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Soy #Soldado español, sirvo a mis compatriotas y vivo con orgullo los #valores de mi Ejército. #ValoresEjército 🇪🇸 "Ejército de Tierra, la fuerza de los valores"
Newer modern design for the suites at Citadines Tour Eiffel.
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Camera: Sony a99 | Lens: Zeiss Vario-Sonnar T* 2.8/16-35
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I had the pleasure of staying at Citadines - Tour Eiffel for 3 nights during my visit to Paris. Located in the former village of Grenelle, Citadines - Tour Eiffel is in a prime location situated across from a major metro hub with tons of cafes, restaurants, and marketplaces all within walking distance. It is also quite close to the Eiffel Tower, the Seine, Invalides, and Champs des Mars. In fact, while staying there, I was able to easily take the metro across the street to Versailles (with a transfer) for the day which made things quite convenient.
The really cool thing about the hotel is that some of the rooms on the upper floors of the hotel feature really beautiful views of the Eiffel Tower. If you follow my Instagram, I posted a video of the Eiffel Tower's light show that I filmed with my phone from the window of my room at Citadines - Tour Eiffel. It's a pretty impressive view!
However, what makes this hotel standout from many others is that it is known as an aparthotel or apartment hotel because it also functions as a place to stay for extended periods of time if you wish. People can stay for a few nights, a few weeks, a month, a few months, even a year if that is what they wish. This makes this a great place for families or individuals looking to relocate who may need a habitable living space centrally located in the city they are trying to relocate to. It also makes it a great place for people who are looking to try to live in a city to get a feel for the city while having the comforts of home.
An intriguing facet of staying at an aparthotel is that not only do you have the comforts that you would associate with an apartment such as a fully functional kitchen and living area but you get the amenities and benefits of hotel living as well. For example, Citadines aparthotels offer various cleaning arrangements for all guests as well as other perks that you would typically associate with staying in a hotel. Only you can enjoy these perks during your extended stay in any of the Citadines locations all over Europe and the Asia Pacific.
I had a great stay during my time in Paris. I had the misfortune of getting quite sick with bronchitis while in Paris and the staff at Citadines Tour Eiffel were really wonderful when it came to getting me the medical help I needed and making my stay pleasant while I recovered. I really enjoyed the fact that there was a Monoprix right across the street. The Monoprix there had a huge grocery section which allowed me to buy reasonably priced groceries that I was able to store in the refrigerator. This was a great relief to my wallet since it let me save on certain meals since I could use the kitchen in my room.
And of course, I loved the views. But that goes without saying, right? :)
--- Read a dedicated post about the hotel with explanations of each photo here:
Citadines - Tour Eiffel - Rooms with a View
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Interested in viewing all of my Paris posts so far? Here they are:
Looking for these (and more) Paris photos to view larger? Here you go (click or tap on each photo to view larger):
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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
www.anglesey-today.com/llynnon-mill.html
And an adjoining prehistoric settlement .
I edited the other shots to remove minor flaws , like dust and scratches , but I like how this looked like an old postcard straight out of the camera.
Trying new things , dusted off my old Kiev 88 medium format film camera ( a Soviet copy of a Hasselblad 1600) from about 1990 and tried out some new (old) lenses on it.
A Zodiac-8 (30mm fisheye lens) , a Volna-3 (80mm standard lens) and a Kalinar-3 (150mm short telephoto ) . Got a few more lenses on the way .
These cameras from the former Soviet union do have a reputation for terrible quality control at the factories , they build the camera , you tweak it to get it working right !
First two roll's of film I put though it are out of date , but sort of came out O.K .......
The black and white film was in a 6x4.5cm back and leaked light from the dark slide slot like a sieve !!!
Replacement parts have arrived from Hasselblad .
The developed film also had unusual scratches on them that need investigating , but overall still usable.
Adjustment is also needed to set it up better for long fast lenses .
Dusted off my old 120 roll film scanner from 2001 and it actually worked on Windows 7 !
Set it up on a "medium" resolution and it churned out a huge 170mb file , compared to the 24mb RAW files from my Sony a900 .
The scan output was set at approx. a 70 megapixel equivalent .
Still looked good but way bigger than needed !
el.godfootsteps.org/God-himself-the-unique-ix.html
Κυριαρχία του Θεού
Ο Θεός λέει: «Αυτές οι μεταβάσεις από την άνοιξη στο καλοκαίρι, στο φθινόπωρο και στον χειμώνα – αυτές οι αλλαγές συμβαίνουν όλες σύμφωνα με τους νόμους που θέσπισε ο Θεός. Καθοδηγεί όλα τα πλάσματα και τους ανθρώπους χρησιμοποιώντας αυτούς τους νόμους και έχει θεσπίσει έναν πλούσιο και πολύχρωμο τρόπο ζωής για το ανθρώπινο γένος, προετοιμάζοντας ένα περιβάλλον για επιβίωση που έχει διαφορετικές θερμοκρασίες και διαφορετικές εποχές. Υπό αυτά τα μεθοδικά περιβάλλοντα επιβίωσης, οι άνθρωποι μπορούν επίσης να επιβιώσουν και να πολλαπλασιαστούν με οργανωμένο τρόπο. Οι άνθρωποι δεν μπορούν να αλλάξουν αυτούς τους νόμους και ούτε ένα άτομο ή πλάσμα δεν μπορεί να τους παραβεί. Δεν έχει σημασία τι ριζοσπαστικές αλλαγές συμβαίνουν στον κόσμο, αυτοί οι νόμοι συνεχίζουν να υπάρχουν και υπάρχουν επειδή υπάρχει ο Θεός. Αυτό συμβαίνει χάρη στη διακυβέρνηση και τη διαχείριση του Θεού. Με αυτού του είδους το οργανωμένο, ευρύτερο περιβάλλον, η ζωή των ανθρώπων προχωρά μέσα στα πλαίσια αυτών των νόμων και κανονισμών. Αυτοί οι νόμοι καλλιέργησαν τη μια ανθρώπινη γενιά μετά την άλλη και ολόκληρες γενιές ανθρώπων έχουν επιβιώσει μέσα στα πλαίσια αυτών των νόμων. Οι άνθρωποι απολαμβάνουν τα όντα και αυτό το τακτικό περιβάλλον για επιβίωση που δημιούργησε ο Θεός για ολόκληρες γενιές ανθρώπων. Παρόλο που οι άνθρωποι αισθάνονται ότι αυτοί οι τύποι νόμων είναι έμφυτοι, παρόλο που τους απορρίπτουν πλήρως και παρόλο που δεν μπορούν να νιώσουν ότι ο Θεός ενορχηστρώνει αυτούς τους νόμους, ότι ο Θεός κυβερνά πάνω από αυτούς τους νόμους, ό,τι και να γίνει, ο Θεός είναι πάντα απασχολημένος με αυτό το αμετάβλητο έργο. Ο σκοπός Του σε αυτό το αμετάβλητο έργο είναι η επιβίωση του ανθρώπινου γένους, έτσι ώστε να συνεχίσουν να ζουν οι άνθρωποι. ...»
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Αγία Τριάδα
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.godfootsteps.org/disclaimer.html
Shorebirds of Ireland with Jim Wilson.
Freshwater Birds of Ireland with Jim Wilson
OUT NOW!!!! The Birds of Ireland: A Field Guide with Jim Wilson
www.markcarmodyphotography.com
The Common Tern (Sterna hirundo) is a seabird of the tern family Sternidae. This bird has a circumpolar distribution, its four subspecies breeding in temperate and subarctic regions of Europe, Asia and North America. It is strongly migratory, wintering in coastal tropical and subtropical regions. Breeding adults have light grey upperparts, white to very light grey underparts, a black cap, orange-red legs, and a narrow pointed bill. Depending on the subspecies, the bill may be mostly red with a black tip or all black. There are a number of similar species, including the partly sympatric Arctic Tern, which can be separated on plumage details, leg and bill colour, or vocalisations. Breeding in a wider range of habitats than any of its relatives, the Common Tern nests on any flat, poorly vegetated surface close to water, including beaches and islands, and it readily adapts to artificial substrates such as floating rafts. The nest may be a bare scrape in sand or gravel, but it is often lined or edged with whatever debris is available.
The terns, family Sternidae, are small to medium-sized seabirds closely related to the gulls, skimmers and skuas. They are gull-like in appearance, but typically have a lighter build, long pointed wings (which give them a fast, buoyant flight), a deeply forked tail, slender legs, and webbed feet. Breeding adult Common Terns have pale grey upperparts, very pale grey underparts, a black cap, orange-red legs, and a narrow pointed bill that can be mostly red with a black tip,
The Common Tern was first described by Linnaeus in his Systema Naturae in 1758 under its current scientific name, Sterna hirundo. (wikipedia)
This is a near-adult bird having a wash in the pouring rain; taken in Dublin city port.
from: www.philippinecountry.com/philippine_festivals/masskara_f...
The Masskara Festival through the years gives the people of Negros, as well as local and foreign visitors, a chance to drink and be merry for 20 days. Originally designed to show the hardships of the people of Negros, the Masskara Festival has become a tool of escapism and a way to generate revenues for big business. It has indeed come a long way, and it is clear that the path turn away from the progressive goal.
Bacolod City is known for the popular Masskara Festival which takes place here Oct. 1-20. Local and foreign visitors get a chance to enjoy 20 days of merry making, beer drinking, dining and street dancing. On the weekend nearest to 19 October, the biggest party in Bacolod is scheduled to take place. Bacolod is the capital city of the country's sugar-producing province of Bacolenos.
The term Masskara is created from two words: mass, meaning crowd, and the Spanish word cara, for face; thus the double meaning for "mask" and "many faces". It was coined by Ely Santiago, a painter, cartoonist, and cultural artist, who devoted show in his art works the many faces of Negrenses overwhelmed with various crises.
A smiling mask, which is the symbol of the fiesta was conceived by the organizers to show the happy spirit of the Negrenses despite experiencing bad times in the sugar industry.
The Masskara festival was first envisioned in 1980 to add color and jollity to the Bcolod City's celebration of its Charter Day anniversary, on 19 October. The symbol of the festival - a smiling mask - was adopted by the organizers to dramatize the Negrenses happy spirit, in spite of periodic economic downturns in the sugar industry.
Throughout the week, people from all over the Visayas, gather to the town plaza. They join Bacoleños in the non-stop round of festivities. Even if you don't feel like dancing and singing, the pig catching and pole climbing competitions are musts. Some are also trying their luck and testing their skills in mask-making contests, disco king and queen competitions, coconut-milk drinking to name a few.
traveladventureeverywhere.blogspot.com/2019/06/istra-town...
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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
Reference: Photo 24/(135)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 25 Jul 1915
See also:
- View this at the British Library's site
[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]
enriqueviolanevado.blogspot.com/2020/05/la-adaptacion-de-...
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El pasado día siete de mayo se publicaron en la página del Distrito Único Andaluz la Estructura de la PEvAU adaptada a la situación académica producida por el Covid-19. No se trata de un documento, sino de una relación de las distintas materias que componen la PEvAU de las que se muestra la estructura del examen y un ejemplo del mismo, como se puede comprobar en el siguiente enlace:
www.juntadeandalucia.es/economiaconocimientoempresasyuniv...
Dedicamos esta entrada a la interpretación y comentario de las pruebas de Geografía, Historia e Historia del Arte. Por reiterativo que pueda parecer, creemos que el mejor método expositivo consiste en recordar, materia por materia, como era la prueba en el pasado curso (y se esperaba que iba a ser en este) para relatar después las modificaciones que ha sufrido.
Con estos cambios en el modelo de examen lo que se persigue es hacerlos más sencillos para compensar el hecho de que los estudiantes habrán tenido que pasar todo o buena parte de la recta final del curso en confinamiento, y con condiciones muy desiguales de acceso a la docencia online.
El proceso de adaptación queda resumido así: En ediciones anteriores, en un examen estándar, los alumnos habrían tenido que elegir entre la opción «A» y la opción «B», con apartados de diverso tipo correspondientes cada una de ellos a otros varios bloques temáticos. Este año, en cambio, el examen solo tendrá una opción y el estudiante podrá escoger de sus apartados lo que considere más oportuno. Con ello se pretende que un alumno, sabiéndose solo la mitad del temario, pueda salir airoso del examen o incluso obtener la máxima calificación.
