were in full view of the enemy, as far back as High Wood. Across those two miles no one could move in daylight without being seen by the enemy, and there was practically no position to put our field guns forward of High Wood. The enemy's front line consisted of two trenches - Gird Line and Gird support - with a forward trench on the top of the ridge, called on the left 'Butte Trench' and on the right 'Hook Sap.' Our front line Snag Trench and Maxwell Trench lay this side of the ridge and about two hundred yards away from the German forward trench.
The Butte of Warlencourt, an old Gallic burial place, was a round chalk hill, rising about 100 feet above ground level; and had been mined with deep dugouts and made into a formidable strong point. From the Butte, machine guns defended the approaches to Hook Sap, and from Hook Sap and the Gird Line, machine guns defended the approaches to the Butte. The ground between and around the opposing trenches had been ploughed up with innumerable shells, some of huge calibre, and it was now a spongy morass, difficult to cross at a walk and impossible at a run. As events proved, unless both the Butte and the Gird Line could be taken at the same time, the one would render the other impossible to hold. This then was the problem that faced the 50th Division, a problem that would have been difficult enough in the driest of weather, but rendered four times more so by the rain which fell in deluges on three days out of four during the whole of October and November.
I have dealt with these details rather fully, because this phase of the Somme battle has been passed over as a thing of no account. The eyes of the public have been directed to the successful operations at Beaumont Hamel and Beaucourt. They have not been directed to the misery and horror that we endured heroically but unavailingly on the slopes between Eaucourt L'Abbaye and Le Barque. Never have the soldiers of the 50th Division deserved more and won less praise than they did during the operations between October 25 and November 15. I have no pen to describe the conditions that were faced by the brave men, who after labouring unceasingly in the slimy horrors and rain for three weeks without rest or relief, stormed and took Hook Sap, only to be cut off and killed to the last man by successive counter- attacks. It is a sorrowful page in the history of the 7th N.F., but for stark grim courage and devotion to duty it cannot be surpassed by anything in the history of the battalion.
At dawn on November 14 the 149th Brigade attacked the Hook Sap and Gird Line, the 5th N.F. on the right, the 7th N.F. on the left opposite the sap At the same time the Australian Corps attacked farther to the right, but no attack was made on the Butte itself. An officer, who was in the trenches south-west of the Butte and saw the Northumberlands go forward, told me that he had never seen such a strange sight. The men staggered forward a few yards, tumbled into shell-holes or stopped to pull out less fortunate comrades, forward a few more yards, and the same again and again. All the while the machine guns from the German trenches poured a pitiless hail into the slowly advancing line; and the German guns opened out a heavy barrage on the trenches and on the ground outside. In spite of mud, in spite of heavy casualties, the survivors of two companies of the 7th N.F. struggled across that spongy swamp and gained the German line. What happened after that can only be conjectured, for they never kept in touch with the 5th N.F., who reached and took the Gird Line. But it is known that the 7th N.F. got a footing both in Hook Sap and in the Gird Line behind.
The Germans barraged the captured trenches twice or three times during the day, and are thought to have attacked them in force, with fresh reserves each time. Owing to the heavy and continuous barrage across No Man's Land no news could be got back, and no supports could be sent forward. Finally, at night, the remnants of the shattered brigade were collected, and another attempt were made to reach the trenches; but the Germans had evidently now got back to their old position and in the mud and darkness the fresh attack had little chance of success. Nothing more has been seen or heard of the two companies that reached Hook Sap. It is believed that they perished to the last man, over whelmed by successive German counter-attacks. Second-Lieut. E. G. Lawson fell at Hook Sap, also 2nd-Lieut. R.H.F.Woods, both Bombing Officers of the 7th N.F.; also Bombing Sergts. J.R. Richardson and J. Piercy.
The 5th N.F. did well indeed, for they succeeded in holding their ground in the Gird Line, and handed it over next day to the troops that relieved them. But that also had to be abandoned at last owing to its isolated position.
The only consolation that can be drawn from this heroic but tragic affair is that it may have created a diversion to our successful operation at Beaucourt. As an isolated operation it was doomed from the start owing to the state of the ground and the exhaustion of the men who took part in it.
www.fairmile.fsbusiness.co.uk/hooksap.htm
A Lake
A LAKE (RoH)
Either LAKE, Arthur Norman, Sapper 85613, 207th Field Company, Royal Engineers. Died 19th January 1917. Aged 34. Born Colegate, Norfolk, enlisted Norwich. Awarded the Military Medal (M.M.). Son of Mr. and Mrs. Fred W. Lake, of 36, Pitt St., Norwich; husband of Eliza Alice Lake, of 7, Rosebery Rd., Norwich. Buried in BREWERY ORCHARD CEMETERY, BOIS-GRENIER, Nord, France. Plot IV. F. 13.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=59108
There is a picture of Arthur Norman on Norlink. Accompanying notes read Sapper Lake was killed on 19th January 1917
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Arthur Norman was baptised at St George’s Colegate on the 12th October 1884. His actual date of birth isn’t noted. His parents are listed as Frederick William and Sarah, and their address is given as Pitt Street, Norwich.
Or LAKE, Arthur, Private 3921, 2nd Battalion, Northumberland Fusiliers. Killed in action 12th March 1915. Aged 19. Born and enlisted Norwich. Son of Mr. and Mrs. Lake. No known grave. Commemorated on PLOEGSTEERT MEMORIAL, Comines-Warneton, Hainaut, Belgium. Panel 2.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=869348
Norlink also has
Lake, Lance Corporal Arthur Walter, 101st Winnipeg Light Infantry (Overseas) Battalion
Lance Corporal Lake was born at Norwich, 31st December 1883, the son of W. Walter and Lottie Lake of 83 Crown Road, Great Yarmouth. He enlisted in early 1916 and was killed 9th April 1917 at Vimy Ridge, France.
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=2954741
His enlistment papers can be seen here
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
To add to our plethora of choices, the 1901 census has an 8 year old Arthur, born Norwich and recorded at 15 Priory Yard in the Parish of St James with Pockthorpe. His parents are Walter and Eliza. There is also a 11 year old Arthur recorded at 117 Oak Street, who lives with parents Robert and Mary.
While Arthur Norman from Pitt Street is there, and Arthur Walter, who by the time of the 1901 census has moved to 83 Crown Road, Great Yarmouth, there is no trace of the youngest Arthur on either the 1901 or the 1911 census. The only Arthurs of the right age and with a Norfolk connection on the 1901 census were born at Stalham and Attleborough.
C G Marshall
Cecil George MARSHALL (RoH)
probably Private M/33836, "N" Forage Company (Cambridge), Royal Army Service Corps. Died in United Kingdom 4th November 1918. Aged 22. Born Eccles, Kent, enlisted Chatham, resident Maidstone. Husband of Mabel Sophia Marshall, of 9, Howletts Court, Botolph St., Norwich. Buried in NORWICH CEMETERY, Norfolk. Plot/Row/Section 47. Grave 803.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2803224
No match on Norlink
There is also a Claude at 67 Magpie Road Aged 8 Parents Thomas and Mary on the 1901 census who is still around in Norwich in 1911, but the only match on CWGC for a Claude Marshall is a Temporary Lieutenant in the 7th Battalion South Staffs Regiment, who died in 1917.
Unfortunately no next of kin details shown on CWGC
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=159629
Private Marshall’s headstone:-
www.flickr.com/photos/43688219@N00/3085037887/
G H Marshall
George Henry MARSHALL (RoH)
Private 772766, 2nd Battalion, Canadian Infantry (Eastern Ontario Regiment). Died 29th September 1918. Aged 30. Born 12th September 1888 in Norwich. Son of Robert and Sarah Marshall, of 26, Stacey Road, Norwich; husband of Ellen Mary Marshall, of King's Head Yard, Magdalen St., Norwich. Machinist by trade,. Unmarried. Enlisted 5th February 1916 at Brantford, Ontario, Canada, passed fit 7th February 1916. Height 5 feet 5½ inches, girth 35½ inches, complexion fair, eyes brown, hair light brown, religion Church of England. Buried in BUCQUOY ROAD CEMETERY, FICHEUX, Pas de Calais, France. Plot II. Row K. Grave 23. National Archives of Canada Accession Reference: RG 150, Accession 1992-93/166, Box 5952 - 17
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=179082
There is a picture of George on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Accompanying notes read Private Marshall was born in Norwich on 21st September 1888, and educated at Angel Road School. He enlisted on 30th July 1916, and died of wounds received at the Battle of Cambrai on 29th September 1918
Interestingly the photo was taken at Bonds of Magdalen Street, Norwich.
The 12 year old George appears on the 1901 Census at 51 Esdelle Street in the parish of St Augustines. This is the household of his parents, Robert, (aged 43 and a Fruiterers Porter from Norwich), and Sarah, (aged 43 and also from Norwich). Their other children are:-
Robert……..aged 21.…..Born Norwich…..Printers Compositor
Edward……aged 20.…..Born Norwich…..Shoemakers Pressman
Walter……..aged 17.….Born Norwich…..Printers Porter
Albert……..aged 16.…..Born Norwich…..Errand Boy - Drapers
Sarah………aged 14.….Born Norwich
Rosa……….aged 11.….Born Norwich
Susan………aged 10.…Born Norwich
Eliza……….aged 8.…..Born Norwich
Arthur………aged 4.….Born Norwich
The enlistment papers for George Henry Marshall, born 12th September 1888 can be seen on-line in the Canadian Archive.
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
www.collectionscanada.gc.ca/databases/cef/001042-119.02-e...
He gives his next of kin as his father, Robert Marshall, of 26, Stacey Road, Norwich
27th September 1918
On the Corps left the 1st Division’s success paid tribute to careful planning and well-directed and determined execution. Two guns of the 1st Battery C.F.A. gave the 1st Brigade a good start by moving in front of Inchy-en-Artois and firing point-blank into enemy positions along the canal. Thus aided, the 4th Battalion, having crossed the dry bed with little difficulty, was able to jump ahead to the north-east and capture its assigned portion of the Marquion Line. Here the 1st Battalion pushed through as planned and secured the Green Line in short order. The 2nd and 3rd Battalions now assumed the lead, only to be stopped by heavy fire from the embanked railway which curved north from Bourlon. With the aid of a timely flanking attack by the 72nd Battalion they overcame this resistance and swept on to the Blue Line.
On the whole the day had gone very well. That night (General) Currie wrote in his diary: “Today’s success jeopardizes the hold of the enemy on the Quéant- Drocourt system north of the Scarpe, and he may be expected to fall back to Douai.” With the obstacle of the Canal du Nord overcome there was hope that Cambrai might soon be captured, and that the fall of Douai would follow. But gains had been limited on the Corps right, where the 4th Canadian Division, suffering from an open flank because of the slow progress of the British formations farther south, had been unable to start the second phase of the operation. During the night of 27-28 September, however, the Germans fell back. With his divisions ejected from their lines and lying unprotected in the open fields from Epinoy to Ribécourt, General von Below gave orders for a withdrawal to the far side of the Sensée between Arleux and Aubigny, and to the “Hagen” position running southward from Aubigny through Marcoing.108
On the evening of the 27th General Currie issued orders for the advance to continue throughout the night and following day in an effort to work around the north side of Cambrai and keep the enemy from setting up a defensive line west of the city.
The 2nd Battalion seems to have been engaged in holding the line on the 28th and 29th, as the various Canadian Reserve units were brought forward to keep the momentum going.
See Chapter 14, Matrix Nicholson Transcriptions.
Source: cefresearch.com/matrix/Nicholson/Transcription/
W H Mason
William Henry MASON (RoH)
Private Norfolk Regiment 1st/4th Battalion, Aged 21 Died 19/04/1917 200086 Son of Henry and Mary A. Mason, of 24, Rose Yard, St. Augustines, Norwich. Plot Panels 12 to 15. Buried in JERUSALEM MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1646317
No match on Norlink
The five year old William H. is recorded on the 1901 Census at 11 Thompsons Yard in the Parish of St Edmunds. This is the household of his parents, Henry, (aged 46 and a Crepe Finisher from Morwich), and Mary.A., (aged 38 and from Norwich). Their other children are:-
May……….,,,,,,,,,,,,,,aged 10.…….born Norwich
Alice M……………..aged 9.……..born Norwich
Ethel………………aged 3.………born Norwich
Making up the household is a 1 year old boarder, Ernest Camplin
19th April 1917 During the 2nd Battle of Gaza,
Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.
