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researches for COPENHAGEN ULTRACONTEMPORARY BIENNALE
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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile during Venice Biennale contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
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
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
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
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
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
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
www.motociclismo.es/bultaco-pursang-fournales_47829_113/5...
La Bultaco Pursang Fournales de 1976 es una de las motocicletas experimentales más fascinantes de la historia del motocross español.
Se trata de un prototipo único desarrollado en colaboración con el ingeniero francés Jean-Pierre Fournales, célebre por sus revolucionarios sistemas de suspensión neumática
A mediados de los años 70, Bultaco buscaba soluciones técnicas innovadoras para mantener la competitividad de su gama de motocross, la legendaria saga Pursang
Jean-Pierre Fournales diseñó un chasis multitubular específico para esta moto.
La estructura empleaba tubos de acero al cromo-molibdeno de un diámetro muy inferior al habitual, logrando una ligereza extraordinaria y una rigidez torsional sorprendente para la época.
Innovaciones Técnicas Principales:
Chasis multitubular: Una configuración revolucionaria en el motocross de los setenta.
Suspensión óleo-neumática: Utilizaba amortiguadores Fournales que sustituían los muelles convencionales por aire a alta presión.
Motor Pursang: Montaba el enérgico propulsor monocilíndrico de dos tiempos característico de la marca.
Centralización de masas: El diseño permitía recolocar componentes para mejorar notablemente la manejabilidad de la moto.
De la pista a la calle Aunque este prototipo específico nunca llegó a producirse en serie para el mercado de motocross, su desarrollo no fue en vano.
Las soluciones geométricas y la experiencia adquirida con este chasis experimental sirvieron de base directa para diseñar la estructura multitubular de la Bultaco Streaker, una de las motocicletas de carretera para jóvenes más míticas y dinámicas de finales de los años 70 en España.
Vitina Marcus…..The Cave Girl
www.vitinamarcus.com/photo.html
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
Note: this photo was published in a Jul 24, 2009 blog titled "Full moon." It was also published in a Dec 6, 2009 blog titled "The business world is full of two kinds of people—builders and traders." And it was published in a Dec 31, 2009 blog titled "Once in a Blue Moon: Be Sure to Look Up This New Year’s Eve."
Moving into 2010, the photo was published in a Jan 29, 2010 blog titled "Friday Recap: Wolf Moon Edition," which discussed the "wolf moon" phenomenon that occurred on Jan 29th. Unfortunately, it had nothing to do with this photo -- which was taken roughly six months earlier. Indeed, I had considered photographing the "real" wolf moon, but by the time I became aware of it, it was already high in the sky and no longer interesting from a photographic perspective. Interestingly, it was also situated quite a lot further north than this particular photo -- in which the moon had risen right above 96th Street, and illuminated part of the entrance into Central Park...
Anyway, it was also published in a Jul 4, 2010 blog titled "Events for or Less Sunday." It was also published in an Oct 6, 2010 blog titled "Folklore Confirmed: The Moon's Phase Affects Rainfall (via @sciencenow)," and an Oct 29, 2010 blog titled "The Secret Behind Day Trading Software And a Reason to Use It." It was also published in a Nov 6, 2010 blog titled "Day Trading Software Along With the Perks of Technology," and a Nov 8, 2010 blog titled "How to Select the Best Day Trading Software." It was also published in a Dec 8, 2010 blog titled "E mini S&P Index Trading Perfect Tool for Full-TIme Day-traders."
Moving into 2011, the photo was published in an Apr 24, 2011 blog titled "Will you see a fuller moon tonight … or tomorrow?" And it was published in a Jul 14, 2011 blog titled "Understanding full moon," which was republished in a Jan 8, 2012 blog with the same title . It was also published in an Aug 29, 2011 blog titled "Day Software Stock Trading – Is Trading Software Right Choice For You?
Moving into 2012, the photo was published in a Jan 11, 2012 Slate France blog titled "La Lune est-elle à la portée des entrepreneurs?" It was also published in a Sep 7, 2012 blog titled "Has the Moon created the world’s most enduring optical illusion?"
Moving into 2013, the photo was published in a Feb 25, 2013 blog titled "Understanding Full Moon."
Moving into 2014, the photo was published in a Mar 7, 2014 blog titled "Nightshift."
Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "NYC HDR" gallery by clicking here.
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These photos were taken a couple days after my first HDR efforts on the 4th of July weekend, in an attempt to get a decent image of the full moon rising over the east side of Manhattan, from the terrace of my apartment over on the Upper West SIde. Not particularly memorable or spectacular results, but it gave me a chance to experiment with some of the parameters and settings in the Photomatix program I'm using to merge/combine the HDR shots.
Full disclosure: in addition to the HDR shots, I also took some "traditional" shots of the full moon a little later, after it had risen higher in the sky; these were taken with a manual setting of f/11 and 1/250th second (as recommended by Scott Kelby, in his Digital Photography books). I then used Adobe Photoshop Elements to extract just the moon out of that photo, and pasted it into this HDR composition in a separate "layer", which I was then able to enlarge to a ridiculous extent.
The original HDR image had a much more interesting orange-colored moon ... but when I tried to blow it up to a larger size, using Photoshop, the edges were so rough and grainy that it was embarrassing. So I think I'll stick with this composite, for better or worse...
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I tried an HDR (high dynamic range) photo once a year ago, but for some reason never pursued it. But it seems that more of and more of the "interesting" photos that I see on Flickr are HDR shots, so I decided to give it another try. The initial set of photos were taken from the rooftop of my apartment building at sunset, on the Sunday evening of 4th of July weekend.
I still have a *lot* to learn about this stuff, but even as a first attempt I'm staggered by what the tonal-mapping software programs (Photomatix, in my case) are capable of doing...
Prints: daniel-eskridge.artistwebsites.com/featured/kokopelmana-d...
An American Indian woman rides a dun and white spotted mustang horse through a field of tall grass. Off in the distance a forest of fir trees lines the grassland. Behind the forest, sharp, rocky, snow covered peaks rise high into the sky where wispy pink clouds drift lazily by. A gentle wind blows picking up the horse's black mane and tail. Her saddle and garb are both black with turquoise fringes. The repetitive symbol of Kokopelli, the fertility spirit, fill the open spaces of the material.
Kokopelli is a fertility deity from American Indian cultures of the Southwest. It is theorised that he is based upon a real type of person, a kind of travelling merchant, storyteller, reporter, and entertainer. You might say he is the Native American equivalent to a European bard,troubadour, or minstrel. Generally, he is depicted alone, but in some renditions, he has a
consort or wife known as Kokopelmana or Kokopelli-mana. Here I have depicted her as a real person, a travelling story teller riding a horse through the American Wild West.
soundimageplus.blogspot.com/2010/07/zoom-lens-2_02.html
Please respect copyright! All images are protected under UK copyright law and the Berne international copyright convention and are visibly and/or invisibly watermarked. No images are within the public domain. images may not be reproduced, copied, used or altered in any way, by any method, without written permission
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PANASONIC LEICA D VARIO-ELMAR 14-150mm/F3.5-5.6 ASPH./ MEGA O.I.S.
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]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
Listen here , strongly recommended (Iranian Mazandaranian Folkloric Music - Composer : Ahmad Mohsenpour , Kamaancheh Player : Ahmad Mohsenpour , Vocalist and Narrator : Hosein Alambaaz )
منظومه «طالب و زهره» از شناخته ترين منظومه هاي تبری است كه در كنار منظومه هاي ديگر چون«امير و گوهر» و «نجما» و «عباس مسكين» جلوه گري ميكند.
«طالب و زهره» چون ديگر منظومه ها در زبانها و اقوام ايراني، ريشه در آيينها،باورها و اسطوره ها دارد و بدون ترديد نشانههايي روشن از دوران «گوسان»ها و «هونياگر=خونياگر»ها را در خود دارد و ميتواند يك چكامه گوساني باشد.
بيان اين نكته بيمناسبت نيست. اينكه اشعار منظومه «طالب و زهره» را به «ستيالنساء» خواهر طالب، نسبت دهيم، يا با اشاره به تكگوييهايي كه در برخي اشعار اززبان زهره خوانده ميشود، آن را سروده زهره بدانيم، اهميت چنداني ندارد. ديگر آنكه «طالب» منظومه تا چه اندازه با «طالب آملي» شاعر سالهاي پاياني قرن دهم هجري كه در دربار جهانگير پادشاه گوركاني هند، عنوان ملك الشعرايي يافت،همخواني دارد نيز اعتباري ثانوي دارد. مهم آن است كه تخيل و آرزوهاي سحرآفرين افسانه ها و حماسه ها اثري ماندگار بيافريند و درد و هجران و ناكامي، عشق و شيدايي را باساز و آواز فرياد كند. طالب چون همه قهرمانان تاريخي،از تاريخ جدا شده و به دنياي حماسه ها و افسانه ها راه يافته است. مردم تبرستان برپايه آرزوها، باورها،و تخيلات خويش،اين داستان را پرورش داده، حافظه قومي و تاريخي خويش را بر بستراين منظومه شكلي نوين بخشيده، پرورده و ساختهاند، آنگونه كه بدرستي ميتوان گفت كه منظومه «طالب و زهره» نه سروده «ستي النساء» و «زهره» و حتي خود طالب، بلكه سروده و پرورده ناخودآگاه قومي مردم تبرستان است.
و«زهره دختري چلاوي از بخش كوه نشين آمل است كه با نامادري خود روزگار ميگذراند.«طالب آملي است و در بخش شهري آن «دشت» زندگي ميكند. هردو مادر خويش را از دست دادهاند و نامادري دارند.
آنها در مكتب خانهاي درس ميخوانند و از فرصتهايي كه بدست ميآورند استفاده كرده در كنار يكديگر مينشينند و دلداده يكديگر ميشوند و طالب گردنبند يادگاري مادر خويش را به زهره ميدهد. پس از برملا شدن شيداييشان هنگاميكه طالب از پدر ميخواهد زهره را خواستگاري كند، پدر ميگويد: همانگونه كه زنبور و پروانه جفت نميشوند،چلاوي و آملي يار نميشوند و مخالفت ميكند. نامادري او نيز خويشاوند خود (خواهرزاده اش) را نشان كرده است.
خانواده زهره نيز مخالفند و ميخواهند او را به قادر پا به سن گذاشته ولي مالدار بدهند. نامادري طالب وقتي پافشاري اورا ميبيند به بهانه تدارك عروسي او را به گاوسرا ميفرستد. طالب به هنگام دلتنگي در گاوسرا، با كبوتر بالاي درخت سخن ميگويد و از زخم تبربردست و تيشه بر پا شكوه ميكند.
در شامگاهي كه رنجور است، به خواب ميرود و در رويا زهره را ميبيند كه در ميان آب فرورفته است و نيز خواب ميبيند كه زهره به همراه نامادري براي خريد عروسي به بازار رفته است. فرداي آن روز «قلي چاروادار» براي او خبري ميآورد كه پنجشنبه شب زهره عروس ميشود و به خانه قادر ميرود. طالب براي ديدن زهره به راه ميافتد و در راه زهره و بستگان او را مييابد و از زهره گله ميكند كه چرا او را خبر نكرد. در اين هنگام، برادر زهره با تبرزين، زخمي جانكاه بر شانه او ميزند و او را خونين و مالين ميسازد و برجاي مينهد. طالب به خاطر زهره، چيزي نميگويد ولي با خود اشعاري رجزگونه ميخواند كه:
مانند سهراب شمشير به دست ميگيرم. كمان گرد كياني را در كف ميگيرم. مانند فرامرز نيزه بازي ميكنم و چون من سواري نيست و اگر تبر به اسب سوار بزنم، اسب وسوار را چهار پاره ميكنم.
پسر عموهاي او،طالب را خونين و مالين مييابند و او را كه از تشنگي و گرسنگي بيتاب شده با (گرماستي) نيرو ميبخشند طالب براي اينكه فتنه را بخواباند، حقيقت را نميگويد و گراز را سبب زخم ميخواند.
هنگاميكه خبر زخم خوردن طالب به زهره ميرسد،شمعي نذر امامزاده ميكند و پس از ناله فراوان، به خواب ميرود و در رويا طالب را ميبيند كه عمر نو پيدا كرده و سالم سوار برسمند است.
در آن سوي،طالب هنگاميكه بهبود مييابد، براي ماهيگيري به كنار رودخانه ميرود و زهره را در كنار رودخانه پيدا ميكند و ماهي را به او ميدهد و ميگويد كه فردا شب براي خواستگاري به خانه زهره ميآيد.
نامادري، چارهاي ديگر ميانديشد و در غذايي كه از ماهي درست كردهاند،داروي بيهوشي ميريزد. طالب با خوردن غذا،هوش از دست داده و شوريده ميشود و ميگريزد و ميگويند سر از تهران و كاشان و اصفهان و به روايتي هندوستان در ميآورد. زهره زبان به مويه ميگشايد و دشت و كوه و شهر را به جستجوي طالب ميگردد. نشاني او را از كوه و دشت و رودخانه و ماهي و آهو و چوپان و گالش و ... جويا ميشود ولي هرگز او را نمييابد تا اينكه يك روز در كنار دريا (رودخانه) كبوتري بر بالاي درخت انجيلي ميبيند. كبوتر به سخن ميآيد و ميگويد: طالب را ماهي دريا خورده است. از شاه ماهي ميپرسد. او ميگويد: طالب را ميان هندي در حاليكه پيراهني سفيد بر تن داشت و بر اسب سمندي سوار بود ديده است.
زهره به ياد طالب مترسكي ميسازد. (قبا و چاقاو چرخي لم كلا) و دوري به گرد مترسك ميزند ميگويد: ميخواهم ببينم به طالب من ماننده است يا نه؟
زهره يكبار نيز به هنگام آوردن درخت و لباس عروسي از سوي قادر،با گردنبند اهدايي طالب، اقدام به خودكشي ميكند ولي موفق نميشود.
ميگويند بعدها زهره به كس ديگر شوهر كرد. طالب نيز در هندوستان با دختر شاه آنجا ازدواج كرد و در سن 42 سالگي مرد. خواهرش ستيالنساء سرپرستي دو فرزند خردسال اورا به عهده گرفت. زهره،پس از آگاهي از مرگ طالب،روزي به كنار رود ميعادگاه گذشته رفت و ديگر برنگشت. ميگويند زهره خود را به آب سپرد و همراه ماهيها به سوي طالب رفت
متن موسیقی :
خَله توم گِذِرنه ، اَته چَن سالِم رد وونه ، گِنِنه زِهرِه شونه ات نِفَرِ خِنه
طالِبَم که هِندِسّون دَیّه شاهِ کیجاجا عَروسی کِنّه و دِه تا وچه ِ پِر وونه
طالب تا سال 1036 که چِل و دِه ساله بیه ، مینِه
این خَوِر زهره ِ گوش رَسِنِه
زِهره به یادِ اون زَمونی که وِه و طالب خِشِ روزگار داشتِنِه ، هَر روز شیه هِرازِ لو ماهیونِ جا حَرف زوئِه
اَتِه روز وینِنِه که زِهرِه بوردِه و دیگه پِیی نَکِرده
هِرازِ پِه خَلِه چَرخی دنه ، وِه رِه پیدا نَکِردِنِه
گِنِنِه که زِهرِه شه خِدِّه او هِدا و ماهیونِ هِمراه بوردِه طالِبِ وَر
زمان زیادی گذشت ، چند سالی هم رد شد ، نقل است که زهره با کسی ازدواج می کند
طالب هم که به هندوستان رفته بود با دختر شاه عروسی میکند و پدر دو فرزند می شود
طالب در سال 1036 که 42 سال سن داشت ، می میرد
این خبر به گوش زهره می رسد
زهره به یاد زمانی که او و طالب با هم روزگار خوشی داشتند ، هر روز به کنار آب می رفت و با ماهی ها حرف می زد
یک روز زهره می رود و دیگر بر نمی گردد
خیلی دنبالش گشتند ، امّا او را نیافتند
می گویند که زهره خود را به آب داد و همراه با ماهی ها به سوی طالب رفت
of Mazandaran gathering , Day 2 ...