Antes de un análisis y comentario pormenorizado por materias, conviene indicar que estas informaciones tienen exclusivamente carácter ilustrativo, y que no originarán derechos ni expectativas de derechos. Sobre la información que estas estructuras y ejemplos aportan hemos añadido algunas previsiones, pero son eso, previsiones, no certezas. En palabras de Michael Chichton «No podemos evaluar el futuro, ni podemos predecirlo. Estos son eufemismos. Solo podemos hacer suposiciones. Una suposición bien fundada sigue siendo solo una suposición.»
Añadimos también que esta entrada no se puede considerar como definitiva, pues podría modificarse si aparecieran nuevas informaciones sobre el asunto en cuestión. De hecho, hemos tenido que introducir algunas enmiendas.
GEOGRAFÍA
Respecto a la estructura de la prueba el modelo aprobado en el 2017 introducía leves cambios en un diseño antediluviano que se remonta a antes de ese 2001 en el que la Junta comenzó a recopilar exámenes.
El examen constaba de tres partes:
- Seis conceptos básicos para su definición de los cuales dos tienen el carácter de pregunta semiabierta. Esta sección se puntuaba hasta tres puntos, medio punto por cada concepto.
- Análisis y comentario de mapas, gráficos, cuadros estadísticos o textos, mediante la respuesta a tres preguntas. Este es el llamado Ejercicio Práctico. Era la sección principal, pues se valoraba hasta cuatro puntos.
- Desarrollo de un tema propuesto. Esta sección podía alcanzar hasta tres puntos en la valoración.
Como las demás asignaturas, la prueba presentaba dos opciones (A y B), de las cuales únicamente el alumno podía desarrollar una, no pudiendo mezclar, en ningún caso, preguntas de ambas opciones.
Desde sus inicios, se mantuvo el hábito de alternar la geografía física con la geografía humana (humana y económica realmente), de tal forma que si en una opción figuraba un ejercicio práctico de Geografía Física, el tema versará sobre la Geografía Humana. Y viceversa: si el ejercicio práctico se escogía del repertorio de geografía humana, el tema desarrollará un apartado de geografía física.
Los conceptos se repartían por igual entre la Geografía Física y la Humana, independientemente de lo que decida para las otras dos partes.
A partir del curso 2018-2019 el mapa o gráfico pasó a reproducirse a gran tamaño ocupando todo el reverso del examen. De esta forma las dos opciones ocupan dos folios independientes, extendiéndose cada una por las dos caras del documento.
Para las pruebas de 2020, esta estructura se mantiene -estamos hablado de un modelo de examen imperecedero- con escasos, pero trascendentales cambios: el examen solo tendrá una opción y el estudiante podrá escoger las preguntas o temas que considere más oportuno. Lamentablemente, y como el ejemplo de examen demuestra, se prescinde de la división de contenidos entre las dos opciones.
El examen remodelado consta ahora de cuatro partes, pues la sección de vocabulario se divide ahora entre los conceptos por definición y conceptos por referencia.
- Glosario (significados geográficos): Ocho (y no seis) conceptos básicos para su definición de los cuales dos, de los que el alumno debe responder, a su elección, solamente cuatro. Esta sección se puntúa hasta dos puntos, medio punto por cada concepto.
- Glosario (significados de expresiones): En vez de dos, cuatro conceptos por referencias de los que el alumno debe responder, a su elección, solamente dos. Esta sección se puntúa hasta un punto, medio punto por cada concepto.
- Ejercicio de desarrollo. En este apartado se plantean dos ejercicios de análisis y comentario de mapas, gráficos, cuadros estadísticos o textos, mediante la respuesta a tres preguntas, de los cuales el alumno escogerá y desarrollará uno. Sigue siendo la sección principal, pues se valora hasta cuatro puntos.
- Desarrollo de temas. Se proponen dos temas de los que el alumno escogerá y desarrollará uno. Esta sección puede alcanzar hasta tres puntos en la valoración.
El apartado de los temas ocupa una hoja aparte y el los dos mapas o gráficos reproducidos otra más. De tal forma que la prueba se extenderá a lo largo de tres carillas de folio. Los mapas o gráficos se reparten el espacio de uno de ellos.
En el modelo de examen que se añade como ejemplo los llamados ejercicios de desarrollo proceden de la parte de geografía física y los dos temas de la parte de humana y económica. No se respeta por tanto la división antigua en opciones.
Es más. Se establece que el Bloque C (Ejercicios de desarrollo) y el Bloque D (Desarrollo de temas) se distribuirán respectivamente entre contenidos de Geografía Física (temas 2 a 5) y de Geografía Humana (temas 6-8 y temas 9-12), como en el caso del examen publicado o, al contrario, Bloque C de Geografía Humana y Bloque D de Geografía Física. Esto es, que el examen presentará o bien dos ejercicios de desarrollo de Geografía Física y dos temas de Geografía Humana, o bien dos ejercicios de desarrollo de Geografía Humana y dos temas de Física, pero que en ningún caso alternarán en un mismo examen un ejercicio de Física y un tema de Humana o viceversa.
Obviamente este modelo de examen no sólo no beneficia al alumno sino que lo perjudica. Nuestros escolares consiguen una pequeña ventaja en el vocabulario, pero las otras dos partes siguen iguales que en cursos anteriores con la diferencia de que es la ponencia la que decide sus contenidos con entera libertad.
Ante la imposibilidad de prepararse el 75% del temario e idéntico porcentaje de ejercicios prácticos, el alumno tendrá que realizar una selección de contenidos que incluya cuando menos siete temas. Si repasa los contenidos de una de las antiguas opciones podrá aprobar sin mucha dificultad, pero en el caso de que busque conseguir una buena nota, sus posibilidades de conseguirla disminuyen de forma drástica.
Entre las propuestas que se barajaban para este examen, y que hemos comentado en una entrada anterior, se planteaban no dos, sino cuatro temas para la elección del alumno. En el examen de Historia de España se ha seguido esta orientación, pero no ha sido el caso de la prueba de Geografía, cuya futuro se contempla ahora plagada de incertidumbres.
HISTORIA DE ESPAÑA
Respecto a la estructura de la prueba, el modelo aprobado en el 2017 consistía en desarrollar un tema y responder a tres cuestiones. Cada cuestión tenía dos apartados: una pregunta corta (se responde con una o dos palabras) y otra de mediana extensión (su respuesta ocuparía entre cinco y diez líneas). Por tanto, más que tres cuestiones, habría más bien tres pares de cuestiones, o seis preguntas, según como se quiera contarlas.
Cada pregunta «a» se relacionaba necesariamente con la pregunta «b» que le sigue. Esto es, ambas se referirían a un mismo reinado, dinastía, época o proceso histórico…
La prueba se valoraba de 0 a 10 puntos, reservándose el tema que se plantea entre 0 y 5’5 puntos, y cada una de las cuestiones, con sus correspondientes apartados, entre 0 y 1’5 puntos (Medio punto cada pregunta corta y un punto la de mediana extensión). Por tanto el valor total de las preguntas llegaba al 4’5 como máximo.
La prueba constaba de dos opciones que son idénticas en su estructura. El alumno elegía una de ellas, desarrollaba el tema y respondía a las cuestiones que se le planteaban
La opción «A» desarrollaba el siglo XIX, escogiéndose seis temas de esa centuria. Las preguntas se escogían de las unidades de Edad Media, Edad Moderna (Reyes Católicos y dinastía de los Austrias) y la Dictadura de Primo de Rivera.
La opción «B» se consagraba al siglo XX, escogiéndose los temas de esa centuria. Las preguntas se escogían de las unidades de Edad Moderna (La dinastía borbónica en el siglo XIX) y de las del siglo XIX.
Para las pruebas de 2020, esta estructura se mantiene con escasos, pero trascendentales cambios: el examen solo tendrá una opción y el estudiante podrá escoger las preguntas o temas que considere más oportuno. Aunque no se mencione expresamente, tal y como se comprueba en el modelo de examen se siguen manteniendo la división de contenidos entre las dos opciones, de tal forma que el alumno podrá seguir preparándose el temario de acuerdo con esa división.
En el examen se plantearán no dos, sino cuatro temas, de los que se deberá responder uno, a la elección de alumno. Según se observa en el ejemplo se han escogido dos temas de siglo XIX y dos temas del siglo XX.
Respecto a las preguntas, se plantean tres pares de preguntas, de las que se deberá responder tres, a la elección de alumno. Según se observa en el ejemplo se han escogido tres parejas de cuestiones de siglo XIX y otras tres del siglo XX. Como están dispuestas en orden cronológico, la tercera correspondiente a la extinta opción «A» (sobre Primo de Rivera) está situada en el último lugar.
Se mantiene la estructura de pregunta corta seguida de pregunta larga. No se especifica cómo se reparte el punto y medio con el que se valora, pero suponemos que la primera se estimará en el medio punto y la segunda con un punto, como se realizaba anteriormente.
Es de esperar que, como en cursos anteriores, dos preguntas se escojan del repertorio de exámenes anteriores, otras dos también tendrán esta procedencia pero se les modificará el enunciado y otras dos resultarán enteramente nuevas. En el caso de la desaparecida opción «A» tanto las cuestiones modificadas como las nuevas provendrían de la Edad Media o de la Edad Moderna (Reyes Católicos y Austrias).
Las preguntas modificadas y nuevas se repartirán (o mejor dicho si se recurre a ellas deberán repartirse) entre las dos opciones, aunque estas ya no existan propiamente.
Esta disposición facilita enormemente la preparación de la asignatura:
En primer lugar, el alumno no necesitará prepararse los seis temas de cada opción, pues se ofrecen dos para elegir. Dentro de la más estricta prudencia, podrá eliminar un tema de la tanda que necesita estudiar.
En segundo lugar, el alumno que se haya preparado la antigua opción «A» podrá responder, sin mucho problema dos de la tres preguntas de la extinta opción «B» (las del siglo XIX). La restante (la de los Borbones del siglo XVIII) ofrece pocas variaciones un año tras otro y no ofrece mucha dificultad.
Por tanto, bien porque le resulten difíciles las cuestiones modificadas o nuevas de su opción o porque, sencillamente, le resulten más sencillas el repertorio de la parte contraria, con esta nueva disposición dispone no sólo de más posibilidades de superar la prueba (y con nota si desea) sino que su preparación va a resultar menos ardua que en años anteriores.
Los alumnos que se hayan ido preparando la antigua opción «B» reducen en las preguntas su ventaja a poder aprovechar la pregunta sobre la Dictadura de Primo de Rivera.
En el temario, en cambio, y si se interpreta la descripción de la estructura al pie de la letra, para la antigua opción «B», uno de los temas habría de ser escogido de la siguiente terna:
-La dictadura de Primo de Rivera y la caída de la monarquía (1923-1931).
-La Segunda República (1931-1936).
-La Guerra civil (1936-1939)
Y su compañero de la siguiente:
-La creación del Estado Franquista. Fundamentos ideológicos y apoyos sociales
- La transición democrática (1975-1978).
- Los gobiernos democráticos (1979-2015).
Esta observación debe ser tenida en cuenta con suma prudencia, pues para aplicarse, la Ponencia tendría serias dificultades para poder componer los exámenes. Además el alumno debe ir preparado para poder optar con la mayor libertad posible. Nuestra recomendación es que, en el peor de los casos, se presente a la prueba con, al menos, cuatro temas bien estudiados.
Post Scriptum:
A las aclaraciones sobre este examen publicadas por la Ponencia les hemos dedicado la siguiente entrada:
enriqueviolanevado.blogspot.com/2020/05/aclaraciones-sobr...
HISTORIA DEL ARTE
Respecto a la estructura de la prueba, el modelo aprobado en el 2017 consistía en un examen con dos opciones («A» y «B»). Cada opción constaba de dos preguntas abiertas y dos semiabiertas, estas últimas con cuatro cuestiones cada una. Cada pregunta abierta se calificaba con un máximo de tres puntos y cada pregunta semiabierta con un máximo de dos puntos, a razón de medio punto por cada una de las cuestiones planteadas.