The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.
The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.
To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.
Source: en.wikipedia.org/wiki/Second_Battle_of_Gaza
E S Plumstead
Ernest Sidney PLUMSTEAD (RoH)
Gunner 875273, "A" Battery, 173rd Brigade (Territorial Force), Royal Field Artillery Killed in action 15th October 1918. Born and enlisted Norwich. Buried in DADIZEELE NEW BRITISH CEMETERY, Moorslede, West-Vlaanderen, Belgium. Plot I. Row C. Grave 35.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=163254
No match on Norlink
The 3 year old Ernest is recorded on the 1901 census at 55 Peacock Street in the Parish of St Pauls. This is the household of his parents, Samuel, (aged 41 and a Painter from Norwich), and Alice, (aged 31 and from Norwich). Their other children are:-
Percy……………….aged 8.………born Norwich
Alice……………….aged 6.………born Norwich
Arthur………………aged 5.……..born Norwich
Also living with them is Samuel’s Sister-in-Law, (and therefore probably Alice’s sister), Susan Saddleton, aged 19 and a Silk Weaver in a Crape Factory. Susan was also from Norwich.
CLXXIII (East Ham) Brigade: War Raised Unit; Formed at East Ham in 1915 and consisted of A, B, C and D Batteries; 36th (Ulster) Division. The Division moved to France 3-6 Oct 1915; Divisional Artillery remained in England until November 1915.
Forum Post,
14th - 15th October 1918
During the liberation of my village (Gulleghem, incl hamlets such as Salines, Steenbeek, Drie Masten...), 43 soldiers were killed and burried on the spot, the graves scattered all over the village. A document in the village archive lists their names, numbers and regiments. Most of the killed men were from the 29th Division (a few from the 35th and 36 division) serving with the South Wales Borderers, the Royal Scots, the Hampshire regiment, the Border Regiment, King's Own Scottish Borderers, Machine Gun Corps, Royal Inniskilling Fusiliers and Royal Field Engineers
(Gunner Plumstead is in the attached list)
1914-1918.invisionzone.com/forums/index.php?showtopic=104003
J W Scottow
John 'Jack' William SCOTTOW (RoH)
Gunner 101885, 355th Siege Battery, Royal Garrison Artillery. Died of wounds 21st August 1918. Born Heigham, enlisted Norwich. Buried in DAOURS COMMUNAL CEMETERY EXTENSION, Somme, France. Plot V. Row B. Grave 27.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=77657
There is a picture of Gunner Scottow on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read Gunner Scottow was born in Norwich in March 1887. He enlisted in August 1916, and was killed in action on 21st August 1918
On the 1911 census, a John Scottow, born Norwich circa 1887, is recorded in the district of Dartford. Other possibly related Scottow’s are a Mary, (born circa 1883, Norwich - possibly John’s wife?), and a Richard, (born circa 1909 Norwich - possibly John’s son?).
There isn’t a match on the 1901 census. On the 1891 census, the 3 year old John W is recorded at 29 Orchard Street in the parish of St Bartholomews. This is the household of his parents, John, (aged 39 and a Carpenter & Joiner from Alby, Norfolk), and Elizabeth, (aged 36 and from Hanworth). Their other children are:-
Mary……..,,,,,,,,,aged 17.….born Norwich…….Teacher:Elementary
George……,,,,,,,,aged 15.…born Norwich…….Labourer as a Packer
Elizabeth……….aged 13....born Norwich
Havvield(? Daughter)…..aged 1.…born Norwich
G Snelling
Gordon SNELLING (RoH)
Private 30316, 8th Battalion, Norfolk Regiment. Killed in action 11th May 1917. Born St Saviour, Norwich, enlisted Norwich. No known grave. Commemorated on ARRAS MEMORIAL, Pas de Calais, France. Bay 3.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1653957
No match on Norlink
On the 1901 census the 8 year old Gordon is recorded at 8, Little White Horse Yard, Botolph Street, in the Parish of St Saviour. This is the household of his parents, George, (age 39 and a Shoemaker from Norwich), and Emma, (also aged 39 and from Norwich). Their other children are:-
George………aged 13.……..born Norwich
Emma……….aged 10.……..born Norwich
William……..aged 4.……….born Norwich
Walter………aged 1.……….born Norwich
The 18th Division, of which the 8th Battalion were part, lists amongst its battle honours the third battle of the Scarpe, (3rd May-5th May 1917), part of the wider Battle of Arras. However, while fatalities amongst the 8th continued through-out May, its difficult to establish there whereabouts during this period.
черепица керамическая отзывы sotdel.ru/cherepica.html низкие цены на черепицу #sotdel #кровля #черепица Керамическая черепица – штучный кровельный материал, желобчатые плитки из обожженной глины особых легкоплавких разновидностей. Натуральная глиняная черепица может иметь дополнительное защитно-декоративное покрытие – ангоб либо глазурь. Ангобом называют минерально-глиняную смесь, обеспечивающую черепице – после обжига – ту или иную расцветку (поверхность, однако, остается матовой). Глазурь – специфическая стекловидная субстанция, насыщенная окислами металлов различного цвета, сообщающая обожженной керамике блеск и глянец. Керамическая черепица может быть плоской (которую так же называют ленточной), пазовой, коньковой. Глиняная черепица - это одно из самых лучших покрытий, но правда и дорогое, сравнится с ней сожет только медная кровля. Ну а всё остальное чуть дешевле, но также и чуть хуже... Но даже для не самых качественных материалов - ни каких наледей быть не должно. Это всё кривые "талибские" руки. Ну а тут скорее "хитрожопость" деректора у которого нет качественных специалистов по кровле, и сейчас будет "впаривать" МЧ или рубероид. У самого сложная, многоуровневая крыша, правда покрыл ЦПЧ Хоть стоит не долго, но сомнений пока нет, видел как Настоящие мастера работали. черепица керамическая отзывы www.sotdel.ru/cherepica.html www.facebook.com/110372909302943/photos/a.274679919538907...
Первое тюнинг-ателье по загородным домам - отделка фасадов, кровельные работы. Монтаж сайдинга под ключ. Гарантия 5 лет на монтаж сайдинга
Строительные блоки WOODBE из древесины www.sotdel.ru/stroitelnye-bloki-woodbe.html
Панели ДВП (Древесно Волокнистая Плита) www.sotdel.ru/paneli-dvp-drevesno-voloknistaya-plita/
ПАНЕЛИ KMEW fasadnye-panely.sotdel.ru/
Фартук для кухни (Кухонный фартук) www.sotdel.ru/fartuk-dlya-kuhni.html
Москва ул. Верхние Поля, 48а
пн–пт 09:00–18:00; сб 09:00–15:00
+7 (495) 258-62-08
www.lne.es/oviedo/2009/09/21/obra-piedad-formara-parte-re...
El escultor Santiago de Santiago, con obras en medio mundo, regresó ayer a Oviedo. Y no viene para un tema baladí, sino para presentar la estatua que ocupará el lugar de la fuente de la plaza Longoria Carbajal. Una reproducción que forma parte de una exposición que se inaugurará hoy en el Café Español y el en Ayuntamiento.
-Una vez más visita Oviedo.
-Porque la estatua de Mavi se nos va y viene «La Piedad», que formará parte de la reforma que se va a hacer en la plaza de Longoria Carbajal.
-Toda una incógnita...
-Va a ser la estatua más querida para los ovetenses, aunque su nombre representa algo que puede parecer muy doloroso, pero que es simplemente muy sentimental.
-¿Cómo será la estatua?
-Es una mujer que está en una postura muy acogedora, muy significativa, que inspira un cariño especial porque se la ve profundamente preocupada por algo. Espero que sea un éxito, porque fue elegida por un grupo reducido de gente de Oviedo, entre los que, por supuesto, estaba el Alcalde.
-¿Cómo va a ser esta estatua que ocupará el lugar de la fuente?
-Estará en posición reclinada, construida en bronce, y se colocará, más o menos, según la estructura que dejen en la plaza, en una situación físicamente paralela a la instalación de ahora. Al fondo estará lo que quede de la fuente, y de cara al público, la escultura.
-¿Qué quiso representar con esta obra?
-Un sentimiento. Está un poco arrodillada en el suelo, en una actitud como de sentimiento profundo por un tema de amor.
-La figura femenina es una constante en su obra.
-Porque no sé si es la culpable o la promotora de toda la vida, de lo bueno y de lo malo. La mujer es el regalo del hombre con los reglones torcidos... y que no falte.
-¿Qué representa para usted poner una estatua en Oviedo, donde hay muchas y de artistas tan importantes como Botero?
-Es una ciudad en la que ya tengo algunas obras, y después es un lugar de referencia para mí, donde también tengo parte de mi vida y muchos amigos. Ahora estoy aquí, porque ocurrió este curioso percance de la fuente.
-Tiene estatuas y monumentos repartidos por todo el mundo, de México a Japón, pasando por Rusia, Dinamarca y China, entre otros países.
-Un buen día cogí el mapamundi y dibujé una línea entre México, España y Japón, tres países muy distantes pero dominantes culturalmente. En este viaje estoy trabajando en países que pueden aportar mucho a la Humanidad. No obstante, para mí Oviedo siempre será una referencia.
«Espero que sea un éxito, porque la estatua fue elegida por un grupo reducido de gente de Oviedo»
Huffingtonpost Blog about Jan Bishop
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 Jan Bishop for the great work, patience and collaboration.
A Borrowed View
Jan Bishop is one of those photographers who possesses the ability to convert everything she sees into shadows, with an innate sensitivity to freeze the mysterious and dark side of the human being. Just like many other creative photographers, she has broken technical barriers and has put to one side prejudice. There is only one thing she asks of her camera: that the batteries are charged. Often slaves to technique, photographers are now laying aside limiting and old purisms to pursue what really matters: the moment, the light, the composition…the subject.
If you were to take a quick look at her gallery you’d come across sullen gazes, tense faces, and eyes that look like they’re dancing alone in a dark sea with shadow puppets. However, if we stop for a moment and take a real look at each portrait we’d see a series of exposed naked souls, men and women who do what they can to survive. There is little room for escape; there is no happiness.
Even though soft colours are present in some of her work, black and white is her territory, with her ability for drama, the abstract, polarization and lack of colour. Sometimes, pain and anger appear and the image is turned into a bite for the observer, an antidote for indifference. Just like this boy who looks at us with rage, he appears to shout and bite his way through the lens. Her work appeals directly to the spectator, trapping their eyes and drawing them into the photo.
We don’t know anything about the boy, why he is angry or why he has such an expression…Jan prefers to suggest, to open doors through which we can see the dark side of man. Nothing underlined, no explanations, all of that is left to our imagination. Jan prefers to insinuate rather than tell us the ending. Although this time she has made an exception and spilled the beans. A friend’s son had just had a fight with his brother and cried uncontrollably. You can’t always win…
Jan Bishop (London)
Shy buy nature, she hides behind her camera and lets it do all the talking. She looks for inspiration on the streets of London. It is there where she finds people who are engrossed, worried and confused. Perfect light is not abundant in London but Jan takes that as a challenge. Nor, does it bother her if her portraits are a little blurred. That is how she captures the rhythm of the street, the hustle and bustle, the pulse of the city. A master at capturing fleeting gazes, she provides each photo with an aura of mystery, drama and emotion.
Jan, a model in the 1980’s who lived between Milan, Paris, New York and her hometown London, decided to place herself behind the lens and observe every detail of the world instead of being the one observed. The street is her studio. Although she still confesses to miss the smell of fixer (a common trait of nostalgia of someone who grew up in a dark room) she admits to having been seduced by digital. What is lost in magic is gained in immediacy and malleability.
She likes to take the subject away from the situation and put them into a story of her own. It is what she calls “a borrowed view”.