Inspired by IC 1274
The IDIOTs (Intergalactic Digital Imaging Optical Technicians) continue to process data collected by the Hullbull Remote Space Telescope during last year's return trip from the Abell 2744 cluster of galaxies. Another small emission/reflection nebula powered by hot blue supergiant stars and some dark nebula in an area of dense main sequence stars in a galaxy far, far, away.
Not a real space photo. Light art.
Single exposure. Ingredients: One clear plate glass very recently broken into several shards, one shot of milky water, one shot of clear water, (one shot of tequila - not used in image), a little air, one flashlight with and without blue/cyan gel and orange/red gel, one ThinkGeek "Color Shine Flashlight" set to pinkish hue, red, blue and orange-yellow LEDs, one spray bottle, water, one crumpled wet paper towel, cross-screen diffraction filter, one sheet of wax paper. Lots of lenscap on, lenscap off.
troybooks.co.uk/a-witch's-natural-history.html
CHAPTER 13:
BEYOND THE CROOKED STILE
It is said that Mother Goose is derived from Frau Holt, or Herodias, the goddess of the witches of northern Europe, who flies at night astride a goose, naked and (even in my childhood imagination) voluptuous in spite of the cold. She flies at the head of the Furious Horde, the Wild Hunt, her raven hair streaming out behind her, her red slitted pupils glowing on Samhain night. To be sure, she flies above the Ridgeway, where the feet of the living and of the dead have passed for millennia; a spirit path if ever there was one. At Bishopstone in Wiltshire, it draws nigh the Icknield Way, the Iron Age road to Norfolk, and between the high road and the low road lie a series of colossal gouges in the chalk which even the tourist guidebooks describe as “another world”. Five miles to the east, the chalk escarpment is rippled by glaciation to form “the Devil’s Step Ladder”, and beyond it the Uffington White Horse, smattered in spring with an interpunction of twayblades and spotted orchids, seems set to leap across the downs. Beneath that is a hill with a flattened top, where St. George purportedly slew the dragon, its blood scouring the grass to the chalk beneath it. There are few landscapes which contain so awe-inspiring an arrangement of sacred objects. The best way for the witch to approach them is from the Ridgeway itself, down one of the many paths that branch from it, and to do so, one must invariably negotiate a stile. Perhaps one day you may meet me at one of them.
In times of old, you might have left a crooked sixpence there. Weyland the Smith, whose megalithic forge lies just off the Ridgeway on the route between Uffington and Bishopstone, would certainly have accepted it, provided you did not attempt to fob him off with a lesser coin of copper. The Neolithic long barrow, sentried by four gaunt, pitted sarsen stones, is surrounded by towering beech trees, whose nuts crack underfoot as one approaches, and barn owls screech in the darkness. Come here at the winter solstice, with the rising of the sun, and the shadows shift like ghosts around you. Legend insists that Weyland will shoe your horse; I have a suspicion that he prefers to beat swords and axe-heads upon his forge, for he is not so far removed from the Green Knight, the Holly King who reigns throughout the winter, armed to the teeth in readiness to meet his rival, the Oak, on the occasion of his beheading. His namesake, the Icelandic Vőlundr, once decapitated a king’s sons by slamming the lid of a treasure chest down upon their necks; later he raped a princess who asked him to mend her ring. The stone at nearby Snivelling Corner was supposedly thrown by Weyland at an incompetent assistant. It is best not to bother him with trifles. But this does not stop wayfarers from leaving behind an assortment of charms, from elaborately woven corn dollies to the Rastafarian wicker man currently on display at the Uffington museum – a practice which dates back at least as far as 1939, when a “Witch’s moon dial”, made from human bone, was deposited there. Mary Chalmers, a woman skilled at curing cows and sheep, who lived at Little Moreton, east of Didcot, was the proud owner of a skull named “Wayland Smithy”, which was sold in a curiosity shop after she died in 1810. Satanic rites at Weyland’s Smithy have even been blamed for a robbery at the thirteenth century church at Compton Beauchamp in 1998, in the course of which the tabernacle was smashed, and the chalice and sacrament stolen – if the churchwarden is to be believed – for nefarious uses at the long barrow.
On a morning in early spring, the Smithy is a different place; cowslips sprout from the burial mound, and the beech buds burst with pale, translucent leaves. The resident toad, who lives beneath the beech tree to your right, emerges glass-eyed from his torpor. Everything is waking, except for Weyland himself, who sinks into the earth as the sap rises in the trees. From here, one may turn east, dodging the cagouled walkers, and return to the White Horse and the hill fort that rears above it, listening for the cronks of ravens on the way. Alternatively, one may descend towards the Vale, seeking Hardwell Camp, another fort which lies forgotten, brooding in a hazel coppice. Or one may turn up one’s collar and head westwards down the Ridgeway, towards Russley Downs and Bishopstone. If you would come with me now, you will take this route.
No, do not look up yet to admire the scenery, and if you tarry until the autumn, do not be distracted by the berries of sloe, spindle, bryony and woody nightshade. Look down at the Ridgeway itself. You are walking on prehistory, for surely the Roman road must have been pre-dated in these parts by a pathway joining the White Horse to the Smithy. More than that; you are walking on the palaeontological past, for the chalk of the Ridgeway is composed of the microscopic remains of Palaeozoic sea creatures. The rounded, flattened stone which just crunched beneath your walking boots is an echinoid, a sea urchin, millions of years old, revered by the old witches and Doreen Valiente alike as “thunder stones” or “shepherds’ crowns”. More than a hundred miles from the coast, you are now beachcombing on the Ridgeway. Pick up the test, and your witch’s intuition will feel the pulse of life still within it. On the underside is the beaked mouth, crusted with chalk. On the dorsal side there is a five-pointed star. Treasure it in your pocket, and use it for sortilege, along with the petrified bivalve and the knob of coral you found beside it. Keep searching, and you will discover that these are not uncommon; the challenge is to find a brachiopod, a little clam with a muppet-like mouth. The exultation of this discovery should carry you in a reverie all the way to Russley Downs.
As you draw near to your destination, a hare darts and jinks in front of you. It has shot from out of hiding in the undergrowth at the side of the Ridgeway, like a bolt from a crazed crossbow, fired by a drunkard through a maze of mirrors. It is not by accident that the verb “to jink”, used to describe the hare’s habit of rapidly changing direction in flight from a pursuer, has affinities with the word “jinx”. The crooked path of the hare has helped to establish its reputation as a magical creature from time immemorial. The ancient dramatist Aeschylus records that Artemis, who had always opposed the expedition against Troy, was enraged when two eagles devoured a pregnant hare, which the diviner Calchas interpreted, to her further indignation, as an omen of the victory of Agamemnon and Menelaus. Boudica, the Briton warrior queen, driven into a fury by the rape of British women by Roman soldiers, released a hare in the course of a rite in honour of the war goddess Andraste, before a retaliatory raid in which captured Roman women were skewered on spears, their breasts severed and stuffed in their mouths. It is possible that the hare represented the Romans Boudica intended to hunt down, but it is equally likely that the release of the hare was the unleashing of a curse. Even the Christian tradition is unable to obscure the magical significance of hares. A late medieval saint’s life which very likely reflects the influence of an earlier pagan tale, the Historia Divae Monacellae, records that a hare pursued by Brychwel Ysithrog, Prince of Powys, took refuge under the skirt of the kneeling Saint Melangell, and his dogs cringed in terror at the sight of her. At her trial in 1662, the Nairnshire witch Isobel Gowdie confessed that she had the power to change into a hare at will by reciting the charm: “I shall go into a hare/ With sorrow, and sighing, and mickle care,/ And I shall go in the Devil’s name/ Till I come home again.” Indeed, there are innumerable folk tales from across the country which attest to the ability of witches to transform themselves into hares, a fact which is taken as proven when a woman is found with an injury corresponding to that inflicted on a hare by its pursuers. John Monro, an eighteenth century doctor who ran the Bethlehem hospital for the mentally ill, better known as “Bedlam”, recorded the case of a Mr. Walker, who had been in the company of the devil for seven years, and had seen a vision of “the fall of all mankind”. Mr. Walker attributed his affliction to a hare he had killed some twenty-seven years earlier, “which he did not think to be a common hare but… something he knew not of what infinite power.” It is not surprising, therefore, that you feel an affinity with this creature, as it scarpers bulge-eyed down the gorge to your right. It beckons you on its crooked way.
Here, therefore, you must depart from the Ridgeway, for your path lies through that gorge in the chalk. At present, there is only a metal gate, but you will feel that you have climbed a stile. Half way down, it is marked on either side by two thorn trees. The gouged hill rears on either side of you. Linnets twitter. Black-faced sheep stare at you. You feel as though you are on a processional way to the underworld; you left your sixpence in case you need to cross the Styx. It is fitting that it is littered with innumerable carcasses. They are partridges, their flayed sternums, wishbones and coracoids gleaming white, picked clean of red flesh. Their wings lie as though dropped by accident, like forgotten handkerchiefs. A mournful whistle overhead; a buzzard takes wing. Crows wheel and craw. You descend to the depths of the gorge, your progress halted by a stile beside a spring. The silence here is uncanny, and you acknowledge another ancient presence. Strip lynchets rear to your right, traversed by the trails of bullocks. Strange optical illusions cause the landscape to writhe as you walk through it. You may climb the stile and pass through a wooded tunnel, lined with hart’s-tongue ferns, to the twittering world of Bishopstone and its duck-pond, or you may turn aside and walk back uphill another way, for the gorge down which you walked has been joined by another. Look up the second gorge. It is surmounted by a colossal field system. Scramble up the hill towards it; a stairway for giants. When you reach the top, sit and stare. The mundane world stretches out beneath you: Swindon with its monstrous, magic roundabouts barely besmirches the landscape. The Vale seems interminable, stretching into mist, and something within you has taken flight, with the buzzards and the crows. Above you and behind you: a stile, and the Ridgeway, awaiting your return.
As I sit here beside you, I can still remember the voice of my father; he was younger than I am now, and I was only four. I was ready for sleep, and he was reading from Mother Goose:
There was a crooked man
And he walked a crooked mile
He found a crooked sixpence
Upon a crooked stile…
I knew then that this was not a nursery rhyme, but a canticle of the Craft uttered by Fraw Holt herself, and I have sought the crooked mile ever since. It is crooked because it is the way of the hare, of the shape-changed witch, and because it must negotiate a course between sacred objects. It is a mile in the more liberal sense of the word: negotiating it may take a minute, or it may take a lifetime. The sixpence is the price of my soul. The stile is a real one, leading down into the gorge above Bishopstone, but it is also a metaphorical one. It is a gateway to the otherworld, the world of the sabbat. Against it, the crooked man leans his staff; beneath it lies the pot of ointment which gives him, his crooked mouse – and their crooked cat – the gift of flight.
Check out the new dress on my eBay shop :) www.ebay.com/sch/eifeldolldress/m.html?item=261672350654&...
Diet: prefer fish swimming close to the water's surface, small mammals, waterfowl, wading birds, dead animal matter (carrion).
via bitacora-viajera.blogspot.com/2016/06/hide-seek.html
Welcome to Hide & Seek.
Open to the public for a limited time. Please pick up anything you rezz & be respectful of each other. Have fun!
Please check out our flickr! www.flickr.com/photos/141225397@N03/
Words and image are now featured on WildTiger.Org: www.wildtiger.org/ni753.html
Today in the United States, there are more 'pet' tigers in private hands than there are in the wild. Estimates place captive populations between 10,000 and 20,000 captive individuals, a stunning 5,000 of which are believed to be living in Texas alone.
Laws regarding exotic animal ownership vary by state. According a 2005 report released by MSNBC, "Just 14 ban private ownership altogether; eight have a partial ban on some species, 13 states regulate exotic animals and 15 states, including Nevada, have no regulations on many exotic animals whatsoever..."
It is important to realize that there is a huge difference between accredited zoos and roadside menageries or private collections. First off, accredited zoos exist for the sole purpose of education and conservation. They work closely with breeding programs such as the Species Survival Plan to increase genetic diversity in a captive population and work to actively educate the public about the issues many of these endangered species face.
Accredited zoos are NOT allowed to sell their animals into private hands.
They are NOT allowed to breed 'mutant' or non-natural hybrid species such as ligers or tigons.
They are fully-expected to provide proper care and sufficient space for all animals in their charge, or risk losing accreditation.
And they are NOT allowed to let visitors interact with potentially-dangerous species.
Roadside zoos and private owners operate on a totally separate set of rules.
They exist for the sole purpose of entertaining human curiosity, even by cruel means such as forcing their animals to perform in shows or behave in unnatural ways in order to please a crowd.
They are allowed to sell and trade their charges into private hands, often condemning older, weaker animals to CANNED HUNTS.
And the quality of the care they receive and the size of their enclosure is often regulated by state laws which are nearly impossible to enforce. In some states, 'proper' cage size is defined by the animals' ability to turn in a complete circle.
They are also allowed to propagate un-ethical breeding methods, such as hybridizing (to create ligers and tigons) and inbreeding (to create white or golden tabby tigers).
In addition, non-accredited owners of exotic animals are often found to display their potentially-dangerous 'pets' in completely un-regulated settings, letting tourists and guests pose with their big cats for photos, or allowing them to hand-feed them through the bars of cages.
Such practices have led to a massive increase in exotic pet-related deaths in the last decade. According to some sources, there are currently more tiger attacks in the United States than in the infamous Sunderbans of India.
According to studies conducted by conservationists working with the aforementioned Species Survival Plan, most tigers kept as pets in captivity are a cross-bred mix of various subspecies. This may sound fine to anyone with a minimal understanding of conservation and preservation, but consider this: Any tiger whose ancestry is mixed, untraced, or shows possible signs of inbreeding is no longer a candidate for captive breeding programs. This is because such programs operate with the intent of increasing genetic diversity to achieve a more stable population in the highly-probable event of a wild tiger extinction. Thus, anyone who breeds tigers for the pet trade is NOT helping conserve the species; they are instead creating more genetically-unsound tigers whose sole purpose is to satisfy someone else's greed for an exotic pet.
Also, since there are no possible ways to regulate exact populations of captive tigers in the United States, there is suspicion that an underground illegal trade in tiger parts is taking place right under our noses. This suspicion is often supported by such grizzly finds as THIS, a total of 90 dead tigers and leopards (58 of which were cubs) recovered from a so-called 'rescue' center in California. Their bodies were being stored in freezers and their pelts kept hidden in a nearby barn.
Many people will argue that there are a handful of responsible big cat owners in the United States who have 'unique' relationships with their 'pets', and who take good care of them. Siegfried and Roy had 'unique' relationships with their tigers; they were among the best in the business of animal training. But if disaster can strike even the best, it can certainly happen to anyone. And so long as it's legal for one person to own a tiger as a pet, it's just as legal for the next guy--and there is no way to ensure that he will be as responsible as you.
Sadly, many of the big cats I've personally worked with and photographed in captivity are there because they were rescued from the exotic pet trade. Snowshoe is a hybrid lynx who was found starving to death in the woods of California. His fangs and claws had been removed, and the cartilage in his ears had been permenently damaged, telling rescuers that this was no wild cat. Snowshoe had been someone's pet before he was released, probably kept in a cage too small for his size, hence the damage to his ears. When discovered, he was only given three days left to live, but pulled through and now lives at the High Desert Museum in Sun River, Oregon.
The hybrid Amur/Bengal tiger above was likewise rescued from the exotic pet trade, and now lives at the Winston Wildlife Safari, one of the only places in the United States to successfully breed cheetahs for the Species Survival Plan.