En las llamadas preguntas abiertas se pedía al alumno que desarrollara un apartado de un tema; era pues una pregunta teórica. En las semiabiertas tenía que responder a cuatro cuestiones sobre la imagen de una obra de arte que se adjuntaba. Se trataba, por tanto, de una pregunta práctica, heredera del antiguo comentario, aunque en esta versión el alumno debía ser mucho más escueto, pues las respuestas se reducían a una palabra o a cuatro o cinco a lo sumo. Por tanto, el alumno escogía la opción que más le convenía y después estaba obligado a desarrollar dos preguntas de temas y dos tandas de cuatro preguntas cortas cada una sobre las dos imágenes de obras de arte que se reproducían.
Cada opción acotaba una parte del temario, de tal forma que las preguntas teóricas y las prácticas se correspondían con el sector escogido. Así, la opción «A» comprendía el arte griego, el romano, el paleocristiano-bizantino, el hispano-musulmán, el románico, el gótico, el renacimiento-manierismo, el barroco, el neoclásico y Goya. Por su parte, la opción «B» englobaba el románico, el gótico, el renacimiento-manierismo, el barroco, el neoclásico, Goya, el arte del siglo XIX (Romanticismo, historicismo, impresionismo y postimpresionismo), el arte de la primera mitad del siglo XX y el arte de la segunda mitad del siglo XX.
Para las pruebas de 2020, la estructura de cuatro preguntas teóricas y cuatro imágenes con cuestionario se mantiene, pero el examen solo tendrá una opción y el estudiante podrá escoger las preguntas de desarrollo y las preguntas de cuestiones que considere más oportuno, siempre que redacte dos de las primeras y dos de la segunda. Según se observa en el examen de ejemplo la división de contenidos entre las dos opciones ha desaparecido por completo.
Se ha conservado la antigua maquetación que divide el examen en cuatro viñetas, colocando las preguntas de desarrollo debajo de la imagen y de la pregunta de cuestiones. Como indican en el ejemplo (pero no en la estructura) este diseño puede inducir a error, porque parece que si escoges tal obra de arte tienes que desarrollar la pregunta teórica que figura en la misma celda o viñeta. Como se advierte en las instrucciones, la elección de las dos preguntas de cuestiones (A, B, C o D) no están vinculadas a la elección de las preguntas de desarrollo elegidas (1, 2, 3 o 4) y viceversa.
Esta disposición facilita, una vez más, enormemente la preparación de la asignatura:
El alumno podrá prepararse cualquiera de las dos mitades del temario (u opciones) e incluso puede limitarse a la parte que comparten ambas alternativas (románico, el gótico, el renacimiento-manierismo, el barroco, el neoclásico, Goya). Si bien, esta se trata de una solución que nosotros no aconsejaríamos. En cualquier caso, otorga mucha seguridad al alumno el disponer de más posibilidades en el que caso de que no reconozca una imagen o se le complique alguna de las preguntas teóricas.
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La ilustración procede de un anuncio de los Jeeps Willys publicado en la revista Look en mayo de 1943. El artista es James Sessions (que firma a la izquierda), quien se encargó de la publicidad de estos vehículos con ilustraciones similares a las que reseñamos. El título del anuncio, o más bien de la serie de anuncios es The Sun Never Sets On The Mighty “Jeep”.
Esta imagen procede de la cuenta de flickr del canadiense Leifpeng / Leif Peng, si bien la hemos modificado levemente. A continuación se incluyen enlaces hacia este álbum y hacia la imagen en cuestión:
www.flickr.com/photos/leifpeng/
www.flickr.com/photos/leifpeng/298841302/
Propiedad de la imagen: Leifpeng / Leif Peng.
The oldest café on the Ringstrasse. Spent three hours here, alone, without laptop(!), simply soaking up the atmosphere.
After a terrific meal of wienerschnitzel and potatoes, I savored a traditional Melange with apfelstrüdel. Other than a table of old Austrian ladies in the opposite corner, and the occasional visit by a black-tied, exceedingly polite waiter, I was the only one in the room. I was about to leave — as I normally would after finishing a meal — but the sky suddenly opened up a torrential downpour. "Hmm," I thought, "I guess I can have another drink." Ordered an Irish coffee. An American family came in from the famous opera house across the street and I listened to them discuss the performance, pretending I was a local taking in some English practice. The rain stopped. I sauntered out, completely content with my first Viennese café experience.
The First Aerial Travellers (detail)
Gracia Haby
artists' book
2011
The first aerial travellers is an artists book I have made especially for Louise and my piece for the group exhibition In Suspense (further details here). It features across the pages of a King Penguin book on ballooning (first published 1948), collages aplenty.
In Suspense
Thursday November 3rd – Saturday November 26th, 2011
Hand Held Gallery
Suite 18, Paramount Arcade, 108 Bourke Street, Melbourne (VIC)
Gallery opening hours
Tuesday–Saturday 12–5pm
Recent posted,
Loosen up, unwind, unbend, and take it easy.
title.
In front of Brooklyn Bridge. Sunday. in the morning.
The Tokyo Big Sight booth has been decided.
It is as follows.
designfesta.com/about-artist-detail/?md=detail&id=t0%...
Booth No. H-40
■ Venue MAP (available in PDF)
designfesta.com/jp/wp-content/uploads/2019/03/vol49_map.pdf
If you have time, I will see you.
:)
( LUMIX G3 shot )
Manhattan . New York. USA. 2017. shot ... 4 / 6
(Today 's picture, it is unpublished.)
Images…
Cabaret Noir - Ballade Du Nuage
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
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Interviews and novels.
About my book.
I published a book in old days.
At that time, I was uploading my interview on the net on the net.
That Japanese and English.
I will make it public for free.
Details were explained to the Amazon site.
How to write a novel.
How to take pictures.
Distance to the work.
They all have a common item.
I made a sentence about what I felt, and left it.
I hope that my text can be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
3 Interview Japanese version
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
4 novels. unforgettable ' JPN version.
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
5 A streamlined trajectory. only Japanese.
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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An exhibition in 2019.
May 18th. 19th.
theme.
Silence Is the Way.
designfesta.com/about-artist-detail/?md=detail&id=t0%...
Booth No. H-40
■ Venue MAP (available in PDF)
designfesta.com/jp/wp-content/uploads/2019/03/vol49_map.pdf
place. Tokyo Big Site.
Sponsoring. Design festa.
2020.
Date unknown.
DIC Kawamura Memorial Art Museum attached gallery.
place. Sakura City, Chiba Prefecture.
theme.
From that day, forever ...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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Do you want to hear my voice?
:)
I updated Youtube.
It is only in Japanese.
I explained comments on photos etc.
If your time is permitted, please look.
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
Four
Why did not you have a camera so far?
Five
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell, I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
Ten
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs, it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
New Year’s greetings 2019.
www.youtube.com/user/mitsushiro/
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Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
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タイトル。
ブルックリンブリッジの手前。日曜日。午前中。
( LUMIX G3 shot )
２０１９年の展示。
5月１８日。１９日。
designfesta.com/about-artist-detail/?md=detail&id=t0%...
テーマ。
Silence Is the Way.
ブースNo.H-40
■会場MAP(PDFでご覧いただけます)
designfesta.com/jp/wp-content/uploads/2019/03/vol49_map.pdf
場所。東京ビッグサイト。
Sponsoring. Design festa.
Manhattan . New York. USA. 2017. shot ... 4 / 6
(Today 's picture, it is unpublished.)
Images…
Cabaret Noir - Ballade Du Nuage
次の小説のイメージ。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
１ インタビュー 英語版
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
２ 小説。unforgettable’ 英語版。
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
３ インタビュー 日本語版
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
５ 流線形の軌跡。 日本語のみ。
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
もう少し時間をください。それは日本語です。
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２０１９年の展示。
5月１８日。１９日。
テーマ。
Silence Is the Way.
designfesta.com/about-artist-detail/?md=detail&id=t0%...
ブースNo.H-40
■会場MAP(PDFでご覧いただけます)
designfesta.com/jp/wp-content/uploads/2019/03/vol49_map.pdf
場所。東京ビッグサイト。
Sponsoring. Design festa.
２０２０年。
日時未定。
DIC川村記念美術館付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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あなたは僕の声を聞きたいですか？
:)
僕はYoutubeを更新しました。
日本語だけです。
僕は写真などの解説をしました。
もしも、あなたの時間が許されれば、見てください。
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
www.youtube.com/user/mitsushiro/
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新年の挨拶ほか
ブログに書きましたが、諸事情により今回アップした動画のフルバージョンは以下です。(^O^)／
Newyearsg2019.mov - drive.google.com/file/d/1-inz3c7QVLO3rFx1YYC9X3ukH1-eTRWh...
容量が大きいのでスマフォには落とさないように注意してください(^O^)／
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Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
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E
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.
traveladventureeverywhere.blogspot.com/2017/10/russia-voy...
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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
Nº 77.
Talbot Solara LS (1983).
"Les Belles Anées SIMCA" - Altaya.
Escala 1/43.
Ixo.
France.
Año 2010.
More info:
cntrois.over-blog.com/article-4993222.html
le-blog-a-simca.over-blog.com/article-26282542.html
--------------------------------------------------------------------------------
Simca-Talbot Solara
"El Simca-Talbot Solara es un automóvil de turismo que fue producido por el Grupo PSA entre los años 1980 y 1986. Originalmente desarrollado por Chrysler Europe para sustituir al Chrysler 180, la venta de esta compañía al grupo PSA hizo que saliese ya a la venta con nombre y nuevo logotipo de Talbot.
Fue concebido para complementar con un sedán de tres volúmenes la gama del Talbot 150 en el que estaba basado. Era idéntico a él exteriormente excepto en la parte trasera.
Fue fabricado en las plantas francesa de Poissy y la británica de Ryton, Coventry hasta 1985 y en la española de Villaverde hasta 1986.
Se vendió en las versiones LS con motor Poissy de 1294 cc y opcionalmente de 1442 cc, GL con motor Poissy de 1442 cc, GLS con el de 1442 cc y caja de cambios de 5 velocidades procedente de Citroën y SX con el de 1592 cc y caja de cambios de 5 velocidades o cambio automático opcional.
El modelo se vendió bien aunque no puede decirse que fuera un éxito.
La producción total estuvo alrededor de unos 184.976 vehículos."
-----------------------------
Simca-Talbot Solara
"La Simca-Talbot Solara est un modèle d'automobile fabriquée par Talbot.
Il s'agit d'un modèle tricorps de la Talbot 1510, qui a succédé à la Simca-Chrysler 1307 / 1308 / 1309.
Elle est avec la Talbot Samba la dernière voiture fabriquée par ce constructeur."
Versions
- LS
- GL
- GLS
- SX
- série limitée:
... Pullman
... Executive
... Escorial (en Espagne)
... Minx et Rapier (Grande-Bretagne)
Motorisation
- « Moteur Poissy » de 1.5 l 70 ch (LS, pullman)
- « Moteur Poissy » de 1.5 l 85 ch (GL)
- « Moteur Poissy » de 1.6 l 70 ch
- « Moteur Poissy » de 1.6 l 88 ch (GLS, SX) puis 90 ch à partir de 1982
---------------------------
Simca-Talbot Solara
Marque
Talbot
Années de production
1980 - 1986
Classe
Familiale
Moteur(s)
4 cylindres en ligne
Position du moteur
Transversal à l'avant
Cylindrée
1 442, 1 592 cm3
Puissance maximale
De 70 à 90 ch
Transmission
Traction
Boîte de vitesses
Manuelle 4 et 5 rapports
Automatique
Poids à vide
1 040 à 1 090 kg
Carrosserie(s)
Berline tricorps 4 portes
Dimensions
Longueur
4 393 mm
Largeur
1 680 mm
Hauteur
1 390 mm
Sources:
es.wikipedia.org/wiki/Simca-Talbot_Solara
fr.wikipedia.org/wiki/Simca-Talbot_Solara
More info: talbot80.free.fr/solara/solara.htm
traveladventureeverywhere.blogspot.com/2024/06/saint-pete...
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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
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.
[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]
enriqueviolanevado.blogspot.com/2021/04/ejercicio-practic...
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1. Presencia en las pruebas de selectividad.
