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POSITIVE DISCRIMINATION IN UNIVERSITIES in the Communist Countries:
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An example of a "Technical Drawing" Selection Test: the candidate was given five hours to produce an ink drawing, entirely in free hand, from a picture which he had to enlarge 1.5 times. The picture above is a genuine article (Romania 1959)
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There were only 60 places nation-wide for admission to the school of Architecture in Bucharest, in the "People's Republic (later the Socialist Republic) of Romania, a country of some 20 million inhabitants.
Each year the number of applicants were in the upper hundreds, an average of 10 to 15 candidates for each place.
After the Hungarian revolution of 1956 and during the peak of the Cold War an acerbate discrimination process was waged against children from a middle class background (the upper class by that time all but disappeared in the gulags and on the factory floors or rice paddies like during the Chinese Cultural revolution).
In practice the University entry selection had TWO phases or two rounds of admission exam:
The earlier round of admission exams was intended SOLELY for those candidates considered of coming from a "Healthy social class" that was the "politically correct" class (in today's parlance - call it workers and peasant's children, without the discomfort of competition of those children considered more gifted as they came from the "unhealthy social class" (origina sociala nesanatoasa) or the middle class of professionals (scientists, academics, teachers, office clerks, etc). furthermore, the "healthy class" progeny candidates who failed the first round of exams were allowed to compete again some two weeks later, in the second round, that is to be given a second chance to get in, yet this time having to compete against all other candidates...
The exams were structured in two groups: a first tier the "technical drawing test" such as this, where the applicant was given five hours to enlarge by 150% a picture showing a classical order(see above) and to draw it to scale in ink.
The second test involved also a classical drawing, this time from a plaster cast and it had to be drawn in pencil on a large piece of paper some 20 inches by 30 inches.
Those who would pass the first two tests were admitted to the second tier of tests which involved both written and oral maths and physics exams.
Furthermore to the above there was a quantum based on social and political positive discrimination in favour of the children from peasant and working class background and of those children whose parents were part of the communist party apparatus.
In addition, if for example you had a close family member in prison, or exiled in the West, or if your family had their house, land or business nationalised/expropriated, than you might just as well not have a hope in hell to become an architect in Romania!
NOTE that in secondary schools the national curriculum was not geared to the level required for admission to the School of Architecture in Bucharest, so parents had to pay "blood money" for private tuition, in order to improve their children chance at passing the disqualifying tests. Private tuition was nearly unaffordable in a communist society, where wages were at the survival level (except for the communist fat cats) and it was the privilege of a restricted circle of academics from the school of Architecture to profit financially from such a corrupt system by preparing the candidates for the exams!
The chances of any child whose parents were from the professional middle classes and were not communist party card-holders to be admitted at the school were absolutely NIL.
Finally the privileged few who were admitted to the school, selected on positive discrimination criteria, had later on, during their professional life, the opportunity, at best, to build chicken coops and silos for state farms, concrete tenements in the cities for the under dogs and especially the task of razing to the ground historical monuments, churches, city centres and villages in order to make room for the dictator's pharaoh ideas of planning architecture during the dark ages of the 1970s and 1980s.
NOTE: after the so-called 'revolution' which put down the Ceausescu couple in a coup-de-palais, the same crop of architects who were selected on the basis of positive discrimination to qualify professionally benefited from the spoils of opportunities to demolish historic buildings and replace them, wantonly with glass and steel structures in the best tradition of Cultural Terrorism
source:
My first time entering the Countryfile calendar competition. Above is my three seconds of fame but unfortunately did not get any further for the calendar.
Εισαγωγή
Ελληνική Χριστιανική ταινία «Η Τιμιότητα Είναι Ανεκτίμητη» (Ελληνικοί Υπότιτλοι)
Ο Τζεν Τσανγκ είχε ένα μαγαζί που επισκεύαζε οικιακές συσκευές. Ήταν ευγενικός, έντιμος και στη δουλειά του ήταν τυπικός. Ποτέ του δεν θα προσπαθούσε να εξαπατήσει κανέναν και τα χρήματα που έβγαζε έφταναν ίσα-ίσα για να συντηρεί την οικογένειά του. Μετά από κάποιο διάστημα, κάποιος συγγενής κι ένας συνάδελφος έμπορος, τον παρότρυναν να εφαρμόζει τους άγραφους νόμους της επιχειρηματικότητας, κι έτσι ο Τζεν Τσανγκ άρχισε να πιστεύει σε αποφθέγματα που αντιπροσωπεύουν μια σατανική φιλοσοφία, όπως: «Χωρίς δεύτερο εισόδημα, ο άνθρωπος δεν γίνεται ποτέ του πλούσιος, ακριβώς όπως δεν παχαίνει ποτέ το άλογο που δεν τρώει σανό το βράδυ», «οι τολμηροί πεθαίνουν από τη λαιμαργία, οι άτολμοι από την πείνα», «τα λεφτά δεν είναι το παν, αλλά χωρίς αυτά, δεν μπορείς να κάνεις τίποτα», και «πάνω απ’ όλα τα λεφτά». Ο Τζεν Τσανγκ έχασε την ευσυνειδησία που τον καθοδηγούσε παλιότερα και άρχισε να χρησιμοποιεί αθέμιτα μέσα για να κερδίζει περισσότερα χρήματα. Παρόλο που κέρδιζε περισσότερα χρήματα απ’ ό,τι πριν και το επίπεδο της ζωής του βελτιώθηκε, ο Τζεν Τσανγκ ένιωθε, εντούτοις, δυστυχισμένος και να τον μαστίζει ένα αίσθημα κενού. Η ζωή ήταν ανούσια και γεμάτη πόνο.
Αφότου ο Τζεν Τσανγκ δέχτηκε το έργο του Παντοδύναμου Θεού των εσχάτων ημερών, συνειδητοποίησε μέσα από τα λόγια του Θεού ότι ο Θεός αγαπά τους έντιμους ανθρώπους και απεχθάνεται τους δόλιους. Ο Τζεν Τσανγκ συνειδητοποίησε, επίσης, ότι το να είναι κανείς έντιμος αποτελεί τον μοναδικό τρόπο για να συμπεριφέρεται ως αληθινός άνθρωπος, καθώς και τον μοναδικό τρόπο για να κερδίσει τον έπαινο του Θεού, κι έτσι, ορκίστηκε να είναι ένας έντιμος άνθρωπος. Ωστόσο, αποδείχθηκε δύσκολο το να είναι έντιμος στην πραγματική ζωή: Με τους αδελφούς και τις αδελφές στην εκκλησία μπορούσε να είναι όσο ευθύς έπρεπε να είναι, όμως, αν έκανε το ίδιο και στον επιχειρηματικό κόσμο, θα μπορούσε να βγάλει χρήματα; Όχι μόνο πιθανόν να έβγαζε λιγότερα χρήματα, αλλά ίσως και να γνώριζε σημαντικές ζημίες και να ρίσκαρε να χάσει το μαγαζί του. ... Ενόψει τέτοιων δυσκολιών, θα καταφέρει ο Τζεν Τσανγκ να λειτουργεί το κατάστημά του με εντιμότητα; Τι είδους απρόσμενες ανατροπές και αλλαγές θα συμβούν στην πορεία; Ποια θα είναι η μεγαλύτερη ανταμοιβή του; …
Πηγή εικόνας: Εκκλησία του Παντοδύναμου
Όροι Χρήσης: el.kingdomsalvation.org/disclaimer.html
More people are transferring their properties to their children as a part of their estate plan. People don’t want the taxman to take the majority of their assets once they pass away. So, let’s take a look at property transfer to children in further detail.
The main reason why most parents are interested in real estate transfer is to lower the inheritance tax paid upon their death. International inheritance tax can be complicated, which is why it is advisable to minimise the assets that will be subject to this.
There are some risks involved when transferring a property to your kids, which you need to be aware of. Firstly, you are going to be giving up control. Your child could sell the property without your permission, yet you won’t be able to sell it without theirs.
Moreover, you need to consider outside parties. If your son or daughter was to get divorced, for example, then the ex-spouse would have a legitimate claim against their estate, including your property. For this reason, it’s important to use the services of experts who can help you to enter a property transfer agreement whereby you are offered as much protection as possible.
Click here: www.sealra.com/dubai-land-department-transfer-fees.html
blogged: www.bisongirl.com/2010/01/finally-up.html
oops! I forgot to take a "back" photo --- I used the Alexander Henry pears and apples (same as the rug below) with a row of extra 2.25-inch blocks, sashed in white.
[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]
enriqueviolanevado.blogspot.com/2021/04/estadisticas-de-l...
El actual modelo de examen de Historia del Arte en Andalucía se remonta al curso 2016-2017. En aquel entonces se realizaron los siguientes cambios:
- La clasificación y comentario de las obras de arte fueron sustituidas por un breve cuestionario [«pregunta semiabierta»] sobre la misma.
- El sistema de calificación se alteró. De valorar hasta 2,5 cada ejercicio, las preguntas de teoría ascendieron a tres puntos y las prácticas (las obras de artes) perdieron la equivalencia y se quedaron en dos puntos.
- El temario también sufrió alteraciones. Fueron eliminados los temas de arte prehistórico, arte egipcio y arte mudéjar. Se agregó en cambio, el arte de la segunda mitad del siglo XX. Señalar que el arte mudéjar nunca había sido escogido para figurar en los exámenes, ya fuera como pregunta o como obra de arte para clasificar y comentar.