Película cristiana completa | "El camino de la conducta humana" Dios alaba a las personas honestas
Desde una edad temprana, los padres y profesores de Cheng Jianguang le enseñaron que normas como "la armonía es un tesoro; la tolerancia, una virtud", "callar ante las faltas de los buenos amigos lleva a amistades buenas y duraderas" o "aunque veas mal, lo mejor es decir poco" eran las piedras angulares para mantener una buena relación con los demás. Él se tomó en serio estas lecciones y aprendió a no ofender nunca con sus acciones ni con su forma de hablar y a cuidar siempre de sus relaciones con los demás, lo cual le valió la reputación de "buen hombre" entre quienes lo rodeaban. Después de aceptar la obra de Dios Todopoderoso en los últimos días, Cheng Jianguang aprende de la palabra de Dios que sólo buscando la verdad y siendo un hombre honesto puede ganar la aprobación de Dios y que Él le conceda su salvación, así que jura convertirse en una persona honesta. Sin embargo, en el desempeño de su deber, se ve limitado por su carácter corrupto y es incapaz de dejar de actuar según filosofías de vida satánicas. Cuando descubre que un líder de la Iglesia no actúa conforme a la verdad en su deber, lo cual influye en la obra de la Iglesia, Cheng Jianguang decide proteger su relación con dicho líder y no plantea de inmediato el problema. Cuando una hermana acude a él en busca de una respuesta que le exigirá ser convincente y proteger los intereses de la Iglesia, Cheng Jianguang elige mentir, engañar y huir de sus responsabilidades porque teme ofender a los demás. Como resultado, el Gobierno comunista chino detiene a las hermanas. A medida que los hechos y la palabra de Dios lo exponen, lo juzgan y lo ponen al descubierto una y otra vez, Cheng Jianguang entiende que la lógica y las normas según las que actúa son toxinas satánicas y que lo que vive es un carácter corrupto. Además, llega a ver que la esencia de ser sumiso es la de una persona falsa, alguien a quien Dios detesta y desprecia, y que, si un hombre sumiso no se arrepiente y cambia, inevitablemente será rechazado y eliminado por Dios. También entiende que sólo siendo honesto puede ser una buena persona. Así que lucha para buscar la verdad y ser una persona honesta y, bajo la guía de la palabra de Dios, finalmente logra vivir a cierta semejanza de una persona honesta y recorrer la senda de la salvación de Dios.
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
enriqueviolanevado.blogspot.com.es/2014/12/comentarios-de...
En el Catálogo Orientativo de Obras de Arte para las Pruebas de Acceso a la Universidad de la Ponencia de Historia del Arte de las Universidades Andaluzas, aparecen reseñadas las siguientes obras de arquitectura egipcia:
1. Pirámide escalonada de Zoser; Sakkara.
2. Pirámides de Keops, Kefrén y Micerinos; Guiza.
3. Templo de Amón-Ra; Karnak.
4. Templo de Amón-Min; Luxor.
5. Templo de la Reina Hatshepsut (semispeo); Deir el-Bahari.
6. Templo de Ramsés II (gran speo); Abu-Simbel.
No obstante, en los juegos de exámenes de la Selectividad de Historia del Arte de Andalucía sólo han aparecido las siguientes obras:
A. Pirámide escalonada de Zoser; Sakkara.
B. Pirámides de Keops, Kefrén y Micerinos; Guiza.
C. Templo de Ramsés II (gran speo); Abu-Simbel.
Se incluyen los comentarios de estas tres obras.
El modelo de comentario que se sigue en cada obra intenta ajustarse a los criterios de corrección que se exigen en la selectividad de Andalucía. Concretamente se especifica que serán determinantes a la hora de calificar el empleo del vocabulario adecuado y específico, la localización (estilo, período histórico-artístico, escuela, autoría y cronología) y la contextualización (relación de la obra artística con su contexto histórico, social, político y religioso). Por lo demás, en el examen los epígrafes señalan que el alumno «clasifique y comente la imagen»
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COMENTARIO DE UNA OBRA DE ARTE: PIRÁMIDE ESCALONADA DE ZÓSER
1) IDENTIFICACIÓN
- Título de la obra: Pirámide de Zoser
- Autor: Imhotep.
- Cronología: 2665 - 2645 a. C.
- Período histórico: Primeras civilizaciones o civilizaciones hidráulicas.
- Estilo: Arte Egipcio.
- Escuela: Imperio Antiguo (2.700 – 2.200 a. C.), III dinastía (2700 - 2630 a. C.).
- Localización: Necrópolis de Saqqara.
2) ANÁLISIS
Nos encontramos ante la vista exterior de una pirámide de enormes proporciones, bien que con una distribución armoniosa de sus volúmenes. La obra emplea como material bloques de caliza silícea, extraídos de canteras próximas, unidos con argamasa; el exterior se revistió con piedra caliza, de grano fino, de un espesor medio de dos metros.
La estructura del edificio presenta una gran simplicidad: se trata de seis troncos de pirámides superpuestos de tamaño decreciente, sin rampas, vanos, contrafuertes ni ningún elemento constructivo destacable. El interior es completamente macizo, porque de otra forma peligraría la estabilidad del edificio.
La Pirámide de Saqqara es de planta ligeramente rectangular; los lados de su base miden 121 por 109. Se eleva hasta alcanzar los 60 metros de altura.
La tumba del faraón se encuentra bajo la pirámide, en estancias subterráneas. En concreto, la cámara del sarcófago de Zoser se encuentra al fondo de un pozo vertical, de 28 m. de profundidad. De ella parte un laberinto de corredores y habitaciones, en parte inacabado, sin parangón en ninguna otra pirámide del Imperio Antiguo.
Al igual que otras pirámides, esa edificación estaba asociada a otras construcciones de carácter funerario. En el caso que comentamos, nos encontramos ante un monumental complejo. El conjunto arquitectónico estaba rodeado por una muralla de piedra realzada con contrafuertes y bastiones y decorada con falsas puertas. En su interior destaca un amplio patio, una serie de edificios con cuidadas fachadas, pero con el interior completamente macizo y un intrincado sistema de galerías subterráneas y almacenes. Se trataba de una imitación de la residencia real de Menfis, bien que la original estaba realizada en adobe, madera y materiales perecederos, mientras que el simulacro empleó la piedra como elemento de construcción.
Saqqara forma parte de la inmensa necrópolis de Menfis, que se extendía a lo largo de más de 30 kilómetros al oeste de la capital del imperio y que agrupa los conjuntos funerarios (ordenados de norte a sur) de Abu Rawash, Guiza, Zauiyet el Aryan, Abu Gorab, Abusir, Saqqara y Dashur. A veces se incluye en este conjunto, el yacimiento de Meidum, aunque propiamente no pertenece a la necrópolis menfita.
El diseño de la pirámide experimentó transformaciones sustanciales a lo largo de sus obras. Primeramente se edificó una mastaba que se amplió en dos ocasiones y, posteriormente, se alzó una pirámide escalonada sobre ella que quedó integrada en la actual, más alta y ancha. Por tanto se distinguen cinco fases constructivas, o más bien seis, pues se incorporaron las tumbas de la familia real y se inició el complejo funerario.
Recordemos que los antiguos egipcios creían en la vida de ultratumba, existencia que quedaba garantizada si el cadáver se conservaba seguro. Se enterraba a los muertos con ajuares funerarios para que nada les faltara en la otra vida y además se les destinaban ofrendas. Estas creencias explican la importancia que concedieron a sus tumbas.
En cuanto a su interpretación religiosa, la pirámide por una parte recuerda al túmulo, evocando la piedra o colina que emergió de las aguas primordiales, y al mismo tiempo, presenta un simbolismo ascensional, como de escalera hacia el cielo. Se vincula a las creencias de los sacerdotes de Heliópolis según las cuales el faraón, a su muerte, se reunía o quizás de identificaba con la divinidad solar Ra.
Se comprende que el culto al Astro Rey y la veneración hacia l Faraón estaban unidos de forma indisoluble. Cuando sobrevino la crisis religiosa que los disoció, se extinguió la cuarta dinastía, los templos solares se construyeron en un lugar distinto a las pirámides y éstas presentaron dimensiones cada vez más exiguas y materiales más deleznables.
Constructivamente, las pirámides se originan a partir de las mastabas, tumbas prismáticas en forma de banco. De hecho la pirámide que comentamos no es otra cosa que seis mastabas superpuestas. Posteriormente se edificaron pirámides acodadas en las que las caras están conformadas con dos pendientes, de inclinación decreciente, y, más tarde, se erigieron las pirámides llamadas clásicas de caras lisas y de inclinación uniforme.
Antiguamente se creía que las pirámides fueron levantadas por esclavos, pero hoy sabemos que se edificaban por hombres libres, normalmente campesinos que se encontraban desocupados en la estación de la crecida del Nilo. Esto explica que su construcción se prolongase durante todo el reinado del faraón. Obviamente, el monarca encargaba el monumento y destinaba grandes recursos para que la obra llegara a buen término.
Se ha conservado el nombre de algunos de los arquitectos de las pirámides, pero parece que se trataba más bien del visir o primer ministro del faraón, puesto que la organización de las obras requería tanta atención como la propia construcción. Recordemos que los artistas en Egipto, como en el resto de civilizaciones antiguas, se le consideraba un artesano más y carecía de toda consideración social. El constructor de esta pirámide, Imhotep, fue visir del faraón, sumo sacerdote de Heliópolis y escritor. Posteriormente recibió culto como deidad de la medicina y la sabiduría.
3) CONTEXTUALIZACIÓN
El arte egipcio está dominado por la preocupación de la vida de ultratumba y por la necesidad del culto a los dioses cuyo último descendiente es el faraón reinante. Por ello buscan la eternidad y el colosalismo en sus realizaciones arquitectónicas y la majestuosidad en sus imágenes mediante una serie de fórmulas fijas (frontalidad, inmovilidad, hieratismo…). La preponderancia de lo sobrenatural y de lo sagrado, sumado al poder absoluto del faraón, explican que el arte egipcio rehúya la innovaciones y que evolucione muy lentamente.
El marco geográfico del arte egipcio es el valle del Nilo. Su cronología se desarrolla entre el 3000 y el 500 a. C., En su evolución temporal destacan las siguientes fases:
- El Imperio Antiguo (2.700 – 2.200 a. C.).
- El Imperio Medio (2.000 – 1750 a. C.).
- El Imperio Nuevo (1.550 – 1.070 a. C.).
La civilización egipcia tenía su base en la agricultura, por lo que su supervivencia dependía de la crecida del Nilo. Se trataba de una sociedad fuertemente jerarquizada, muy inmovilista y en la que el monarca, el faraón, detentaba un poder absoluto. El arte egipcio se convirtió en un eficaz vehículo de la autoridad del faraón y de las peculiares creencias religiosas de este pueblo.
El Imperio Antiguo (2700-2200 a.C.) se desarrolla entre la III y la VI Dinastías. La capital se situaba en el norte, en Menfis, y los monarcas mantuvieron un poder absoluto sobre un gobierno sólidamente unificado. Éste había evolucionado hacia un sistema teocrático, en donde el faraón era considerado un dios en la tierra, por lo que gozaba de un poder absoluto. Muestra del poder real es la construcción de las grandes pirámides de Saqqara y Gizá, obra de los faraones de la III y IV dinastía.
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COMENTARIO DE UNA OBRA DE ARTE: PIRÁMIDES DE GUIZA
1) IDENTIFICACIÓN
- Título de la obra: Pirámides de Guiza.
- Autores: Desconocido.
- Cronología: 2.589 – 2.500 a. C.
- Período histórico: Primeras civilizaciones o civilizaciones hidráulicas.
- Estilo: Arte Egipcio.
- Escuela: Imperio Antiguo (2.700 – 2.200 a. C.), IV dinastía (2630 – 2500 a. C.).
- Localización: en la meseta de Guiza, a unos 20 km. de El Cairo, Egipto.
2) ANÁLISIS
La imagen nos muestra una vista aérea de la necrópolis de Guiza en la que destacan las tres grandes pirámides (La de Micerinos en primer plano, la de Kefrén en el centro y la de Keops al fondo). También se observan tres pirámides secundarias y otros enterramientos. El nombre de los arquitectos se desconoce, bien que se ha identificado al visir o responsable de las obras de la Gran Pirámide: Hemon o Hemiunu.
Las pirámides principales presentan unas dimensiones colosales. La de Micerinos (en egipcio Menkaura) se elevaba hasta los 66 metros (reducidos hoy a 61), la de Kefrén (Jafra) se alzaba hasta los 143 metros (actualmente 136) y la de Keops (Khufu) superaba la cota de los 146 metros (136 metros en la actualidad).