Este mapa ha aparecido como propuesta en los modelos de exámenes de 2020. El mapa que reproducimos reproduce la policromía original del mapa del IGN, no de la adaptación realizada por la Ponencia de Geografía.
2. El Mapa representa la superficie regada por provincias en España (en porcentaje sobre el total de tierras de cultivo). Analícelo y conteste a las siguientes cuestiones:
a) ¿Cuáles son las provincias que presentan más del 40,0% de sus tierras de cultivo en regadío? (Hasta 1 punto).
b) ¿Qué tipo de cultivos son los que motivan la superficie regada en las provincias 1 y 2? (Hasta 1 punto).
c) ¿Qué condiciones naturales motivan el predominio de la superficie cultivada de regadío en el sureste peninsular? (Hasta 2 puntos).
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Superficie regada por provincias en España
1. El Mapa representa la superficie regada por provincias en España (en porcentaje sobre el total de tierras de cultivo). Analícelo y conteste a las siguientes cuestiones:
a) ¿Cuáles son las provincias que presentan más del 40,0% de sus tierras de cultivo en regadío?
León, Huesca, Lérida, Valencia, Alicante, Murcia, Almería, Jaén, Las Palmas y Santa Cruz de Tenerife.
b) ¿Qué tipo de cultivos son los que motivan la superficie regada en las provincias 1 y 2?
En la provincia n.º 1 (Jaén) el cultivo de regadío predominante es el olivo, un árbol propio de la agricultura de secano, pero con esta técnica su rendimiento resulta muy superior. Además su avance se vio estimulado por la concesión de subvenciones comunitarias.
En la provincia n.º 2 (Almería) existe una gran variedad de cultivos: hortofrutícolas (tomates, pimientos, berenjenas…), flores y plantas ornamentales (rosas, crisantemos, claveles…) y frutas de origen tropical (aguacate, chirimoya, mango…). El cultivo bajo plástico se inició en los años sesenta y cobró un gran impulso con la entrada de España en la Unión Europea (entonces C.E.E.) pues esta área pasó a abastecer a todo el continente de producciones tanto tempranas como de fuera de temporada.
c) ¿Qué condiciones naturales motivan el predominio de la superficie cultivada de regadío en el sureste peninsular?
Las condiciones, en principio, eran muy adversas, pues se trata del área con menos precipitaciones de toda la península. Además la distribución de las lluvias es muy irregular, alternando largos períodos de sequía con bruscas inundaciones que destruían la endeble infraestructura de regadío que se había podido establecer.
No obstante, las condiciones climáticas resultan particularmente benévolas para la actividad agrícola, pues los inviernos resultan suaves, con una práctica ausencia de heladas y los veranos, aunque calurosos, no alcanzan las temperaturas extremas de otras comarcas, como el Valle de Guadalquivir. Por otra parte, las escasas precipitaciones se traducen en muy pocos días de nubosidad, o sea en un elevado número de horas de insolación anuales.
Los suelos predominantes, por otra parte, son de tipo cambisol, que permite una gran variedad de cultivo, siempre que se garantice el suministro de agua. La forma de relieve más usual en esta parte de la península es la llanura aluvial, que resulta idónea para la práctica agrícola.
Tradicionalmente el regadío se reducía a la vega de los escasos ríos que atraviesan este territorio (en particular el Segura). Primero con la edificación de aljibes y, a partir del siglo XIX, con la construcción de embalses, se logró aumentar la superficie irrigada, si bien, los cultivos característicos siguieron siendo los de secano mediterráneo, como cereales, olivo, vid o cítricos.
La situación cambió en la década de 1960, cuando pudieron explotarse los acuíferos subterráneos gracias al empleo de modernas bombas de gran capacidad. El rendimiento agrícola aumentó con el empleo de otras tecnologías novedosas:
-El uso de enarenados que neutralizan los efectos de la sal del y mantienen la humedad del suelo y el calor más tiempo, lo que acelera su crecimiento.
-Los invernaderos que emplean plástico transparente que intensifica el calor y mantiene la humedad.
-La sustitución del riego a manta por el riego por goteo, reduciendo el despilfarro de agua y logrando una irrigación más eficiente.
Estas innovaciones permiten recoger cosechas un mes antes que en campo abierto y con más anticipación que en otras regiones, iniciando recolecciones en diciembre y permitiendo el crecimiento vegetal de las siembras de otoño-invierno hasta marzo, duplicando y, en ocasiones, triplicando el número de cosechas.
pernille.typepad.com/uganda/2006/11/yesterday_i_vis.html
What to think when visiting an IDP Camp in Northern Uganda?
The first one to greet me when I stepped out the car in Pabbo IDP Camp, was this little boy. First pointing at me with his toy gun, then posing with a huge smile for a photo. I thought; 'That is almost too perfect, we all want to shoot a photo like that...'.
I pushed the thought in the back of my head. Instead I tried to put him in the category 'children'. I sent a thought to my 4 year old nephew in Iceland, who has all options of making anything he wants. I sent a thought to the refugee children from Screbrenica I worked with in Tuzla in 1997, wishing that they have overcome the turmoils of their childhood.
On Tuesday I visited Pabbo IDP Camp, about 20 km north east of Gulu. Pabbo IDP Camp is the home of about 50,000 internally displaced persons - the biggest camp in northern Uganda. Going on a short visit to a place like this, where you instantly get a tail of children attaching themselves to you, is never easy. You have to create a distance between your instinctive reactions and the obvious need of the children.
My presence doesn't make much of a difference for them, apart from 'something happening' during the next hour or two. It doesn't help them, nor me, if I get emotionally carried away with what I see, though there are plenty of reasons. The only thing I can do is to write my impressions, and hope that someone reads them and get a little insight into the impacts of one the longest lasting conflicts in Africa. Additionally, I wish you will follow and support Willy Akena from the Diocese Of Northern Uganda. Comment or ask him - use his blog and his articles to get answers to your questions!
For about 20 years Northern Uganda has been marked by the disturbances of the Lord's Resistance Army - and by the ignorance of the Ugandan government. There is no other way you can explain why a bunch of local bandits with messed up minds have been able to make more than 1,6 million people - refugees in their own country - internally displaced persons (IDPs). People were forced to leave their land due to the insecurity created by the LRA which has abducted, maimed, killed, raped and tortured people, and hence basically made it impossible for people to live in their homes. The Ugandan government created these camps in order to protect people from the rebels. It is said that all people in this camp has a concrete experience with the LRA, either been abducted or maimed by the LRA, or lost relatives. Facts that made me ask a lot of stupid questions several times; 'why didn't the government deploy military where people lived, instead of moving them?' and 'why did the government accept this state of emergency for 20 years?'. One of the answers is that this is more complicated than you think.
A year ago the LRA suddenly moved to a new turf, as they crossed the River Nile and entered into Southern Sudan - some say backed by the Kharthoum regime. About half a year ago the peace talks then began, initiated by the Government of South Sudan (GoS). The picture is clear - the Northern Sudanese would now benifit from LRA disturbing the Southern Sudanese refugees returning - hence the GoS had a strong motivation for making peace. I find it terribly strange how many things in Uganda right now are depending on the peace talks in Juba and on how similar things develop for the two most vulnerable groups in Uganda - caught up in conflict - the Sudanese refugees in north western Uganda, and the IDPs in central and Eastern Uganda.
For the people in Pabbo IDP Camp the peace talks have meant that people now can walk from the camp to their fields to dig and harvest. The absence of adults creates other problems. You see the children on the photos. Way too small girls are carrying babies, substituting mothers, children are growing up without a traditional family structure and with no care. And then in the middle of it all I saw this father doing homework with his child. The contrast to all the other children not being looked after to this father caring for his child was, I have to admit, overwhelming. I guess because it signaled hope.
But there is still a huge distance between the words of the politicians and the traditional Acholi leaders who now tell people to leave their camps and go to their homes, to integrate and reconcile with former rebels - to the real facts. People forget that the Peace Talks are far from completed, and they also tend to forget that even though peace might be a turn-out, it takes much more effort to create long-lasting peace.
Here they deal with immidiate physical needs, whereas the mental needs seem to be another business. My concern are the stuff people have to deal with inside their heads. The children, the teenagers and the former child soldiers. The have all lived an unusual and untraditional childhood, you can't expect them to go back to normal, to the villages. It might sound crazy, but living in the IDP camps is an urban life style compared to living in the villages. Besides, having lived outside a tradtional African family system for this long, makes it difficult to return and accept it again.
Here the relationship between peace and justice differs from Europe, where we don't see peace without justice. I have all along been sceptical about the traditional Acholi approach, I simply can't get it into my Scandinavian head, that the Acholis will live happily ever after, if only the rebels go through certain reconciliation ceremonies. Here there is a tendency to wish that if only peace is here, then the rest will come. I am not sure, I think it takes more, and I hope that a future positive result of the Peace Talks will make people realise that now the real work for long-lasting peace has to be done.
OUT NOW!!!! The Birds of Ireland: A Field Guide with Jim Wilson, also available as an eBook.
Shorebirds of Ireland with Jim Wilson.
Freshwater Birds of Ireland with Jim Wilson.
www.markcarmodyphotography.com
The Black-legged Kittiwake, Rissa tridactyla is a seabird species in the gull family Laridae.
In North America, this species is known as the Black-legged Kittiwake in order to differentiate it from the Red-legged Kittiwake, but in Europe, where it is the only member of the genus, it is often known just as Kittiwake.
In winter, this species acquires a dark grey smudge behind the eye and a grey hind-neck collar. The name is derived from its call, a shrill 'kittee-wa-aaake, kitte-wa-aaake'.
It is a coastal breeding bird around the north Pacific and north Atlantic oceans, found most commonly in North America and Europe. Cliff nesting for gulls occurs only in the Rissa species, and the Kittiwake is capable of utilizing the very sheerest of vertical cliffs.
There are two races of Black-legged Kittiwake:
* Rissa tridactyla tridactyla in the North Atlantic Ocean, which is unique among the Laridae in having only a very small or even no hind toe.
* Rissa tridactyla pollicaris in the North Pacific Ocean, which (as the name pollex, thumb, suggests) has a normally developed hind toe. (wikipedia)
This is an adult bird in winter/non-breeding plumage against a very heavy fog bank in the background. Beautiful birds.
Reference: Photo 24/(26)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 1915
See also:
- View this at the British Library's site
FaceBook｜Blogger ｜Instagram ｜500PX
You can licence images through My Getty image
All of My Reviews｜心得文：
Olympus MZD 17mm f/1.2 PRO Review
Olympus MZD 25mm f/1.2 PRO Review
Olympus MZD 45mm f/1.2 PRO Review
Panasonic LEICA DG 12mm f/1.4 Review
Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
title.
Advertising women.
Manhattan . New york city 2017. shot..... … 5.9 / 6
Day of departure from Japan, August 16, 2017.
The day I came back to Japan, 21 August 2017.
(4 nights 6 days.)
(Today's picture. That's unannounced.)
( ( Lumix G3 shot ) )
image.
Bill evans trio - my foolish heart
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html
youpic.com/photographer/mitsushironakagawa/
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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Japanese is the following.
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flickr . ( XL size )
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www.flickr.com/photos/stealaway/
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
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3/9
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5/9
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8/9
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www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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Schedule of the next novel.
Still would stand all time.(unforgettable'2)
2018. Spring. It's expected to open it. That's Japanese.
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2018. spring.
theme.
This must be the place I waited years to leave.
place. Tokyo Big Site.
Sponsoring. Design festa.
2019.
Date unknown.
DIC Kawamura Memorial Art Museum attached gallery.
place. Sakura City, Chiba Prefecture.
theme.
From that day, forever ...
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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Japanese is the following.
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タイトル。
広告の女性。
次の小説のイメージ。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
Manhattan . New york city 2007. shot … 5.9 / 6
（日本を出発した日。２０１７年８月１６日。）
（日本へ帰ってきた日。２０１７年８月２１日。）
（４泊６日。）
(今日の写真。それは未発表です。)
(( Lumix G3 shot ))
image.
Bill evans trio - my foolish heart
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html
youpic.com/photographer/mitsushironakagawa/
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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twitter.
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Japanese is the following.