In short, the only reason for wanting a tiger or other exotic animal for a pet is to feed the want for something which no one else has; a greed to stand out because you have something unique. But you are not doing any good for any of the players in the resulting equation, least of all the tiger.
If you truly love tigers, you will let the accredited zoos do their part to help preserve the 5 remaining subspecies, and WILL NOT support non-accredited roadside zoos or private owners.
Please take immediate action against current United State laws regarding exotic animal ownership. Just follow the link below to sign the World Wildlife Fund's petition to Secretary of Interior Ken Salazar and Secretary of Agriculture Tom Vilsack, asking them to use their authority to close existing loopholes in the permitting and monitoring of captive tigers in the U.S.:
secure2.convio.net/wwf/site/Advocacy?cmd=display&page...
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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el.kingdomsalvation.org/gospel/God-s-incarnation-6.html
Σχετικά λόγια του Θεού:
« Η σωτηρία του ανθρώπου από τον Θεό δεν επιτελείται απευθείας μέσω του Πνεύματος ή ως Πνεύμα, διότι το Πνεύμα Του δεν μπορεί ούτε να το αγγίξει ούτε να το δει ο άνθρωπος και δεν μπορεί να το προσεγγίσει ο άνθρωπος. Αν προσπαθούσε να σώσει τον άνθρωπο άμεσα μέσω του Πνεύματος, ο άνθρωπος δεν θα ήταν σε θέση να λάβει τη σωτηρία Του. Και αν δεν ήταν ο Θεός που ενδύθηκε την εξωτερική μορφή ενός δημιουργημένου ανθρώπου, δεν θα ήταν σε θέση να λάβει αυτή τη σωτηρία. Γιατί ο άνθρωπος δεν μπορεί με κανέναν τρόπο να τον πλησιάσει, όπως όταν δεν μπορούσε κανείς να πλησιάσει το σύννεφο του Ιεχωβά. Μόνο μέσω της ενσάρκωσής Tου σε δημιουργημένο άνθρωπο, δηλαδή, μόνο θέτοντας την οδό Του στη σάρκα που θα γίνει,θα μπορεί προσωπικά να εμφυσήσει την οδό σε όλους όσους Τον ακολουθούν. Μόνο τότε ο άνθρωπος θα μπορέσει να ακούσει ο ίδιος την οδό Του, να δει την οδό Του και να λάβει την οδό Του, τότε μέσω αυτού θα σωθεί πλήρως. Εάν ο Θεός δεν ενσαρκωνόταν, κανένας θνητός δεν θα λάμβανε τόσο μεγάλη σωτηρία, και δεν θα σωζόταν ούτε ένας άνθρωπος. Εάν το Πνεύμα του Θεού εργαζόταν απευθείας μεταξύ των ανθρώπων, ο άνθρωπος θα πλήττονταν ή θα παρασυρόταν πλήρως και θα φυλακιζόταν από τον Σατανά, γιατί ο άνθρωπος δεν είναι σε θέση να συγχρωτιστεί με τον Θεό. Η πρώτη ενσάρκωση έγινε για να λυτρώσει τον άνθρωπο από την αμαρτία μέσω της σάρκας του Ιησού, δηλαδή, Αυτός έσωσε τον άνθρωπο από τον σταυρό, αλλά η διεφθαρμένη σατανική διάθεση παρέμενε ακόμα μέσα στον άνθρωπο. Η δεύτερη ενσάρκωση δεν πρέπει πλέον να χρησιμεύει ως προσφορά περί αμαρτίας, αλλά για να σώζει πλήρως όσους λυτρώθηκαν από την αμαρτία. Αυτό γίνεται έτσι ώστε όσοι συγχωρούνται να μπορούν να απελευθερωθούν από τις αμαρτίες τους και να εξαγνιστούν πλήρως και να επιτύχουν αλλαγή της διάθεσής τους, σπάζοντας έτσι τα δεσμά της επιρροής του σκότους του Σατανά και επιστρέφοντας ενώπιον του θρόνου του Θεού. Μόνο κατ’ αυτόν τον τρόπο μπορεί ο άνθρωπος να αγιοποιηθεί πλήρως. »
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Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
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Nguvu ya Maisha Ambayo Haiwezi Kuzimwa Kamwe
Dong Mei, Mkoa wa Henan
Mimi ni mtu wa kawaida. Niliishi maisha ya kawaida. Kama wengi wanaotamani sana mwanga, nilijaribu njia nyingi kutafuta maana ya kweli ya uwepo wa wanadamu, nikijaribu kuyapa maisha yangu umuhimu zaidi. Mwishowe, juhudi zangu zote zilikuwa bure. Lakini baada ya kuwa na bahati ya kutosha kukubali kazi ya Mwenyezi Mungu ya siku za mwisho, mabadiliko ya muujiza yalitokea katika maisha yangu. Yalileta rangi zaidi katika maisha yangu, na nilikuja kuelewa kwamba ni Mungu pekee ni Mtoa wa kweli wa roho na maisha ya wanadamu. Nilikuwa na furaha kwamba hatimaye nilikuwa nimepata njia sahihi ya maisha. Hata hivyo, huku nikitekeleza wajibu wangu wakati mmoja nilikamatwa kiharamu na kuteswa kikatili na serikali ya CCP. Kutoka kwa hili, safari ya maisha yangu ilipata uzoefu ambao kamwe sitasahau …
Siku moja mnamo Desemba 2011 takribani saa moja asubuhi, mimi na kiongozi mwingine wa kanisa ulikuwa tukitekeleza hesabu ya mali ya kanisa wakati zaidi ya maafisa kumi wa polisi ghafla waliingia. Mmoja wa hawa polisi waovu alitukurupia na kusema kwa kelele: “Msisonge!” Baada ya kuona kilichokuwa kikitokea, kichwa changu kilishtuka. Kisha, polisi waovu walituchunguza kama magaidi waliokuwa wakitekeleza wizi. Pia walipekua kila chumba, walivigeuza shelabela kwa haraka sana. Mwishowe, walipata mali fulani ya kanisa, kadi tatu za benki, risiti za kuweka pesa, kompyuta, simu za rununu, na kadhalika. Waliyachukua yote ngawira, na kisha walituchukua sisi wanne kwa kituo cha polisi.
Alasiri, polisi waovu waliwaleta ndani dada wengine watatu ambao walikuwa wamewakamata. Walitufungia sisi saba katika chumba na hawakuacha tuzungumze, wala hawakuturuhusu tulale usiku ulipofika. Baada ya kuona dada wakifungiwa ndani na mimi, na kufikiri kuhusu ni kiasi gani cha pesa ambacho kanisa lilipoteza, nilikuwa nimezuzuliwa na wasiwasi. Yote ambayo ningefanya ni kuomba kwa dharura kwa Mungu: Ee Mungu! Huku nikikabiliwa na hali ya aina hii, sijui la kufanya. Tafadhali linda moyo wangu na kuufanya mtulivu. Baada ya kuomba, nilifikiri maneno ya Mungu: “Usiogope, mambo kama haya yanapotendeka kanisani, yote yanaruhusiwa na Mimi. Simama na kuzungumza kwa niaba Yangu. Kuwa na imani kwamba mambo na masuala yote yanaruhusiwa na kiti Changu cha enzi na yote yana nia Zangu ndani yayo” (“Sura ya 41” ya Matamko ya Kristo Mwanzoni katika Neno Laonekana katika Mwili). “Unapaswa kujua kwamba vitu vyote vilivyo katika mazingira yanayo wazunguka vipo hapo kwa ruhusa Yangu, Mimi napanga yote. Oneni wazi na muridhishe moyo Wangu katika mazingira Niliyokupa” (“Sura ya 26” ya Matamko ya Kristo Mwanzoni katika Neno Laonekana katika Mwili). Maneno ya Mungu yalizima hofu kubwa moyoni mwangu. Nilitambua kwamba, leo, hii hali imenipata kwa ruhusa ya Mungu, na kwamba wakati ulikuwa umewadia ambapo Mungu alitaka nimshuhudie. Baada ya kuelewa mapenzi ya Mungu, nilimwomba Mungu na kusema: “Ee Mungu! Nataka kutii utaratibu na mipango Yako na kusimama imara katika ushuhuda Kwako—lakini mimi ni wa kimo kidogo, na naomba kwamba Unipe imani na nguvu, na kunilinda katika kusimama imara.”
Asubuhi iliyofuata, walitutenga na kutuhoji. “Najua wewe ni kiongozi wa kanisa. Tumekuwa tukiwafuatia ninyi watu kwa miezi mitano,” alisema mmoja wa polisi waovu kwa maringo. Nilipomsikia akieleza kwa utondoti kila kitu ambacho walikuwa wamefanya kunifuatia, nilitetemeka kwaa woga. Katika akili yangu, nilifikiri, serikali ya CCP kweli inaweka matayarisho mengi katika kutukamata. Kwa kuwa tayari wanajua mimi ni kiongozi wa kanisa, hakuna jinsi wataniacha niende. Mara moja niliweka azimio langu mbele ya Mungu: Afadhali nife badala ya kumsaliti Mungu na kuwa Yuda. Baada ya kuona kuwa kuhoji kwao hakukuwa kunazaa matunda yoyote, walimpa mtu kazi ya kunitazama na kutoniacha nilale.
Katika siku ya tatu ya mahojiano, mkuu wa polisi waovu aliwasha kompyuta na kunifanya nisome taarifa zilizomsingizia Mungu. Kwa kuona kwamba sikuguswa, baada ya hapo alinihoji kwa makini kuhusu fedha za kanisa. Niligeuza kichwa changu kwa upande mmoja na kumpuuza. Hili lilimfanya kukasirika sana na alianza kutukana. “Haijalishi usiposema lolote—tunaweza kukuzuia bila mwisho, na kukutesa wakati wowote ule tunaotaka,” alinitisha kwa ukali. Katikati ya usiku huo, polisi walianza mateso yao. Walivuta mkono wangu mmoja nyuma ya bega langu na mwingine juu kutoka kwa mgongo wangu. Walifinya mgongo wangu na miguu yao, kwa nguvu walitia pingu vifundo pamoja. Ilikuwa uchungu sana kiasi kwamba nilipiga yowe kwa maumivu—mifupa na nyama katika mabega yangu zilihizi kana kwamba zingepasuka. Ningeweza tu kupiga magoti bila kusonga na kichwa changu kikiwa sakafuni. Nilifikiri mayowe yangu yangewafanya watulize makali kwangu, lakini badala yake waliweka kikombe cha chai kati ya pingu na mgongo wangu, jambo ambalo lilizidisha tena maumivu. Mifupa katika mwili wangu wa juu ilihisi kana kwamba ilikuwa imevunjwa nusu. Nilihisi uchungu sana hivi kwamba sikuthubutu kupumua nje na jasho baridi ilitiririka usoni pangu. Punde tu nilipohisi kwamba singevumilia uchungu tena, mmoja wa polisi waovu alichukua fursa hii kuniambia: “Tupe tu jina na tutakuachilia uende mara moja.” Wakati huo, nilimwita Mungu aulinde moyo wangu. Mara moja nilifikiria wimbo: “Mungu katika mwili, Anateseka, napaswa kuteseka kiasi gani zaidi? Ikiwa ningekubali giza, ningemwonaje Mungu? Ningewezaje kukuacha kutafuta unaodaiwa kuwa uhuru? Afadhali niteseke ili kufidia moyo Wako unaohuzunika” (“Kusubiri Habari Njema za Mungu” katika Mfuateni Mwanakondoo na Kuimba Nyimbo Mpya). “Ndiyo,” Nilifikiria. “Kristo ndiye Mungu mtakatifu na mwenye haki. Alipata mwili na kuja duniani kuleta wokovu kwa wanadamu waliopotoka kwa kina. Kwa muda fulani sasa, Amekiwa akiteswa na kuwindwa na serikali ya CCP na amepingwa na kushutumiwa na wanadamu. Haikumpasa Mungu kuteseka kwa njia hii, lakini Anavumilia haya yote ili kutuokoa.” Kwa hivyo, baada ya kutafakari, niliona kwamba nilikuwa nikiteseka sasa ili kupata wokovu—napaswa kupitia mateso haya. Iwapo ningekubali kushindwa na Shetani kwa sababu singeweza kuvumilia uchungu, ningewezaje kukabiliana na Mungu wakati wowote tena? Kufikiri hili kulinipa nguvu, na nikakua mgumu mara nyingine tena. Polisi waovu walinitesa kwa takriban saa moja. Walipoondoa pingu, mwili wangu mzima ulianguka bila nguvu sakafuni. “Usipoongea tutafanya hilo tena!” walinipigia kelele. Niliwatazama na kutosema chochote. Moyo wangu ulijawa na chuki kwa polisi hawa waovu. Mmoja wa polisi waovu alisonga mbele kutia pingu tena. Huku nikifikiri uchungu mkali sana ambao nilikuwa nimeupita karibuni, niliendelea kumwomba Mungu moyoni mwangu. Kwa mshangao wangu, alipojaribu kuvuta mikono yangu nyuma ya mgongo wangu hangeweza kuisogeza. Haikuwa uchungu sana, pia. Alikuwa akijaribu kwa nguvu sana hivi kwamba kichwa chake chote kilikuwa kimejaa jasho—lakini bado hangeweza kutia pingu. “Una nguvu mwingi!” alitweta kwa hasira. Nilijua kwamba huyu alikuwa Mungu akinijali, kwamba Mungu alikuwa akinipa nguvu. Shukrani iwe kwa Mungu!
Kufika alfajiri kulikuwa vigumu. Bado nilikuwa na kiwewe nilipofikiri nyuma jinsi polisi waovu walikuwa wamenitesa. Pia walinitisha, wakiniambia kwamba iwapo singesema chochote, wangelazimika kunipeleka ndani sana ya milimani na kuniua. Baadaye, walipokamata waumini wengine, wangesema nililisaliti kanisa—wangechafua jina langu, na kuwafanya ndugu wengine wa kanisa wanichukie na kunikana. Kufikiri hilo, moyo wangu ulizidiwa na mawimbi ya majonzi na kutojiweza. Nilijipata nikihisi mwoga na mnyonge. Akilini mwangu nilifikiri: Afadhali nife. Kwa njia hiyo sitakuwa Yuda na kumsaliti Mungu, wala sitakanwa na ndugu zangu. Pia nitaepuka uchungu wa mateso ya mwili. Kwa hivyo nilingoja hadi wakati ambapo polisi waovu waliokuwa wakinilinda hawakuwa wakitia makini na kuupiga kichwa changu kwa nguvu sana dhidi ya ukuta—lakini yote yaliyotokea ilikuwa kwamba kichwa changu kiliona kizunguzungu, sikufa. Wakati huo, maneno ya Mungu yalinipa nuru kutoka ndani: “Wengine wanapokuelewa vibaya, unaweza kumwomba Mungu na kusema: ‘Ee Mungu! Siombi kwamba wengine wanivumilie au kunitendea vyema, wala kwamba wanielewe au kunikubali. Naomba tu kwamba niweze kukupenda moyoni mwangu, kwamba niwe na uhakika moyoni mwangu, na kwamba dhamiri yangu ni safi. Siombi kwamba wengine wanisifu, au kuniheshimu, ninatafuta tu kukuridhisha kutoka moyoni mwangu’” (“Ni kwa Kupitia Usafishaji tu Ndiyo Mwanadamu Anaweza Kumpenda Mungu kwa Kweli” katika Neno Laonekana katika Mwili). Maneno ya Mungu yaliondoa huzuni kutoka kwa moyo wangu. Ndiyo. Mungu huona mioyo ya ndani kabisa ya watu. Iwapo polisi wakinisingizia, hata kama ndugu wengine kwa kweli wanielewe visivyo na kunikataa kwa sababu hawajui kile kilichotendeka kwa kweli, naamini kwamba nia za Mungu ni nzuri; Mungu anajaribu imani na upendo wangu Kwake, na napaswa kufuatilia kumfanya Mungu kuridhika. Baada ya kubaini njama janja za Shetani, ghafla nilihisi mwenye fedheha na aibu. Niliona kwamba imani yangu kwa Mungu ilikuwa ndogo sana. Sikuwa nimeweza kusimama imara baada ya kupitia uchungu kidogo, na nilikuwa nimefikiri kutoroka na kuepuke mipango ya Mungu kupitia kifo. Lengo la polisi waovu katika kuzungumza maneno haya ya tishio lilikuwa kunifanya nimkane Mungu. Na isingekuwa ulinzi wa Mungu, ningedanganywa na njama zao janja. Nilipokuwa nikitafakari maneno ya Mungu, moyo wangu ulijawa na mwanga. Sikutaka tena kufa, ila kuishi maisha mazuri, na kutumia kile ambacho kweli niliishi kwa kudhihirisha kumshuhudia Mungu na kumletea Shetani aibu.