Como se observa en la fotografía, la de Kefrén parece ser la mayor. Este efecto es debido a que se encuentra situada en un nivel más alto de la meseta, y a que presenta un ángulo más inclinado en sus caras. También se puede comprobar que esta pirámide conserva su cúspide, mientras que la de Keops se ha desmoronado. Por ello, actualmente la más alta es la pirámide de Kefrén.
Aunque mucho menores (unos 9 metros de altura), las pirámides satélites o subsidiarias muestran un tamaño, cuando menos, respetable. Señalar que aunque se comprueban notables deterioros, el conjunto se mantiene en buen estado de conservación.
Según se observa en la fotografía, las pirámides mayores y una de las subsidiarias pertenecen al tipo denominado «clásico», con las caras lisas y una inclinación uniforme. Las dos pirámides secundarias restantes se clasifican como «escalonadas», presentando cuatro pisos, bien que la del extremo izquierdo ha perdido el nivel superior. Al fondo se observan una serie de restos de enterramientos. Se trata de mastabas, esto es sepulturas de planta rectangular y estructura trapezoidal que albergaban una cámara subterránea.
En las pirámides se empleó como material de construcción bloques de piedra esmeradamente cortados y pulidos. Se hallan colocados a hueso, esto es sin emplear argamasa. Para el relleno se recurrió a piedra caliza extraída de la propia meseta de Guiza. Para el recubrimiento exterior y las paredes de los pasillos y cámaras se escogió caliza de las canteras de Tura (emplazada a unos 13 kilómetros de distancia) y con granito rosado y rojo procedente de Asuán (situado a unos 850 kilómetros de distancia).
En su estructura interna la pirámide de Keops alberga tres cámaras: una subterránea a la que conduce un pasaje descendente y que quedó inconclusa; la cámara de la reina, situada entre la base y el centro de la pirámide, y que fue usada para guardar la figura del faraón, la sede del ka. Finalmente se llega a la cámara del Rey en la que se depositó el sarcófago y que se halla emplazada en el corazón del monumento. Las dos últimas cámaras están comunicadas por un corredor ascendente llamado la Gran Galería.
La pirámide de Kefrén presenta una distribución más sencilla, con un corredor que desciende hacia una cámara subterránea y luego vuelve a subir para llegar a la cámara funeraria situada en la base del monumento.
Por su parte, la pirámide de Micerinos consta de una antecámara y de una cámara funeraria situadas en la base de la construcción, y el correspondiente pasaje descendente. Existe un corredor que parte de la antecámara y que se eleva hasta el corazón de la pirámide, pero esta obra fue abandonada.
En cuanto a su interpretación religiosa, la pirámide por una parte recuerda al túmulo, evocando la piedra o colina que emergió de las aguas primordiales, y al mismo tiempo, presenta un simbolismo ascensional, como de escalera hacia el cielo. Se vincula a las creencias de los sacerdotes de Heliópolis según las cuales el faraón, a su muerte, se reunía o quizás de identificaba con la divinidad solar Ra. Se comprende que el culto al Astro Rey y la veneración hacia l Faraón estaban unidos de forma indisoluble. Cuando sobrevino la crisis religiosa que los disoció, se extinguió la cuarta dinastía, los templos solares se construyeron en un lugar distinto a las pirámides y éstas presentaron dimensiones cada vez más exiguas y materiales más deleznables.
Como se observa en la imagen, las pirámides estaban acompañadas por otras construcciones:
- Templo del Valle: Construido junto al Nilo, era el lugar donde se recibía a la momia del faraón.
- Calzada: Camino que comunicaba el templo del valle con la pirámide.
- Templo funerario: Servía para realizar rendir culto permanente al faraón.
- Pirámides de las reinas o pirámides subsidiarias para los familiares del faraón.
- Mastabas de cortesanos y altos funcionarios.
Hay que sumar la Esfinge de Guiza, montículo esculpido y cuyo rostro parece ser el de Kefrén, las murallas que acotaban el recinto de cada pirámide y, por último, espacios diferenciados para artesanos, constructores, sacerdotes y el cuerpo de guardia, con sus almacenes correspondientes. La necrópolis de Guiza, por tanto, es un conjunto arquitectónico para vivos y muertos, con las dimensiones y el planteamiento urbanístico de una ciudad de medianas dimensiones.
Guiza forma parte de la inmensa necrópolis de Menfis, que se extendía a lo largo de más de 30 kilómetros al oeste de la capital del imperio y que agrupa los conjuntos funerarios (ordenados de norte a sur) de Abu Rawash, Guiza, Zauiyet el Aryan, Abu Gorab, Abusir, Saqqara y Dashur. A veces se incluye en este conjunto, el yacimiento de Meidum, aunque propiamente no pertenece a la necrópolis menfita.
3) CONTEXTUALIZACIÓN
El arte egipcio está dominado por la preocupación de la vida de ultratumba y por la necesidad del culto a los dioses cuyo último descendiente es el faraón reinante. Por ello buscan la eternidad y el colosalismo en sus realizaciones arquitectónicas y la majestuosidad en sus imágenes mediante una serie de fórmulas fijas (frontalidad, inmovilidad, hieratismo…). La preponderancia de lo sobrenatural y de lo sagrado, sumado al poder absoluto del faraón, explican que el arte egipcio rehúya la innovaciones y que evolucione muy lentamente.
El marco geográfico del arte egipcio es el valle del Nilo. Su cronología se desarrolla entre el 3000 y el 500 a. C., En su evolución temporal destacan las siguientes fases:
- El Imperio Antiguo (2.700 – 2.200 a. C.).
- El Imperio Medio (2.000 – 1750 a. C.).
- El Imperio Nuevo (1.550 – 1.070 a. C.).
La civilización egipcia tenía su base en la agricultura, por lo que su supervivencia dependía de la crecida del Nilo. Se trataba de una sociedad fuertemente jerarquizada, muy inmovilista y en la que el monarca, el faraón, detentaba un poder absoluto. El arte egipcio se convirtió en un eficaz vehículo de la autoridad del faraón y de las peculiares creencias religiosas de este pueblo.
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COMENTARIO DE UNA OBRA DE ARTE: EL GRAN SPEO DE ABU SIMBEL
1) IDENTIFICACIÓN
- Título de la obra: Gran Speo de Abu Simbel
- Autor: Desconocido.
- Cronología: 1244 a. C.
- Período histórico: Imperio Nuevo (1.550 – 1.070 a. C.), XI dinastía (1295 – 1186 a. C.).
- Estilo: Arquitectura Egipcia.
- Escuela: Imperio Nuevo ((1.550 - 1070 a. C.)
- Localización: Abu Simbel, Nubia (Sur de Egipto).
2) ANÁLISIS
Nos encontramos ante la fachada de un templo egipcio. Se trata de una obra de enorme dimensiones, bien que con una cuidada disposición de sus volúmenes. Aunque se observa importantes deterioros, el estado de conservación se puede considerar como muy bueno.
La fachada se encuentra rehundida en el frente de un acantilado, lo que revela que no se edificó, sino que se esculpió directamente en la roca, de tal forma que su material constructivo más que piedra, es realmente hueco. Este tipo de arquitectura se conoce como «arquitectura rupestre» o «arquitectura troglodítica» y se considera una combinación de arquitectura y de escultura, tanto en su planteamiento como en su técnica. Así no se añaden elementos, sino que se excavan o retiran, de forma semejante a como trabaja un escultor. Igualmente, y a diferencia de las técnicas constructivas usuales, la obra se empieza desde la cúspide y se progresa hasta el suelo.
Conviene recordar que estos monumentos, como todas las obras de la antigüedad, se cubrían con un enlucido y se policromaban con vivos colores.
La obra forma parte del conjunto de siete templos erigidos en Nubia, al sur de Egipto, entre la primera y la segunda catarata de Nilo. Este territorio se encontraba en la frontera meridional de los dominios del faraón y se cree que, aparte de motivaciones religiosas, el propósito del templo era impresionar a las tribus rebeldes y reforzar la influencia egipcia en la región. Se sabe que fue mandada construir por el faraón Ramsés II, de la XIX dinastía, tal vez como conmemoración de su triunfo en la batalla de Kadesh. En su construcción se siguió el esquema de los speos o templos enteramente subterráneos. Consta que las obras se prolongaron durante veinte años (1264 – 1244 a. C.). El devastador terremoto de 1210 a. C. es el responsable del derribo de unos de sus colosos.
La fachada reproduce, en parte, el frontispicio de los templos egipcios. Sus dimensiones son 33 metros de altura por 38 metros de ancho. Los cuatro colosos (unos 20 metros de altura) representan a Ramsés II, sentado en un trono con la doble corona del Alto y Bajo Egipto. A los pies de estas efigies hay otras estatuas, de mucha menor altura, que representan a su esposa favorita Nefertari, la reina madre Tuya y a parte de la numerosa descendencia del faraón.
Entre los colosos se abre una monumental entrada adintelada. Por encima de ella se abrió una gran hornacina con la estatua erguida de Ra-Horajti, deidad solar con cabeza de halcón. Esta imagen se halla flanqueada por dos efigies, en bajorrelieve, que muestran a Ramsés II en actitud orante. Por último, a manera de cornisa, la fachada está coronada por dos frisos de jeroglíficos y una hilera de 22 babuinos.
La parte interior del templo presenta, igualmente, una disposición similar a la de los templos, con habitaciones de tamaño decreciente a medida que se acercan al santuario. Estas estancias son la sala hipóstila, el vestíbulo, la sala de las ofrendas y el santuario.
En la sala hipóstila destacan los ocho grandes pilares osiriacos y los bajorrelieves dedicados a las campañas militares desarrolladas durante el reinado de Ramsés II. Las más conocidas son las escenas referidas a la batalla de Qadesh, librada junto al río Orontes en Siria. En este histórico combate el faraón derrotó a los hititas. Otros relieves muestran triunfos sobre los libios y los nubios.
A continuación se dispuso una segunda sala, el vestíbulo, con cuatro pilares decorados con imágenes en relieve de distintos dioses. Esta sala se comunica a través de tres puertas con una angosta estancia que servía de sala de ofrendas. Mediante otras tres puertas, alineadas con las anteriores, se accede a dos reducidas capillas y al santuario o sancta sanctorum, emplazado en el eje longitudinal del monumento, Allí se encuentran las esculturas talladas en la roca de cuatro figuras sentadas: Ra-Horajti, el deificado Ramsés, y los dioses Amón y Ptah. Se comprende que estas deidades, y el propio Ramsés, eran los titulares del templo.
El templo fue construido con tal orientación que durante los días 21 de octubre y 21 de febrero, al amanecer, los rayos del sol naciente cruzaban la puerta, la sala hipóstila, el vestíbulo y llegaba al santuario, iluminando durante unos minutos a las estatuas sedentes, excepto la efigie del dios Ptah, dios vinculado a las tinieblas.
Por último, existen una serie de alargadas estancias laterales, a las que se accede desde la sala hipóstila. A la derecha se encuentran cuatro habitaciones y a la izquierda solamente dos, pues la obra quedó inconclusa. Se supone que estas salas sirvieron como habitaciones auxiliares del templo, como depósitos de los objetos del culto. Con todo, algunos especialistas creen que pudieron servir de capillas.
La obra que comentamos estaba asociado a otro speo con el que formaba un complejo. Esta segunda obra es conocida como «el templo menor» porque sus proporciones son más reducidas y su distribución interior resulta más sencilla. Está dedicado a la diosa Hathor y a Nefertari, la esposa favorita de Ramsés.
Se desconoce cuando estos monumentos fueron abandonados. Su excelente estado de conservación se debe a que la arena acabó por cubrirlos en su mayor parte. Abu Simbel quedó completamente olvidado hasta que en 1813 el suizo Johann Ludwig Burckhardt lo descubrió. Cuatro años más tarde el explorador italiano Giovanni Belzoni despejó la entrada y pudo acceder al interior. Con todo, las célebres acuarelas del pintor escocés David Roberts muestran que en 1838 el templo continuaba prácticamente sepultado bajo la arena.