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
２０１８年。春。公開予定。それは日本語です。
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２０１８年。春。
テーマ。
This must be the place I waited years to leave .
場所。東京ビッグサイト。
Sponsoring. Design festa.
２０１９年。
日時未定。
DIC川村記念美術館付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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Japanese is the following.
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London, 32 Sheffield Terrace, W8 postcode
Taken from www.catholicauthors.com/chesterton.html
The paternal great-grandfather, grandfather and father of G. K. Chesterton were engaged in the business of selling houses (estate agents as they are called in England). His father, Edward, married Marie Grosjean, whose family had long been English, but had originally come from French Switzerland. They had three children, Gilbert, born on May 29, 1874, Cecil, five years his junior, and Beatrice, who died in childhood.
Gilbert's father distinguished between living and making a living: a successful businessman, he had a dozen hobbies, not the least of them the making of a toy-theatre, and he was widely read, especially in English literature.
A happy childhood in a happy home laid the foundation for Gilbert's sane and sensible outlook on life. As a little boy he read fairy tales; as a big boy he wrote and illustrated them, some of which are preserved in his book The Coloured Lands. Gilbert first attended Colet Court School, entering St. Paul's as a day student when he was twelve. The reports on him for his six years there (1887-92) were that he was a good boy but an indifferent student, a dreamer, interested chiefly in drawing and English literature. In his "dramatic journal,"kept irregularly from his sixteenth year, he dramatized scenes from Scott and burlesqued portions of Shakespeare. He later acknowledged the strong influence on his youthful formation made by the Junior Debating Club, of which he was chairman. It met weekly at the home of one of its dozen teenage members and, following tea, one of them read a paper which was then debated. In the issues of its organ, The Debater, his first prose and verse were printed; his essays on Milton, Pope, Gray, Cowper, Burns, and Wordsworth being noteworthy. In his last year at St. Paul's (1892), he entered a competition for a prize poem (on St. Francis Xavier), and won it. From 1892 to 1895 he studied art at the Slade School and during part of the time he attended lectures on English literature at University College. A fellow-student whose family controlled the publishing firm of Hodder & Stoughton gave him some art books to review in the firm's monthly, The Boohman. And upon leaving Slade, he entered the office of a publisher of spiritualistic literature and later the office of the general publisher, Fisher Unwin. There he began to write Greybeards at Play as well as to revise, edit and counsel the works of others.
At St. Paul's Gilbert formed lifelong friendships with the future writer Edmund C. Bentley and with Lucian Oldershaw. In 1896 Lucian was courting Ethel Blogg (anglicized from Blogue) and took Gilbert with him to call. At first sight he fell in love with her sister Frances and, after a courtship extended by his then meager earnings, they were married in 1901. It was Lucian who, in 1900, also introduced the twenty-six-year old Gilbert to the thirty-year-old Belloc. Their reciprocal influence was lifelong as was their friendship.
In 1899 Gilbert began writing for The Speaker, a Liberal weekly. His first book, a volume of comic verse which he also illustrated, Greybeards at Play, was successfully published in 1900; later that year, his father financed publication of his second book, The Wild Knight and Other Poems. But it was his brilliant though unpopular pro-Boer stand on the Boer War which first brought him to public attention, and by 1901 he also was writing regularly for The Daily News. His third book, The Defendant (1901), comprised some of his essays from The Speaker, and is suffused with paradoxes, a literary form which has since been associated with his name. ("I did not acquit Chesterton of paradox," wrote his great admirer Msgr. Knox, "but, after all, what was a paradox but a statement of the obvious so as to make it sound untrue?")
He prided himself on being a journalist, and much of his work was first published in the popular journals of the day, many of his books being collected and edited from these essays, and much more of it has never been collected at all.
He was a tall man-six-foot two, and a stout one- nearly three hundred pounds; he dressed unconventionally in a wide-brimmed slouch hat and a flowing cloak; and carried a walking stick; he had a leonine head and a rather straggly blonde mustache. By the time he was only thirty-two he had become famous, instantly recognized in public and in caricature. True, some of his most popular works had been published by then: G. F Watts (1902), Twelve Types (1902), Robert Browning (in the English Men of Letters series, 1903), The Napoleon of Notting Nill, which he called his first important book (1904), The Club of Queer Trades (1905), Heretics (1905), and Charles Dickens (1906). And in social intercourse he was already one with such personalities of the day as Joseph Conrad, Henry James, Laurence Binyon, James M. Barrie, Max Beerbohm, Swinburne, George Meredith, Yeats, and Granville Barker.
In 1904, Sir Oliver Lodge invited him to become a candidate for the Chair of Literature at Birmingham University, but he declined. The invitation was doubtless extended on the strength of his books on Browning and on Dickens. The success of the latter was such that he was requested to write a series of prefaces to all of Dickens' novels.
At the time of his marriage he believed in the basic Christian religious truths but in no particular religion. His wife was a convinced Anglo-Catholic, and she was particularly pleased when in 1905 he accepted an invitation to be the first of a series of lay preachers in St. Paul's Church, Covent Garden.
From this time on there was an almost constant stream of lecture engagements far and wide and to almost every type of organization,-religious, literary, social, and even political. He was famous, he was wanted, and he couldn't say no. His wife became his secretary recording times, places, subjects, and arranging itineraries. He became so pressed for time that he had to write at odd moments and to do his newspaper essays at deadline. This constant pressure extended from 1904 to 1908. He was notoriously absent-minded. Typical was the telegram he sent his wife when he was en route to give a lecture: "Am in Market Harborough. Where ought I to be?~' He hated physical exertion as much as he reveled in mental activity.
Another phantasy, The Man Who Was Thursday (1907) was followed by Orthodoxy (1908). When Gilbert had attacked the philosophy of G. S. Street, he retorted that he would worry about it when G.K. would clarify his own. The tesult was Orthodoxy, a series of positive arguments for Christianity. Etienne Gilson considered it ''The best piece of apologetic the century has produced." Incidentally, Gilbert sold the manuscript outright for about $400.00. The meager returns on his numerous and popular writings moved him at this time to employ a literary agent; with gratifying results.
He began a weekly column, "Our Notebook,'' in The Illustrated London News in 1905 and continued it until his death thirty-one years later.
In 1909 he and his wife moved from Battersea, London, to the suburban town of Beaconsfield, which was to be their home for the rest of their lives. Their desire for children was never to be fulfilled; later they adopted Dorothy Collins who had become Gilbert's secretary in 1926. At Overroads, their Beaconsfield home, he was removed from the bustle and bars of Fleet Street and had more leisure for his friends: Max Beerbohm, Jack Phillmore, Msgr. O'Connor, Maurice Baring, Belloc, George Wyndham, Msgr. Knox, and a host of others. But his social life did not deter the stream of his books, as witness The Ball and the Cross, What's Wrong With the World (changed by his publishers from What's Wrong? and in which he formulated his sociology), Alarms and Discursions, and Blake (all published in 1910), Criticisms and Appreciations of Dickens, The Innocence of Father Brown, and, what many deem his greatest writing, The Ballad of the White Horse (all published in 1911). Too, his interest in politics, which he had had from boyhood, became more active: he began by fighting the sale of peerages as a means of secretly raising party funds, and continued blasting every other form of political corruption. Of necessity this interest included social reform, public education, a free press, etc. He resigned from the Liberal owned Daily News (a property of Cadbury of Cadbury's Cocoa) to write for the Daily Herald. He doubtless resigned just before being asked to, for his recent statements regarding the Liberal party leaders included: "Some of them are very nice oldgentlemen, some of them are very nasty old gentlemen, and some of them are old without being gentlemen at all." And again, "The best of His Majesty's Ministers are agnostics, and the worst are devil worshippers." This hit hard because at least nominally Church of England men (some ecclesiastics) were the predominant rulers of the realm.
Reacting against what they believed wrong with the English social-economic condition, Gilbert, his brother Cecil, and Belloc formulated their own program: Distributism. One of their principal points of controversy was over private ownership, chiefly ownership of the land which was tragically curtailed by the law of enclosure by which some five million acres ceased in effect to be the common property of the poor and became the private property of the rich. In books and articles they carried on their fight for the liberty of Englishmen against increasing enslavement to a plutocracy, and to expose and combat corruption in public life. As their audience increased and took form, they decided upon publishing their own paper. It was called The Eye Witness, from 1911-12, The New Witness, from 1912-23, G.K.'s Weekly, from 1925-36, and The Weekly Review, since 1936. It was edited at various times by each of the three. In the Marconi case, they contended that Godfrey Isaacs had used Rulus Isaacs to purchase ministerial favor. The court verdict in this complicated litigation was a gentle rebuke to the Isaacs and a small fine for editor Cecil. So small in view of the serious charges made that the Chesterbelloc considered it a moral victory. But the government then showed its contempt for integrity by appointing Godfrey Isaacs as the Viceroy of India and giving Rufus the title of Lord Reading.
Gilbert's books in this period included Manalive (1911), A Miscellany of Men, essays (1912), The Victorian Age in Literature (1913), The Wisdom of Father Brown (1914), and The Flying Inn (1914). His poetic play, Magic, was produced in England in October 1913, and in Germany soon afterward. And following a conversation with Msgr. O'Connor on the subject, he wrote his best known single poem, "The Ballad of Lepanto" (19 12).
In September 1916, Cecil enlisted as a private in the army and died in France on December 6, 1918. Upon his enlistment, Gilbert succeeded him as editor of The New Witness.
Gilbert went on a lecture tour to Palestine (which became a determining factor in his conversion) in 1919, to Italy in 1920, and to the United States in 1921-22 and again in 1930-31. From these travels came The New Jerusalem (1920), What I Saw in America (1922) and Sidelights on New London and Newer York (1932). His American tour included a series of thirty-six lectures on Victorian literature and history at the University of Notre Dame (his poem "The Arena" commemorates his visit), as well as talks delivered at San Francisco, Omaha, Oklahoma City, Nashville, New York, Chicago, Detroit, Philadelphia, Boston, and other cities.
The same period witnessed the publication of his Irish Impressions (1919), The Uses of Diversity (1920), The Superstition of Divorce (1920), Eugenics and Other Evils (1922), The Man Who Knew Too Much (1922), and Fancies Versus Fads (1923). Some idea of his intellectual fertility is indicated by the fact that at one time he had thirty books contracted for with various publishers.
Gilbert's brother Cecil had become a Catholic shortly before going to war and Gilbert himself had been forming a Catholic mind slowly but steadily from about the same time. But he was not one to be hurried and fortunately even his closest friends, Maurice Baring and Ronald Knox (themselves converts), though he acknowledged their influence upon him, did not try to hurry him. Eventually it was Father O'Connor who received him into the Church in 1922. On the same day he wrote his celebrated poem "The Convert." By her own conscience his wife followed him into the fold four years later.
The time between the death of The New Witness in 1923 and the birth of G.K.'s Weekly in 1925 gave him sufficient leisure to write two of his most important books: St. Francis of Assisi (1923) and The Everlasting Man (1925) . But to the paper which enshrined his brother's memory though it now bore his own initials, Gilbert devoted much of his time as editor from 1925 to 1930. Most of those who knew him regarded it as a sacrifice. Besides Belloc and himself, a steady contributor was Eric Gill; out of friendship for Gilbert, Shaw and Wells contributed occasionally.
In 1926 the social and economic program of the paper feathered the Distributist League, of which Gilbert was elected president. He stated that ''Their simple idea was to restore possession." To restore property and prosperity to the people from whom it had been taken by big government and big business. Distributism was to be a practical alternative to Capitalism and Socialism. Branches were soon established throughout England and the circulation of its organ, G.K.'s Weekly, rose from 4,650 to 8,000 copies. The influence of the movement far exceeded its numbers; men like Father McNabb, O.P., in England (whom some hold fathered rather than was a disciple of the movement), Msgr. Ligutti in the United States, Dr. Coady and Dr. Tompkins in Canada, as well as others in Australia and New Zealand, acknowledged its influence upon their labors.
Despite the yearly loss by the paper and his constant charity to the needy, from panhandlers to causes, Gilbert helped to build the Church at Beaconsfield, until then a mission of High Wycomb parish. It became his memorial.