Polisi hao wawili waovu waliopewa kazi ya kunilinda waliuliza mbona nilikuwa nimegongesha kichwa changu dhidi ya ukuta. Nilisema kwa sababu polisi hao wengine walikuwa wamenipiga. “Kimsingi tunafanya kazi kupitia elimu. Usijali—sitawaacha wakupige tena,” mmoja wao alisema kwa tabasamu. Baada ya kusikia maneno yake ya faraja, nilifikiri: Hawa watu wawili si wabaya; tangu nikamatwe wamekuwa wazuri kabisa kwangu. Kwa hilo, nililegeza tahadhari yangu. Lakini wakati huo, maneno ya Mungu yalikuja ghafla moyoni mwangu: “Nyakati zote, watu Wangu wanapaswa kujihadhari dhidi ya hila danganyifu za Shetani, walinde lango la nyumba Yangu kwa ajili Yangu, … kitu ambacho kitawazuia kuingia katika mtego wa Shetani, wakati mtakapokuwa na majuto ya kuchelewa sana” (“Sura ya 3” ya Maneno ya Mungu kwa Ulimwengu Mzima katika Neno Laonekana katika Mwili). Maneno ya Mungu yalinipa kumbusho la wakati wa kufaa, yakinionyesha kwamba njama janja za ibilisi ni nyingi, na napaswa kuwa hadhari dhidi ya ibilisi hawa wakati wote. Sikutarajia hata kidogo kwamba punde wangefichua tabia zao halisi. Mmoja wa polisi waovu alianza kumkashifu Mungu, huku mwingine aliketi chini kando yangu alinipapasa mguu wangu, akinitazama kwa jicho la husuda na kuuliza kuhusu fedha za kanisa. Jioni, alipoona kwamba nilikuwa nikisinzia, alianza kupapasa kifua changu. Baada ya kuona kwamba walikuwa wamefichua tabia yao halisi, nilijawa na hasira. Ni sasa tu nilipoona waliodhaniwa polisi wa watu walikuwa tu wahuni na wadhalimu. Haya yalikuwa mambo mabaya yenye kustahili dharau, ambayo wangeweza kufanya. Kama matokeo, niliweza tu kumwomba Mungu kwa dharura ili anilinde kutokana na madhara yao.
Katika siku kadhaa zilizofuata, polisi waovu hawakunihoji tu kwa makini kuhusu kanisa, lakini pia walichukua zamu kunitazama ili kwamba nisilale. Baadaye, walipoona jinsi sikuwa nimewapa chochote, polisi hao wawili waovu waliokuwa wakinihoji walizidi kwa ghadhabu. Mmoja wao alinishambulia vikali, akinizaba kofi usoni, akinipiga kwa vishindo mara kadhaa. Uso wangu uliwasha, ulianza kuvimba, na mwishowe ukawa wenye ganzi sana kiasi kwamba singehisi chochote. Kwa sababu maswali yao hayakuwa yamezaa matunda yoyote kutoka kwangu, jioni moja mkuu wa polisi waovu alinipigia unyende na kusema, “Unahitaji kuanza kufungua mdomo wako. Unajaribu subira yangu—siamini kwamba hakuna chochote tunaweza kufanya na wewe. Nimekutana na watu wengi wagumu zaidi kukuliko. Tusipokuwa wakali kwako, hutatii katu!!” Alitoa amri na polisi waovu kadhaa walianza kunitesa. Jioni, chumba cha mahojiano kilikuwa cha huzuni na cha kuogofya—nilihisi kana kwamba nilikuwa jahanamu. Walinifanya nichutame sakafuni na kufunga mikono yangu katikati ya magoti na miguu yangu. Kisha, waliingiza kifimbo cha mbao katikati ya mapindi ya mikono yangu na nyuma ya magoti yangu, wakilazimisha mwili wangu wote kupinda juu. Kisha walikiinua kifimbo na kukiweka katikati ya meza mbili, wakiuacha mwili wangu wote ukining’inia hewani na kichwa changu kikiwa juu chini. Punde waliponiinua juu, kichwa changu kilipata kizunguzungu na niliona vigumu kupumua. Ilihisi kana kwamba nilikuwa nikisongwa. Kwa sababu nilikuwa nilining’inishwa hewani juu chini uzito wangu wote ulikuwa ukiangukia vifundo vyangu. Mwanzoni, ili kukomesha pingu kuukata mwili wangu, nilifumbata mikono yangu pamoja kwa kukaza, nikaupinda mwili wangu, na kujaribu kwa nguvu kadiri nilivyoweza kubaki katika hali hiyo. Lakini nguvu yangu ilipungua polepole. Mikono yangu iliteleza kutoka kwa vifundo vya miguu hadi kwa magoti yangu, na pingu ilikata kwa kina katika mwili wangu, ikiniacha na uchungu mkubwa sana. Baada ya kuning’inia hivi kwa takribani nusu saa, ilihisi kana kwamba damu yote katika mwili wangu ilikuwa imejikusanya kichwani mwangu. Uvimbe mchungu katika kichwa changu na macho ulifanya yahisi kana kwamba yalikuwa karibu kulipuka. Makato ya kina yalikuwa yamechimbwa katika vifundo vyangu, na mikono yangu ilikuwa imevimba sana kiasi kwamba ilionekana kama mikate miwili. Nilihisi nilikuwa ukingoni mwa kifo. “Siwezi kuvumilia tena, niweke chini!” nilipaza sauti kwa kukata tamaa. “Hakuna anayeweza kukuokoa ila wewe mwenyewe. Tuambie tu jina na tutakuacha uteremke chini,” alisema mmoja wa polisi waovu kwa ukali. Mwishowe, waliona kwa kweli nilikuwa katika taabu na waliniweka chini. Walinilisha glukosi kiasi na kuanza kunihoji tena. Nililala bila nguvu kama matope ardhini, macho yangu yakifumbwa kwa kukaza, nikiwa siwatilii makini. Bila kutarajia, polisi waovu waliniinua hewani tena. Bila nguvu ya kushikilia kwa mikono yangu, sikuwa na lingine ila kuacha pingu ijitie ndani katika vifundo vyangu, makali yaliyochongoka yakikata mwili wangu. Wakati huo, ilikuwa uchungu sana nilitoa yowe la kuhuzunisha sana. Sikuwa na nguvu ya kuendelea kupigana na kupumua kwangu kulikuwa kumekua kwa kina kifupi sana. Ilionekana kana kwamba wakati ulikuwa umesimama. Nilihisi kwamba nilikuwa nikiyumbayumba ukingoni mwa kifo. Nilipofikiri kwamba wakati huu kweli ningekufa, nilitaka kumwambia Mungu maneno yaliyokuwa moyoni mwangu kabla ya maisha yangu kuisha: “Ee Mungu! Wakati huu, ambapo kweli niko ukingoni mwa kifo, nahisi woga— lakini hata kama kweli nikifa leo, bado nitasifu haki Yako. Ee Mungu! Katika safari yangu fupi ya maisha, nakushukuru kwa kunichagua nirudi nyumbani kutoka kwa dunia hii ya dhambi, kunizuia kuzurura, nikiwa nimepotea, na kuniruhusu kuishi milele katika kumbatio Lako kunjufu. Ee Mungu, nimefurahia upendo Wako sana—na ilhali sasa tu, wakati maisha yangu yako karibu kuisha, ndipo nagundua kwamba sijatunza upendo Wako. Nyakati nyingi nimekufanya kuwa na huzuni na masikitiko; mimi ni kama mtoto mjinga anayejua tu kufurahia upendo wa mama yake, ilhali hajawahi kufikiria kuulipiza. Sasa tu ambapo niko karibu kupoteza maisha yangu ndipo naelewa kwamba ni lazima nitunze upendo Wako, na ni sasa tu ndipo najuta kukosa nyakati nyingi nzuri. Sasa, ninachojuta zaidi ni kwamba sijaweza kukufanyia lolote na unanidai mengi sana, na kama bado naweza kuishi, kwa hakika nitafanya kila niwezalo kutekeleza wajibu wangu, kufidia kile Unachonidai. Wakati huu, naomba tu kwamba Unipe nguvu, kuniruhusu kutowahi tena kuogopa kifo, na kuwa mwenye nguvu katika kile ninachokabili….” Tone baada ya tone la machozi lilianguka kutoka kwa paji la uso wangu. Usiku ulikuwa kimya kiasi cha kuogofya. Sauti ya pekee ilikuwa saa kubwa ikipiga ta-ta, kana kwamba kuhesabu sekunde ambazo zilisalia za maisha yangu. Hapo ndipo kitu cha muujiza kilifanyika: Nilihisi kana kwamba mwanga wa jua wa vuguvugu ulikuwa ukiniangazia, na polepole niliacha kuhisi uchungu mwilini mwangu. Maneno ya Mungu nguruma akilini mwangu: “Tangu unapoingia katika dunia hii ukilia, unaanza kutekeleza wajibu wako. Kwa kuchukua jukumu lako katika mpango wa Mungu na katika utaratibu Wake, unaanza safari yako katika maisha. Licha ya asili yako na licha ya safari iliyoko mbele yako, hakuna kitakachoepuka mpango na utaratibu ambao mbingu imeunda, na hakuna aliye na udhibiti wa hatima yake mwenyewe, kwa maana yule Anayetawala kila kitu ndiye tu Aliye na uwezo wa kazi hiyo” (“Mungu Ndiye Chanzo cha Uhai wa Mwanadamu” katika Neno Laonekana katika Mwili). Ndiyo—Mungu ndiye chanzo cha maisha yangu, Mungu hutawala kudura yangu, na lazima nijiachilie mikononi mwa Mungu na kujiweka katika matumizi Yake. Kutafakari maneno ya Mungu kulinipa hisia ya kufurahisha, tulivu moyoni mwangu, kana kwamba nilikuwa nikijinyoosha katika kumbatio kunjufu la Mungu. Nilijipata nikilala. Wakiwa na woga kwamba ningekufa, polisi waovu waliniweka chini na kwa haraka walinipa glukosi kiasi na maji. Katika kukaribia kwangu kifo, nilikuwa nimetazama matendo ya muujiza ya Mungu.
Siku iliyofuata, polisi waovu walishinda jioni nzima wakiniinua juu tena na tena. Walinihoji kuhusu mahali ambapo pesa za risiti ambazo walikuwa wamechukua ngariwa zilikuwa. Wakati huo wote, sikusema chochote—ilhali bado hawakukata tamaa. Ili kupata pesa za kanisa, walitumia kila njia yenye kustahili dharau kunitesa. Wakati huo, maneno ya Mungu yalirudia rudia moyoni mwangu: “Maelfu ya miaka ya chuki ikiwa imejaa kifuani, milenia ya dhambi imeandikwa katika moyo—inawezekanaje hii isichochee chuki? Kumlipiza Mungu, kuuondoa kabisa uadui wake, usimwache kutangatanga tena, na usimruhusu kufanya fujo zaidi kama anavyotaka! Sasa ndio wakati: Mwanadamu ana muda mrefu tangu akusanye nguvu zake zote, amejitolea nguvu zake zote, amelipa kila gharama, kwa hili, kuchana uso uliojificha wa pepo hili na kuwafanya watu, ambao wamepofushwa na kuvumilia kila aina ya mateso na taabu, kuinuka kutoka katika maumivu na kurudi kwa ibilisi huyu wa zamani” (“Kazi na Kuingia (8)” katika Neno Laonekana katika Mwili). Maneno ya Mungu yalinipa nguvu na imani kubwa. Ningepigana hadi kufa na Shetani, na hata kama ningekufa, ningesimama imara katika ushuhuda wangu kwa Mungu. Nikitiwa msukumo na maneno ya Mungu, bila kujua nilisahau uchungu. Kwa njia hii, kila wakati waliniinua juu, maneno ya Mungu yalinitia msukumo na kunipa motisha, na hivyo kadiri walivyonibeba juu mara nyingi, ndivyo nilivyoweza kubaini asili yao zaidi—ambayo ilikuwa ya ibilisi waovu—na ndivyo azimio langu kusimama imara katika ushuhuda wangu na kumridhisha Mungu lilivyokuwa kubwa zaidi. Mwishowe, wote walichoshwa na mimi. “Watu wengi sana hawawezi kuvumilia kutundikwa hivi kwa nusu saa, lakini amevumilia wakati huu wote—kwa kweli yeye ni sugu!” Niliwasikia wakitoa mawazo. Kwa kusikia maneno haya, nilijawa na msisimko. Akilini mwangu, nilifikiri: Mungu msaada wangu, huwezi kunivunja moyo. Mbali na mateso ya mwili, wakati wa siku na usiku zangu tisa katika kituo cha polisi polisi waovu pia walininyima usingizi. Kila wakati nilipofunga macho yangu na kuanza kusinzia, wangepiga vifimbo vyao dhidi ya meza, au sivyo wangenifanya nisimame na kukimbia huku na kule, au sivyo kunipigia kelele tu, wakijaribu kunihuzunisha na kuvunja akili yangu. Baada ya siku tisa, wakiona kwamba hawakuwa wamefikia lengo lao, polisi bado hawakukata tamaa. Walinipeleka katika hoteli, ambapo walitia pingu mikono yangu mbele ya miguu yangu, kisha wakaingiza kifimbo cha mbao katikati ya mapindi ya mikono na miguu yangu, nikilazimika kuketi mwili wangu ukiwa umepinda juu sakafuni. Walinifanya nibaki katika hali hii nikiketi sakafuni kwa siku kadhaa zilizofuata, ambayo ilisababisha pingu kuukata mwili wangu. Mikono na vifundo vyangu vilivimba na kubadilika rangi kuwa zambarau, na kikalio changu kilihisi uchungu sana sikuthubutu kukisugua ama kukishika; ilihisi kama nilikuwa nikikalia sindano. Siku moja, mmoja wa viongozi wa polisi waovu, akiona kwamba mahojiano yangu hayakuwa yamezaa matunda, alitembea kunifikia akiwa amekasirika sana na kunizaba kofi kwa nguvu usoni—kwa nguvu kiasi cha kutosha kulegeza meno yangu mbili.
Mwishowe, wakuu wawili kutoka kwa Idara ya Usalama wa Umma ya Mkoa walikuja. Punde walipowasili, waliondoa pingu, wakanisaidia kwenda kwa kochi, na kunipa kikombe cha maji. “Umekuwa na wakati mgumu kwa siku chache zilizopita—lakini usilitilie moyoni, walikuwa wakifuata tu amri,” walisema kwa unafiki. Unafiki wao ulinifanya niwachukie sana kiasi kwamba nilisaga meno yangu. Pia kuwasha kompyuta na kunionyesha ushahidi usio kweli. Walisema maneno mengi ambayo yalishutumu na kufukuru dhidi ya Mungu. Moyoni mwangu, nilihisi kukasirishwa. Nilitaka kubishana nao, lakini nilijua kwamba kufanya hivyo kungewafanya tu kukufuru dhidi ya Mungu kwa wayowayo hata zaidi. Wakati huu, nilihisi kweli jinsi taabu aliyopitia Mungu mwenye mwili ilivyokuwa kubwa, na jinsi Mungu alivyovumilia fedheha nyingi kwa ajili ya kumwokoa mwanadamu. Kilicho zaidi, niliona uhafifu na kustahili dharau kwa ibilisi hawa waovu. Moyoni mwangu, kwa siri niliapa kwamba ningejiondoa kabisa kwa Shetani na milele kuwa mwaminifu kwa Mungu. Baadaye, bila kujali jinsi walivyojaribu kunidanganya, niliendelea kufunga mdomo wangu na sikusema chochote. Baada ya kuona kuwa maneno yao hayakuwa na athari yoyote, wakuu hao wawili waliondoka tu kwa hasira.