- Las dos opciones del examen cambiaron también sus ámbitos. La opción «A» se extiende ahora desde el arte griego hasta Goya y la opción «B» abarca desde el arte románico hasta el arte de la segunda mitad del siglo XX.
Para el curso 2019-2020 la estructura de cuatro preguntas teóricas y cuatro imágenes con cuestionario se mantuvo, pero el examen solo tenía una opción y el estudiante podía escoger las preguntas de desarrollo y las preguntas de cuestiones que considerase más oportuno, siempre que redacte dos de las primeras y dos de la segunda. Esta disposición, que no altera en lo sustancial el examen, se mantendrá también para el presente curso 2020-2021.
Desde el curso 2001 se han producido varias transformaciones en la estructura de la prueba y sus exigencias, pero ninguna tan radical como la que analizamos. De hecho, debe contemplarse no como una reforma, sino como un modelo nuevo. Las estadísticas de sus contenidos, deben comenzar, obviamente, desde cero.
En el curso 2016-2017, en el que el nuevo modelo inicio su andadura, se aseguró en las reuniones de la Ponencia que en las pruebas de ese año no aparecerían preguntas u obras de arte que no hubieran sido escogidas anteriormente. Y así fue. Pero se recalcó que aquella norma no se iba a observar en años posteriores y, efectivamente, en el curso 2017-2018 se detectaron algunas novedades. En los dos años académicos siguientes esas novedades han ido a más. De hecho, es ya una evidencia que pueden ser escogidas obras inéditas en el repertorio 2001-2016 y que han dejado de existir restricciones para escoger el arte de la segunda mitad del siglo XX tanto en la parte teórica como en la práctica.
Redactada ya la introducción, vamos a exponer el método con el que hemos realizado nuestros cálculos:
- Consideramos como séptima propuesta el ejemplo o modelo de prueba con el que se ha enseñado la adaptación que iba a realizarse. Ciertamente no es un examen, pero bien puede servir como tal. Por lo demás, no existe mucha diferencia entre una propuesta de reserva que se queda en el limbo y un modelo de prueba. Señalemos que en el caso de Historia de Arte en ambos ejemplos (el de 2017 y el de 2020) aparecen preguntas e imágenes que no se recogen en las pruebas definitivas.
- Denominamos «imágenes» a la obra de arte con cuestionario, pregunta semiabierta o ejercicio práctico. De esta forma evitamos repeticiones innecesarias.
- Consideramos como obras de arte u imágenes distintas los siguientes casos:
a)El interior y el exterior de un mismo edificio.
b)Una vista del exterior de un edificio y un detalle de su fachada.
c)La fachada o portada de un edificio y un detalle de su frontón o tímpano.
d)Distintos fragmentos de un friso.
e)Un tríptico o políptico y la reproducción de una de sus tablas.
f)Diferentes versiones elaboradas por el pintor de un mismo cuadro.
Vaya por delante que esta casuística que se ha ido documentando en el repertorio antiguo (2001-2016) todavía no ha necesitado aplicarse en el repertorio nuevo.
- Respecto a las preguntas, debe tenerse en cuenta que las cuestiones aparecen con notables variantes entre unas pruebas y otras. Cuando estas variaciones implican cambios en el contenido las hemos recogido como preguntas distintas. Estos cambios oscilan entre que la cuestión aparezca bien con todos sus contenidos o bien con una reducción de los mismos.
En principio, y por la misma regla de tres, se podrían fusionar dos preguntas distintas para comprobar la capacidad de síntesis de los alumnos. En el examen junio de 2013 se optó por esta mixtura y fue tal el desastre que la Ponencia se ha comprometido (verbalmente) a no volverla a emplear.
El número de preguntas del temario asciende a cuarenta y seis. Algunas de ellas han aparecido en los exámenes siempre fragmentadas (en especial las de renacimiento italiano que abarcan las tres nobles artes). Otras llevan desde 2001 sin conseguir ni siquiera una elección para las propuestas (en especial las introductorias de cada examen).
- Nuestras estadísticas procuran ser exhaustivas sobre los contenidos de las propuestas y modelos de pruebas del período 2017-2020. Deben valorarse, pues, como repertorios de pruebas pasadas, no como prospectivas de exámenes del futuro. Efectivamente, de su lectura pueden extraerse tendencias y líneas generales, pero siempre van a existir sorpresas en cada propuesta. Esta entrada debe servir más para la planificación del curso que para preparar la selectividad.
Pasando ya a las cifras, cuatro juegos de exámenes con seis propuestas distintas (2017, 2018, 2019 y 2020), más dos modelos de pruebas (2017 y 2020) cada uno de ellos con cuatro preguntas y cuatro imágenes, suponen 104 cuestiones teóricas y otras tantas reproducciones obras de arte. Una vez identificadas se reducen a 36 preguntas (contando como distintas las fraccionadas) y 52 imágenes.
Obviamente, muchas preguntas e imágenes se repiten. De hecho las reiteraciones se producen incluso dentro de un mismo juego de exámenes. Esta práctica es un despropósito, pues los mismos contenidos pueden ser elegidos para la prueba ordinaria y la extraordinaria. Creemos que la Ponencia debería valorar todo el temario y todo el repertorio de obras de arte por igual, pero, desde luego, no va por ese camino.
En las propuestas y modelo de prueba de 2017, obviamente todos los contenidos deben considerarse como nuevos. En las demás se van sumando novedades. De esta forma en 2017 las imágenes ascendieron a 25 (28 si se añaden las repeticiones), en 2018 se contabilizaron 11 novedades y otras once inéditas en 2019. En 2020 la cifra resultó sorprendentemente escuálida: únicamente 4. Respecto a las preguntas, en 2017 fueron 21 (debieran ser 28 contando las reiteradas), en 2018 se añadieron 5, al año siguiente se contaron 6 nuevas y en 2020 las incorporaciones ascendieron a 4. El ritmo descendente de las novedades revela que se va creando un repertorio de contenidos que tiende a mantenerse en las sucesivas pruebas.
El repertorio de imágenes de las propuestas de examen (y modelos de pruebas) de Historia del Arte desde 2017 a 2020 ordenados por estilo es el siguiente:
1. Exterior del Partenón, obra de Ictino, Calícrates y Fidias.
2. El Kuros de Anávisos.
3. El Doríforo de Policleto.
4. El Hermes con Dionisos niño de Praxíteles.
5. El Apoxiómenos de Lisipo.
6. La Victoria de Samotracia.
7. La Maisón Carrée de Nimes.
8. El Augusto de Prima Porta.
9. Mosaico de Justiniano de San Vital de Rávena.
10. Interior de la mezquita-catedral de Córdoba.
11. El Patio de Comares o de los Arrayanes de la Alhambra.
12. El Patio de los Leones de la Alhambra.
13. El Pórtico de la Gloria de la catedral de Santiago de Compostela del Maestro Mateo.
14. El Pantocrátor de San Clemente de Tahull.
15. Fachada de la Catedral de Reims.
16. La Sainte Chapelle de París.
17. El Matrimonio Arnolfini de Jan van Eyck.
18. La Catedral de Florencia.
19. El Condottiero Gattamelata de Donatello.
20. El Templete de San Pietro in Montorio de Brunelleschi.
21. La Piedad del Vaticano de Miguel Ángel.
22. El Moisés de Miguel Ángel.
23. La Virgen de las Rocas de Leonardo da Vinci.
24. La Escuela de Atenas de Rafael.
25. El Palacio de Carlos V en Granada.
26. El Martirio de la Legión Tebana del Greco.
27. El David de Gian Lorenzo Bernini.
28. El éxtasis de Santa Teresa de Gian Lorenzo Bernini.
29. Las tres Gracias de Rubens.
30. La Lección de Anatomía del Doctor Nicolaes Pulp de Rembrandt.
31. La Inmaculada del Facistol de Alonso Cano.
32. El Aguador de Sevilla de Velázquez.
33. Las Meninas de Velázquez.
34. Las Hilanderas de Velázquez.
35. La Sagrada Familia del Pajarito de Murillo.
36. La Inmaculada de los Venerables de Murillo.
37. El Juramento de los Horacios de Jacques-Louis David.
38. La muerte de Marat de Jacques-Louis David.
39. El Quitasol de Goya.
40. La familia de Carlos IV de Goya.
41. Los Fusilamientos del tres de mayo de Goya.
42. La Basílica de la Sagrada Familia de Gaudí.
43. Baile en el Moulin de la Galette de Renoir.
44. La visión tras el sermón de Gauguin.
45. La Noche Estrellada de Vincent van Gogh.
46. La Villa Saboya de Le Corbusier.
47. La Casa de la Cascada de Frank Lloyd Wright.
48. El Profeta de Pablo Gargallo.
49. Las señoritas de Avignon de Picasso.
50. El Guernica de Picasso.
51. El Museo Gunggenheim de Bilbao de Frank O. Gehry.
52. Gran Vía de Madrid de Antonio López.
Este listado puede emplearse como un repertorio básico para el alumno. Puede empezar a estudiar por él y puede repasarlo en la víspera del examen de selectividad. El profesor, en cambio, debe recurrir a un corpus mucho más amplio para instruir al alumno a lo largo del curso.