In 1926 were published The Outline of Sanity, The Catholic Church and Conversion, The Incredulity of Father Brown (as Gilbert said to Father Rice, "My publishers have demanded a fresh batch of corpses"), and The Queen of the Seven Swords; in 1926, his Collected Poems, The Return of Don Quixote (which first appeared serially in G.K.'s Weekly), Robert Louis Stevenson, The Secret of Father Brown, and a play, The Judgment of Dr. Johnson. Like his Magic, it was successful as literature, not as theatre. The Father Brown detective stories brought him charter membership in the Detection Club (1929) and soon afterwards its presidency.
He spent a month of 1927 in Poland, a nation whose true place in Europe he held high. Two years later his visit to Rome resulted in The Resurrection of Rome (1930). His more successful books of this period were his Catholic essays, The Thing (1929), and the two volumes of general essays, Come to Think of It (1930) and All Is Grist (1931), and his reflections flowing from the Eucharistic Congress which he and his wife attended in 1932, Christendom in Dublin, his studies of Chaucer and of St. Thomas Aquinas. Of this last, Etienne Gilson, a foremost Thomistic scholar, said: "I consider it as being without possible comparison the best book ever written on St. Thomas. And P'ere Gillet, O.P., MasterGeneral of the Dominican Order, lectured on and from it to large meetings of Dominicans.
From 1932 until his death he engaged increasingly in radio lectures, delivering as many as forty a year over the B.B.C. The B.B.C. is a state monopoly (as such, Gilbert attacked it: "It is wicked to nationalize mines and railroads; but we lose no time in nationalizing tongues and talk''), and he had to submit a manuscript for each lecture; but, for the sake of spontaneity, he was not held to the letter of it. These talks were so well received that a B.B.C. official remarked after his death that "G.K.C. in another year or so would have become the dominating voice from Broadcasting House." Too, they reached untold thousands who had never read his writings.
While in Rome, Gilbert interviewed Mussolini and had an audience with the Holy Father. In 1934 he was elected, honoris causa, to the Athenaeum Club. Both he and Belloc were invested as Papal Knight Commanders of the Order of St. Gregory with Star. At his death in 1936 the Holy See cabled Cardinal Hinsley: "Holy Father deeply grieved death Mr. Gilbert Keith Chesterton devoted son of Holy Church gifted Defender of the Catholic Faith. His Holiness offers paternal sympathy people of England, assures prayers dear departed, bestows Apostolic Benediction."
The panegyric was delivered in Westminster Cathedral by Msgr. Ronald Knox. His monument was designed by Eric Gill and burial was at Beaconsfield. His wife survived him by a little more than two years.
He had employed his great God-given gifts with humility and charity; indeed these two virtues characterized his life.
Books on him are numerous: first in time and also very important is G. K. Chesterton: a Criticism (1908), published anonymously but later learned to be by his brother Cecil; Belloc's brief but brilliant The Place of Chesterton in English Letters (1940); Father Brown on Chesterton (1937) by Msgr. John O'Connor; The Laughing Prophet (1937) by Emile Cammaerts is concerned more with the man than with the writer; Chesterton As Seen by His Contemporaries (1939), includes material by Gilbert himself, edited by Cyril Clemens; Gilbert's Autobiography (published posthumously in 1936), in which, with characteristic humility, he seems bent upon writing about everyone but himself; and the definitive biography, G. K. Chesterton (1943) by his long-time friend, Maisie Ward (Mrs. Frank J. Sheed).
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
001.Snow White amd the Seven Dwarfs
002. Pinocchio
003. Fantasia
004. Fantasia/2000
005. Dumbo
006. Bambi
007. BambiⅡ
008. Saludos Amigos
009. Fun and fancy free
010. Cinderella
011. CinderellaⅡDreams come true
012. CioderellaⅢA twist in time
013. The wild
014. Alice in Wonderland
015. Peter Pan
016. Lady and the Tramp
017. Lady and the TrampⅡ: Scamp's Adventure
018. Sleeping Beauty
019. One Hundred and One Dalmatians
020. 101 DalmatiansⅡ：Patch's london Adventure
021. The Sword in the Stone
022. The Aristocats
023. Bedknobs and Broomsticks
024. Robin Hood
025. The fox and the Hound
026. The little Mermaid
027. The little MermaidⅡ: Return to the Sea
028. Beauty and the Beast
029. Beauty and the Beast: The Enchanted Christmas
030. Aladdin
031. The Return of jafar
032. Aladdin and the King of thieves
033. The Nightmare Before Christmas
034. The lion King
035. The lion KingⅡ: Simba's Pride
036. The lion king 11/2
037. Pocahontas
038. Pocahonlas Ⅱ:Journey to a mew world
039. Toy Story
040. Toy story 2
041. James and the Giant Peach
042. The Hunchback of Notre Dame
043. the HUnCHback of notre dame Ⅱ
044. Hercules)
045. Mulan
046. Mulan Ⅱ
047. Tarzan
048. Tarzan Ⅱ
049. Valiant
050. Dinosaur
051. The emperor's New Groove
052. Kronk's new groove
053. recess:school's out
054. Atlantis:The Lost Empir
055. Atlantis:Milo's Return
056. lilo & stitch
057. Stitch 2: Stitch Has a Glitch
058. Treasure Planet
059. Brother Bear
060. Brother Bear 2
061. The Jungle Boek
062. The Jungle Book 2
063. Home on the Range
064. The Three Musketeers
065. Mickey's twice upon a Christmas
066. Chicken little
067. The wild swans
068. Felix the Cat Saves Christmas
069. Mickey's magical christmas:snowed in at the house of mouse
070. Mickey & minne
071. Donald duck and the gorilla etc
072. Casper
073. Three little pigs
074. daffy duck
075. The black cauldron
076. Return to never land
077. the tortoise and the hare
078. Everybody loves Donald
079. Everybody loves Goofy
080. Everybody loves Mickey
081. Sweetheart Stories
082. Gulliver's travels
083. Life with Mickey Town
084. Walt Disney treasures volume 1
085. Walt Disney treasures volume 2
086. Walt Disney treasures volume 3
087. Walt Disney treasures volume 4
088. Walt Disneys 100 years of Magic: Goofy sport
089. The three Caballeros
090. Who framed Roger Rabbit
091. Mary Poppins
092. The Rescuers
093. The Rescuers dowu Uuder
094. Monsters Inc.
095. Finding Nemo
096. The incredibles
097. Cars
098. Winnie the Pooh:Story Book
099. Winnie the Pooh:A very Merry Pooh Year
100. Winnie the Pooh:Heffalump Movie
101. Winnie the Pooh:Heffalump Halloween Movie
102. Winnie the Pooh:Springtime with Roo
103. Winnie the pooh:123
104. Winnie the Pooh:All for one,one for all
105. Winnie the pooh:the many adventures
106. Winnie the Pooh:the Search for Christopher Robin
107. Winnie the Pooh:franken Pooh
108. A Bug's life
109. Disney Heroes Volume One
110. An officer and a duck
111. Meet the Robinsons
112. Underdog
113. Ratatouille
114. The adventures of ichabod and Mr. Toad
115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie
116. The chronological donald:volume one
117. The chronological donald:volume two
118. Mickey mouse clubhouse mickey saves santa
119. Mickey's House of Villains
120. Mickey mouse clubhouse:great clubhouse hunt
121. Mickey princess enchanted tales:follow your dreams
Doc painting
Check out my blog for more→ blogs.yahoo.co.jp/drpeisan/33977108.html
twitter→ twitter.com/drpeisan
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www.wehrbauten.at/stmk/hauenstein/hauenstein.html
de.wikipedia.org/wiki/Burg_Hauenstein_%28Steiermark%29
DIE SAGE
Im innersten Winkel des oberen Kainachtales, zu Füßen der Roßbachalpe, liegt auf einer 938 Meter hohen Felskuppe die Ruine der alten Burg Hanstein, auch Hauenstein genannt, die der Landesfürst im 13. Jahrhundert dem Edelgeschlecht der Hanauer verliehen hatte. Die Burg war so angelegt, daß sie die wichtige Straße über den Gleinalmsattel ins obere Murtal sperren konnte. Den Hanauern folgten die Laun, dann war der unglückliche Greißenegger Inhaber; 1483 erwarb das Stift Lambrecht die Feste, dann die Stadt Judenburg und zuletzt wurde sie mit der Herrschaft Piber vereinigt. — Die Ringmauer ist noch erhalten, und durch drei Tore kommt man in den innersten Hof, wo an höchster Stelle das dreistöckige Turmhaus (Wohnturm) steht. Schon bald nach 1500 wird die Burg als „öde'', d. h. unbewohnbar, geschildert.
Eine Sage behauptet, daß die Burg Hanstein mit der Burg Klingenstein im Sallatal durch einen geheimen unterirdischen Gang verbunden gewesen sei, was aber wegen der allzu großen Entfernung (13 km Luftlinie!) ganz unmöglich ist.
*
Ein Bauerndirndl ließ eines Tages ihre Schafe vor der Ruine grasen. Plötzlich kam eine altertümlich gekleidete Frau aus dem Burgtor heraus und hatte Nüsse in der Schürze, die sie dem Mädchen schenken wollte mit den Worten: „Greif zu, sie gehören dir!'' Das Mädchen aber fürchtete sich, nahm die Gabe nicht an und versteckte sich. Da jammerte die Frau laut: „Törichtes Kind, du hättest mich erlösen können und wärst überdies reich geworden, denn die Nüsse hätten sich in Gold verwandelt. Nun muß ich wieder viele hundert Jahre warten, bis mich ein tapferes Mädchen erlösen wird.'' — Mit diesen Worten verschwand die Gestalt heftig weinend im alten Gemäuer.
Am Oswaldbach, eine gute Gehstunde vom Dorf Kainach entfernt, steht die Hankersäge. Die Leute dort nennen das Bächlein auch „Silberwasserl". Im kristallklaren Wasser soll ein silberglänzendes Fischlein herumschwimmen, das in seinem Körper ein Silberringlein stecken hat. Wer dieses Ringfischlein fängt, kann sich den Schatz in der Ruine Hauenstein holen.
Quelle: Was die Heimat erzählt, Die Weststeiermark, Das Kainach-, Sulm- und Laßnitztal. Herausgegeben von Franz Brauner. Steirische Heimathefte. Graz 1953.
© digitale Version: www.SAGEN.at
HotelsHot www.hotelshot.ru/2016/08/blue-palace-luxury-collection-re...
ЗАБРОНИРОВАТЬ
Пятизвездочный курортный спа-отель Blue Palace, a Luxury Collection, Crete находится на побережье Элунды. Этот отель отличает сочетание роскошных номеров, отмеченной наградами кухни и современного спа-центра. К услугам гостей также пейзажные бассейны, центр водных видов спорта и 2 теннисных корта.
Номерной фонд курортного спа-отеля Blue Palace, a Luxury Collection составляют элегантно оформленные люксы и бунгало с великолепным видом на остров Спиналонга. В большинстве из объектов проживания сооружены частные бассейны. Кроме того, в распоряжении гостей комфортабельная гостиная зона с ЖК-телевизором со спутниковыми каналами, а некоторые люксы и бунгало оснащены CD/DVD-плеером.
В талласотерапевтическом спа-салоне Elounda площадью 2 000 кв. м работают сауны, гидромассажные ванны, 2 турецких хаммама, а также крытый и открытый бассейны. Помимо этого, можно посетить фитнес-центр и салон красоты.
По утрам сервируется греческий завтрак. Также в курортном спа-отеле Blue Palace подают блюда критской, итальянской и азиатской кухни, приготовленные из высококачественных продуктов. В ресторане Flame сервируют стейки на больших деревянных блюдах. В баре в марокканском стиле, баре у бассейна и баре на пляже с потрясающим видом на Критское море можно заказать экзотические коктейли и закуски.
Курортный отель расположен в 5 км от поселка Элунда и в 500 метрах от рыбацкой деревни Плака, откуда отправляются суда на остров Спиналонга.
Здесь лучшее соотношение цены и качества в Элунде! По сравнению с другими вариантами в этом городе, гости получают больше за те же деньги.
Персонал отеля разговаривает на русском языке!