Katika kipindi cha siku na usiku kumi katika hoteli, waliendelea kunitia pingu, wakinifanya kuchuchumaa sakafuni nikishika miguu yangu. Nikikumbuka tangu nilipokamatwa, nilikuwa nimeishi siku na usiku kumi na tisa katika kituo cha polisi na hoteli. Ulinzi wa upendo wa Mungu ulikuwa umeniruhusu nilale kidogo, lakini polisi waovu hawakuwa wameniruhusu kulala wakati huo wote; ningefunga macho tu kwa muda na wangefanya chochote kilichohitajika kuniweka macho—kupiga meza, kunipiga teke kwa nguvu, kunipigia kelele, kuniamuru nikimbie huku na kule, na kadhalika. Kila wakati ningeshtuliwa, moyo wangu ungetwanga kifuani mwangu, na ningehisi woga sana. Hilo, likiongezwa kwa mateso ya mara kwa mara ya polisi waovu, na nguvu yangu iliishia kupunguka kabisa, mwili wangu wote ulikuwa umevimba na usiotulia, na niliona kila kitu vikiwa mbili mbili. Ningejua kulikuwa na watu mbele yangu wakiongea, lakini sauti ya milio yao ingeonekana kana kwamba ilikuwa ikitoka mbali sana. Zaidi ya hayo, mijibizo yangu ilianza kuwa ya polepole sana. Kwa mimi kustahimili hili kwa kiasi fulani kulikuwa yote kwa sababu ya nguvu kuu ya Mungu! Kama alivyosema Mungu: “Husababisha binadamu kuzaliwa upya, na kumwezesha kwa ushupavu kuishi kwa kila jukumu lake. Kwa sababu ya uwezo Wake, na nguvu ya maisha Yake yasiyopungua, binadamu ameishi kwa kizazi baada ya kizazi, ambapo nguvu ya uhai wa Mungu umekuwa uti wa mgongo wa kuwepo kwa binadamu, na ambayo Mungu amelipia gharama ambayo hakuna mtu wa kawaida amewahi kulipa. Nguvu za Mungu za maisha zinaweza kutawala juu ya nguvu zozote; zaidi ya hayo, inazidi mamlaka yoyote. Maisha Yake ni ya milele, nguvu zake za ajabu, na nguvu Zake za maisha si rahisi kuzidiwa na kiumbe yeyote au nguvu za adui” (“Ni Kristo Wa Siku za Mwisho Pekee Ndiye Anayeweza Kumpa Mwanadamu Njia ya Uzima wa Milele” katika Neno Laonekana katika Mwili). Moyoni mwangu, nilitoa shukrani na sifa ya uaminifu kwa Mungu: Ee Mungu! Unatawala vitu vyote, matendo Yako ni yasiyokadirika, Wewe pekee ni mwenyezi, Wewe ni nguvu ya maisha isiyozimika, Wewe ni chemichemi ya maji hai kwa maisha yangu. Katika hali hii maalum, nimetazama nguvu Yako maalum na mamlaka. Mwishowe, polisi waovu hawakupata majibu kwa maswali yao kutoka kwangu, na walinituma hadi katika kituo cha kuzuia.
Njiani kuelekea katika kituo cha kuzuia, polisi wawili waliniambia: “Umefanya vizuri sana. Ninyi watu huenda mkawa katika kituo cha kuzuia, lakini ninyi ni watu wazuri. Kuna aina nyingi hapo: wauza madawa, wauaji, malaya—utaona utakapowasili.” “Kwa kuwa unajua sisi ni watu wazuri, mbona mnatukamata? Je, serikali haiongei kuhusu uhuru wa dini?” niliuliza. “Hiyo ni Chama cha Kikomunisti inawadanganya. Chama hicho hutupa riziki yetu, kwa hivyo lazima tufanye kinachosema. Hatuna chuki kwako ama kuwa na kitu chochote dhidi yako. Tulikukamata tu kwa sababu unamwamini Mungu,” mmoja wa polisi alisema. Baada ya kusikia hili, nilikumbuka kila kitu nilichokuwa nimepitia. Singeweza kuzuia kukumbuka maneno ya Mungu: “Uhuru wa dini? Haki halali na matakwa ya wananchi? Zote hizo ni njama za kufunika dhambi!” (“Kazi na Kuingia (8)” katika Neno Laonekana katika Mwili). Maneno ya Mungu yaliulenga kiini cha suala, yakiniruhusu kuona kwa kweli sura ya kweli ya serikali ya CCP na jinsi inavyojaribu kupata heshima ambayo haistahili; kwa juu juu, inapeperusha bendera ya uhuru wa dini, lakini kwa siri inakamata, kukandamiza, na kushambulia wale wanaomwamini Mungu pande zote za nchi, katika tumaini bure la kupiga marufuku kazi ya Mungu, na pia inapora pesa za kanisa bila aibu,yote ambayo huweka wazi asili yake ya kishetani inayomchukia Mungu na kuchukia ukweli.
Nikiwa katika kituo cha kuzuia, kulikuwa na nyakati ambapo nilikuwa dhaifu na katika maumivu. Lakini maneno ya Mungu yaliendelea kunipa moyo, kunipa nguvu na imani, kuniruhusu kuelewa kwamba ingawa Shetani alikuwa ameniondolea uhuru wa mwili, mateso yalikuwa yameniongeza, yakinifundisha kumtegemea Mungu wakati wa mateso ya hao ibilisi waovu, kuniruhusu kuelewa maana ya kweli ya ukweli mwingi, kuona thamani ya ukweli, na kuongeza azimio langu na motisha ya kufuatilia ukweli. Nilikuwa tayari kuendelea kumtii Mungu, na kupitia yote ambayo Mungu alikuwa amenipangia. Kama matokeo, nilipokuwa nikifanya kazi katika kituo cha kuzuia, niliimba nyimbo na kwa kimya nilifikiri kuhusu upendo wa Mungu. Nilihisi kwamba moyo wangu ulikuwa umekuja karibu na Mungu, na sikuona tena siku zikiwa chungu ama za kudhikisha sana.
Wakati wa kipindi hiki, polisi waovu walinihoji mara mingi zaidi. Nilimshukuru Mungu kwa kuniongoza katika kushinda mateso yao mara kwa mara tena. Baadaye polisi waovu waliondoa pesa zote kutoka kwa kadi zangu tatu za benki. Kutazama bila kujiweza peza za kanisa zikichukuliwa na polisi waovu kuliuvunja moyo wangu. Moyo wangu ulijawa na chuki kwa hili kundi lafi, ovu la ibilisi, na nilitamani sana ufalme wa Kristo kuwasili punde. Mwishowe, licha ya kutokuwa na ushahidi wowote, walinihukumu mwaka mmoja na miezi mitatu ya kuelimishwa tena kupitia kazi kwa ajili ya “kuvuruga utulivu wa umma.”
Baada ya kuteswa kikatili na serikali ya CCP, kwa kweli nilikuwa nimeonja upendo na wokovu wa Mungu kwangu, na nilikuja kufahamu ukuu na uweza wa Mungu na matendo Yake ya muujiza, nilikuwa nimeona mamlaka na nguvu ya maneno ya Mungu. Aidha kwa kweli nilikuwa nimemdharau Shetani. Katika kipindi hicho cha mateso, maneno ya Mungu yalikuwa yameandamana na mimi kupitia mchana na usiku za kudhikisha, maneno ya Mungu yalikuwa yameniruhusu kubaini njama janja za Shetani na kutoa ulinzi wa wakati wa kufaa. Maneno ya Mungu yalikuwa yamenifanya kuwa mwenye nguvu na ujasiri, yakiniruhusu kushinda mateso yao katili mara kwa mara tena. Maneno ya Mungu yalikuwa yamenipa nguvu na imani, yalikuwa yamenipa ujasiri wa kupigana na Shetani hadi mwisho kabisa…. Shukrani ziwe kwa Mungu! Mwenyezi Mungu ndiye ukweli, njia na uzima! Daima nitamfuata Mwenyezi Mungu hadi mwisho kabisa!
Image Source: Kanisa la Mwenyezi Mungu
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Lori Deiter and I planned to hike the Falls Trail on Feb 1st... It was decided to hike in from Rte 118 up to Onondaga Falls on Glen Leigh. Mark Van Scyoc and his friend, Doug Reese met us in the parking lot and we hiked up together to B. Reynolds and they left to hike up to the base of Ganoga Falls. My favorite / highlight of the day was the ice leading up to and around Ozone Falls - awesome.
There are sign-in sheets (Rte 118 and Lake Jean - so they know who and how many are on the trail in case of an accident) to fill out.. And you should have these items to safely hike the Falls Trail during Winter: Crampons, Ice Axe and Rope (~ 30ft). At the very minimum, Trekking Poles and Micro Spikes / Ice Cleats for your hiking boots. Trying to hike in sneakers is NOT advisable!
Ricketts Glen State Park
Glen Leigh
Saturday, February 1st, 2014
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Vancouver Maritime Museum, Vancouver, BC
An comprehensive album of photos and text about the liner:
www.liverpoolships.org/empress_of_scotland_canadian_pacif...
YouTube: Empress of Japan departing Vancouver in 1938:
www.youtube.com/watch?v=OJONaDkmNCI
RMS Empress of Japan was an ocean liner built in 1929–1930 by Fairfield Shipbuilding & Engineering Company at Govan on the Clyde in Scotland for Canadian Pacific Steamships (CP). This ship was the second of two CP vessels to be named Empress of Japan[1] – regularly traversed the trans-Pacific route between the west coast of Canada and the Far East until 1942.
In 1942, she was renamed RMS Empress of Scotland – the second of two CP vessels to be named Empress of Scotland.[2] In 1957, the Hamburg Atlantic Line purchased the ship and re-named her TS Hanseatic.
By the 1920s the Canadian Pacific conglomerate had established a sea/rail connection between Europe and the Far East. The company's steamships would carry passengers from Great Britain to Canada, the same company's railroad carried passengers across the North American continent to Vancouver, where passengers boarded another Canadian Pacific ship that would carry them across the Pacific to Asia.
This was at the time the fastest way to reach the Far East from Europe. In the late 1920s Canadian Pacific decided to modernize their Pacific and Atlantic fleets, with the aim of reducing the journey time between Europe and the Far East by two days.
The new liner intended for the transpacific service was envisioned at approximately 25,000 gross register tons, 203.05 m (666 ft 2 in) in length and capable of carrying 1173 passengers in four classes.
Construction of the vessel was awarded to Fairfield Shipbuilding & Engineering Company at Govan near Glasgow in Scotland.[5] She was launched on 17 December 1929 and named Empress of Japan.
Originally Canadian Pacific had planned on constructing a sister ship for her for the Pacific service, but due to the Great Depression the second ship was left unrealized. Instead, the company decided to concentrate their resources on Empress of Britain, a larger version of Empress of Japan under construction for their trans-Atlantic service. Empress of Britain was approximately 16,000 GRT larger than Empress of Japan.
Empress of Japan carried out her sea trial successfully in May 1930, achieving a top speed of 23 knots; and on 8 June 1930, she was delivered to Vancouver for service on the trans-Pacific route. In this period, she was the fastest ocean liner on the Pacific.
She would continue sailing the Vancouver–Yokohama–Kobe–Shanghai–Hong Kong route for the rest of the decade. Amongst her celebrity passengers were a number of American baseball all-stars, including Babe Ruth, who sailed aboard Empress of Japan in October 1934 en route to Japan.
The outbreak of war in Europe caused Empress of Japan to be re-fitted for wartime service.
Following the Japanese attacks on the Empire outposts in the Far East in December 1941, the name of the ship needed to be changed. In 1942, she was renamed Empress of Scotland.
Following the end of World War II, Empress of Scotland was needed to meet the newly developing demands for trans-Atlantic passenger service. In the period between 1948 and 1950, she was rebuilt at Fairfield in Glasgow. These modifications were necessary to better meet weather conditions on the colder Atlantic route. This extensive re-fitting included a radical reconfiguration of her cabins from the original four classes to just two – first and tourist.
The Canadian Pacific Empress of Scotland completed her last trans-Atlantic crossing in 1957; and she was temporarily laid up in Belfast until being sold.
Following her sale to Hamburg Atlantic Line in 1958, the ship was radically rebuilt to meet the expanding market for trans-Atlantic passenger service. The ship's superstructure and funnels were rebuilt and her passenger accommodations were re-configured.
The vessel emerged as the 30,030 GRT TS Hanseatic. The renamed and re-flagged ship was designed to carry as many 1350 passengers in comfortable luxury on the Hamburg-New York route.
On 8 September 1966, the ship caught fire at New York. The fire developed in the engine room and gutted five decks. Deemed beyond economic repair, she was scrapped shortly thereafter.
Despre copilăria mea
sau
Despre Rață și visul lui
sau
Despre un primar și jumătate aflat la un mandat şi jumătate
sau
Despre dreptul individului de a visa și dreptul istoriei de a-i distruge visul
sau
Despre istoria ca recompensă și ca răsfăț
Gura Humorului este un oraș mic, pitit printre coline și obcini, la răscruce de cărări către mănăstiri celebrisime. Uitat sus pe hartă, plin de orgolii neînțelese de nimeni, orașul meu a avut dintotdeauna energii absolut impresionante. Că oriunde m-aș afla rămîn om al locului meu de origine e pe jumătate adevărat. Pentru că adevărul întreg este că niciodată nu m-am simțit mai humorean decît acum, cînd trăiesc într-un Alicante mediteranean, cu mandarini plini de rod în decembrie, cu portocali plini de floare în februarie; cînd văd la știrile în limba spaniolă (catalană, pe alocuri) că sudul României e înghițit de zăpezi și viscole; cînd e inutil să îmi mai cumpăr cizme, din moment ce iarna nu e niciodată mai frig de +10 grade, ei bine, acum mă simt, culmea, mai humoreancă decît oricînd. O fi distanța cea care nu estompează, ci, dimpotrivă, amplifică paroxistic sentimentele interioare, cele pe care am apucat să le adun înainte de plecare, să le înghesui prin bagaje, ce am trăit, ce îmi mai amintesc din ce am trăit... Rămîn multe acasă, altele multe se pierd pe veci. Dar ceea ce totuși am apucat să iau și să păstrez, capătă acum consistența granitului. Humorenitatea mea, fie-mi permisă licența filosofică, a devenit o definiție aproape sinonimă cu românitatea, sau cu numele meu.
Uite că azi, deși tocmai mi-am cumpărat patine cu rotile, mă simt mai schioriță (o fi ăsta femininul?) ca niciodată. Și asta numai pentru că am cîteva zile de cînd scormonesc internetul și îmi agasez prietenii să îmi trimită fotografii cu pîrtia. Și nu mă mai satur de minunat, în special privind la fotografia lui Ovidiu Şancariuc, făcută de sus, de la mesteceni, la îngemănare de apus de soare și răsărit de lună, cu pădurea Arinișului misterioasă și ascunzișă. Ascunzișă pentru cei care ajung pentru prima dată acolo, nu pentru mine, pentru că le-am tropăit o copilărie întreagă în expediții Cireșarii, pe care le puneam în mare taină la cale cu Dana, și cu Manuela, și nu mai ajungeam să descoperim intrarea secretă în peșteră pentru că rămîneam în reverie adunînd cimbrișor din Poiana Soarelui, o poiană neașteptată care se deschide pe culme în plină pădure. Nu îi spuneam pe vremea aceea așa, îi spuneam Poiana Cimbrișor. Abia acum cînd copiii mei, ai Manuelei ne citesc Cireșarii, abia acum cînd după traseele off-road năucitoare ale lui Sorin, am redescoperit-o în plin soare și așa i-a rămas numele.