Como es conocido, estos templos fueron desmontados y reconstruidos entre 1964 y 1968 en un nuevo emplazamiento para que no quedara sumergido bajo las aguas de la presa de Asuán. La nueva ubicación se situaba a unos 210 metros más allá del río y 65 metros más arriba respecto al solar original.
3) CONTEXTUALIZACIÓN
El arte egipcio está dominado por la preocupación de la vida de ultratumba y por la necesidad del culto a los dioses cuyo último descendiente es el faraón reinante. Por ello buscan la eternidad y el colosalismo en sus realizaciones arquitectónicas y la majestuosidad en sus imágenes mediante una serie de fórmulas fijas (frontalidad, inmovilidad, hieratismo…). La preponderancia de lo sobrenatural y de lo sagrado, sumado al poder absoluto del faraón, explican que el arte egipcio rehúya la innovaciones y que evolucione muy lentamente.
El marco geográfico del arte egipcio es el valle del Nilo. Su cronología se desarrolla entre el 3000 y el 500 a. C., En su evolución temporal destacan las siguientes fases:
- El Imperio Antiguo (2.700 – 2.200 a. C.).
- El Imperio Medio (2.000 – 1750 a. C.).
- El Imperio Nuevo (1.550 – 1.070 a. C.).
La civilización egipcia tenía su base en la agricultura, por lo que su supervivencia dependía de la crecida del Nilo. Se trataba de una sociedad fuertemente jerarquizada, muy inmovilista y en la que el monarca, el faraón, detentaba un poder absoluto. El arte egipcio se convirtió en un eficaz vehículo de la autoridad del faraón y de las peculiares creencias religiosas de este pueblo.
En el Imperio Nuevo (1.550 – 1.070 a. C.) Egipto rompe su aislamiento tradicional y mantiene una activa política exterior que le hace llevar sus fronteras hasta Nubia y Siria. Es el periodo de construcción de los grandes templos de Luxor y Karnak en Tebas. En el devenir de este período destaca la figura del faraón Amenofis IV – Akenatón, que intentará cambiar la religión politeísta por un culto monoteísta al dios Atón. Esta revolución religiosa careció de continuidad y sus sucesores reinstauraron los dioses y rituales tradicionales.
______________________________________________
La pintura que preside esta serie de comentarios es Vista del Templo de Isis en Filé del alemán Carl Friedrich Heinrich Werner. Se trata de una acuarela sobre cartón pintada en 1865. A no dudar se trata de una vista tomada del natural. Las medidas de esta pintura son 37.2 × 64.3 cm.
La acuarela se encuentra firmada y fechada en el extremo inferior derecho: C.Werner. Philae 21 Jan. 1865.
La obra pertenece a la colección del Muzeum Narodowe w Warszawie [Museo Nacional de Varsovia] (Varsovia, Voivodato de Mazovia Polonia). Consta que entre 1880 y 1945 figuró entre los fondos del desaparecido Schlesisches Museum der bildenden Künste (Museo de Bellas Artes de Silesia) de Breslau / Breslavia, cuando esta ciudad pertenecía a la Silesia Alemana (rebautizada como Alta Silesia entre 1919 y 1938). Tras la Segunda Guerra Mundial, la región pasó a Polonia y la ciudad fue rebautizada como Wroclaw. Por su parte, el museo había sido completamente arruinado en el asedio de la ciudad en 1945 por las tropas soviéticas. Al año siguiente el cuadro pasó a la colección del Museo Nacional de Varsovia, donde actualmente se conserva.
La imagen procede de la Wikipedia:
commons.wikimedia.org/wiki/File:Werner_Temple_of_Philae.jpg
La historia de la pintura procede del catálogo virtual del museo:
cyfrowe.mnw.art.pl/dmuseion/docmetadata?id=1530&show_...
______________________________________________
La imagen de la Pirámide de Zoser procede de la página siguiente:
www.flickr.com/photos/8449304@N04/8188248211/
La imagen de las Pirámides de Guiza procede de la página siguiente:
2.bp.blogspot.com/_e1K2QoHu7VA/SOSTOtJtU-I/AAAAAAAAKIo/v6...
La fotografía de Abu Simbel presenta la siguiente procedencia:
không up hình gái nữa ...
giờ tôi up hình cũa tôi ...
LINK : rappervn.net/music/download-225824-BTRNhat_ki_2_nam_anh_y...
New Song : Nhật kí "2 năm ! anh yêu em"
tôi tên là CODY THẾ HÀO
Intro :
Oh Imma Cody T.H from The SouthSide n` underround "rap game" !
Yo ! 2012
New song :
Love Diary : “2 Years ! I love you“ n` my love never change
BTR - Productions
Feel the beat , now !
…check kit now !
Litsh !
Hook : West C
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì xuất phát ở đây cũng chỉ là :“anh yêu em !!”
Dù có bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và dù có gì đi nữa a cũng muốn nói :“anh yêu em !!!”
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì ở đây xuất phát cũng chỉ là :“anh yêu em !!”
Dù có đến biết bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và nếu bây giờ có cái gì nữa thì a cũng chỉ muốn nói :“anh yêu em !!”
Ver 1 : Cody
Ok baby ! em nghe cho rõ nè !
Trái tim này chỉ có mình em và không đổi nhé
Dù cho người ta có nói gì á , thì anh vẫn vậy
anh vẫn sẽ chờ đợi và yêu em như mọi ngày … thôi
thời gian vẫn cứ trôi … !
anh chỉ yêu em thôi … !
người ơi ! , em có nghe không ?
người ơi ! , em có biết không ?
người ơi ! , nếu em có nghe thỉ hãy trả lời anh đi nhé … người ơi !
và… anh thì chỉ có thế thôi , chỉ biết có cái “sến” ở trong bài nhạc
em thì cũng thừa biết rồi ,ở trong bài nhạc sẽ không còn ai khác
là em đó, mah baby !!
là em đó , mah lady !!
em là người làm cho con tim này hạnh phúc khi thức dậy
thức dậy được gặp em là anh chẳng còn có muốn cái gì nữa
bên cạnh em anh chỉ mong cho trời … “mau mưa đi”
để anh được ôm em
….
và anh nói nói nói nói …. Anh yêu em!!
Hook : West C
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì xuất phát ở đây cũng chỉ là :“anh yêu em !!”
Dù có bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và dù có gì đi nữa a cũng muốn nói :“anh yêu em !!!”
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì ở đây xuất phát cũng chỉ là :“anh yêu em !!”
Dù có đến biết bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và nếu bây giờ có cái gì nữa thì a cũng chỉ muốn nói :“anh yêu em !!”
Ver 2 : Thế Hào
Vẫn là em người anh biết vào lúc 2 năm trước đây !
và cũng là người con gái mà anh chấp lấy tay ước
uớc là em sẽ thuộc về anh và sẽ mãi như vậy ,không thay đổi
ước là khi nào cũng gặp và đùa giỡn với em và cũng không đổi thay
và cũng ước là mình sẽ hạnh phúc khi ở bên nhau qua mỗi ngày
cái ver đầu là tình cảm của tim anh nói ra đó
nói về 1 cô gái bé bỏng nằm sâu ở trong “lòng anh” khó tả !
em ở trước mặt anh , khi cảm xúc dâng trào và anh sẽ la to rằng cái trái tim của anh là nó :
nó muốn nói:“ yêu em và nó cần em lắm đó !"
Oh baby girl , mah heart !
I miss you so… I love you so… n` I need you forever
Anh sẽ chờ em từng năm, từng tháng ,từng ngày, từng phút và từng giờ
Chờ em như mọi ngày đi học anh ở trước nhà em và đứng chờ
Oh my love , dù có là bạn hay là gì của em thì a vẫn chỉ có thế
Vẫn yêu em như thế đó !
Vẫn là chàng khờ ngốc ngếch chung tình yêu em tha thiết như thế đó !
Hook : West C
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì xuất phát ở đây cũng chỉ là :“anh yêu em !!”
Dù có bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và dù có gì đi nữa a cũng muốn nói :“anh yêu em !!!”
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì ở đây xuất phát cũng chỉ là :“anh yêu em !!”
Dù có đến biết bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và nếu bây giờ có cái gì nữa thì a cũng chỉ muốn nói :“anh yêu em !!”
Ver 3 : Cody Thế Hào
Anh biết sự thật là anh và em k đến với nhau được
Chỉ có cái tình cảm bạn bè với nhau là được lâu
với em thì anh là bạn k hơn được cái gì cả
nhưng anh vẫn mãi yêu có mỗi em là vì
vì anh chỉ biết có đúng có mỗi mình em mà thôi
dù có những người nói khác nhưng anh sẽ hứa là anh “là anh không có dối trá“
tại vì trong từng đêm qua
không có 1 ai khác thay đổi được hình bóng của em cả !
anh biết anh chỉ là thằng học sinh thích rap vì rap là game
là game với cảm xúc thật để làm quà cho em mở ra xem
cũng là game về cẩm nhận với “đời” và nhất để anh tả em
đây là những gì mà chính công sức của anh có thể đem ra
chỉ mong “cô bạn thân” sẽ hiểu được tình cảm tôi thêm…và
kết thúc nội dung bài hát nữa “buồn” “vui” với câu thêm là :
1 câu nói “anh yêu em” …oh
và 1 câu nữa “anh cần em” …yeah
…
Hook x2 : West C
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì xuất phát ở đây cũng chỉ là :“anh yêu em !!”
Dù có bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và dù có gì đi nữa a cũng muốn nói :“anh yêu em !!!”
Trong bài hát vẫn không có gì khác là :“anh yêu em !!”
Tất cả những gì ở đây xuất phát cũng chỉ là :“anh yêu em !!”
Dù có đến biết bao nhiêu thằng yêu em thì cũng không bằng :“anh yêu em !!”
Và nếu bây giờ có cái gì nữa thì a cũng chỉ muốn nói :“anh yêu em !!”
Outro:
Na na na … oh… yeah I love you baby !
Oh Đây là bài thi và bài hát anh làm tặng em vào lúc a đag ”bệnh” vì đưa e về nhà trong mưa ! oh …
The End!
Chùa má ba li dị :-"
el.godfootsteps.org/videos/blessing-God-bestows-upon-man-...
Εισαγωγή
Χριστιανική μουσική | Η μεγαλύτερη ευλογία που ο Θεός παραχωρεί στον άνθρωπο
I
Με την ολοκλήρωση των λόγων Του,
σχηματίζεται η βασιλεία.
Με τον άνθρωπο πια κανονικό,
η βασιλεία Του είν’ εδώ.
Άνθρωποι του Θεού, στη βασιλεία,
θα βρείτε ξανά ζωή κανονική.
Σήμερα ζείτε ενώπιόν Του,
αύριο θα ζείτε στη βασιλεία Του.
Σ' όλους τους τόπους ζεστασιά, χαρά.
Η βασιλεία Του είναι εδώ. Η βασιλεία Του στη γη.
II
Τον κρύο χειμώνα αντικαθιστά άνοιξη παντοτινή,
ο άνθρωπος πλέον δεν θα υποφέρει,
δεν θα πονάει πια.
Οι άνθρωποι και τα έθνη πια δεν θα πολεμούν.
Τέρμα οι σφαγές, όχι άλλο αίμα.
Αύριο θα ζείτε στη βασιλεία Του.
Σ' όλους τους τόπους ζεστασιά, χαρά.
Η βασιλεία Του είναι εδώ. Η βασιλεία Του στη γη.
III
Κινείται στον κόσμο ο Θεός,
από τον θρόνο απολαμβάνει.
Στ' αστέρια ζει, άγγελοι γι’ Αυτόν τραγουδούν.
Οι άγγελοι δεν κλαίνε πια για την αδυναμία τους.
Χορεύουν, τραγουδούν γι’ Αυτόν.
Χορεύουν, τραγουδούν γι’ Αυτόν.
Χορεύουν, τραγουδούν γι’ Αυτόν.
Χορεύουν, τραγουδούν γι’ Αυτόν.
Ποτέ δεν θ’ ακούει τους θρήνους των αγγέλων.
Χορεύουν, τραγουδούν γι’ Αυτόν.
Χορεύουν, τραγουδούν γι’ Αυτόν.
Χορεύουν, τραγουδούν γι’ Αυτόν, τραγουδούν γι’ Αυτόν.