Este corpus o canon debiera incluir todas las imágenes de las propuestas de examen desde el curso 2000-2001. No figuran las obras de arte correspondientes a la Prehistoria y al Antiguo Egipto por haberse eliminado esos temas del programa de la asignatura a partir del curso 2016-2017. El arte mudéjar también fue excluido en aquella misma reforma, pero ningún monumento de este estilo llega a ser escogido para las pruebas de la selectividad andaluza, como ya hemos indicado. Se documentan así unas 150 obras, número sostenible con un desarrollo correcto del programa de la asignatura:
1. Exterior del Partenón, obra de Ictino, Calícrates y Fidias.
2. Fachada del Partenón, obra de Ictino, Calícrates y Fidias.
3. El Kuros de Anávisos.
4. El Doríforo de Policleto.
5. El Diadúmeno de Policleto.
6. Fragmento del frontón oriental del Partenón con Hestia, Dione y Afrodita, obra de Fidias.
7. Fragmento del Friso de las Panateas con las figuras de las Ergastinas, obra de Fidias.
8. El Hermes con Dionisos niño de Praxíteles.
9. El Apoxiómenos de Lisipo.
10. La Victoria de Samotracia.
11. Laocoonte y sus hijos, obra de Agesandro, Polidoro y Atenodoro.
12. La Maisón Carrée de Nimes.
13. Interior del Panteón de Agripa.
14. Teatro romano de Mérida.
15. El Coliseo.
16. El anfiteatro de Itálica.
17. El acueducto de los Milagros de Mérida.
18. El Arco de Constantino.
19. El Augusto de Prima Porta.
20. La escultura ecuestre de Marco Aurelio.
21. Detalle del friso del Ara Pacis: Los senadores.
22. Detalle del friso del Ara Pacis: La familia imperial.
23. Interior de la iglesia de Santa Sabina de Roma.
24. Interior de Santa Sofía de Constantinopla de Isidoro de Mileto y Antemio de Tralles.
25. Mosaico del emperador Justiniano y su séquito de San Vital de Rávena.
26. Mosaico de la emperatriz Teodora y su cortejo de San Vital de Rávena.
27. Interior de la mezquita-catedral de Córdoba.
28. Macsura y mihrab de la mezquita-catedral de Córdoba.
29. Lucernario del mihrab de la Mezquita de Córdoba.
30. La Giralda.
31. La Torre del Oro.
32. El Patio de Comares o de los Arrayanes de la Alhambra.
33. El Patio de los Leones de la Alhambra.
34. Planta de la catedral de Santiago de Compostela.
35. Claustro de Santo Domingo de Silos.
36. Portada de la iglesia abacial de Moissac.
37. Tímpano de la portada de iglesia abacial de Moissac.
38. El Pórtico de la Gloria de la catedral de Santiago de Compostela del Maestro Mateo.
39. El Pantocrátor de San Clemente de Tahull.
40. Maiestas Mariae de Santa María de Tahull.
41. Estructura de una catedral gótica clásica.
42. Exterior de la Catedral de Notre Dame, París.
43. Interior de la Catedral de Reims.
44. Fachada de la Catedral de Reims.
45. Interior de la Sainte Chapelle de París.
46. Exterior de la Catedral de León.
47. El Palazzo Pubblico o Palacio Comunal de Siena.
48. El tríptico de la Anunciación de Simone Martini y Lippo Memmi.
49. Tabla de la Anunciación de Simone Martini (detalle del tríptico).
50. El Políptico del Cordero Místico de Hubert y Jan van Eyck.
51. Tabla de la Adoración del Cordero Místico de Hubert y Jan van Eyck (detalle del políptico).
52. El Matrimonio Arnolfini de Jan van Eyck.
53. La Catedral de Florencia de Arnolfo di Cambio y Filippo Brunelleschi.
54. Exterior de la cúpula de la catedral de Florencia de Filippo Brunelleschi.
55. Fachada de San Andrés de Mantua de Alberti.
56. El Condottiero Gattamelata de Donatello.
57. La Anunciación (Museo del Prado) de Fra Angélico.
58. La Trinidad de Massaccio.
59. La Primavera de Botticelli.
60. El Nacimiento de Venus de Botticelli.
61. El Templete de San Pietro in Montorio de Brunelleschi.
62. Las escaleras de la Biblioteca Laurenziana de Miguel Ángel (Florencia).
63. La Villa Capra o Rotonda de Andrea Palladio.
64. La Piedad del Vaticano de Miguel Ángel.
65. El David de Miguel Ángel.
66. El Moisés de Miguel Ángel.
67. La Virgen de las Rocas de Leonardo da Vinci.
68. La Gioconda o Mona Lisa de Leonardo da Vinci.
69. La Escuela de Atenas de Rafael.
70. La Bacanal de los Andrios de Tiziano.
71. Patio del Palacio de Carlos V en Granada de Pedro Machuca.
72. Monasterio de San Lorenzo de El Escorial de Juan de Herrera.
73. El sacrificio de Isaac de Alonso de Berruguete.
74. El Expolio de Cristo del Greco.
75. El Martirio de la Legión Tebana del Greco.
76. El Entierro del Señor de Orgaz del Greco.
77. El Baldquino de la basílica de San Pedro del Vaticano de Gian Lorenzo Bernini.
78. Plaza de San Pedro del Vaticano de Gian Lorenzo Bernini.
79. Fachada de San Carlo alle Quattro Fontane de Borromini.
80. Exterior del palacio de Versalles de Louis le Vau, François d'Orbay y Jules Hardouin-Mansart
81. El David de Gian Lorenzo Bernini.
82. Apolo y Dafne de Gian Lorenzo Bernini.
83. El éxtasis de Santa Teresa de Gian Lorenzo Bernini.
84. La Vocación de San Mateo de Caravaggio.
85. La Cena de Emaús (Versión de la National Gallery) de Caravaggio.
86. Las tres Gracias de Rubens.
87. La Lección de Anatomía del Doctor Nicolaes Pulp de Rembrandt.
88. La Ronda de Noche de Rembrandt,
89. Fachada principal de la catedral de Murcia de Jaime Bort.
90. Cristo yacente (Museo del Prado) de Gregorio Fernández.
91. El Cristo de la Clemencia de Juan Martínez Montañés.
92. La Inmaculada ‘La Cieguecita’ de Juan Martínez Montañés.
93. Jesús del Gran Poder de Juan de Mesa.
94. La Inmaculada del Facistol de Alonso Cano.
95. El Paso de la Oración en el Huerto de Francisco Salzillo.
96. El martirio de San Felipe de Ribera.
97. San Hugo en el refectorio de los Cartujos de Zurbarán.
98. Vieja friendo huevos de Velázquez.
99. El Aguador de Sevilla de Velázquez.
100. La fragua de Vulcano de Velázquez.
101. Las lanzas o la Rendición de Breda de Velázquez.
102. El Papa Inocencio X de Velázquez.
103. Las Meninas o la Familia de Felipe IV de Velázquez.
104. La Fábula de Aracné o las Hilanderas de Velázquez.
105. Niño espulgándose de Murillo.
106. La Sagrada Familia del Pajarito de Murillo.
107. Niños comiendo pastel de Murillo.
108. La Inmaculada de los Venerables de Murillo.
109. Fachada del Museo del Prado de Juan de Villanueva.
110. El Juramento de los Horacios de Jacques-Louis David.
111. La muerte de Marat de Jacques-Louis David.
112. El Quitasol de Goya.
113. La maja desnuda de Goya.
114. La familia de Carlos IV de Goya.
115. Los Fusilamientos del tres de mayo de Goya.
116. El 28 de Julio - La libertad guiando al pueblo de Delacroix.
117. La Torre Eiffel.
118. La fachada de la Casa Mila o la Pedrera de Gaudí.
119. La Basílica de la Sagrada Familia de Gaudí.
120. Impresión, sol naciente de Monet.
121. La Catedral de Ruán, el portal a pleno sol de Monet.
122. Baile en el Moulin de la Galette de Renoir.
123. La Clase de Danza (1871, Metropolitan Museum) de Degas.
124. El pensador de Rodin.
125. El beso de Rodin.
126. Los burgueses de Calais de Rodin.
127. Monumento a Balzac de Rodin.
128. Los jugadores de cartas (Museo de Orsay) de Cezanne.
129. La Montaña Santa Victoria desde la carretera de Tholonet (Hermitage) de Cezanne.
130. La visión tras el sermón o la Lucha de Jacob con el Ángel de Paul Gauguin.
131. Los Girasoles (Versión de la Neue Pinakothek de Múnich) de Vincent van Gogh.
132. El café de noche de Vincent van Gogh.
133. El dormitorio del pintor en Arlés (Versión del Museo de Orsay) de Vincent van Gogh.
134. La Noche Estrellada de Vincent van Gogh.
135. La iglesia de Auvers-sur-Oise de Vicent van Gogh.
136. La Villa Saboya de Le Corbusier.
137. Capilla de Notre-Dame du Haut de Le Corbusier.
138. La Casa Kaufmann o Casa de la Cascada de Frank Lloyd Wright.
139. Exterior del Museo Guggenheim de Nueva York de Frank Lloyd Wright.
140. Interior del Museo Guggenheim de Nueva York de Frank Lloyd Wright.
141. El Profeta de Pablo Gargallo.
142. Madame Mattise - La raya verde de Henri Matisse.
143. La Danza (versión del Hermitage) de Henri Matisse.
144. Las señoritas de Avignon de Pablo Picasso.