Îmi trimite Marius imaginea asta cu pirtia luminată ca un fulger în pădure, un fulger venit să rămînă, care taie și arde pădurea și lasă urmă albă, pîrtia asta semeață, ca un tăiș de sabie, vîrf de lance, deasupra orașului, tăcut, copleșit, pîlpîindu-și fudul luminițele în vale. Pînă și marele hotel BWB rămîne umbrit de lumina selenară a pîrtiei. Cînd o să ajung la Humor, așa vreau să o văd: de la mesteceni (or mai fi fiind mestecenii ăia care au dat numele dealului?...), pe înserat, ea aprinsă ca un templu păgîn din nordul extrem al planetei, eu...
Vorbeam cu ceva vreme înainte unui prieten, şi îi spuneam vorbe mari despre istoria mică și istoria mare, adică despre istoria individuală, a fiecăruia dintre noi, cea pe care o consumăm în încercarea de a supraviețui, în încercarea de a fi fericiți. Pe de cealaltă parte, istoria mare, cea de la televizor, care din păcate numai în foarte scurte episoade va intra în cărțile de istorie. Între istoria particulară și cea oficială, ni se scrurg, ni se termină viețile fără să ne dăm seama. La nivelul istoriei individuale însă, se întîmplă uneori miracole. Adică viața asta personală cu vise, pasiuni, curaj, longevitate în ideal, a cîtorva indivizi norocoși, ajunge să facă istorie. Istoria mare, care însă are prostul obicei de a evalua prea tîrziu oameni și fapte.
Orașul meu este un astfel de oraș. Un altfel de oraș. Cu astfel de oameni. Un altfel de oameni. Mi-am dat seama de lucrul acesta cînd acum 30 de ani un primar răsturna lunca Moldovei ca să facă un mare parc dendrologic. Eram mică, aveam fiecare clasă o porțiune dintr-o alee și trebuia să avem grijă de ea. Îmi amintesc ce mare noroc pe capul nostru că în clasa noastră era Manuela, (de care mă leagă cea mai longevivă prietenie, și pentru care, da!, Marius, sigur că o să dau foc iahtului ca în reclama la Alexandrion, și o să dau foc iahtului meu pentru Norica, pentru foarte mulți prieteni, pentru Rață am să îi dau foc, pentru toate personajele pe care le-am iubit, uite ii dau foc și pentru Don Quijote, și pentru Nichita care a iubit o leoaică tînără care l-a părăsit, și pentru Panait pe care nu l-au iubit suficient oamenii..., dacă nu cumva, iahtul meu e în permanență în flăcări, ca și al tău!), pentru că mama ei, mama Manuelei ne aducea cele mai frumoase răsaduri, bumbișori, zambile și trandafiri. Nu numai că era cea mai frumoasă alee dintre cele intrate în grija Școlii 1, ci dintre toate aleile parcului. De fiecare dată cînd venea mămaia în vizită, de la Bîrlad, mergeam să îi arăt aleea noastră, și ea știa exact ce plantă a răsărit nouă și o prețuia cu bunătatea de sfîntă a oricărei bunici (îmi imaginez eu). Știa și cîți boboci avuseseră trandafirii cu un an în urmă, și că zambilele cele mov sunt de anul acesta. Aleile se unduiau de-a lungul acestor istorii personale ale copiilor și părinților orașului.
Avea parcul acesta, (noi îi spuneam luncă) un bazin de înot uriaș, unde în puținele zile călduroase lăsate peste Humor, se bălăceau în neștire doctorul și pacientul X, primarul și portarul primăriei, profu de geografie și ultimul elev dintr-a opta, și un alt bazin mai mic alături, unde era o forfoteală de nedescris de urmașii celor care populau bazinul mare. Alături de bazin era o mică „plajă”, cu nisip de-adevăratelea și alături un părcușor de distracții, o terasă hexagonală bună de băut bere și suc, de unde se contamina aerul de Bucovina cu promisiuni grele de mici cu muștar. Mai ales aveam bunul obicei ca tot humoreanu să iasă duminica la plimbare în luncă, să asculte liniștea pestriță a copacilor populați de păsări hotărîte să-și dezvolte repertoriul, a Moldovei care susură prevestitoare alături, a firului de iarbă dormind sub zăpadă, a răzbunării caldei primăveri, descătușînd nebună energii și doruri și sete de viață și de verde. După plimbare, lumea se stătea la taclale, la un Cico (Brifcorul avea să fie inventat cu mult mai tîrziu). Dacă aveai o fustă nouă, în luncă îți făceai prima apariție cu ea, acolo aflai cine ce bicicletă și-a mai luat, ce pantofi se mai dau pe sub mînă la Romarta, ce modele au mai apărut la Guban. Acolo am văzut prima dată geaca roșie ca a lui Michael Jackson în Thriller, cu fermoare, cu tot dichisul, geaca cu care a făcut istorie în oraș Ovidiu Ilaș, geaca pe care o invidiau cam două generații de tineri și adolescenți. Acolo am văzut primii ochelari Startreck, ai lui Marius, și acolo m-am plimbat eu prima dată cu adidașii mei aduși din Germania și cu casetofonul galben Philips, cu căști, ultimul răcnet. Cînd erai îndrăgostit în luncă aveai marcată harta sentimentală. În luncă au rămas primele conversații („știi că m-a salutat? Cred că îi place de mine”), primele „Vrei să fii prietena mea?” („Hei, mi-a cerut prietenia!), primele emoții, strîngeri de mînă, primele săruturi, primele îmbrățișări și..., generațiile noi vor fi uimite să afle că nu mai urma nimic picant, că așa erau relațiile dintre oameni pe vremea aceea. Deveneai apoi părinte, în luncă făceai prima intrare a copilului în lume, acolo îi prezentai și îl trasnformai în om al locului. Acolo, în ritmul ba zăbăuc, ba cuminte al Moldovei, acolo, în curcubeul desenat de puntea suspendată care lega parcul de Ariniș („ariniș”, ce cuvînt frumos!, doamne), aproape un casteluș pentru noi, lunca toată, cu secvențe temporale bine conturate: ierni, primăveri, veri, toamne, pe malurile largi ale Moldovei la întâlnirea cu Humorelul, curgea viața noastră. Oaza aceasta, chiar cînd ani mai tîrziu avea să fie în întregime o ruină, a rămas în sufletul oricărui humorean, indiferent prin ce țară a lumii își are contul bancar sau serviciul (distincția e necesară), iar el își va identifica orașul prin acest parc anistoric, un lăcaș de huzur, ca o stațiune elvețiană pentru chiaburi.
A avut Humorul parte de un primar aproape mitic, transformat în referent istoric..., „apăi pe vremea lui Țăranu...”, sau „s-ar fi întîmplat așa ceva pe vremea lui Țăranu?” A fost vîrsta de aur a orașului. El făcuse lunca, și căminul de copii. Îi spuneam deunăzi unui prieten că aveam 3 ani cînd eu i-am ținut pernuța cu foarfecă lui Țăranu ca să taie panglica la inaugurarea căminului și că am plîns apoi că nu mi-au dat mie panglica roșie, că cică „nu era pentru copii”. Prietenul a făcut un comentariu pe care nu îl pot trece în memorii, ca să nu îmi pierd cititorii, dar eu am rămas de atunci cu o traumă, Freud mi-ar fi schițat deja portretul psihologic, că uite și acum cînd au tăiat panglica Udrea, Flutur și Vlădescu, la inaugurarea pîrtiei eu am avut curiozitatea să aflu ce s-a întîmplat cu bucățile de panglică, cine le-a luat, le păstrează cineva? Ce bine ar fi să fi păstrat primarul măcar o bucățică.
Țăranu, primarul boier, a plecat prin alte părți, lunca, încetul cu încetul s-a părăginit, arborii din patruzeci de ţări plantați în parc au fost năpădiți de buruieni, trandafirii noștri au dispărut sub invazia plantelor din preajmă. Au rămas anotimpurile să își cearnă neputința peste nepăsarea oamenilor. Băncile au început să dispară, felinarele să se spargă. Singură puntea suspendată ne lega de Arinișul închis și el după revoluție, nefericit renovat de fel de fel de șmecheri... Din conac boieresc ce fusese, a devenit juma de bloc rusesc, pentru nefamiliști, nici ăla finalizat; dispărute sînt și iazul pentru păstrăv din spatele conacului, și verandele largi și generoase în lumină și liniște.
Tot un alt fel de oraș a fost și Humorul post revoluționar, din moment ce noi am tot avut rezultate anapoda la toate alegerile locale. Altfel decît țara. Țin minte la primele alegeri, cînd România avea numai primari FSN-iști, de era harta toată plină de trandafiri, Humorul a fost al treilea oraș din țară cu primar țărănist: București, Timișoara și... Gura Humorului, de nu știa nimeni unde vine localitatea asta țîfnoasă. Mă sunau prietenii să mă întrebe cum de sîntem așa de revoluționari și de curajoși, că ce fel de oameni sînt acolo de au putut să voteze cu..., apăi dragilor, oamenii nu votau cu un partid, votau cu niște alți oameni. În istoria acestor lungi 20 de ani, anii lui Brucan, s-a mai întîmplat cîte ceva prin Humor, în ciuda vremurilor, niște oameni formidabili au reușit să participe la istoria cea mare.
Ni s-a întîmplat un muzeu foarte... altfel, și ăla pornit din visul Verei, că să fie așa cum vrea ea, și cu încăpățînare s-a ținut de capul tuturor pînă i-au făcut hatârul, că a vrut ea să îi fie muzeul organizat cum era calendarul popular în vremile cele bune, și uite așa s-a transformat fosta carmangerie într-un muzeu etnografic cum nu-i altul, o excursie în timp, printre obiceiurile de peste an. Nu mi s-a întîmplat să duc vreun grup de străini la muzeu care să nu rămînă impresionați. Să nu uităm că Vera, cînd a sosit ca directoare a muzeului trasformat acum în tribunal, a adus o expoziție Löwendal, baronul îndrăgostit de Bucovina, care a pictat țărani de la începutul secolului trecut în casa lui Fritz (o să scriu și despre Fritz), și la expoziția aceea plîngeam cu toții de emoție, grupul de oameni care dădeau viață oricărui festival, oricărui fapt cultural, era..., în fine, povestea-i lungă și o las pentru altă dată.
Ni s-a mai întîmplat, desigur și marea minune cu hotelul din centru, hotelul care era de fapt de mulți ani o stafie, un șantier oribil în mijlocul orașului și care, în 3 ani a devenit una din marile investiții din zonă, un hotel de 4 stele, singurul dintre Iași și Cluj, uite-așa, la Humor, ca să aibă și snobul din partea locului unde să-și însoare feciorul, ca să aibă și dragii mei țărani din Voroneț pentru cine organiza plimbări cu sania de Crăciun și mânăstirenii, demonstrație de încondeiere de ouă de Paște.
Apoi orașul s-a fălit cu sala de sport, toată lumea o știe drept „sala lui Ciocoiu”, pentru că el a visat-o, el a luptat pentru ea, el a văzut-o întîi în visele lui și mai apoi am văzut-o noi în Parcul cu cerb. (și nu e singura, pentru că în luncă a mai răsărit o sală de sport care arată ca o nacelă uriașă ancorată parcă împotriva voinței ei). Cît să ai unde să golești colesterolul și surplusul așezat pe ici pe colo de huzurul excesului de smîntînă în toate cele gătite bucovinește: că e ciorbă, că e „tocăniță de cartofi” , sau papanași, smîntîna nu poate lipsi. Alături de „sala lui Ciocoiu” stă să se deschidă și piscina acoperită, și cît mai rădeam de el cînd ne spunea că pînă la urmă se va face și piscina, „hai, mă, du-te cu piscina ta de aici, că nu are cum. Cine o să bage atîția bani?”, și uite-o că e și acoperită gata, ca să nu mai ai ce să îți dorești mai mult de la orașul tău. Mai cu seamă că și catedrala dă să își deschidă porțile în curînd, ca să avem grijă și de cele sufletești, că de trup ne grijim bine.
S-au întîmplat multe...
Multe pînă... pînă cînd l-am văzut pe Ursaciuc în luncă, acum 5 ani suflecat a treabă..., de atunci înainte întîmplările se înghesuie. Imediat după primele alegeri pe care le-a cîștigat, Ursaciuc era cu oameni cu pixuri și carnețele în mînă în luncă, printre buruieni și ce mai rămăsese din arborii unicat. Mergeau printre copaci și măsurau de zor, gesticulau, dădeau cușma pe ceafă. El promisese multe, ca toți ceilalți primari din lumea asta. Noi l-am ales de nebun ce era, (nebun e și acum), pentru că avusese o campanie șuie și năstrușnică, pentru că avea o armată de tineri lîngă el. Și, vorba vecinului meu, Lucian Năsulea: „Pe moșnegi, i-am tot ales și nu au făcut nimic, hai să vedem ce fac și ăștia mai tineri”. Dar să îl vezi în luncă în prima săptămînă, cu mînecile suflecate a treabă,... nu se aștepta nimeni. Am sunat la ușa lui Lucian și i-am spus: „L-am văzut pe primar în luncă, cred că o să o curețe”. Și în cîteva luni, lunca a fost tunsă, băncile refăcute, luminile reaprinse. Ne-am gîndit cu toții la Țăranu. Și ne-am tăcut gîndul mai departe. Eram mîndri că lunca era din nou aerisită, aleea principală asfaltată, ca să poți trece cu căruciorul copilului fără să îl zgudui prin hîrtoape. Apoi i-a adus pe Boney M la Humor și îl auzeam bombănind ceva și despre un festival rock. Cînd a avut în oraş o adunare de oameni importanți rău de tot, de la Banca Mondială, i-a urcat pe Toacă, le-a dat două leațuri și un ciocan și au bătut bancherii lumii cîteva cuie și au inaugurat acolo sus, ăi de la ditamai Banca Mondială, o bancă de șezut ciobanu ca să vază adîncul văii și naltu cerului, tot Humorul, până-n pânza de ceaţă dinspre apa Sucevei.
Mai are o calitate primarul ăsta, o menționez în acest laudatio, că nu știu cînd o să mai scriu despre el, că acu o fi el un primar inspirat, dar și lista mea de personaje e lungă. Cum spuneam, acest primar are o virtute rarisimă din păcate la nația politică românească: cînd vorbește Ursaciuc, vorbește bine. Are discurs și retorică. Are umor: îl poate genera și îl poate percepe și dacă îi stă cineva în cale, dă imediat replica, fără să ezite și fără să se scarmene în barbă că nu îi vin cuvintele. I se trage poate de pe vremea cînd era student și-şi făcea veacul printre cei de la Divertis. Are farmec, da, îmi pare rău, știu că îmi pierd credibilitatea, că nu își poate nimeni imagina că poate exista un filolog care să laude (hei, dezinteresat!) un primar, dar o fac, pentru că nu am nevoie nici de loc de casă, nici de loc de veci, și totuși Ursaciuc este un politician cu retorică pe alocuri impecabilă. Uite, da, Ursaciuc de la Humor. Știe să vorbească, are carismă, are conținut, nu bate apa în piuă. L-am văzut dînd interviuri și reușind să nu fie nici plictisitor, nici penibil, cum se întîmplă de cele mai multe ori. Pragmatica lingvistică ar avea ceva de lucru să-i decodeze poziția pe care o adoptă în comunicare. (Semnați cecul, dom primar?, că așa o portretizare..., mai rar!)