I
Κανείς δεν θα παραπονιέται για δυσχέρειες.
Σήμερα ζείτε ενώπιόν Του,
αύριο θα ζείτε στη βασιλεία Του.
Η μεγαλύτερη ευλογία του Θεού στον άνθρωπο.
Άνθρωποι του Θεού, στη βασιλεία,
θα βρείτε ξανά ζωή κανονική.
Σήμερα ζείτε ενώπιόν Του,
αύριο θα ζείτε στη βασιλεία Του.
Σ' όλους τους τόπους ζεστασιά, χαρά.
Η βασιλεία Του είναι εδώ. Η βασιλεία Του στη γη.
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
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Female Neolithic clay figurine, c. 3000 BC. excavated @ Vidra, Bucharest, Romania. Collection of the National Antiquities Museum, Bucharest. Height 42.5 cm. in the form of a jar, incised and with traces of paint, clay, c. 3000 BC.
www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html
The Goddess of Vidra is an anthropomorphic clay pot belonging to the Neolithic Culture of Gumelnita (Wallachia). Its incisions are ornamented with decorative patterns, typical of Celtic culture.
This artefact is a "Goddess of Fertility", as suggested by the large thighs, an attribute of reproduction... in such instance head was absent altogether.
Note the sgrafitti with geometric patterns, suggestive of Celtic motifs - irrefutable archaeological proof that the Celts of Western Europe came from the Lower Danube.
The Neolithic figurines of this kind are discussed in the introductory chapter of the Anthology:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www(dot)blouseroumaine(dot)com/orderthebook_p1(dot)html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations
circa 3,000 bibliographical references
6 Indexes
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Doctor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
Música cristiana | Dios es el único Soberano del destino del hombre
www.kingdomsalvation.org/es/videos/sole-sovereign-of-mans...
I
No importa cuán lejos has caminado en tu vida
ni cuán anciano seas,
no importa cuán largo sea el resto de tu viaje,
debes aceptar la autoridad de Dios,
tómate en serio saber que Él es tu único Señor.
No importa cuán grandes sean tus capacidades,
el destino de otros no se puede influenciar,
mucho menos orquestarlo, cambiarlo o controlarlo.
Sólo el único Dios todo lo dicta,
pues sólo Él tiene la autoridad para regir el destino del hombre,
y por eso sólo el Creador es el Señor del hombre.
II
Todos deben saber con claridad
que Dios controla el destino humano.
Es la clave para conocer la vida humana y la verdad,
conocer a Dios cada día.
No puedes tomar atajos para alcanzar este objetivo.
No importa cuán grandes sean tus capacidades,
el destino de otros no se puede influenciar,
mucho menos orquestarlo, cambiarlo o controlarlo.
Sólo el único Dios todo lo dicta,
pues sólo Él tiene la autoridad para regir el destino del hombre,
y por eso sólo el Creador es el Señor del hombre.
III
De la soberanía de Dios, no puedes escapar.
Del hombre, Dios el único Señor del destino del hombre.
Por eso el hombre no puede dictar su destino;
es imposible para él sobrepasarlo.
No importa cuán grandes sean tus capacidades,
el destino de otros no se puede influenciar,
mucho menos orquestarlo, cambiarlo o controlarlo.
Sólo el único Dios todo lo dicta,
pues sólo Él tiene la autoridad para regir el destino del hombre,
y por eso sólo el Creador es el Señor del hombre.
De “Seguir al Cordero y cantar nuevos cánticos”
Escuchar más: Canciones cristianas evangélicas
el.godfootsteps.org/videos/Almighty-God-you-are-so-glorio...
Ύμνοι
Χριστιανικά τραγούδια | Ω! Παντοδύναμε Θεέ,είσαι τόσο ένδοξος
Παντοδύναμε Θεέ, ύστατε Χριστέ, Σύ ‘σαι ο επανερχόμενος Σωτήρ.
Μιλάς στους ανθρώπους και κρίνεις τη αληθεία τον άνθρωπο.
Ο λόγος Σου έχει εξουσία και δύναμη, τον άνθρωπο εξαγνίζει απ' την διεφθαρμένη διάθεση.
Ο λόγος Σου αποκαλύπτει παντοδυναμία και Θεία δικαιοσύνη.
Ο λόγος του Θεού κρίνει τον παλιό κόσμο, κρίνοντας λαούς και έθνη.
Ο λόγος του Θεού όλα τα καταφέρνει. Ο Θεός ήδη νίκησε τον Σατανά.
Δόξα Σοι, Παντοδύναμε Θεέ! Τόσο ένδοξος όντως Είσαι.
Όλα τα έθνη κι οι λαοί προστρέχουν στα θαυμαστά Σου έργα.
Θεέ μεγαλοδύναμε, τον μεγάλο κόκκινο δράκο έχεις για υπηρέτη.
Ο Σατανάς μάς διώκει, η νίκη έρχεται από δοκιμασίες.
Όλους τους ολοκληρώνει ο Θεός, τον μεγάλο κόκκινο δράκο απαρνιούνται.
Χάθηκε ο Σατανάς. Εδώ είναι βασιλεία Θεού.
Όλοι προστρέχουμε στη Θεία εξουσία επί γης.
Η αλήθεια φανερώνεται. Φωνές υψώστε για τον Θεό!
Δόξα τω Θεώ, δόξα τω Θεώ! Παντοδύναμε Θεέ, τόσο ένδοξος Είσαι.
Όλοι προστρέχουν με χαρά στη θαυμαστή Σου σοφία.
Το έργο του Θεού έχει γίνει και θα γυρίσει στη Σιών.
Σώθηκε η ανθρωπότητα από του Σατανά το σκότος.
Ο λόγος Του καρποφορεί, η μοίρα καθενός έχει αποκαλυφθεί.
Τους αληθείς ευλογεί ο Θεός και τιμωρεί όσους μισούν.
Μεγάλες καταστροφές καταστρέφουν τον κόσμο. Ο λαός του Θεού θα παραμείνει.
Όλα τα έθνη στο θρόνο προσέρχονται. Ο λαός του Θεού τη δόξα υμνεί.
Δόξα τω Θεώ, δόξα τω Θεώ! Παντοδύναμε Θεέ, τόσο ένδοξος Είσαι.
Έθνη και λαοί για αγαλλίαση προστρέχουν, στη θαυμαστή σοφία Σου.
από το βιβλίο «Ακολουθήστε τον Αμνό και τραγουδήστε νέα τραγούδια»
Παντοδύναμε Θεέ, είσαι τόσο αγαθός!
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.godfootsteps.org/disclaimer.html
Música cristiana alegre | "Cuando abres tu corazón a Dios" Viendo el amor de Dios
I
Cuando no entiendes a Dios, ni conoces Su carácter,
no podrá abrirse tu corazón de verdad a Dios.
Cuando entiendas a tu Dios,
entenderás qué hay en Su corazón,
y probarás lo que hay en Él con toda atención y fe.
Cuando pruebes el corazón de Dios, poco a poco, día a día,
cuando pruebes lo que hay en Su corazón,
abrirás tu corazón a Él.
II
Si tu corazón le abres de verdad,
si tu corazón le abres de verdad,
verás el desprecio
verás la vergüenza de tu extravagante y egoísta petición.
Si tu corazón le abres de verdad,
si tu corazón le abres de verdad,
verás un mundo infinito en Su corazón,
y en un reino asombroso estarás.
En este reino no hay engaño,
ni trampa, ni oscuridad, ni maldad.
Sólo hay sinceridad y fe; sólo justicia y luz.
III
Él es amor, Él es cuidado, compasión infinita.
En tu vida gozo habrá, cuando a Dios abras tu corazón.
El reino infinito está lleno de Su poder y sabiduría,
también Su autoridad y amor.
Podrás ver lo que Dios tiene y es,
lo que le da gozo y aflicción,
qué le entristece y enoja, todos lo podrán ver,
cuando a Dios abras tu corazón y le invites a entrar.
De “La Palabra manifestada en carne”
Recomendación: Himno cristiano de adoración
traveladventureeverywhere.blogspot.com/2020/08/holy-mosco...
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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
gabbyjaws.blogspot.com/2024/05/boom-boom-pow.html
www.youtube.com/watch?v=4m48GqaOz90
Glamistry PF1044
Each product includes multicolor HUD and is compatible with Belleza, Maitreya, Legacy, Slink mesh bodies only.
Individual colors are not sold separately.
Glamistry
Gulabi Sitara Top, Skirt sold separate
Doux Brienne hair
Maitreya Lara
www.kingdomsalvation.org/ru/the-road-to-purification.html
Дорога к очищению
Кристофер, Филиппины
Меня зовут Кристофер, я пастор семейной церкви на Филиппинах. В 1987 году я был крещен и вернулся к Господу Иисусу. По милости Господа, в 1996 году я стал пастором местной церкви. В то время, помимо проповеди во многих городах Филиппин, я также проповедовал в таких местах, как Гонконг и Малайзия. Благодаря работе и водительству Святого Духа я чувствовал неисчерпаемую энергию в работе для Господа и слова лились непрерывным потоком во время моих проповедей. Я часто оказывал поддержку братьям и сестрам, когда они переживали упадок и слабость. Иногда члены их семей, которые не верили в Господа, были недружелюбны ко мне, но я оставался терпеливым, не терял веру в Господа и верил, что Господь может их изменить. Поэтому я чувствовал, что сильно изменился с тех пор, как поверил в Господа. Однако с 2011 года я не ощущал работу Святого Духа так же сильно, как раньше. Мало-помалу я прекратил получать новое просвещение для своих проповедей и у меня не было сил освободиться от жизни в грехе. Если мои жена и дочь не делали того, чего я хотел, я не мог сдержать гнев и стремился преподать им урок. Я знал, что это не соответствует воле Господа, но зачастую не мог ничего с собой поделать. Меня это сильно огорчало. Чтобы освободиться от жизни, в которой чередовались грех и покаяние, я стал уделять больше времени чтению Библии, посту и молитве, и повсюду находил духовных пасторов, чтобы вместе искать и исследовать. Но все мои усилия были бесполезны и никак не изменили мою жизнь во грехе и тьму в моей душе.
Однажды вечером весной 2016 года жена спросила меня: «Кристофер, я заметила, что в последнее время ты чем-то обеспокоен. О чем ты думаешь?» Выслушав жену, я рассказал ей, что меня беспокоило: «Я думаю о том, почему последние несколько лет я не могу освободиться от жизни в грехе, несмотря на то, что являюсь пастором и столько лет верю в Господа. Сейчас у меня нет связи с Господом. Как будто Господь оставил меня. Хотя я проповедую повсюду, как только у меня появляется свободное время, особенно поздней ночью, я всегда чувствую некую пустоту и беспокойство, и это чувство становится все сильнее и сильнее. Я думаю о том, как много лет я верил в Господа и как много читал Библию, как часто был полон решимости нести крест и победить самого себя, но я все так же повязан грехами, могу солгать, чтобы защитить свои интересы и лицо, и не живу в соответствии со словами: „И в устах их нет лукавства“ (Откр. 14:5). Хотя я знаю, что у меня есть одобрение Господа, я не могу ничего поделать с тем, что жалуюсь Господу и недопонимаю Его, когда сталкиваюсь с невзгодами и переплавкой, и я совершенно неспособен добровольно отвергнуть себя. Я боюсь, что, когда придет Господь, я не смогу войти в Царство Небесное из-за того, что жил в грехе!»
Услышав это, жена сказала: «Кристофер, как ты можешь так думать? Ты должен верить, ты же пастор! Хотя мы живем в грехе и не освободились от его оков, Библия говорит: „Ибо если устами твоими будешь исповедывать Иисуса Господом и сердцем твоим веровать, что Бог воскресил Его из мертвых, то спасешься“ (Рим. 10:9), а также: „Ибо всякий, кто призовет имя Господне, спасется“ (Рим. 10:13). Пока мы продолжаем читать Библию, встречаться и молиться Господу, нести крест и всегда следовать за Господом до Его второго пришествия, мы сможем войти в Царство Небесное и получить благословение Господа».