145. Naturaleza muerta con asiento de rejilla de Pablo Picasso.
146. El Guernica de Pablo Picasso.
147. La persistencia de la memoria – Los relojes blandos de Salvador Dalí.
148. El Museo Gunggenheim de Bilbao de Frank O. Gehry.
149. Gran Vía de Madrid de Antonio López.
Como la publicación de las pruebas de 2001 y de las 2002 no incluyó todas las propuestas, pueden existir imágenes que no queden reflejadas en este catálogo. Por el contrario, las siguientes obras parecen pertenecer a estas pruebas inéditas, pero no podemos afirmarlo con completa seguridad:
1. Mosaico de la emperatriz Teodora y su cortejo de San Vital de Rávena.
2. Las escaleras de la Biblioteca Laurenziana de Miguel Ángel (Florencia).
3. Monumento a Balzac de Rodin.
Si ordenamos las imágenes aparecidas en las propuestas y ejemplos de pruebas del actual modelo de examen por número de apariciones (que va entre paréntesis) el escalafón sería el siguiente:
1. La Casa de la Cascada de Frank Lloyd Wright (7).
2. La Villa Saboya de Le Corbusier (6).
3. El Hermes con Dionisos niño de Praxíteles (5).
4. La Escuela de Atenas de Rafael (4).
5. La familia de Carlos IV de Goya (4).
6. Exterior del Partenón, obra de Ictino, Calícrates y Fidias (3).
7. El Doríforo de Policleto (3).
8. El Patio de los Leones de la Alhambra (3).
9. El Pantocrátor de San Clemente de Tahull (3).
10. La Piedad del Vaticano de Miguel Ángel (3).
11. El David de Gian Lorenzo Bernini (3).
12. Las tres Gracias de Rubens (3).
13. El Aguador de Sevilla de Velázquez (3).
14. Baile en el Moulin de la Galette de Renoir (3).
15. La Maisón Carrée de Nimes (2).
16. El Augusto de Prima Porta (2).
17. Interior de la mezquita-catedral de Córdoba (2).
18. El Patio de Comares o de los Arrayanes de la Alhambra (2).
19. El Pórtico de la Gloria de la catedral de Santiago de Compostela del Maestro Mateo (2).
20. El Condottiero Gattamelata de Donatello (2).
21. El Templete de San Pietro in Montorio de Brunelleschi (2).
22. El Moisés de Miguel Ángel (2).
23. El éxtasis de Santa Teresa de Gian Lorenzo Bernini (2).
24. Los Fusilamientos del tres de mayo de Goya (2).
25. La Basílica de la Sagrada Familia de Gaudí (2).
26. El Guernica de Picasso (2).
27. El Museo Gunggenheim de Bilbao de Frank O. Gehry (2).
28. El Kuros de Anávisos (1).
29. El Apoxiómenos de Lisipo (1).
30. La Victoria de Samotracia (1).
31. Mosaico de Justiniano de San Vital de Rávena (1).
32. Fachada de la Catedral de Reims (1).
33. La Sainte Chapelle de París (1).
34. El Matrimonio Arnolfini de Jan van Eyck (1).
35. La Catedral de Florencia (1).
36. La Virgen de las Rocas de Leonardo da Vinci (1).
37. El Palacio de Carlos V en Granada (1).
38. El Martirio de la Legión Tebana del Greco (1).
39. La Lección de Anatomía del Doctor Nicolaes Pulp de Rembrandt (1).
40. La Inmaculada del Facistol de Alonso Cano (1).
41. Las Meninas de Velázquez (1).
42. Las Hilanderas de Velázquez (1).
43. La Sagrada Familia del Pajarito de Murillo (1).
44. La Inmaculada de los Venerables de Murillo (1).
45. El Juramento de los Horacios de Jacques-Louis David (1).
46. La muerte de Marat de Jacques-Louis David (1).
47. El Quitasol de Goya (1).
48. La visión tras el sermón de Gauguin (1).
49. La Noche Estrellada de van Gogh (1).
50. El Profeta de Pablo Gargallo (1).
51. Las señoritas de Avignon de Picasso (1).
52. Gran Vía de Madrid de Antonio López (1).
Este listado no debe contemplarse como un cálculo de las probabilidades de la aparición en los exámenes de cada imagen. Para empezar porque cuenta todas las propuestas, y una propuesta es, realmente, un examen no realizado o un proyecto de examen. Si realizamos un listado de las obras que han aparecido en los exámenes titulares de las convocatorias ordinaria y extraordinaria, la panoplia de obras varía bastante:
1. Exterior del Partenón, obra de Ictino, Calícrates y Fidias.
2. El Kuros de Anávisos.
3. El Hermes con Dionisos niño de Praxíteles.
4. La Maisón Carrée de Nimes.
5. El Patio de Comares o de los Arrayanes de la Alhambra.
6. El Patio de los Leones de la Alhambra.
7. El Pantocrátor de San Clemente de Tahull.
8. Fachada de la Catedral de Reims.
9. La Sainte Chapelle de París.
10. El Templete de San Pietro in Montorio de Brunelleschi.
11. La Piedad del Vaticano de Miguel Ángel.
12. El Palacio de Carlos V en Granada.
13. El David de Gian Lorenzo Bernini.
14. Las tres Gracias de Rubens.
15. La Inmaculada del Facistol de Alonso Cano.
16. El Juramento de los Horacios de Jacques-Louis David.
17. La familia de Carlos IV de Goya.
18. Los Fusilamientos del tres de mayo de Goya.
19. La Basílica de la Sagrada Familia de Gaudí.
20. Baile en el Moulin de la Galette de Renoir.
21. La Noche Estrellada de Vincent van Gogh.
22. La Casa de la Cascada de Frank Lloyd Wright.
23. El Guernica de Picasso.
Y si ordenamos esta selección de imágenes por el número de apariciones (que va entre paréntesis) en los exámenes titulares el ranking difiere bastante del anterior escalafón:
1. La Casa de la Cascada de Frank Lloyd Wright (4).
2. El Hermes con Dionisos niño de Praxíteles (2).
3. El Pantocrátor de San Clemente de Tahull (2).
4. El David de Gian Lorenzo Bernini (2).
5. La familia de Carlos IV de Goya (2).
6. Los Fusilamientos del tres de mayo de Goya (2).
7. La Basílica de la Sagrada Familia de Gaudí (2).
8. Exterior del Partenón, obra de Ictino, Calícrates y Fidias (1).
9. El Kuros de Anávisos (1).
10. La Maisón Carrée de Nimes (1).
11. El Patio de Comares o de los Arrayanes de la Alhambra (1).
12. El Patio de los Leones de la Alhambra (1).
13. Fachada de la Catedral de Reims (1).
14. La Sainte Chapelle de París (1).
15. El Templete de San Pietro in Montorio de Brunelleschi (1).
16. La Piedad del Vaticano de Miguel Ángel (1).
17. El Palacio de Carlos V en Granada (1).
18. Las tres Gracias de Rubens (1).
19. La Inmaculada del Facistol de Alonso Cano (1).
20. El Juramento de los Horacios de Jacques-Louis David (1).
21. Baile en el Moulin de la Galette de Renoir (1).
22. La Noche Estrellada de van Gogh (1).
23. El Guernica de Picasso (1).
Pasando a las preguntas, comenzaremos por la reproducción del temario, indicando las cuestiones que han aparecido, sus variantes y con el número de apariciones entre paréntesis.
1.ARTE GRIEGO
1.1.Introducción. Los órdenes.
1.2.El templo griego: el Partenón.
Esta pregunta ha aparecido en dos propuestas.
1.3.La escultura. El «kuros». Los grandes maestros de los siglos V y IV a. C. Policleto y Fidias. Praxíteles y Scopas. Lisipo y su canon.
Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:
- Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias.
1.4.El periodo helenístico.
2.ARTE ROMANO
2.1. Arquitectura y ciudad.
2.2. Escultura. El retrato y el relieve histórico.
Esta pregunta ha aparecido en cuatro propuestas.
2.3. Explicar la ciudad romana: sus partes y construcciones más relevantes que la integran, explicando las distintas tipologías arquitectónicas.
3.ARTE PALEOCRISTIANO Y BIZANTINO
3.1. La nueva iconografía: la pintura de las catacumbas. La cristianización de la basílica.
3.2. Los edificios bizantinos y la cúpula: Santa Sofía.
Esta pregunta ha aparecido en cinco propuestas.
3.3. La decoración musivaria.
4.ARTE HISPANO - MUSULMÁN
4.1. Arte e Islam.
4.2. Arquitectura. Arte califal: la mezquita de Córdoba, arquitectura y decoración. La ciudad palatina de Medina Azahara.
Esta pregunta ha aparecido en una propuesta.
4.3. Arte almohade. El arte nazarí: la Alhambra y el Generalife.
Esta pregunta ha aparecido en cinco propuestas, empleándose estos enunciados:
- Arte nazarí: la Alhambra y el Generalife.
- El arte nazarí: la Alhambra y el Generalife.
5.ARTE ROMÁNICO
5.1. Introducción al románico.
5.2. Arquitectura. Elementos formales y soluciones constructivas. La iglesia de peregrinación y el monasterio.
Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:
- La iglesia de peregrinación y el monasterio románico.