Номеров в отеле: 251, Сеть отелей: The Luxury Collection by Starwood, Sbokos Hotel Group
Marni Turkel is one of the world's most skilled growers of orchid species and a renowned ceramist. Now after decades of collecting rare and fascinating species orchids, she has moved from her ceramics production to propagation of her vast collection of very rare orchid species. Her lab is brimming over with flasks of vigorous seedlings of rare and choice species not available anywhere else. Many of the species she is propagating for sale have never been offered in the US before. Unlike most growers who set seed pods via self-pollination, Marni goes to great lengths to procure pollen from other clones; these outcrosses ensure greater genetic diversity and stronger progeny.
Never satisfied with mediocrity, Marni is an innovative and resourceful person who is continually researching and experimenting so that her flasks come out beautifully. A great number of the species she has in her lab have never been propagated artificially before and she has had to pioneer new techniques to cater to the varied needs of different orchid species' seeds in flask.
I'm an enthusiastic customer, having bought a number of her excellent flasks. I have had very good results with the seedlings I have de-flasked, they are quite strong growers with very few losses.
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Days of Rome: the Age of Conquest, Rome and the Greek World.
Starting from February 24 until September 5, the Capitoline Museums will host a major exhibition of masterpieces of ancient art from the major European museums. In overview, first round of five-year program Days of Rome, the works will be exhibited for a period of the most innovative and original for the entire development of Western art: the one next to the campaigns of conquest in Greece since the end of the third century The second half of the BC, one of the key to the future Roman artistic and cultural identity, not only of the Republican.
Through the vision of imposing marble statues, fine works in bronze and terracotta sculptures entire cycles, ornaments and home decor items made of bronze and silver, the highest value style will be told a time of profound change in the canons and the stylistic aesthetic taste of ancient Rome. A time when Greek influence became predominant to involve fully the cultural world of the Roman Empire.
The exhibition The Age of Conquest, the first of the series "The Days of Rome, offers the unique opportunity to reflect on an era of profound changes in the canons on the stylistic and aesthetic taste of ancient Rome: one of the key to future cultural and artistic identity Roman, not only of the Republican. Will represent the period following the campaigns of conquest in Greece, in the decades between the end of the third century BC and half of the first century A.. C, where Greek influence becomes overwhelming to involve outright the Roman cultural world. And 'this is the period in which the ruling elite felt, with increasing awareness, strengthening of its prestige by expressing it through art.
The exhibition, through masterpieces coming from the Mediterranean basin, including impressive marble statues, fine works in bronze and terracotta sculptures entire cycles, ornaments and home decor items made of bronze and silver, the highest value style, describe the period that will be among the most innovative and original for the entire development of Western art.
This model was specifically built for the Arawasi Wild Eagles blog's "Hayabusa Model Contest" in April/May 2017 (arawasi-wildeagles.blogspot.de/2017/03/japanese-aircraft-...) - and it is the guesstimate, based on a conversion set and a vague frontal picture of a real aircraft.
Inspiration struck when I came across a Rising Decals conversion (from the Czech Republic)set for an experimental Ki43 with wooden, retractable skis - tested in Manchuria in 1944. The set comes with finely crafted and moulded resin skis, plus a decal sheet for the rather bleak aircraft in natural metal finish. Anyway, I found the idea worth to become an entry, and took action.
The kit and its assembly:
The basis is the venarable 1:72 Hasegawa kit of the Ki43-II, a simple kit with good detail and fit, even though you get raised (though very fine) panel lines. The kit was basically built OOB, with only some detail additions in the cockpit, and I modified the wings and lower fuselage in so far that the "butterfly flaps" were added in extended position.
Concerning the ski landing gear, I did some legwork, and eventually found a Ki43-II with the same landing gear arrangement as the conversion set, but it also featured a four-bladed propeller!
The wheeled landing gear was simply replaced by the resin struts from the conversion set, the skis are separate pieces that fit neatly into each other and into the kit.
The propeller was scratched from the three OOB blades, plus a trimmed donor blade. The spinner is the front end of a German 250 kg bomb. Inside of the engine, a styrene tube was added as propeller mount, which received a long metal axis.
A venturi tube was added under the fuselage, too, and the canopy separated into two pieces for better display.
The frontal benchmark picture of "my" Ki43-II shows the aircraft in clean configuration, but I decided to use/add the underwing tanks in order to avoid filling the respective holes in the wings - and it makes the aircraft look more interesting, IMHO.
Painting and markings:
Concerning the aircraft's livery, I basically stuck to the machine depicted in the conversion set and on the few pictures of such machines - even though the info sheet states that "markings are uncertain".
Anyway, I went the suggested overall NMF route with grey-green fabric (individually mixed from Humbrol 90 and 155) on all rudder surfaces. As a personal note, and as an interpretation of the benchmark photograph of the Ki43-II I tried to build, the model received a worn and flaking cowling in IJA Green and Grey. The latter was also used for the drop tanks, with red primer showing through the tanks' front end. A black anti glare panel was added in front of and behind the canopy.
The cockpit interior was painted, based on Hasegawa's recommendations, in a greenish brown tone (a mix of Revell 45 and 16). The landing gear wells and the interior of the flaps was painted with Aodake Iro - and instead of mixing a metallic blue tone as a single tone I rather laid down an Aluminum base and added a clear, greenish blue lacquer on top - just like the real thing. The deep yellow ID markings on the wings' leading edges were painted with RAL 1028 (Lufthansa Gelb, Revell 310).
The skis appear to be massive wood pieces, and they were painted accordingly with a wet-in-wet mix of red brown and cream, for a streaky look, mimicking the wooden structure.
After basic painting (a basic coat with acrylic Aluminum, Revell 99), everything done with brushes and minimal masking, the kit received a light black ink wash, in order to emphasize engravings. For some "depth" effect, panels were post-shaded with Polished Aluminum Metallizer (Humbrol 27002) on top of the acrylic Aluminum base. During the polishing process with a piece of soft cloth, some grinded graphite was rubbed over all surfaces, too, creating a slightly worn and uneven look. This little trick also enhances the metallic shine of the surface, making it look less "painted". Graphite was also used in order to simulate light exhaust stains on the Hayabusa's flanks.
Once the (very thin and delicate) decals were in place, they received a light treatment with Aluminium and sand paper, in order to simulate some wear on the aircraft's surface. Finally, everything was sealed with a coat of semi-matt acrylic varnish, just the rudders and the anti-glare panels received a completely matt coat.
A quick build, done in less than three days from sprues to photo shots. Anyway, the model should rather be regarded as fictional, since my information basis has been rather corny and relied on very limited references. But I am, nevertheless, happy with the result, and I hope the model conveys the original idea of the converted Ki43 with skis?
newcastlephotos.blogspot.com/2006/06/all-saints-cemetery....
All Saints Cemetery
This Cemetery stands on Jesmond Road, opposite Jesmond Old Cemetery and was the first cemetery in Newcastle to be instigated by the Burial Board. Consecrated in 1855 and opened in 1856 this was very much a rural part of Newcastle. The residential housing surrounding the cemetery on 3 sides were built later.
Noted Newcastle architect Benjamin Green designed the cemetery, its buildings and the fine Gothic archway over the entrance from Jesmond Road. The cemetery is surrounded by cast iron railings with fleur-de-lys heads.
The cemetery was extended to Osborne Avenue, from just under 10 acres by another 1.3 hectares in 1881.
In 1924 Carliol Square Gaol was demolished and the bodies of its executed criminals were transferred into unmarked graves in the cemetery.
In total around 90,000 burials have taken place here.
Thomas Harrison Hair (1810-1875) the artist best known for his Views of the Collieries of Northumberland and Durham, is buried here in an unmarked grave.
Two Small Chapels:
2 chapels. 1856 by Green. Coursed squared sandstone with ashlar turrets and dressings; Welsh slate roofs. T-plan with additional porch on side away from centre of cemetery, and corner turret on innermost side at south end. Aligned north-south. Decorated style. Double doors, with elaborate hinges,on inner fronts have nook shafts and head-stopped dripmoulds; similar surround to plainer door in outward-facing porch; windows of 3 lights facing gateway, 2 lights on other fronts, have similar dripmoulds. Lancets to corner turrets with gabled belfry under octagonal spirelets. Buttresses. Steeply-pitched roofs with cross finials. LISTED GRADE 2.
1 of the Chapels is now the Russian Orthodox Church Of St. George.
Gate, walls, piers, gates and railings.
Cemetery gateway, walls, piers, gates and railings. Dated 1856; by Green. Coursed squared sandstone with ashlar dressings; wrought iron gates; cast iron railings. Gothic style. High gable over 2-centred arch with 12 shafts each side and many mouldings; gabled ends have fantastic beasts climbing down kneelers; head-stopped dripmoulds, buttresses and finials.
High, pointed coping to flanking walls containing pedestrian doors in arches; end piers have gables with fleur-de-lis moulding. Chamfered coping to dwarf quadrant walls and similar walls along cemetery front, with 4 square piers at each side having pyramidal coping. High gates are Gothic-patterned; railings have fleur-de-lis heads.
Burials:
Samuel Smith.
Celtic Cross monument. Samuel Smith OBE JP (1872-1949) was the founder of Rington's Tea. He was born in Leeds and became an errand boy for a tea merchants on leaving school at 11. In 1908 he moved to Newcastle and set up a small shop in Heaton with William Titterington. They called the company Ringtons. The tea was imported from India and Sri Lanka then tasted, blended and packaged. It was delivered by the company's black, gold and green horse-drawn coaches. In 1926 the business moved to purpose-built premises in Algernon Road. Eventually there were 26 branches of Ringtons in the North. The firm moved into coachbuilding during the World Wars, which led to the creation of Smith's Electric Vehicles at Team Valley Trading Estate.
Alexander Gardner.
Cross monument. Alexander Gardner (1877-1921) was a footballer for Newcastle United. Before the First World War, Newcastle United were in the First Division, won three league titles and won one FA Cup final of three. Alexander was the captain and played at right half (midfielder). He made 268 appearances and scored 20 goals. He was born in Leith in 1899. The 1904/5 team won 23 out of 34 league games. In 1909 Alexander broke his leg, which ended his football career. He became landlord of the Dun Cow Inn in Claremont Road.
Michael Joseph Quigley.
Gravestone of Michael Joseph Quigley (1837-1924), American Civil War veteran. Michael was born in Bradford and emigrated to America with his wife shortly before the outbreak of civil war. He served under General Robert E. Lee in Virginia but was wounded in his left arm. He was later employed in Government Service. He returned to Britain in 1876. He lived in St. Lawrence Square off Walker Road. His income was subsidised by a pension from the American Government.
James Skinner.
Obelisk monument to James Skinner (1836-1920), shipbuilder. James was born in London. He moved to Newcastle aged 14 to begin an apprenticeship at Coutts shipyard at Low Walker. He went on to manage Andrew Leslie's shipyard at Hebburn then opened a yard at Bill Quay with William Wood, shipyard cashier. The firm Wood Skinner & Co. built 330 vessels over 42 years up to 1925. They also built the 30-bed Tyne Floating Hospital for Infectious Diseases at Jarrow Slake, designed by Newcastle Civil Engineer, George Laws. The hospital ship was launched on 2 August 1885. It sank in 1888. She was refloated and remained moored there for over 40 years.
Francis Batey.
Urn monument to Francis Batey (1841-1915), steam tug boat owner. Francis joined his father's tug boat business at the age of 11 and eventually gained his master's certificate. When the Albert Edward Dock opened in 1884, he was assistant pilot on the Rio Amazonas, the first ship to enter the dock. He went on to be chairman of several tug related companies on the River Tyne. One of his sons, John Thomas Batey, became Managing Director of Hawthorn Leslie's Hebburn shipyard.
Antonio Marcantonio.
Impressive monument of a statue of a monk or friar holding an infant. Antonio Marcantonio (1886-1960), ice cream manufacturer, arrived in Newcastle in 1895 to join a small colony of Italians living in Byker. In the early 1900s he returned to Italy to marry Angela. He returned to Newcastle and began making ice cream in a room in his house using small pans of salt and ice to freeze it. Eventually he took over a small factory on Stepney Bank. 500 gallons of ice cream were made daily. He also owned five ice cream parlours, the first one was in the Grainger Arcade. The Mark Toney business still flourishes (factory at Benton Square).