Тогда я ответил жене: «Раньше я тоже так думал, но в Послании Петра 1:16 сказано: „Ибо написано: будьте святы, потому что Я свят.“ Я верил в Господа тридцать лет, но я не могу держаться пути Господа и живя во грехе, я все еще часто противлюсь Господу. Я и в малейшей степени не соответствую Господним требованиям. Ох! Сколько раз я решал повиноваться учениям Господа, но не мог практиковать слово Господа. Как я могу быть достойным войти в Царство Небесное при таких обстоятельствах? Господь Иисус сказал: „Не всякий, говорящий Мне: «Господи! Господи!», войдет в Царство Небесное, но исполняющий волю Отца Моего Небесного“ (Мф. 7:21). Согласно словам Господа, войти в Царство Небесное не так просто, как мы думаем. Господь свят, поэтому как люди, которые не могут практиковать слово Господа и которые часто противятся Ему, могут быть восхищены в Царство Небесное? Только те, кто изменился и исполняет Божью волю, могут войти в Царство Небесное!»
...
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Nº 36.
Renault 5 (1972).
Escala 1/60.
"Coches de colección" - Diario "El Mundo" (España).
Welly/Super 9.
Made in China.
Año 2016.
New Welly model: Item no. 52361W.
More info:
www.elmundo.es/promociones/coches/index.html
swiftysgarage.net/topic/9028846/1/
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Renault 5
"El Renault 5, conocido popularmente como R-5 en su primera generación, y como Supercinco en la segunda, es un automóvil de turismo del segmento B producido por el fabricante francés Renault entre 1972 y 1996.
Fue fabricado principalmente en su país de origen, Francia; en Valladolid (1972-1984) y después Palencia (Supercinco), España; y en la planta de la empresa gubernamental Dina-Renault-Jeep en Ciudad Sahagún, México de 1975 a 1984. Casi 5,5 millones de unidades del Renault 5 fueron fabricadas."
(...)
El Renault 5 en España
"El primer modelo fabricado en España, en la factoría de Valladolid, fue el 950, basado en el TL francés, con motor de 956 cc.
A partir de 1974, la gama se desdobló en 950 y TL, únicamente en base al equipamiento.
Tras desaparecer el 950 poco después, en 1975 se unió a la gama el GTL, con motor de 1037 cc, sustituido más adelante por otro de 1108 cc.
También en 1975 se lanzó la versión semideportiva TS (Tourisme Sport), con motor de 1289 cc, 64cv y carburador Weber-Bressel de doble cuerpo, siendo entonces en cierto modo considerado como un compacto deportivo de lujo. Con esta versión, conocidos pilotos españoles como Carlos Sáinz o Jesús Puras se iniciaron en el mundo de los rallys.
La última versión lanzada al mercado fue el TX (sustituyendo al TS) y llevaba un motor de 1.397 cc, 63 cv y un carburador vertical Weber 32-DIR 100, de dos cuerpos."
(...)
Fuente: es.wikipedia.org/wiki/Renault_5
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Renault 5, el “Supercar”
"El Renault 5 aparece por primera vez en 1972, bajo la denominación de “Supercar”, en un anuncio hecho con la técnica del dibujo animado. El diseño moderno y original del coche, con sus formas redondeadas, suponen una verdadera revolución."
Versiones del Renault 5
- "El Renault 5 estuvo disponible inicialmente en dos versiones. R5-L con motor de 782 cm3 y 36 CV, el mismo que equipara el Renault 4. R5-TL, con motor de 956 cm3 y 47 CV, el mismo que el del Renault 8. El R5-TL se comercializaba con un equipamiento superior (limpiaparabrisas de dos velocidades, bandeja trasera y reposabrazos, entre otros refinamientos)."
- "En 1974 se comercializó una versión deportiva denominada R5-LS, con un motor de 1.289 cm3 y 64 CV DIN, con un equipamiento considerado de gama alta. Este modelo dispuso al año siguiente de asientos integrales."
- "En 1976 se comercializaron dos versiones.
Por una parte, la versión GTL, con la misma cilindrada del LS y con una potencia de 42 CV DIN. Este modelo estrenó las bandas de protección lateral realizadas en el mismo material que los paragolpes.
El otro modelo fue la gran revelación del año: el Renault 5 Alpine, que con su motor de 1.397 cm3 disponía de la nada desdeñable cifra de 90 CV de potencia. El R5 Alpine montaba un paragolpes delantero con faros antiniebla integrados y unas llantas especiales."
- "En 1977 se sustituyó el motor de la versión L por otro de 845 cm3 y 36 CV DIN. también por estas fechas, el Renault 5 Alpine fue equipado con las llantas de tres aperturas de otro modelo mítico, el Alpine A 310."
- "El Renault 5 automático apareció en 1978, con un motor de 1.300 cm3 de 55 CV y el peculiar techo de vinilo."
- "La versión de 5 puertas llega en 1979, junto con una remodelación de la parte más baja de la gama (L, TL y Société), a los que se muscula con un motor de 1.108 cm3 y 45 CV de potencia, además de incorporar un cuadro de instrumentos termo-moldeado y asientos nuevos."
- "Aunque tal vez 1979 pase a la historia de este modelo por la aparición de una auténtica bomba: el Renault 5 Turbo..."
- "Llegamos a la década de los 80, y en 1982 se comercializa el Renault 5 TX, una versión de lujo previa a las denominadas Baccara.
En este mismo año, el Renault 5 Alpine se equipa con un turbo Garret que traslada la potencia de los 93 a los 110 CV."
- "En 1984 todas las versiones base (TL, GTL, GTS y TSE) cambian su nombre por el de Lauréate, es el último año de producción en Francia y aparece el Supercinco, la segunda generación del Renault 5, modelo de nombre y aspecto similar, pero con una concepción distinta..."
(...)
El total de versiones comercializadas fueron:
950/L/LE
TL (en versión 3 y 5 puertas)
GTL (en versión 3 y 5 puertas)
Supercar
Alpine
TS
TX
Automatic cabrio.
Copa
Copa Turbo
Copa Turbo intercooler
Turbo I
Turbo II
"Entre 1972, el año del lanzamiento, y el año en que cesó su fabricación para la exportación (1992), se produjeron 5.325.890 unidades en todas las versiones del Renault 5.
Este coche fue el más vendido en Francia durante 10 años (1974-1983).
La versión TL fue la más comercializada, con 239.513 ejemplares en 1980 (el 79,75% de toda la gama).
La producción total en el mercado español entre los años 1972 y 1985 fue de 1.080,956 unidades, siendo 1981 el año en el que más unidades se vendieron, con un total de 150.288 unidades."
(...)
Fuentes:
www.motorpasion.com/clasicos/renault-5-cuarenta-anos-de-u...
noventaysieteoctanos.es/renault-5/
-----------------------------------------------------------------------------------------------
Renault 5
"La Renault 5 est une automobile française, produite en deux générations distinctes.
Cet article concerne la première génération, qui a été produite en France à l'usine de Flins proche de Mantes dans le département des Yvelines, et à Valladolid (Espagne).
En janvier 1972, la marque investit le marché de la mini, ce qu'elle n'avait jamais fait auparavant. La Renault R5 fut désignée ainsi parce qu'elle était équipée d'un moteur de 5 chevaux fiscaux.
La Renault 5 va connaître un grand succès. En 1980, grâce à l'apport de sa version 5-portes lancée en juillet 1979, sa part du marché français des voitures neuves sera de 16 %. Elle est la voiture la plus vendue en France durant dix ans, de 1974 à 1983.
La Peugeot 205, qui lui ravira ensuite la première place du marché français, ne fera après pas mieux que 12,8 % en 1985. En 1972, la concurrente de la Renault 5 est la Peugeot 104."
(...)
"Le style dû à Michel Boué est le point fort de la Renault 5, les deux grandes portes sont sans poignées apparentes, allégeant la ligne.
La Renault 5 est la première voiture à être équipée de boucliers en polyester armé à la place des habituels pare-chocs chromés. Elle innove aussi en proposant un hayon arrière qui s'ouvre jusqu'au pare-chocs, pour la première fois sur une petite voiture, ce que tous les autres constructeurs copieront. Le coffre a une contenance de 270 dm3 et s'agrandit jusqu'à 900 dm3 quand la banquette arrière est rabattue.
La 5 hérite de la plate-forme, des suspensions à barres de torsion et des moteurs à arbre à cames latéral (782 à 1 397 cm3) de la Renault 4, ce qui permet un prix contenu. Le levier au tableau de bord est à commande directe car il passe au-dessus du moteur jusqu'à la boîte de vitesses montée longitudinalement à l'extrême avant.
En 1973, un levier de vitesses au plancher sera proposé sur la R5 TL."
(...)
La gamme
- "La gamme commence [1972] avec une version L qui reprend le moteur 4 CV de 782 cm3 (« moteur Billancourt ») de la Renault 4. Pour 1977, la Renault 5 L s'appellera simplement Renault 5 en recevant le « moteur Billancourt » 845 cm3 de la Renault 6."
- "La 5 TL propose le moteur 5 CV de 956 cm3 à cinq paliers issu de la Renault 8 (« moteur Cléon-Fonte »)... Clignotants avant blancs pour 1973 jusqu'en 1978... Pour 1979, les enjoliveurs de roue sont supprimés."
- "En avril 1974, apparaît la 5 LS (155 km/h), équipée d'un 1 289 cm3 développant 64 ch, de roues de style, d'un essuie-glace arrière et d'un échappement arrière (il est latéral sur les versions L et TL)... La 5 LS deviendra 5 TS dans la gamme 1975... Pour 1977, elle possèdera des vitres arrière entrouvrables."
- "En février 1976, la 5 GTL adopte le moteur 1 289 cm3 retravaillé pour consommer très peu d'essence (4,7 L/100 selon le constructeur). La 5 GTL se singularise par les bandeaux latéraux de protection en polyester prolongeant les pare-chocs, les roues de style et les feux de recul. Pour 1978, elle possèdera des vitres arrière entrouvrables.
La 5 GTL va devenir la plus vendue des Renault 5."
- "En mars 1976, est lancée la 5 Alpine qui atteint 175 km/h. Elle dispose d'un moteur 1 397 cm3 qui développe 93 ch et de la boîte de vitesses à cinq rapports de la Renault 16 TX.
La 5 Alpine est reconnaissable à sa décoration spécifique « A5 » sur les flancs, le hayon et le nez du capot, à ses pare-chocs noirs avec spoiler avant et projecteurs antibrouillard incorporés, à son rétroviseur extérieur en forme d'obus et à ses jantes en tôle de type Gordini..."
- En janvier 1978, la 5 Automatic 1300 s'équipe d'une boîte de vitesses automatique, d'un toit en vinyle noir (..,) de jantes de style, ainsi que de boucliers et de bandeaux latéraux de protection noirs. En février 1981, la cylindrée passe de 1 289 cm3 à 1 397 cm3."
- "Sur la base de la 5 TL, une 5 Société à deux places a existé, elle comportait des panneaux latéraux tôlés à l'arrière, rapidement remplacés en série par des vitres."
- "En juillet 1979, la Renault 5 est déclinée en variante cinq portes. Celles-ci sont identiques à celles de la Fasa-Renault Siete espagnole, une 5 à quatre portes avec une malle arrière et des pare-chocs chromés. Sur la cinq portes, la planche de bord, le volant et les sièges sont aussi nouveaux. Le moteur des 5 TL et 5 GTL passe à 1 108 cm3."
- "La Renault 5 à cinq portes va être une auto-école très populaire. Succédant à la Simca 1000, la 5 Auto-école se démarque de la 5 TL par ses bandeaux latéraux de protection et ses feux de recul supplémentaires."
- "À partir de septembre 1981, le carburateur de la 5 Alpine est aspiré par un turbocompresseur : la 5 Alpine Turbo (110 ch) dépasse 185 km/h. Elle reçoit des jantes spécifiques à ailettes. À partir de la fin 1983, le modèle pour la Suisse adopte une vanne EGR pour respecter les normes antipollution.
À partir de mars 1984, la 5 Alpine Turbo devient la 5 Lauréate Turbo."
- "En octobre 1981, une version luxueuse de la 5 TS à trois portes est proposée, elle s'appelle 5 TX. Elle est dotée d'une direction assistée, de lève-vitres électriques, d'un volant et d'un pommeau de levier de vitesse gainé de cuir, d'une banquette rabattable par moitié, d'un coffre entièrement moquetté et d'un pré-équipement radio.