În ciuda demenței provocate de portocalizare (mecanică?) a alegerilor trecute, Ursaciuc a rămas primar, într-o confruntare teribilă, sinistră pe alocuri. A inventat campania săracă, aproape austeră, de la om la om, a intrat în casele oamenilor, și-a făcut campanie vorbind (inspirat). Și a rămas primar. A cerut ajutor, a făcut proiecte, a strigat, a cerșit bani de pe peste tot, a stat pe la uși, n-a renunțat niciodată, n-a uitat niciodată, a fost ajutat, i s-au întins ba mîini, ba capcane, s-a fript, s-a înfipt, și-a pierdut speranța, a găsit alta și a terminat pîrtia. Instalațiile, ultimul răcnet, venite de la tații și mamele pîrtiilor, refuzau să se adapteze și să se armonizeze cu Humorul, au venit specialiștii, au plecat, s-au întors, au venit alții și după un tango european al științei și vremurilor, cu puțin ajutor divin de zăpadă autentică, primarul și Humorul lui au deschis săptămîna trecută pîrtia. I-au spus Șoimul. Și bine i-au spus. Nu e despre primar scrierea asta. E despre vremea lui Țăranu, care, iată, a devenit vremea lui Ursaciuc.
Pîrtia de la Humor nu e o pîrtie: e visul imposibil, aproape indecent, care exclude de pe hartă o grămadă de alte stațiuni consacrate, lăsînd în urmă Predealul, și Dorna, şi câte altele... Da, azi Humorul are cea mai cea pîrtie de schi din țară.
Amintiri din clasa a VI-a, sau cum se bate pîrtie. Despre Rață
Într-a șasea eram. Îmi amintesc cu maximă exactitate, cum se întâmplă cu toate chestiile care te marchează: făcusem într-a cincea educație fizică cu profesorul Roșca, și acum se zvonea că o să avem un prof nou, tînăr și mișto și a venit... Rață. Mai degrabă zbanghiu decît mișto, tînăr în tot cazul. Multă vreme am crezut că ăsta îi e numele, de vreo cîteva ori i-am și spus tovarășul profesor Rață. Avea motocicletă și era un fel de haiduc tînăr, (tînăr e și acum) și ne tot povestea cum sînt munții de frumoși, și cum sînt Făgărașii, organiza excursii vara, el de capul lui, și cînd m-am mai mărit m-am inclus și eu în grupul montaniarzilor lui: ne adunam vreo 20 de mintoși și plecam la cucerit Făgărașul, pentru că ne povestise Rață despre un lac minunat..., am mers cu toții să îl vedem. Atunci, într-a șasea ne tot înnebunea cu schiurile și că să ne luăm, că să vedem ce sport minunat, că cum poți zbura fără să ai aripi (asta am pus-o de la mine, ca nu era Rață chiar atîta de poet; sau poate că o fi fost, în sufletul lui, dar nu cred că ar fi deschis gura să spună una ca asta), și cum noi care stăm aici, între munți, ar trebui cu toții să schiem. Ne-a convins pe toți, Rață. A convins generații întregi de copii și de părinți să își ia schiuri. În cazul meu l-a convins pe moșu să-mi aducă o pereche de schiuri Reghin, galbene, cu arc. Se prindea gheața în arc, și nu se mai închidea. Și Lucian Ulian mi-a dat o buburuză să mi-o lipesc pe schiuri, ca să fie mai șmechere. Și apoi, bocancii de piele, pe care ii dădeam cu untură de pește ca să nu se ude... și se udau. Tot Rață, cu pasiunea lui clocotitoare ne convingea pe toți să mergem duminică de duminică, să batem pîrtie și în deal și în vale, cu bătăi mărunte, schi lîngă schi. Adică, ajungeam sus, cu picioarele scrum de efort, și nu coboram pe schiuri, pentru că era pîrtia prea îngustă (o lungime două de schi), sau prea afînată zăpada, și mai coboram o tură, tot ca să batem zăpada. Și povești, și planuri. „Rață! Hai să căutăm undeva, la UMCTF, poate ne dă domnul Ulian un cablu și hai să îl punem cumva”, și începeau visele, că cum ar fi să punem cumva mînă de la mînă și să punem un cablu, cu un motoraș de mobră, pe care apoi să îl demontăm seara... În fiecare sîmbătă, după școală, mergeam pe Albu (pe jos, evident), sau pe Gingioaia și băteam pîrtie, și visam cu ochii deschiși. Și deja cînd coboram ne gîndeam să ne bucurăm cît mai mult de zbor, că după aia urma iar urcușul. Iar dacă pîrtia era suficient de bună (și pentru Rață arareori era), yupiii, puteai să urci cu schiurile în spate, și urcai, evident, mult mai repede.
Rață... La primii fulgi știai că Rață își freacă palmele și că abia așteaptă sîmbăta. Dar dacă îl căutai pe o zăpadă bună căzută marți, îl găseai în timpul săptămînii, singur pe pîrtie, și la deal și la vale. Ne făcea cadoul ăsta uneori: bătea el pîrtia pentru noi toți, și sîmbătă cînd veneam era numai bună, un pic înghețată de la vînt. Cîți copii nu a cărat Rață între genunchi la vale, ca să îi învețe! Pe cîți nu i-a dus la Dorna sau la Borșa, și îi căra și la deal pe cablu. Am crescut cu toții preluînd schiuri unii de la alții, ca o mare familie. Copiii mei, copiii Manuelei, fata Noricăi... toți schiază și asta i se datorează lui Rață și pasiunii de care ne-am contaminat cu toții. Dacă îți rămîneau clăparii mici, mergeai la Rață, sigur știa el pe cineva care are o pereche cu un număr mai mare, și desigur că știa pe cineva care are nevoie de clăparii tăi. La fel cu schiurile. Rață a făcut școală de schi la Humor. Fără aprobare de la inspectorat, fără fonduri Phare. S-a format apoi o generație întreagă de vîrsta mea, numai eu și Mihaela eram fete, restul un cîrd de băieți, printre ei și Sorin, acum stăpînul OZN-ului care bate zăpada pe Pîrtia Șoimul. Un utilaj care nu încape în nici o poză, indiferent de obiectiv. Rață nu mai trebuie să bată pîrtia, avem o mașină care face asta. Așa că nu cred că exagerez prea mult dacă spun că Rață a făcut istorie la Humor.
Am vrut apoi o pîrtie mai lungă și ne-am mutat spre Frasin unde în josul tîrlei se deschidea Sinucigașul. Așa îi spuneam noi unei văi absolut sălbatice, plină de mușuroaie și smîrcuri care ieșeau din zăpadă, o aventură și să o urci și să o cobori pe schiuri. (Aud că Șoimul are și el o porțiune absolut profesională). Schiam și noaptea la lumina lunii, cînd era lună plină, puneam un felinar în fereastra micuță a tîrlei și veneam ușor de sus înspre luminița din geam. Și acolo, planurile au luat-o razna rău de tot: că aici o să punem cablu și dincoace o sa punem un foișor unde să îți lași lucrurile ferite de ninsoare, că dincoace mai facem o cameră să avem de rămas peste noapte cu toată gașca de prieteni, ca să putem dimineața schia la prima oră, pe chiciură. Familia mea, gazdă acolo sus la tîrlă, mai alerga din cînd în cînd prin reprezentanți (adică eu) să mai pună un lemn pe foc să nu se răcească vinul și țuica fiartă, și ceaiul cu bucăți de mere și scorțișoară..., Isache, cu amîndoi copiii lui, niște gheme albastre care ca niște mușuroaie fermecate, se mișcau pe pîrtie, cînd în deal, cînd în vale, Sergiu Lupei, Mircea Sauciuc cu cele mai occidentale accesorii, după care ne întindeam cu discreție gîturile, să vedem ce s-a mai inventat în materie, cu Virgil, frate-su, amîndoi eleganți ca niște patinatori pe gheață, pe muzică clasică, Titi Ulian cum era hotărît în tot ce făcea, (o să scriu mult despre Titi Ulian, care făcuse teren de tenis muncitorilor lui de la UMTCF, o să scriu și despre Monicu Gingolea, un om cu un umor absolut contaminant), așa și schia, clasic, elegant și hotărît ca un concert de Anul Nou de la Viena și Sergiu Scutariu, Sergiu care schia ca un balerin, (trebuie și despre Sergiu vorbit mult), și în rest... povești și vise: ce-ar fi dacă. Eu sper că Sergiu... Știți cum era Sergiu? El era cel mai înalt om pe care îl cunoscusem eu. Drept e că și eu eram foarte mică pe atunci, dar și Sergiu era zvelt, brunet, frumos, și zîmbăreț. De fiecare dată cînd îl vedeai, Sergiu zîmbea. Dacă era vară avea o racheta de tenis în sapte, dacă era iarnă, schiurile. Grăbit, mergea cu pași mari să acopere pămîntul dacă nu cu statura lui, măcar cu umbra lui. Eu sper că Sergiu, de acolo unde a plecat așa, dintr-odată s-a dus, că mă și gîndeam că nu poți să îl îngropi pe Sergiu, pentru că e prea frumos și prea mare, aveam să citesc apoi o povestire minunată a lui Marquez despre Esteban, cel mai frumos mort, pentru care oamenii au trebuit să facă ferestre mai mari, și uși mai mari, și paturi mai mari, ei bine, Sergiu a murit absurd și definitiv, ca toți morții, lăsîndu-ne nouă visul lui de a avea... un teleschi la Humor, ei bine, eu sper că acolo unde a plecat într-așa o mare grabă, or fi oare ierni acolo?, sau joacă numai tenis?, eu aș vrea să fie și ninsoare, și pîrtii, pe un nor, să privească la noi, la Șoimul cel proaspăt și să schieze acolo sus, în lumină și în cîntec de îngeri. Cît despre Titi, ei bine, nu trebuia să moară, pentru că era foarte mare, un suflet și un bărbat mare, mare în idei și în determinarea cu care le ducea la capăt. Spre deosebire de noi toți ceilalți, Titi Ulian era capabil să gîndească o lume mai mare, venea poate din educația lui de neamț, serios, clasic, elegant, și te aștepți de la astfel de oameni să nu poată muri, pur și simplu, te aștepți de la ei să fie prea greu pămîntului să îi înghită. Și poate că într-adevăr pămîntul nu l-a putut înghiți și l-a eliberat într-o seară cînd nu a știut nimeni și își face lumile lui clasice pe undeva prea sus pentru noi, undeva unde nu îl putem ajunge.
Era plin pe pîrtie. Mai era Moroșan, nelipsit, uneori venea și Viorel Munteanu cu un rucsac plin de mere, și la fiecare urcare mai suplimenta aportul de vitamina C cu un măr, mai era generația celor un pic mai mari decît mine, gașca lui Lucian, cu Hardy Slubceacovschi (ce nume imposibil!), cu Dani Molocea, Cezar tobarul inspirat al Axiomelor, autorul tainic al super-hitului, cu Gaga, ah!, da, Gaga, pe care nu îl lăsa frumoasa lui Cristina să vină la schi și, pentru că stătea la etajul I, își arunca schiurile de la balcon jos, cu echipament cu tot, și spunea că pleacă pînă la un prieten și se urca în tren și mergea la Dorna la schi. Apoi următorul segment de vîrstă: Sorin, Radu, Grațian, Șmeganii...
Pentru e restabili istoria exactă, primul schior al Humorului fusese Generalul Dragu. Nu știu dacă știu mulți care e numele mic al generalului, dar toată lumea îi știe casa și povestea. Generalul Dragu a adus prin anii 80 o instalație de teleschi. A început atunci visarea cu ochii deschiși: oare unde o să îl monteze? Ce bine ar fi să fie pe Albu..., E prea scurtă pîrtia pe Albu, cred că o să îl pună pe Gingioaia. Multe ierni am așteptat minunea... Nu știu din ce motive instalația generalului nu a funcționat niciodată. Aud acum bîrfe urbane care spun că Mircea Sauciuc va instala telescaunul Generalului Dragu la Frasin.
Nici măcar Titi, nici Sergiu, nici măcar Rață, nici unul dintre noi nu mai aștepta un telescaun. Ne-am obișnuit cu toții să mergem prin împrejurimi, la pîrtia de la Mălini, prea ușoară pentru noi, numai bună pentru copiii noștrii. Nu mai visam... pentru că și visul trebuie să fie decent. Și uite acum, la Humor se arată Șoimul. Cu fel de fel de figuri: tunuri de zăpadă, mașină de bătut pîrtia, lumini pentru nocturnă, muzică, telescaun cu patru locuri în care nu îți îngheață fundul la urcare, pentru că nu e metal gol. Mi-a trimis Marius fotografia asta... și văd cum iată, uneori realitatea, istoria cea mare, care ne consumă zi de zi, tuturor visele, e capabilă, din cînd în cînd, de răsplată și răsfăț cosmic. Pentru toți cei care au schiat în Humor, pîrtia aceasta e mai mult decît oricare vis. Pentru că e. Pentru că FUNCȚIONEAZĂ, pentru că Rață acum e monitor şi-l cheamă Nicu și are tot un cîrd de copii în urma lui, pentru că toți cei care băteam pîrtie și la deal și la vale, pe vremuri, ne-am putea regăsi cu cartelele în mînă, la baza Șoimului.
Mi-e dor de copilăria mea...
Mă sună Marius:
─ Îmi vine să plîng. Am terminat de citit textul tău.
─ Marius, nu plînge, că acum avem pîrtie.
─ Auzi, cel mai frumos lucru pe care îl face textul ăsta al tău este că spune lucruri pe care le știu toți, dar care n-au fost puse la un loc, niciodată, și nu le-ar fi spus nimeni. Multi vorbesc frumos despre Rață, însă ce ai scris tu aici este manual de istorie.
─ Știi ce am uitat eu să scriu? Că Rață e neschimbat, de cînd eram noi într-a șasea, el a rămas identic cu sine, absolut neschimbat: și în energie, și în optimism, și în modestia cuceritoare, și fizic, deși or fi trecut 25 de ani de atunci.
─ Da, Oana. E neschimbat.
─ Bătea pîrtie ca un..., hai ca să nu îl glorificăm degeaba, dar, Marius, mergea singur pe Albu în timpul săptămînii, și mergea NUMAI ca să pregătească pîrtia pt sîmbătă, că el era neînsurat și avea mai mult timp liber. Și dacă mai prostea pe vreun Sorin, ca să îi țină de urît, bine. Vreun Sorin, vreun Fish, sau vreun Șmegan. Dacă nu, stătea singur...
─ Te cred și îl cred în stare.
─ Dacă nu, stătea singur ca un călugăr și clădea pe Albu, sau pe Gingioaia biserica lui, mănăstirea lui.
─ Cîndva, din Șoimul, o să-i spunem pîrtia lu' Rață ?
─ Hahahahaha! Nu spera săracu vreodată, nici unul nu spera din trupă, nici măcar occidentalul de Mircea, care văzuse la viața lui pîrtii adevărate,nici imaginația nu ne dădea așa ceva, nu ne încuraja la o asemenea dimensiune.
─ Știu, voi pregăteați de-atunci pîrtia lui Ursaciuc.
─ Nu, eu cred ca i-a făcut Ursaciuc pîrtie lui Titi, lui Sergiu, ca să mai treacă din cînd în cînd pe acasă și apoi lui Rață și tuturor celor din trupă ca să îi răsplătească și să le dea un vis pe care ei nu au avut curajul să îl viseze. Na, băi, uite ce nu ați avut voi nici măcar curaj să visați, și eu v-am făcut. Că tu poți să îmi spui orice, că e o investiție, că județul, că turismul, că..., orice, eu o să cred în continuare că în vremurile astea de mare tulburare, un primar a premiat niște oameni care au crezut toată viața lor într-o pasiune pe care o vedeau și o trăiau alb-negru, și acum o pot vedea în culori. Asta se cheamă răsfăț și remunerație după buget... mare.