5.3. Escultura y pintura.
Esta pregunta ha aparecido en cinco propuestas, empleándose estos enunciados:
- La escultura y la pintura románicas (4).
- La escultura románica (1).
6.ARTE GÓTICO
6.1. Características generales de la arquitectura gótica.
6.2. La ciudad: la catedral y los edificios civiles.
Esta pregunta ha aparecido en cuatro propuestas.
6.3. La escultura: portadas y retablos.
Esta pregunta ha aparecido en cuatro propuestas.
6.4. La pintura italiana del Trecento: Florencia y Siena.
Esta pregunta ha aparecido en dos propuestas.
6.5. Los primitivos flamencos del siglo XV: los hermanos Van Eyck.
Esta pregunta ha aparecido en cuatro propuestas.
7.ARTE RENACENTISTA Y MANIERISTA
7.1. Introducción al Renacimiento.
7.2. El «Quattrocento» italiano. Arquitectura: Brunelleschi y Alberti. Escultura: Donatello y Ghiberti. Pintura: Fra Angélico, Masaccio, Piero della Francesca y Botticelli.
Esta pregunta ha aparecido en cuatro propuestas, empleándose este enunciado:
- La escultura del Quattrocento italiano: Donatello y Ghiberti.
7.3. El «Cinquecento» y la crisis del Manierismo en Italia. Arquitectura: Bramante, Miguel Ángel y Palladio. Escultura: Miguel Ángel. Pintura: Leonardo, Rafael y Miguel Ángel. La escuela veneciana: Tiziano.
Esta pregunta ha aparecido en siete propuestas, empleándose estos enunciados:
- Escultura del Cinquecento italiano: Miguel Ángel (5).
- La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel (2).
7.4. España. Arquitectura: del Plateresco al Escorial. Escultura: los primeros imagineros: Berruguete y Juni. Pintura: El Greco.
Esta pregunta ha aparecido en cuatro propuestas, empleándose estos enunciados:
- La arquitectura renacentista española: del Plateresco al Escorial (3).
- La pintura del Renacimiento en España: el Greco (1).
8.ARTE BARROCO
8.1. La arquitectura en Italia y Francia. Las plantas alabeadas de Bernini y Borromini. El palacio clasicista francés: Versalles.
8.2. Escultura en Italia: Bernini.
Esta pregunta ha aparecido en siete propuestas.
8.3. Pintura en Italia. El naturalismo y los problemas de la luz: Caravaggio. El clasicismo en los frescos de los Carracci.
Esta pregunta ha aparecido en dos propuestas, empleándose estos enunciados:
- El naturalismo y los problemas de la luz: Caravaggio.
- La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.
8.4. La pintura en Flandes y en Holanda: Rubens y Rembrandt.
Esta pregunta ha aparecido en cuatro propuestas.
8.5. La arquitectura barroca española. El urbanismo: la Plaza mayor.
Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:
- La arquitectura barroca española.
8.6. La gran imaginería: Andalucía, Castilla y Murcia.
Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:
- La gran imaginería barroca: Andalucía.
8.7. La pintura barroca. El naturalismo tenebrista: Ribera y Zurbarán. Realismo Barroco: Velázquez y Murillo.
Esta pregunta ha aparecido en dos propuestas.
9.ARTE NEOCLÁSICO
9.1. Características generales del Neoclasicismo. Las Academias.
9.2. Arquitectura: Juan de Villanueva. Escultura: Canova. Pintura: David.
Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:
- El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David.
10.EL SIGLO XIX: EL ARTE DE UN MUNDO EN TRANSFORMACIÓN
10.1. Francisco de Goya.
Esta pregunta ha aparecido en diez propuestas.
10.2. Introducción. Romanticismo: Delacroix. Realismo: Courbet.
10.3. Arquitectura. Historicismos. Edificios de hierro y cristal. El Modernismo.
Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:
- Arquitectura del XIX: El Modernismo.
10.4. Impresionismo: Monet, Renoir y Degas. Las esculturas de Rodin.
Esta pregunta ha aparecido en diez propuestas, empleándose estos enunciados:
- El impresionismo: Monet, Renoir, Degas.
- Las esculturas de Rodin.
10.5. Postimpresionismo: Cézanne, Gauguin y Van Gogh.
Esta pregunta ha aparecido en tres propuestas.
11.LA RUPTURA DE LA TRADICIÓN: EL ARTE EN LA PRIMERA MITAD DEL SIGLO XX
11.1. Escultura: innovaciones en materiales y técnicas.
Esta pregunta ha aparecido en dos propuestas.
11.2. La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.
Esta pregunta ha aparecido en cinco propuestas, empleándose estos enunciados:
- La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier (1).
- La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright (4).
11.3. La pintura. Las vanguardias históricas: Fauvismo, Cubismo, Expresionismo alemán, Dadaísmo y Surrealismo.
Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:
- Las vanguardias históricas: Cubismo y Surrealismo.
12.LA UNIVERSALIZACIÓN DEL ARTE DESDE LA SEGUNDA MITAD DEL SIGLO XX.
12.1. La arquitectura al margen del «Estilo Internacional»: Posmodernidad, High-tech y Deconstructivismo.
Esta pregunta ha aparecido en una propuesta.
12.2. El minimalismo en la escultura.
12.3. El movimiento abstracto y sus tendencias pictóricas: el Expresionismo abstracto norteamericano, el Informalismo europeo y la Abstracción geométrica.
12.4. Las principales corrientes figurativas: Pop Art, «Nueva Figuración» e Hiperrealismo.
Como esta ordenación puede resultar confusa, adjuntamos una versión simplificada. Recordamos que algunas preguntas aparecen en las pruebas con enunciados reducidos pero distintos, refiriéndose uno a una disciplina artística y otro a otra, o bien a artistas diferentes. En estos casos se recopilarán como cuestiones distintas en esta recopilación.
1.ARTE GRIEGO
- El templo griego: El Partenón.
- Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias.
2.ARTE ROMANO
- La escultura romana. El retrato y el relieve histórico.
3.ARTE PALEOCRISTIANO Y BIZANTINO
- Los edificios bizantinos y la cúpula: Santa Sofía.
4.ARTE HISPANO – MUSULMÁN
- Arte califal: la mezquita de Córdoba. Medina Azahara.
- El arte nazarí: La Alhambra y el Generalife.
5.ARTE ROMÁNICO
- La iglesia de peregrinación y el monasterio románico.
- La escultura románica.
- La escultura y la pintura románicas.
6.ARTE GÓTICO
- El arte gótico: la catedral y los edificios civiles.
- La escultura gótica: portadas y retablos.
- La pintura italiana del Trecento: Florencia y Siena.
- Los primitivos flamencos del siglo XV: los Van Eyck.
7.ARTE RENACENTISTA Y MANIERISTA
- La escultura del Quattrocento italiano: Donatello y Ghiberti.
- Escultura del Cinquecento italiano: Miguel Ángel.
- La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel.
- La arquitectura renacentista española: del Plateresco al Escorial.
- La pintura del Renacimiento en España: el Greco.
8.ARTE BARROCO
- La escultura barroca en Italia: Bernini.
- El naturalismo y los problemas de la luz: Caravaggio.
- La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.
- La pintura en Flandes y en Holanda: Rubens y Rembrandt.
- La pintura barroca española. Realismo: Velázquez y Murillo.
- La arquitectura barroca española.
- La gran imaginería barroca: Andalucía
9.ARTE NEOCLÁSICO
- El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David.
10.EL SIGLO XIX: EL ARTE DE UN MUNDO EN TRANSFORMACIÓN
- Francisco de Goya.
- Arquitectura del XIX: El Modernismo.
- El impresionismo: Monet, Renoir, Degas.
- Las esculturas de Rodin.
- Postimpresionismo: Cézanne, Gauguin y Van Gogh.
11.LA RUPTURA DE LA TRADICIÓN: EL ARTE EN LA PRIMERA MITAD DEL SIGLO XX
- Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas.
- La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.
- La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier.
- Las vanguardias históricas: Cubismo y Surrealismo.
12.LA UNIVERSALIZACIÓN DEL ARTE DESDE LA SEGUNDA MITAD DEL SIGLO XX.
-La arquitectura al margen del estilo internacional: posmodernidad, high-tech y deconstructivismo.
La misma enumeración, pero desprovista de los epígrafes del temario, quedaría así:
1.El templo griego: El Partenón.
2.Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias.
3.La escultura romana. El retrato y el relieve histórico.
4.Los edificios bizantinos y la cúpula: Santa Sofía.
5.Arte califal: la mezquita de Córdoba. Medina Azahara.
6.El arte nazarí: La Alhambra y el Generalife.
7.La iglesia de peregrinación y el monasterio románico.
8.La escultura románica.
9.La escultura y la pintura románicas.
10.El arte gótico: la catedral y los edificios civiles.
11.La escultura gótica: portadas y retablos.
12.La pintura italiana del Trecento: Florencia y Siena.
13.Los primitivos flamencos del siglo XV: los Van Eyck.
14.La escultura del Quattrocento italiano: Donatello y Ghiberti.
15.Escultura del Cinquecento italiano: Miguel Ángel.
16.La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel.
17.La arquitectura renacentista española: del Plateresco al Escorial.
18.La pintura del Renacimiento en España: el Greco.
19.La escultura barroca en Italia: Bernini.
20.El naturalismo y los problemas de la luz: Caravaggio.
21.La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.