Il existe aussi une 5 TX à boite automatique..."
- "Pour 1983, les boucliers anthracite sont généralisés."
- "La Renault 5, après neuf années consécutives en tête du marché français, de 1974 à 1983, terminera sa carrière fin 1984 sous le nom de 5 Lauréate comme version d'accès au côté de la nouvelle Supercinq.
Cette remplaçante n'osera pas s'écarter du style si réussi de la première version."
(...)
--------------
Renault 5
Marque
Renault
Années de production
1972 - 1984
Production
5 580 000 exemplaires
Classe
Citadine
Usine(s) d’assemblage
Flins (France)
Valladolid (Espagne)
Énergie
Essence
Moteur(s)
0.8 34 ch
0.9 34 ch
1.0 44/47 ch
1.1 45 ch
1.3 44/55/64 ch
1.4 58/63/93/110/160 ch
Transmission
Traction
Poids à vide
À partir de 730 kg
Dimensions
Longueur
3 521 mm
Largeur
1 525 mm
Hauteur
1 400 mm
Volume du coffre
270 dm3
Chronologie des modèles
Suivant
Renault Supercinq
Source: fr.wikipedia.org/wiki/Renault_5
More info:
www.renault-5.net/chronologie.htm
www.guide-autosport.com/renault/chronologie-renault/renau...
by Alan Parker Photos
Paris by night
#
I wish I was there
j'aimerais être là
ich wünschte ich wäre dort
Хотел бы я быть там
Vorrei essere lì
Me gustaría estar allí
#
Suzuki Ignis 2020 1.2 Smart Hybrid Technische Daten
(2020 - ) - Jahre 2020, 2021, 2022...
Leistungsgewicht : 10.1 kg/hp
Fuel System :
Multipoint Injection *
16V
●
Tempo 80: 3,2 Liter Verbrauch
Tempo 100: 4.3 Liter Verbrauch
TEMPO 120: 5,8 Liter Verbrauch
TEMPO 140: 7,2 LITER VERBRAUCH
TEMPO 160: 9,4 LITER VERBRAUCH
●
Verbrauch - Verbrauch nach WLTP sehr schnell:
6 L/100km
#
Verbrauch - Verbrauch nach WLTP langsam:
5.1 L/100km
Verbrauch - Verbrauch nach WLTP
kombiniert:
5.1 L/100km
Bauart : 16 Ventile
Turbo : Nein
Verdichtung : 13.0 zu 1
de.wikipedia.org/wiki/Verdichtungsverh%C3%A4ltnis
Das Verdichtungsverhältnis wurde im Laufe der Entwicklung von Verbrennungsmotoren immer weiter gesteigert.
Die allmähliche Steigerung der Verdichtung lag lange vor allem an der Kraftstoffrezeptur.
Heute sind Oktanzahlen bis 102 ROZ an der Tankstelle verfügbar.
Ältere Motoren haben tendenziell niedrigere Anforderungen an die Kraftstoffqualität, da die Kraftstoffqualität noch nicht so hoch war, als sie entwickelt wurden.
Auch die Gestalt des Brennraums und des Ansaugtrakts trägt zum Oktanzahlbedarf bei.
#
Multipoint Injection *
16V :
*Eine Bedingung für heutige hohe Verdichtungsverhältnisse ist die Direkteinspritzung und die Verwendung von Klopfsensoren.
Der Zeitpunkt und die Menge der Treibstoffzugabe wird hier exakt gesteuert, womit eine vorzeitige Zündung – und somit ein Klopfen – verhindert werden kann.
Moderne Motoren haben Klopfsensoren, die aufkommendes Klopfen erkennen. Sie können den Zündzeitpunkt an die Benzinqualität und an die Motoreigenschaften anpassen.
Bei höherem Verdichtungsverhältnis (genauer: Expansionsverhältnis) ist auch der thermische Wirkungsgrad höher.
ROZ 91 Normal Benzin
ROZ 95 - ROZ 100 - ROZ 102
de.wikipedia.org/wiki/Oktanzahl#ROZ
wirkt sich erst bei Vollgas (Volllast) positiv aus!
Beispiel würde eine Oktanzahl von ROZ = 95 (umgangssprachlich: 95 Oktan) eines Benzins bedeuten, dass dessen Klopffestigkeit einem Gemisch aus 95 Vol.-% Iso-oktan und 5 Vol.-% n-Heptan entspricht.
Iso-oktan ist klopffest und kann stark verdichtet werden, ohne dass es zur Selbstzündung kommt.
Beispielsweise kann der Oktanzahlbedarf eines Motors
bei Vollgas um 10 Oktanzahlen höher
liegen als im Leerlauf.
Man kann hier auch von einem Volllastbereich sprechen, vergleichbar mit einer sehr schnellen Autobahnfahrt.
Die Verwendung von oberhalb der Motorspezifikation liegenden Oktanzahlen bringt im Regelfall keine Vorteile.
Moderne Motoren mit elektronischer Kennfeldzündung
in Kombination mit Klopfsensoren können mit verschiedenen Oktanzahlen bei reduzierter Leistung gefahren werden.
#
SUZUKI Motorleistung : Powertrain optimiert by Toyota
Moderner Motore mit elektronischer Kennfeldzündung
83 PS or 82 bhp or 61 kW @ 6000 rpm
Drehmoment :
107 Nm or 78 lb.ft @ 2800 rpm
35 Nm Hybrid Antrieb: E-Boost
Verbrenner plus Hybrid E-Boost
Im kurzzeitigen E-Boost-Modus leistet das Suziki Ignis Topmodell 85 PS Systemleistung bei 142 Nm.
2020-er Modelle:
53 mpg: 5,33 l Verbrauch.
10 % better.
But much more expensive.
Leistungssteigerung durch Mild Hybrid
leistungsfähigerer Akku (Lithium Batterie), 3-fach stärker
plus verbesserter E-Boost: Fahrpedal-Kickdown
um mehr Leistung zu fordern.
"Performance"
Das Hybrid-System von Suzuki besteht aus zwei Komponenten: dem integrierten Startgenerator (ISG) und einer extrem effizienten 12-Volt Lithium-Ionen-Batterie. Beim Anfahren und Beschleunigen versorgt der ISG den Benzinmotor mit Energie aus der angeschlossenen Batterie.
Fazit Hybrid:
nichts vom Fahrspaß geht verloren, ist aber sparsamer geworden.
E-Boost wirkt nur zwischen etwa 2000 bis 3.900 Umdrehungen !!
Beim Mild-Hybrid unterstützt der Elektromotor in nahezu allen Fahrsituationen die Verbrennungsmaschine, so z.B. beim Starten, Anfahren, Beschleunigen.
10 Ah - hilft 3 bis 4 km bergauf
der Verbrauch bleibt fast auf Niveau wie zuvor
(plus 0,2 l / 100km mehr)
entspricht 3.2 hp
35 Nm
peak at
50 Nm
Lithium Batterie rekuperiert sehr schnell.
Drivetrain Architecture
The Internal combustion engine (ICE) and electric motor drive the front wheels of the car with the ability to work only in mixed mode.
2020 Suzuki Ignis II (facelift 2020) 1.2 Dualjet (83 Hp)
MHEV | Technical specs, data, fuel consumption, Dimensions: www.auto-data.net/en/suzuki-ignis-ii-facelift-2020-1.2-du...
Bergab geht es sehr schnell.
etwa 2 km bis Batterie voll ist!
Der Ladestrom ist
sicher sehr hoch.
Mild-Hybrid-System
Electric motor Torque 50 Nm @ 1000 rpm.
36.88 lb.-ft. @ 1000 rpm.
Weight-to-power ratio 9.8 kg/Hp, 102.2 Hp/tonne
Weight-to-torque ratio 7.5 kg/Nm, 132.6 Nm/tonne
2020 Suzuki Ignis II (facelift 2020) 1.2 (91 Hp) MHEV 4WD CVT | Technical specs, data, fuel consumption, Dimensions: www.auto-data.net/en/suzuki-ignis-ii-facelift-2020-1.2-91...
Mehrpreis: 1.160 Euro - 1.500 € beim Vorgänger Modell
für eine weitaus schwächere Leistung (30%)
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2019,2020, 2021, 2022,2023,2024
gaziantep.ktb.gov.tr/TR-52355/anit-mezarlar.html
Elif Mausoleum is in Elif Village of Araban District. The village of Elif is the ancient city of Sugga, and according to the information on the ancient map showing the Roman period road routes, Dolikhe (Dülük)-Is around the intersection of Samosata (Samsat) and Zeugma-Samosata roads. The Elif Mausoleum is also built of cut stone, just like the Hisar, and consists of a body resting on a high pedestal and a vaulted cover system covering the body. The mausoleum's eastern, western and southern facades are arcMausoleumnorthern facade is closed by building a wall, and a rectangular doorway is left in the lower middle part. The four bulky pier columns forming the body of the Mausoleum have beMausoleumed by the arches resting on the Corinthian capitals. Thus, the building gained an aesthetic appearance. Although we cannot say anything definite about the covering system of the Elif Mausoleum, it is understood from the remains that it may be a vault. Elif Mausoleum is also dated to the end of the 2nd century AD and the beginning of the 3rd century AD.
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Most beautiful coffee house of the world
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epa.oszk.hu/00000/00003/00011/newyork.htm
The New York Palace is one of Budapest's many must-see sights. The grand building is home to a hotel and its ground floor houses the famous New York Café, a luxurious coffeehouse and restaurant - a great literary coffeehouse in the past.
It was built between 1890 and 1894 for the New York Insurance Company, hence its name. It was designed by the great Hungarian architect Alajos Hauszmann, who was assisted by his compatriots Flóris Korb and Kálmán Giergl.
The New York Café (New York kávéház)
The ground floor of the New York Palace was planned as a coffeehouse. In the nineteenth century coffeehouses were very popular in Budapest; at one point there were about five hundred of them. People visited them to discuss daily affairs, politics and even art - moreover writers, poets, journalists "lived" and worked there...
The New York Café was undoubtedly the most sumptuous of all the coffeehouses in Budapest. It was decorated with ornaments, frescos, chandeliers and spiraled columns, all made from precious materials. As soon as it opened the café was popular with writers and journalists. The legend says that on its opening day, the dramatist Ferenc Molnár threw the keys of the café in the Danube to ensure it would stay open day and night. In its heyday during the Belle Epoque, when many of Hungary's most renowned literary figures were regulars here, the New York Café was a center of intellectual life in Budapest.
The café remained popular throughout the 1920s and 1930s when it became known for its musical scene but after the building was damaged during World War II it closed in 1947. Later a sporting goods store settled here. In 1954 the building was restored and the café reopened as the Hungaria café and restaurant.
After the fall of Communism the building stood empty for a decade until, in 2001, the Italian luxury hotel chain Boscolo purchased the New York Palace and started a thorough renovation that was concluded in 2006, when the New York Café reopened in all its splendor.
Maria Rosetti, (née Mary Grant), (b. 1819, Guernsey - d. 1893, România), 1848 Revolutionary, Charity Worker, Auxiliary Nurse during the 1877 War, of Independence, Spouse of C. A. Rosetti. Portrait by Samuel Rosenthal entitled "Liberty"
She comes to life in the pages of an Anthology entitled:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
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LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
Note the intricate motifs on the sleeve, reminiscent of motifs used in Celtic art.
Gente, o HTML tá chegando, foi uma parceria entre mim e a Mari, que ainda veio a Lijo e a Karina, espero que dê certo, o theme foi feito por mim, nao sei se ficou mt bom mas a mari gostou. E se tudo der certo, hoje abriremos! Aguarde.. htmlcrew.tumblr.com/
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Train station, Larissa, Greece.
Taking photos inside Greek train stations is prohibited. I don't know why, but I feel that it's a remain from old junta times.. (BTW, whats the status of this matter in your country??). So, when I raise my camera, appears from nowhere a station lady, wearing a uniform, tell me that I should go to a special area, almost outside the station, where you can find an open air Train Museum, if I want to take some shots (maybe some day I'll upload some shots of this terrible museum).
So I go there, and stand looking for targets. The lady is quite far, but I can't resist.
She is looking me very strong... I use my 300mm (eq 450) lens and after a pretty strong crop, voila...
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