George Henry Carr.
A 13 feet high monument to George Henry Carr (1867-1889), racing cyclist. There is a shield on each side depicting a bicycle, flowers, the badge of the Jubilee Rovers Bicycle Club and the badge of Clarence Bicycle Club. Carr was a prominent figure on the racing circuit. He died aged 22 of inflammation of the brain.
John James Lightfoot,
Monument of an angel to John James Lightfoot (1877-1897), apprentice joiner. John James was crushed to death aged 19 during restoration of the 200 year old Green Tree beerhouse in Robson's Entry, Sandgate.The building collapsed killing 4 people and injuring 12. The disaster was sketched by the Chronicle's artist and published on 6 March 1897 the day after the accident. The article describes the scene - 'in the house to the east there was a yawning space where the wall had tumbled in; behind the hole a staircase stood, but seemed, like the sword of Damocles, to have no more than a hair-strength to support it'.
Josephine Esther Salisse.
Family vault of M. and H.M. Salisse. A stone sarcophagus with a bronze female figure mourning over it. Josephine Esther Salisse (1905-1924) was from Thornton Heath in Surrey. She died suddenly at her aunt's home in Stratford Road, Heaton, aged 19.
John and Benjamin Green were a father and son who worked in partnership as architects in North East England during the early nineteenth century. John, the father was a civil engineer as well as an architect. Although they did carry out some commissions separately, they were given joint credit for many of their projects, and it is difficult to attribute much of their work to a single individual. In general, John Green worked on civil engineering projects, such as road and rail bridges, whereas Benjamin worked on projects that were more purely architectural. Their work was predominantly church and railway architecture, with a sprinkling of public buildings that includes their masterpiece, Newcastle's Theatre Royal.
Drawings by John and Benjamin Green are held by the Laing Art Gallery in Newcastle upon Tyne.
Biographies
John Green was born on 29 June 1787 at Newton Fell House, Nafferton, two miles north of Ovington, Northumberland. He was the son of Benjamin Green, a carpenter and maker of agricultural implements. After finishing school, he worked in his father's business. The firm moved to the market town of Corbridge and began general building work with young John concentrating on architectural work. About 1820, John set up business as an architect and civil engineer in nearby Newcastle upon Tyne.
John Green married Jane Stobart in 1805, and they had two sons, John (c.1807–68) and Benjamin (c1811-58), both of whom became architects. Little is known about the career of John, but Benjamin worked in partnership with his father on many projects.
In 1822 John Green designed a new building for the Newcastle Literary and Philosophical Society. The building, which houses the society's substantial library, is still in use today. He also designed a number of farmhouses, being employed on the Beaufront estate near Hexham and also on the Duke of Northumberland’s estates.
John Green was principally a civil engineer, and built several road and rail bridges. In 1829–31 he built two wrought-iron suspension bridges crossing the Tyne (at Scotswood) and the Tees (at Whorlton). The bridge at Scotswood was demolished in 1967 but the one at Whorlton still survives. When the High Level Bridge at Newcastle was proposed ten years later, John Green submitted plans, but those of Robert Stephenson were accepted by the York, Newcastle and Berwick Railway. Green also built a number of bridges using an innovative system of laminated timber arches on masonry piers, the Weibeking system, based on the work of Bavarian engineer C.F. Weibeking. The two he built for the Newcastle and North Shields Railway, at the Ouseburn and at Willington Quay remain in use, though the timbers were replaced with wrought iron in a similar lattice pattern in 1869. In 1840 he was elected to the Institution of Civil Engineers, and in 1841 he was awarded the institution's Telford Medal for his work on laminated arch design.
John Green died in Newcastle on 30 September 1852.
Benjamin Green
Benjamin Green was a pupil of Augustus Charles Pugin, father of the more famous Augustus Welby Northmore Pugin. In the mid-1830s he became a partner of his father and remained so until the latter's death in 1852. The two partners differed somewhat. John has been described as a 'plain, practical, shrewd man of business' with a 'plain, severe and economical' style, whereas Benjamin was 'an artistic, dashing sort of fellow', with a style that was 'ornamental, florid and costly'.
The Greens worked as railway architects and it is believed that all the main line stations between Newcastle and Berwick upon Tweed were designed by Benjamin. In 2020 Morpeth Station was restored to Green's original designs following a £2.3M investment. They also designed a number of Northumbrian churches, the best examples being at Earsdon and Cambo.
The Green's most important commissions in Newcastle were the Theatre Royal (1836–37) and the column for Grey's Monument (1837–38). Both of these structures were part of the re-development of Newcastle city centre in neo-classical style by Richard Grainger, and both exist today. Although both of the partners were credited with their design, it is believed that Benjamin was the person responsible.
Another well-known structure designed by the Greens is Penshaw Monument (1844). This is a folly standing on Penshaw Hill in County Durham. It was built as a half-sized replica of the renowned Temple of Hephaestus in Athens, and was dedicated to John George Lambton, first Earl of Durham and the first Governor of the Province of Canada. The monument, being built on a hill is visible for miles around and is a famous local landmark. It is now owned by the National Trust.
Benjamin Green survived his father by only six years, and died in a mental home at Dinsdale Park, County Durham on 14 November 1858.
Major works
Presbyterian Chapel, Newcastle upon Tyne, 1822 (demolished 2011)
Literary and Philosophical Society, Newcastle upon Tyne, 1822–1825
St Peter's Church, Falstone, 1824–1825
Westgate Hill Cemetery, Newcastle upon Tyne, 1825–1829 (lodge demolished 1970, railings and gates removed, piers and basic layout remains)
Ingram Farm, Ingram, 1826
Whorlton Suspension Bridge, Wycliffe, County Durham, 1829–1831
Hawks Cottages, Gateshead, 1830 (demolished 1960)
Scotswood Chain Bridge, Newcastle upon Tyne, 1831, (demolished 1967)
Church of St Mary and St Thomas Aquinas, Stella, 1831–1832[1]
Bellingham Bridge, Bellingham, 1834
Holy Trinity Church, Stockton-On-Tees, 1834–1835[2]
Holy Trinity Church, Dalton (near Stamfordham), 1836
Vicarage of St Alban, Earsdon, 1836
Church of St Alban, Earsdon, 1836–1837
St Mary's Roman Catholic Church, Alnwick, 1836
Church of the Holy Saviour, Newburn, 1836–1837
Poor Law Guardians Hall, North Shields, 1837
Master Mariners Homes, Tynemouth, 1837–1840[3]
Theatre Royal, Newcastle upon Tyne, 1837
Parish Hall of the Church of the Holy Saviour, Newburn, 1838
Column of Grey's Monument, Newcastle upon Tyne, 1838
Willington Viaduct, Wallsend, 1837–1839
Ouseburn Viaduct, Newcastle upon Tyne, 1837–1839
Church of the Holy Saviour, Tynemouth, 1839–1841
Ilderton Vicarage, Ilderton, 1841
The Red Cottage, Whitburn, 1842
Holy Trinity Church, Cambo, 1842
Holy Trinity Church, Horsley-on-Rede, 1844
The Earl of Durham's Monument, Sunderland, 1844
St Edwin's, Coniscliffe, Co. Durham, 1844 (restoration of mediaeval church)
40–44 Moseley Street, Newcastle upon Tyne, 1845
Witham Testimonial Hall, Barnard Castle, 1846
Old Railway Station, Tynemouth Rd, Tynemouth 1846–1847
Acklington Station, Acklington, 1847
Chathill Station, Chathill, 1847
Belford Station, Belford, Northumberland, 1847
Morpeth Station, Morpeth, Northumberland, 1847
Warkworth Station, Warkworth, Northumberland, 1847
Holy Trinity Church, Seghill, 1849
Newcastle Joint Stock Bank, St Nicholas Square, Newcastle, c.1850
Norham station, Norham, 1851
St Paul's Church, Elswick, 1854
All Saints Cemetery, Jesmond, 1854
Sailor's Home, 11 New Quay, North Shields, 1856
United Free Methodist Church, North Shields, 1857
Corn Exchange, Groat Market, Newcastle (demolished 1974)
Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.
Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.
The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.
Roman settlement
The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.
The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.
Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.
Anglo-Saxon development
The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.
Norman period
After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.
In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.
Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.
Middle Ages
Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.
The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.
Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.
In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.
In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.
Religious houses
During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.
The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.
The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.
The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.
The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.
The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.
All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.
An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.
Tudor period
The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.
During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).
With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.
Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.
The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.
In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.
Stuart period
In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.
In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.
In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.
In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.
In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.
A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.
Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.
In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.
In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.
Eighteenth century
In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.
In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.
In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.
Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.
The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.
In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.
A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.
Victorian period
Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.
In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.
In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.
In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.
In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.
Industrialisation
In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.
Innovation in Newcastle and surrounding areas included the following:
George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.
George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.
Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.
Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.
William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.
The following major industries developed in Newcastle or its surrounding area:
Glassmaking
A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Locomotive manufacture
In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.
Shipbuilding
In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.
Armaments
In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.
Steam turbines
Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.
Pottery
In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.
Expansion of the city
Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.
Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.
Twentieth century
In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.
During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.
In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.
Newcastle City Council moved to the new Newcastle Civic Centre in 1968.
As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.
In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.
As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.
The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.
Recent developments
Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.
June 8, 2019 - West Central, South Central Nebraska
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No tornadoes on this day's chase, but some incredible supercell structure out on the plains of Nebraska.
We started the day with a supercell that had several meso structures being reported from radar. This storm was tracking slowly about 12 knots cresting from the northwest to southeast. Classic June storm structure for this time of year in Nebraska. Northwest of North Platte Nebraska it had reported wall cloud and we definitely wanted a piece of this action.
We arrived as it was gaining strength as it has pushed through Maxwell Nebraska. We stopped in Brady, just to the southeast via I-80 corridor to get the bugs off of the windshield and as the storm was gaining strength. We had stopped just a few miles to the south of Brady we set up shop to catch this storm. Nice clear beautiful structure accompanied the underbelly of this supercell. Though we had a clear cut defined wall cloud this storm never did show us her tornadic teeth.
After about an hour on this storm in the same position (rare for us to do this) we eventually had to back off and get back to the east. We had to get south of Gothenburg just a few miles off the I-80 exit area for the next structured shot of this supercell. Oh we got just what we were looking for! Phenomenal base rotation!
Eventually we had backed off again as the hail core was approaching. Plus this cell was loosing its steam. We moved back to the I-80 corridor then south of Cozad Nebraska and this cell was in redevelopment mode and we had some waiting to do. Though not a long wait as this original cell fizzled out but we had one more chance for good structure south of Overten Nebraska. We headed to Loomis Nebraska for another treat to end the day. Oh did I say treat? We got a whole bunch more eye candy than expected.
Just to the east of Loomis Nebraska we encountered some incredible supercell structure. This storm wasn't going to be shy, and she eventually showed us some teeth.
Personal Note: For some odd reason I didn't clear my memory card on my last chase, and I ran out of room on my SD Card. I had to stop shooting after the wall cloud was right over my location my Loomis Nebraska. I didn't have time to pull out my spare card and load it due to the strength and this fast moving cell. This storm cell became outflow dominate and man do I mean dominate. We got caught in the outflow boundary several times with tons of gustnadoes and almost haboobish. I did have my trusty camera with me... I was in the drivers seat so when we had a chance, I did capture some incredible pics that blew me away literally. Either I'll make another short video to proceed this one or you'll have to wait till I get them posted on my Flickr site flickr.com/nebraskasc.
All in all. I'm not always about catching the tornado. I had some good friends and fellow storm chasers along side that day. In my opinion... just another EPIC chase day in Nebraska!!! Woot Woot. More to come!
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Dale Kaminski @ NebraskaSC Photography
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Ahhh finally a new picture. I've been so busy with these last few weeks of school.
Research paper after research paper, exam after exam...when will it end!
But damn, I can't believe I'm pretty much already done with my freshman year of college. How crazy is that? It seems like I just graduated from high school. Weird.
But yes, I know this photo's nothing special, but I haven't had the time for anything more. More creative stuff (I have ideas!) during the summer when I have time to breathe.
Hope all is well! :)
Random Question:
What is your favorite color?