22.La pintura en Flandes y en Holanda: Rubens y Rembrandt.
23.La arquitectura barroca española.
24.La gran imaginería barroca: Andalucía.
25.La pintura barroca española. Realismo: Velázquez y Murillo.
26.El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David.
27.Francisco de Goya.
28.Arquitectura del XIX: El Modernismo.
29.El impresionismo: Monet, Renoir, Degas.
30.Las esculturas de Rodin.
31.Postimpresionismo: Cézanne, Gauguin y Van Gogh.
32.Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas.
33.La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier.
34.La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.
35.Las vanguardias históricas: Cubismo y Surrealismo.
36.La arquitectura al margen del estilo internacional: posmodernidad, high-tech y deconstructivismo.
Si ordenamos las preguntas aparecidas en las propuestas y ejemplos de pruebas del actual modelo de examen por número de apariciones (que va entre paréntesis) el escalafón sería el siguiente:
1. Francisco de Goya (10).
2. El impresionismo: Monet, Renoir, Degas (9).
3. La escultura barroca en Italia: Bernini (7).
4. El arte nazarí: La Alhambra y el Generalife (5).
5. Los edificios bizantinos y la cúpula: Santa Sofía (5).
6. Escultura del Cinquecento italiano: Miguel Ángel (5).
7. La escultura romana. El retrato y el relieve histórico (4).
8. La escultura y la pintura románicas (4).
9. El arte gótico: la catedral y los edificios civiles (4).
10. La escultura gótica: portadas y retablos (4).
11. Los primitivos flamencos del siglo XV: los Van Eyck (4).
12. La escultura del Quattrocento italiano: Donatello y Ghiberti (4).
13. La pintura en Flandes y en Holanda: Rubens y Rembrandt (4).
14. La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright (4).
15. La arquitectura renacentista española: del Plateresco al Escorial (3).
16. Postimpresionismo: Cézanne, Gauguin y Van Gogh (3).
17. El templo griego: El Partenón (2).
18. La pintura italiana del Trecento: Florencia y Siena (2).
19. La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel (2).
20. La pintura barroca española. Realismo: Velázquez y Murillo (2).
21. Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas (2).
22. Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias (1).
23. Arte califal: la mezquita de Córdoba. Medina Azahara (1).
24. La iglesia de peregrinación y el monasterio románico (1).
25. La escultura románica (1).
26. La pintura del Renacimiento en España: el Greco (1).
27. El naturalismo y los problemas de la luz: Caravaggio (1).
28. La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci (1).
29. La arquitectura barroca española (1).
30. La gran imaginería barroca: Andalucía (1).
31. El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David (1).
32. Arquitectura del XIX: El Modernismo (1).
33. Las esculturas de Rodin (1).
34. La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier (1).
35. Las vanguardias históricas: Cubismo y Surrealismo (1).
36. La arquitectura al margen del estilo internacional: posmodernidad, high-tech y deconstructivismo (1).
Recordamos que los contenidos de las preguntas que lideran esta recopilación (Goya, los impresionistas, la escultura berninesca) también ocupan un lugar destacado en el ranking de obras de arte, por lo que el alumno que se presente a las pruebas deberá otorgarle una atención preferente. Pero seguidamente nos encontramos con la cuestión de la arquitectura bizantina que no ha figurado en ninguna de las pruebas de 2020 y es que, repetimos, este listado no debe contemplarse como un cálculo de las probabilidades de la aparición en los exámenes de cada imagen. Recordamos que cuenta todas las propuestas, y una propuesta es, realmente, un examen no realizado o un proyecto de examen. Si realizamos un listado de las preguntas que han aparecido en los exámenes titulares de las convocatorias ordinaria y extraordinaria, el panorama se revela bastante distinto:
1.La escultura romana. El retrato y el relieve histórico.
2.Los edificios bizantinos y la cúpula: Santa Sofía.
3.El arte nazarí: La Alhambra y el Generalife.
4.La iglesia de peregrinación y el monasterio románico.
5.La escultura y la pintura románicas.
6.El arte gótico: la catedral y los edificios civiles.
7.Los primitivos flamencos del siglo XV: los Van Eyck.
8.La escultura del Quattrocento italiano: Donatello y Ghiberti.
9.Escultura del Cinquecento italiano: Miguel Ángel.
10.La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel.
11.La escultura barroca en Italia: Bernini.
12.La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.
13.La pintura en Flandes y en Holanda: Rubens y Rembrandt.
14.La pintura barroca española. Realismo: Velázquez y Murillo.
15.Francisco de Goya.
16.El impresionismo: Monet, Renoir, Degas.
17.Postimpresionismo: Cézanne, Gauguin y Van Gogh.
18.Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas.
19.La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.
20.Las vanguardias históricas: Cubismo y Surrealismo.
Estas veinte preguntas pueden servir como una selección del temario apta como preparatorio para selectividad. Y si ordenamos esta selección de cuestiones por el número de apariciones (que va entre paréntesis) en los exámenes titulares el ranking muestra enormes diferencias con el escalafón anterior (el que incluía todas las propuestas):
1.La escultura romana. El retrato y el relieve histórico (3).
2.Los primitivos flamencos del siglo XV: los Van Eyck (3).
3.La escultura barroca en Italia: Bernini (3).
4.Los edificios bizantinos y la cúpula: Santa Sofía (2).
5.El arte nazarí: La Alhambra y el Generalife (1).
6.La iglesia de peregrinación y el monasterio románico (1).
7.La escultura y la pintura románicas (1).
8.El arte gótico: la catedral y los edificios civiles (1).
9.La escultura del Quattrocento italiano: Donatello y Ghiberti (1).
10.Escultura del Cinquecento italiano: Miguel Ángel (1).
11.La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel (1).
12.La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci (1).
13.La pintura en Flandes y en Holanda: Rubens y Rembrandt (1).
14.La pintura barroca española. Realismo: Velázquez y Murillo (1).
15.Francisco de Goya (1).
16.El impresionismo: Monet, Renoir, Degas (1).
17.Postimpresionismo: Cézanne, Gauguin y Van Gogh (1).
18.Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas (1).
19.La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright (1).
20.Las vanguardias históricas: Cubismo y Surrealismo (1).
Para las pruebas de 2021 no esperamos cambios sustanciales a todo lo expuesto. Calculamos que las preguntas y las imágenes nuevas que se incorporen no superarán los cinco o seis casos, teniendo en cuenta la tendencia decreciente que se observa en las novedades. No debemos olvidar que la pandemia sigue afectando a nuestros centros escolares, y aunque no sea con la gravedad del curso anterior, sus efectos resultan bastante adversos. Esta circunstancia puede traducirse en la selección de contenidos más asequibles para el alumno y en un aumento de las repeticiones de los contenidos, o, al menos, el mantenimiento de su elevada frecuencia.
Estas son nuestras previsiones, pero son eso, previsiones, no certezas. En palabras de Michael Crichton «No podemos evaluar el futuro, ni podemos predecirlo. Estos son eufemismos. Solo podemos hacer suposiciones. Una suposición bien fundada sigue siendo solo una suposición.»
________________________________________________
La obra que hemos escogido como encabezamiento es Exposición de bellas artes en Varsovia en 1828. Su autor es el polaco Wincenty Kasprzycki quien la concluye en ese mismo año. Se trata de un óleo pintado sobre lienzo que mide 111 x 94,5 centímetros. Se conserva en el Museo Nacional de Varsovia.
La imagen y los datos sobre ella proceden de la siguiente página:
artsandculture.google.com/asset/fine-art-exhibition-in-wa...
Disney 100 Years of Magic box set
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
122. The tigger movie
123. Tom and jerry volume 1
124. Tom and jerry volume 2
125. Tom and jerry volume 3
126. Tom and jerry volume 4
127. Tom and jerry volume 5
128. Tom and jerry volume 6
129. Tom and jerry volume 7
130. Tom and jerry volume 8
131. Tom and jerry volume 9
132. Tom and jerry volume 10
133. Tarzan Planet
134. Piglet's Big Movie
135. Make Mine Music
136. Melody Time
137. Homeward Bound: The Incredible Journey
138. Homeward BoundⅡ: Lost in San Frabcisco
139. A Goofy Movie
140. Belle's Magical World
141. Buzz Lightyear of Star Command: The adventure Begins
142. Iver & Company
143. Magic English 1
144. Magic English 2
145. Magic English 3
146. Magic English 4
147. Magic English 5
148. Magic English 6
149. Magic English 7
150. Magic English 8
151. Disney princess stories: A Gift From The Heart
152. Disney princess stories: Tale of Friendship
153. Kim Possible: So The Drama
154. The Fox And The Hound 2
155. Micky Mouse Clubhouse: Micky's Treat
156. Micky Mouse Clubhouse: Micky's Storybook Surprise
157. Walt Disney Treasures: The Complete Pluto vol. 1
158. Walt Disney Treasures: The Complete Pluto vol. 2
159. My Friends Tigger & Pooh's Friendly Tails
160. The Little Mermaid. Ariel's Beginning
161. My Friends Tigger and Pooh: Hundred Acre Wood Haunt
162. Tinker Bell
163. Wall. E
164. Jasmines Enchanted Tales
From the Watchmen production blog entry "That's a wrap!" on the official Watchmen movie site.