Piosenki uwielbienia „Jak ważna dla człowieka jest miłość Boga”
Scena ukazana w Biblii, gdy Bóg daje rozkaz Adamowi
porusza i raduje serce.
Choć obecny jest tylko Bóg i człowiek,
łączy ich tak bliska więź, łączy ich tak bliska więź,
że zaczynamy czuć zdumienie i podziw.
Człowiek dostaje Bożą miłość za darmo i w obfitości,
otacza go Boża miłość.
Człowiek czysty i niewinny,
beztroski i bez zobowiązań,
żyje w szczęściu na oczach Boga.
Bóg troszczy się o niego,
a człowiek żyje pod Jego skrzydłami.
Wszystko, co robi człowiek, wszystkie słowa, czyny,
są związane z Bogiem,
nie mogą być od Niego oderwane.
Od pierwszej chwili, w której Bóg stworzył ludzi,
od pierwszej chwili miał ich w swej opiece.
Na czym polega ta opieka?
Na tym, że Bóg chroni, chroni i strzeże człowieka.
Ma nadzieję, że człowiek Mu zaufa,
zaufa i będzie słuchał Jego słów.
To właśnie pierwsza rzecz,
której od ludzi oczekiwał Bóg.
Mając tę nadzieję, Bóg wyrzekł takie oto słowa:
Z każdego drzewa w tym ogrodzie
możesz jeść, co chcesz;
ale z drzewa poznania dobra i zła, dobra i zła
nie wolno ci jeść,
bo w dniu gdy z niego spożyjesz,
czeka cię pewna śmierć.
Te proste słowa będące wolą Boga
mówią nam, że już wtedy w swoim sercu Bóg się troszczył o człowieka.
W tych zwięzłych, prostych słowach widzimy,
co ma w sercu Bóg.
Czy w Jego sercu jest miłość?
Czyż nie ma opieki i troski?
Bożą miłość i opiekę można poczuć i odczuć.
Będąc człowiekiem sumienia
i mając w sobie człowieczeństwo,
poczujesz ciepło, opiekę oraz miłość,
poczujesz też, że jesteś szczęśliwy.
Gdy tak się poczujesz, jak się zachowasz?
Czy przylgniesz do Niego?
Czy pełna szacunku miłość nie zagości w sercu twoim?
Czy twe serce będzie blisko Niego?
Widzimy więc, jak ważna dla człowieka jest miłość Boga.
Lecz nawet ważniejsze jest to,
że człowiek może czuć i rozumieć miłość Boga.
ze śpiewnika „Podążaj za Barankiem i śpiewaj nowe pieśni”
Zalecenie: Ładne piosenki religijne
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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
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
Project Room
Barry McGee (TWIST)
Site-Specific Loft Installation (click to see a lot more photos from the installation)
"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it. He said they got to talking and then Barry asked, "Can I build a loft?" And they did. A real interesting space. Well worth a visit in my opinion.
You've gotta see it LARGE on black!
Captured with a Canon EOS 30D and a Canon EF-S 17-55mm f/2.8 IS USM lens.
Location: Tanner Bridge Road, Jefferson City, Missouri
This was a planned HDR scene I captured about a year ago. I've been spending a lot of time with Photoshop CS4 and ACR 5 lately and thought about re-working this piece and I'm glad I did. I have a tutorial about how I created the original HDR image here; however, after using my new process, I need to update the steps.
In short, I used to simply load my Canon 30D RAW files directly into Photomatix, tone map, then save as 16bit tiff. Then load the 16bit tiff into Photoshop to do further enhancing such as noise removal.
Now I process each RAW in ACR 5, apply Noiseware Pro NR and save each frame as a 16bit tiff, then I open each tiff with Photomatix, merge, tone map, save again as 16bit tiff, open in Photoshop, apply default Noiseware Pro NR, USM (radius 1.1, amt: 40%), then save as 8bit jpg, which is what you see above. This rendition is far better than my first version (much cleaner, sharper, and the tonal depth is better too).
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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
Saint Augustine, Florida U.S.A. - NE Corner - July 4th, 2017
Construction on the fortress was from 1672-1695. The native
coquina (soft shell) stone was quarried from a local island.
en.wikipedia.org/wiki/Castillo_de_San_Marcos
www.exploresouthernhistory.com/castillodesanmarcos1.html
History of Saint Augustine: Ponce de Leon claimed Florida for Spain in 1513. (Christopher Columbus discovered North America in 1492 but actually landed in the Bahamas). Other Spanish explorers later found gold and silver in Mexico and Peru. The treasure was sent back to Spain in ships sailing in the Gulf Stream. Spanish settlements needed to be built in Florida to protect the Spanish Treasure fleets. King Phillip II of Spain sent Pedro Menendez to settle in Florida and drive out French garrisons recently established there. In September 1565, Pedro Menendez with 700 soldiers and colonists, landed here and founded St. Augustine, making it the oldest continually occupied European settlement in North America.
Menendez successfully destroyed the French Fort Caroline at the mouth of the Saint John's River 40 miles north of St. Augustine and ended the French incursion into Florida.
St. Augustine settlers, isolated and often near starvation, lived in constant fear of attacks by pirates who roamed the coast. Diminishing supplies and increasing hostility of the Indians made life treacherous for the early settlers.
Englishman Francis Drake burned the village and wooden fort to the ground in 1586. The town was sacked again in 1668 by pirate John Davis.
Spain's Queen Regent Mariana realized that St.Augustine was the keystone in the defense of the Florida coast, so she ordered the construction of a new fort made of stone. In 1672, the Castillo de San Marcos was begun and took 23 years to complete. Originally the fort was covered with white plaster, some of which can be seen today. The towers in the four corners were plastered red.
The fort was built of coquina, a locally quarried soft shellrock. Coquina was easily shaped by artisans and did not become brittle and crumble under cannon fire. The fort, the city gate, and many homes in St. Augustine were made of coquina which is still evident today.
In 1702, seven years after its completion, English troops from South Carolina besieged the Castillo for fifty days. Fiffteen hundred Spanish citizens fled into the security of the fort and refused to surrender. The British finally gave up the siege and burned the town. This event is why there are no buildings older than 1702 in St. Augustine today.
The Spaniards rebuilt their settlement and erected a defensive earthwork on on its northern limit, fortified the walls around the city and strengthened the walls of the Castillo.
The English attacked again in 1740, this time by General James Oglethorpe of Georgia. He bombarded the Castillo and town for twenty-seven days before he also gave up and left. The coquina walls held firm, absorbing the cannon balls without breaking apart.
England defeated Spain in the Seven Years War, and Florida was transferred to English control by the Treaty of Paris in 1763. England then divided Florida into two colonies, and St. Augustine became the capital of East Florida. During the American Revolution St. Augustine remained loyal to the crown. The entire Florida peninsula was returned to Spain as part of the negotiations ending the American Revolution in 1783.
They came back to an impossible situation. The border problems of earlier times were multiplied as runaway slaves from Georgia found welcome among the Seminole Indians, and ruffians from both land and sea made Florida their habitat.
Spain ruled for another 37 years known as the Second Spanish Period 1784-1821. During this time, the Spaniards had difficulty luring settlers from the mother country and other colonies to repopulate this area.
On July 10th, 1821, the Americans took over from the Spanish. In the 1830's, hostilities rose between Seminole Indians and the Federal Government. In October 1837 one hundred Seminole Indians, including Osceola, were captured under a white flag of truce just south of St. Augustine. The end of the Seminole War made Florida safe again for visitors who came to take advantage of the fine climate. In 1845 Florida became the 27th state of the Union.
From 1875 to 1887, Indians from the Great Plains and the Southwest were exiled to Florida and imprisoned in the fort. The government sought to educate the Indians and allowed them some freedom of movement. These activities led to more progressive Federal Indian policies.
During the winter of 1883-84 Henry M. Flagler, co-founder of Standard Oil Co., visited the city and was impressed with the charm and possibilities of the area. He later made a major impact on the architecture and economy of this historic city by building the Hotel Ponce de Leon, Hotel Alcazar, the Memorial church and more.
History, plus 43 miles of white sand beaches bring over three
million visitors a year to St. Augustine and St. Johns County.
(1565-1763 ~ 1st Spanish) - (1763-1784 ~ British Period)
(1784-1821 ~ 2nd Spanish) - (1821-Present ~ American)
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
-------
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
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
-------
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
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
-------
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
________________________________________________________________________
Nikon D300 + Samyang 8mm
________________________________________________________________________
Compra le mie stampre su www.antoniomariniello.com
Buy my photos on www.antoniomariniello.com
________________________________________________________________________
Antonio Mariniello website & Antonio Mariniello Facebook Fan Page
________________________________________________________________________
Contatto - Contact: mrantonio9285@ymail.com
________________________________________________________________________
My photos on Explore | facebook | twitter | linkedin | fluidr | flickrtab | bananr | flickriver
________________________________________________________________________
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Please don't use my pics. If you are interested in this pic contact me.
La riproduzione totale o parziale, in qualunque forma è proibita senza autorizzazione.
________________________________________________________________________
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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
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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
Scanned image from the Permann Collection from the "Other NFs" album--Please tag these photos so information can be recorded.---Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
That's "The Pike" in Long Beach, California, circa mid 1960's. The Pike was one of the reasons Disneyland was created. Although Walt is quoted as having been sitting on a bench near Griffith Park's carousel when the question of "Why isn't there a place where parents and their kids can both have fun (together)?" This is the place he was thinking of what NOT to do, from among several like it, such as Pacific Ocean Park, Santa Monica Pier, and Newport. The pike was full of trash everywhere, barkers, rotten old dark rides (It was later discovered that the mummy in Laugh in the Dark, contained actual, recent, human remains.) There were swearing sailors pissing in public corners, and vomit that had been in place so long it had become part of the pavement. In the photo is Looff's carousel on the left and, on the right, the famous twin racer coaster, Cyclone Racer. It was famous for sending trains full of people to their untimely demise, their last drink, a watery ocean drowning, when the poorly maintained track gave way.
Although before my time, the Pike in Long Beach was fed by the sailors on leave from the Naval Ship Yards on Terminal Island to the West beyond the mouth of the Los Angeles River. War time saw The Pike in it's heyday, and wartime was it's greatest contribution. In the Post-War fifties, The Pike faced an economic downturn, and with direct competition for the family pass-time dollar from Knott's Berry Farm (and nearby Alligator Farm) and the splendidly new Disneyland, the independent operators either banded together with, or, (the smart move) sold out to the new management. New management, new name, NU-PIKE! And the name du jour was just as imaginative as it's implementation - sparse. The Long Beach city council contracted all of the owner/operators to maintain standards, patched the old road that was now a pedestrian walkway, hired custodians, tore out The Plunge, and slapped (more slopped) paint hither and yon. The RTD 36f bus (f for Freeway Flier) to LA was no match at bringing as many gleeful revelers as the high speed interurban electric railroad of the Pacific Electric (of Who Framed Roger Rabbit fame) had been. I was born 5 days before the last one of the Big Red Cars rolled down Long Beach Blvd. I have been told I was on the last one, but, as an infant, I couldn't have remembered my first and last ride, home from the hospital. The new zoo was a petting pen full of mangy goats. The fun zone (seen in another picture) was an alley cluttered with tourist trap shops mixed with buildings containing a hall of mirrors, bumper-cars, stick your head in a hole souvenir photographer, and the side show guy that would spurt stage blood pumped from his chair through his piercings after driving a spike through the one in his hand - the guy that taught me to smoke cigarettes.
Kiddy-land was a collection of lame traveling carnival truck rides running in 30 foot circles - 16 motorcycles, 8 cars, 8 boats, 8 helicopters (as seen in the introduction of "The Courtship of Eddie's Father" - before their move to the NU-PIKE - while still at Pierpoint Landing.)
The miniature railroad who's cars later went to Gene Autry's Melodyland before winding up circling today's Travel Town was near the picnic grounds. Hobos and the homeless camped near the cinderblock restrooms that were locked at night, so folks just peed on the walls, NU-PIKE, same old smell.
Charles I.D. Looff built the carousel seen on the left and lived above it in the roof.
The Plunge was like other plunges along the California Coast, for bathers, like the Redondo Beach Plunge, filtered ocean salt water warmed by the cooling towers of the nearby power-plant.
There was another attraction just East of the Dual Ferris wheel, which was the most interesting way to execute exotic saltwater fish ever. It was a UFO shaped diving vessel ringed by porthole windows and a water tight door. Attached at the top and bottom was a loop of cable wound around a motor pulley and through some lead weights. Moments after the door was closed, the floor dropped as the whole vessel plunged into a tank of pressure shocked fish that would suddenly behave like none of their kind ever would in the wild, knocked the sense right out of 'em. Other attractions were considered and dismissed, but The Queen Mary was re-fabricated (read gutted) into Jacques Cousteau's Living Seas as well as a convention center, and an historic tour above. Trying to loose the looser image they quickly renamed the pike "Queensway Park" and fabricated a London-esque town called "Queensway Village" at the base of the gantryway to the ship. This was soon followed by the construction of Queensway Bridge extending Magnolia across the mouth of the Los Angeles River and creating a loop convenient to the southern end of Interstate 710, the Long Beach Freeway. That began the landfill happy wanton destruction of the entire area. Today the Shoreline Drive hosts the Long Beach Grand Prix precisely on top of where bathers would toe test the temp on the shoreline.
This Pictured Sign represents the neon shiny small moment in history, of the repackaged, same ol', same ol' NU_PUKE.
Re-packaged as Crosseye-Stereograph from Curious Hanman's Nu-pike-Neon a Parallel Stereograph.
It is important to note that Disney Seas was supposed to go here when Disney Corp., in order to own the Disneyland Hotel, bought the Wrather Corp., who was the contractor operating the Queen Mary. Instead Disney Seas opened in Tokyo, Japan.
www.mpix.eu/2012/11/efke-ir820.html
Sinar Alpina, Efke IR820 + R72.
Rated ISO 1,5. Measured 16s, exposed 45sec.
Developed in Rodinal 1+25 - 12:30min cont. agitation.
Postprocessed
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This is the cover photo of my set Spring Celebration 2011 [বসন্ত উথসব ২০১১(Bashanto Uthsob) ]
This Photo was taken on 13th Feb 2011 / 01 Falgun 1417 Bangoli Calender Yr at 4:30 pm , from Rabindro Sorobor [ A open air Cultural Venue ] Dhaka BANGLADESH . All the photos are Candid and with less treatment, The Spring Celebration here in BANGLADESH is Commonly known as Bashanto Uthsob,[ Bashanto is :
A name of Color
A name of most soothing weather
A name of flowery days
and Most Interesting season here in Bangladesh ]
This is the 1st Day of Falgun[ Falgun is a Bangoli Calendar Month ] Every Bangoli Calendar Year on 13th February comes as Our celebration day, Same As Valentine day on 14th Feb , We Follow both the day as our Valentine day, 13th Feb as for Bangoli and 14th Feb as FOR western culture,
The First day of Falgun is memorable for its colorful celebration. People from all age and categories celebrate this day with joy amd Festivities to welcome the spring season . They celebrate this day with folk dances , music, recitations and rallies throughout the country to commemorate the Bashanta Uthsob. Girls ware Yellow sarees and Boys wear Yellow Panjabees to celebrate the day, Most of the youth and children’s Painted their faces to make the day more colorful . At the same time , people hope that the coming days will be full of light and Joy,
The Spring [BASHANTO ] Comes to Bangladesh is the end state of Winter and the beginning of Summer, with new leafs in the branches of trees ,
Beds are full with Flowers in the garden and The Bird [KOKIL] Twitted are all the Happening in Spring [Bashanto ]
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Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.