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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.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Built for Peppermint Mecha's NinjaGO Polybag contest on Eurobricks: www.eurobricks.com/forum/index.php?/forums/topic/171558-p... ~~~
My entry is a NinjaGO-fied version of Olivia's Remote Control Boat (30403): heartlaketimes.blogspot.com/2018/05/review-30403-olivias-... :-)
The Celebrated Jumping Frog of Calaveras County by Mark Twain is an excellent short story. Here are two websites that have copies.
Contact me here: butchpetty.com/contactus.html
This is a 1958 "Field & Stream" Travel Trailer ( canned ham ). This vintage style of camping trailers were referred to as "car trailers" back when they were being built because of their size, light weight and ease of towing. The cabin part of the trailer is 12' long, the tongue is 2' making the total length only 14'. It pulls beautifully going down the highway, no fish tailing at all. You can forget your pulling a trailer.
This trailer is 95% original, no modifications. This trailer has not been restored and I have only made a couple of small repairs. If you are looking for a great platform for making a complete restoration then this would be an absolutely great trailer for such a project.
The interior is all wood, top to bottom and front to back and it is all original wood. I have installed a self-contained 12 volt electrical system and it doesn't need 120 volt. Everything runs off of 12 volts. However all of the original 120 volt wiring is still in place and hasn't been touched, even the original 120v light fixtures are still in place. All of the cabinet hardware is still in place, working and original. All the hinges, handles, and everything is original. The original "icebox" and oven/stove are still in the camper and work great. It also has the original factory installed "Kenmore" cabin heater and it also works great.
When I got the trailer someone had changed the paint scheme so I re-painted it to the original design. The rear couch makes into a double bed. Above the rear couch it has a removable bunk bed/hammock that is original factory equipment also. The dinette also makes into a double bed. There is a lot of storage in the camper. It also has a 10 gallon fresh water tank with a manual hand pump.
The trailer also comes with 2 30 lb propane tanks, a new spare tire and wheel.
The following items are new in the past three months:
New Interior 12 volt light throughout the camper
New 240 watt solar panel
New "Sunforce" 12v, 30 amp charge controller
4 new "Everstart" 750 cold crank amp deep cell marine batteries
New "Cen-Tech" 1500 watt continuous , 3000 surge 120v power inverter (for microwave, etc.)
New Rival 700 watt microwave
New manual water pump for sink
New Shakespeare SeaWatch 15" Marine TV Antenna (model 3015)
Toshiba 17' Flat Screen TV
All new blinds on the windows
New roof top vent
This is one great little camper. I bought it for hunting plus the nostalgia. It was used this past hunting season and worked great. However with four adult men it was a little cramped. So I plan to up size for next year. I pulled it off road in BLM land in Teller County and down in the Phantom Canyon area and had no problems at all.
Because this trailer is extremely rare there are not many sources of photos to be had but you can follow the link below to another "Field & Stream" trailer. As you can see the interiors are very similar as it is all original like mine: girlcamper.blogspot.com/2015_07_01_archive.html
(Update) You can see a video of the interior of my camper here: youtu.be/NA1VfPU8Sd8
Now the best part last: YES, I DO HAVE A CLEAN CLEAR TITLE IN HAND, AND CURRENT REGISTRATION ALSO. So unlike most trailers you see of this vintage you will not have a problem with registration and it will be registered as a "Field and Stream" not a home-made trailer as is usually the case with trailers bought without a title.
If you have questions please ask. I am asking $5000.00 cash, make offer, no trades. I will sell it to the first person who makes me an agreeable offer with CASH ONLY. I will consider local delivery after the cash transaction.
Aircraft jet engine at the Paris Air Show 2007.
You can find an article about this picture on my aviation blog : aeroplanedream.blogspot.com/2008/09/jet-engines-complexit...
traveladventureeverywhere.blogspot.com/2020/08/holy-mosco...
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ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
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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
el.kingdomsalvation.org/videos/praise-Almighty-God-mv.html
η αγάπη του θεού
Χριστιανικά τραγούδια | Όλα τα έθνη και όλοι οι λαοί υμνήστε τον Παντοδύναμο Θεό
Όλα τα έθνη και όλοι οι λαοί υμνήστε τον Παντοδύναμο Θεό
Ο Θεός ενσαρκώθηκε ως Παντοδύναμος Θεός, εκφράζοντας την αλήθεια για να κρίνει και να εξαγνίσει τον άνθρωπο.
Τώρα ο Θεός νίκησε τις δυνάμεις του Σατανά, κυριάρχησε και κέρδισε μια ομάδα ανθρώπων.
Υμνήστε τον Θεό, τον παντοδύναμο και σοφό, νίκησε τον Σατανά.
Υμνήστε τον Θεό, η δίκαια διάθεσή Του αποκαλύφθηκε πλήρως.
Ας υμνήσουμε τον Παντοδύναμο Θεό, τον αξιαγάπητο πρακτικό Θεό.
Υμνούμε τον Θεό, ταπεινό και κρυμμένο, είναι τόσο αξιαγάπητος!
Σε υμνούμε, Παντοδύναμε Θεέ (υμνούμε τον Θεό)! Όλοι ερχόμαστε για να Σε υμνήσουμε (να Σε υμνήσουμε)!
Σε υμνούμε, Παντοδύναμε Θεέ! Όλοι ερχόμαστε για να Σε υμνήσουμε!
Όλες οι χώρες υμνούν τον Παντοδύναμο Θεό, όλα τα έθνη κι οι λαοί υμνούν τον Παντοδύναμο Θεό.
Τραγουδήστε, χορέψτε χαρούμενα για να υμνήσετε τον Παντοδύναμο Θεό. Τα κύματα στη θάλασσα υμνούν τον Παντοδύναμο Θεό.
Τα πουλιά στον αέρα υμνούν τον Παντοδύναμο Θεό. Το σύμπαν υμνεί τον Παντοδύναμο Θεό.
Όλα τα δημιουργήματά Του υμνούν τον Παντοδύναμο Θεό.
Σε υμνούμε, Παντοδύναμε Θεέ! Όλοι ερχόμαστε για να Σε υμνήσουμε!
Όλα τα έθνη κι όλοι οι λαοί Σε υμνούν!
Σε υμνούμε, Παντοδύναμε Θεέ! (Σε υμνούμε, Παντοδύναμε Θεέ!)
Όλοι ερχόμαστε για να Σε υμνήσουμε! (Όλοι ερχόμαστε για να Σε υμνήσουμε!)
Όλα τα έθνη κι όλοι οι λαοί Σε υμνούν!
Σε υμνούμε (Σε υμνούμε)! Σε υμνούμε Παντοδύναμε Θεέ!
από το βιβλίο «Ακολουθήστε τον Αμνό και τραγουδήστε νέα τραγούδια»
Γεια σας!
Νεαροί αδερφοί και αδερφές, επιτρέψτε μου να σας κάνω μια ερώτηση.
Πώς ξέρατε να πιστέψετε στον Παντοδύναμο Θεό, ενώ είστε τόσο νέοι;
Ο μπαμπάς κι η μαμά μου έχουν γευτεί την ευχαρίστηση της πίστης στον Θεό,
κι έτσι με έφεραν μπροστά στον Παντοδύναμο Θεό, κι είμαι κι εγώ πολύ χαρούμενη.
Ναι, όταν δεν πίστευα στον Θεό,
μόνο έβλεπα τηλεόραση μετά το σχολείο κι έπαιζα με το κινητό μου, κι έπαθα μυωπία.
Αφότου πίστεψα στον Θεό με τον μπαμπά και τη μαμά μου,
τραγουδάω και χορεύω για να υμνήσω τον Θεό με τα μικρότερα αδέρφια μου και νιώθω πολύ χαρούμενος.
Και ο μπαμπάς και η μαμά μου είναι καθησυχασμένοι.
Κι εγώ! Κι εγώ!
Πολλοί απ’ τους συμμαθητές μου είναι εθισμένοι στα διαδικτυακά παιχνίδια, στους τσακωμούς και στο να ακολουθούν διασημότητες,
χωρίς να ξέρουν πώς να έχουν καλή σχέση με τους γονείς τους.
Αλλά εγώ διαφέρω από αυτούς.
Από τότε που πίστεψα στον Θεό και διάβασα τον λόγο Του,
δόξα τω Θεώ, με έχει κρατήσει μακριά απ’ τα κακά πράγματα στην κοινωνία,
και περπατώ στο σωστό μονοπάτι στη ζωή.
Πραγματικά!
Αφότου πίστεψα στον Θεό, συναντιόμαστε κάθε Σαββατοκύριακο για να διαβάσουμε τον λόγο του Θεού και να Τον υμνήσουμε.
Ο μπαμπάς κι η μαμά μου δεν χρειάζεται να ανησυχούν πια μήπως γίνω κακός.
Οι γονείς μας, μας δίνουν μεγάλη υποστήριξη στην πίστη μας στον Θεό.
Φοβόντουσαν ότι αν δεν πιστεύαμε στον Θεό,
θα μας επηρέαζαν τα κακά πράγματα στον κόσμο.
Αλλά τώρα μπορούν να μείνουν ήσυχοι!
Ευχαριστούμε τον Παντοδύναμο Θεό!
Ευχαριστούμε τον Παντοδύναμο Θεό!
από το βιβλίο «Ακολουθήστε τον Αμνό και τραγουδήστε νέα τραγούδια»
Εκκλησιαστικοί ύμνοι
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
"Marcel Duchamp en passant Mark Kostabi (Swindle of the Century)" 2002
by Mark Kostabi
Oil on canvas
www.francisnaumann.com/EXHIBITIONS/DuchampChess/index.html
“Marcel Duchamp: The Art of Chess” is the first exhibition devoted to exploring the influence of Duchamp’s activities as a chess player on his artistic production. It debuted at the St. Louis University Museum of Art (May 6 – August 16, 2009), and the present gallery exhibition is an expanded version of that show. It will open at Francis M. Naumann Fine Art on September 10, 2009 (and run through October 31, 2009).
The exhibition features the magnificent early cubist drawing Study for Portrait of Chess Players (1911), which renders Duchamp’s two brothers—Raymond Duchamp-Villon and Jacques Villon—intently engaged in a game of chess; a large central “X” in the center of the composition represents the precise point where their minds meet, a cerebral focus common to much of Duchamp’s subsequent production. Among the highlights of the show will be an example of the readymade Trébuchet (1917/64), the coat rack that visitors to Duchamp’s studio were expected to trip over (the chess equivalent of a gambit offered in the opening of a game); the Nice chess poster (1925); regular and deluxe examples of his book on endgame strategy (1932); the Pocket Chess Set (1943); and Cupid (1943), a recently discovered original drawing for the announcement of a show at the Julien Levy Gallery (in which Duchamp seems to have embedded a hidden message). A number of photographs of Duchamp either playing chess or seated before a chessboard will also be displayed. A signed, limited edition photograph by Arnold Rosenberg of Marcel Duchamp moving chess pieces behind glass (1958) was issued to commemorate this exhibition.
Also included in the show will be works by a number of Duchamp’s contemporaries—Man Ray, Georges de Zayas, Max Ernst, Salvador Dalí, Leon Kelly, Beatrice Wood, Arman and Sarah Austin—that relate to Duchamp’s involvement with the game of chess, as well as a selection of works by contemporary artists—Charles Juhàsz Alvardo, Mike Bidlo, Donald Bradford, Russell Connor, Ingrid Evans, Mark Kostabi, Sophie Matisse, Daniel Meirom, James Meyer, Trong Gia Nguyen, Yoko Ono, Jennifer Shahade, Diana Thater, Douglas Vogel—some of whom have made works specially for inclusion in this show.
Accompanying the exhibition will be Marcel Duchamp: The Art of Chess, a book featuring essays by Francis M. Naumann and Bradley Bailey, both of which demonstrate that Duchamp’s identity as a chess player is so thoroughly interfused with his work as an artist that the two activities are aesthetically and conceptually inseparable. The book also includes the analyses of fifteen Duchamp games by Jennifer Shahade (two-time American Women’s Chess Champion). These games will be reenacted in the exhibition on a video monitor, on which visitors will be able to view the movement of the pieces, all laid out in the format of Duchamp’s Pocket Chess Set of 1943.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
профнастил цена на sotdel.ru/profnastil.html #Профнастил #sotdel кровельный, стеновой, несущий от производителя Профилированные листы (профнастил) — это облицовочный материал, изготавливающийся из оцинкованной стали как без какого-либо покрытия, так и с разнообразными полимерными покрытиями, которые придают материалу различные оттенки. Внешне профнастил имеет вид гофрированных металлических листов с волнистой или трапециевидной формой. Этот материал отлично подходит как для быстровозводимых зданий, так и для промышленного строительства. Но прежде, чем приобретать материал и монтировать его, необходимо произвести расчет кровли из профнастила. Области применения обусловлены тем, что производство оцинкованного профлиста обходится сравнительно дешево, соответственно и цена на него при продаже невысока - купить металлический профиль можно действительно недорого. Указанное деление по высоте профиля носит рекомендательный характер и в каждом конкретном случае марка материала выбирается исходя из необходимости решения определенной задачи. Цена на профнастил с полимерным покрытием выше, однако благодаря широкой цветовой гамме и привлекательному внешнему виду именно крашеный металлопрофиль отлично подходит для строительства заборов вокруг индивидуальных жилых домов, для ограждения территорий предприятий и организаций различных форм собственности, устройства кровель, изготовления сэндвич панелей. Сегодня наиболее распространенными полимерными декоративными покрытиями являются полиэстер, AGNETA, PRISMA, CLOUDY, ECOSTEEL, PVDF, VIKING, пластизол (ими же покрывается и другой популярный в современном строительстве материал — металлическая черепица). Каждое из них обладает определенным набором преимуществ, которые и обуславливают их использование для тех или иных целей. Так, профлист с покрытием из полиэстера хорошо выдерживает нагрев до 1200С и не боится жесткого ультрафиолетового излучения, что делает его пригодным для устройства кровель даже в районах с большим количеством солнечных дней. Монтаж кровли из профнастила www.facebook.com/Sotdel/photos/a.1094493913917449.1073741...
Продажа стройматериалов для внешней и внутренней отделки. Прайс-листы. Возможность онлайн-заказа продукции. Сведения о скидках и акциях.
Сухие смеси для ремонта www.sotdel.ru/suhie-stroitelnye-smesi/
Кухонный фартук www.sotdel.ru/fartuk-dlya-kuhni.html
Пиломатериалы для дома www.sotdel.ru/fartuk-dlya-kuhni.html
Кровельные материалы www.sotdel.ru/krovelnye_materialy.html
Москва ул. Верхние Поля, 48а
пн–пт 09:00–18:00; сб 09:00–15:00
+7 (495) 258-62-08
This is the sign as you enter the Phoenix Mountains Preserve at Piestewa Peak. This city park used to be called Squaw Peak before it was renamed for Lori Piestewa - a Hopi soldier killed in Iraq. phoenix.gov/PARKS/hikemain.html en.wikipedia.org/wiki/Phoenix_Mountains
I guess the new fees go into effect August 1.
הציירים הישראלים האמנים הישראליים האומנים העכשוויים היוצרים המודרניים המקוריים החדשניים
ראו בקישור מספר ציורים אורגינאלים והדפסים ענקיים שישנם והם למכירה בסטודיו
naiveartprints.blogspot.com/2021/11/blog-post.html
רפי פרץ
סטודיו רחוב התחייה 22 תל אביב
טלפון 0525543715
אימייל rafi@art4collector.com
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.ציורים עיצוב הבית סגנונות עיצובי פנים סגנון מודרני יוקרתי הום סטיילינג מעצבי הפנים העיצוב הישראלי המודרני היוקרתי תמונות לעיצוב הבית ציורים לסלון לחדר שינה למטבח לשירותים ציור בסלון בחדר השינה במטבח בשרותים אמנות ישראלית בבית אומנות הישראלית בבתים מעצבים לך את היצירה בדירה צירה חדשנית מקורית דירות חדשניות מקוריות יוקרתיות תמונות מותאמות לספה למיטה רעיונות בתכנון הסלון המטבח סלון משרד מטבח משרדים סלונים ספות יפות צבעוניות טקסטורות טיפ והדרכה בתיכנון צבע לקיר צבעים לקירות קיר בהיר קירות בהירים משטח ככה משטחים כהים חלל מינימליסטי חללים מינימליסטיים צבעים לבן שחור אדום כתום כחול תכלת סגול צהוב ירוק בצבעים לבנים שחורים אדומים כתומים כחולים סגולים צהובים ירוקים באדום בכתום בצהוב בירוק בכחול בסגול בשחור בלבן מדרגות מרחפות מדרגה מרחבת חדרי ילדים מבוגרים הורים תינוקות דקורציה של הבתים הום דקור תל אביב חיפה ירושלים באר שבע חולון בת יום ראשון לציור אשדוד גבעתיים רמת גן פתח תקווה הרצליה נתינה חיפוי לקיר חיפויים לקירות בריקים הקיר הלבן סגנונות של דירות כפרי עמוס דקורטיבי כפריים חלל גדול קטן חללים גדולים קטנים ארונות שידות ארון דישה שולחן שולחנות כיסא כיסאות חלון חלונות מנורה מנורות אביזר אביזרים לבית פרטי לבתים פרטיים גינה גינות בחוץ בפנים חוץ פנים חרב תחושה מרחב מרחבים צרו קשר צור קשרים בקישור הבא ליצירה הקשר המעצב הפרטים העיצוב הפרטי אישי אינטימי רומנטי אווירה רומנטית אווירה נקייה רפי פרץ צייר ישראלי אמן עכשווי מודרני ציירים ישראלים אמנים ישראליים אומנים עכשוויים מודרניים יוצרים חדשניים מקוריים אומנות ישראלית עכשווית מודרנית חדשנית מקורית אמן ישראלי עכשווי מודרני חדשני מקורי יוצר יצירות ישראליות עכשוויות מודרניות מקוריות חדשניות התמונה היפה התמונות היפות הציור המיוחד הציורים המיוחדים הצייר הישראלי העכשווי המודרני הישראלי האמן החדשני המקורי האמנים הישראליים העכשוויים המודרניים המקוריים החדשניים המעצבים
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ICEBERG www.mataderomadrid.org/ficha/1504/iceberg.html
Nave 16 (espacio de exposiciones)
Arquitectos: Alejandro Vírseda, José Ignacio Carnicero e Ignacio Vila Almazán, 2011
Un versátil espacio expositivo de más de cuatro mil metros cuadrados, capaz de acoger grandes proyectos multidisciplinares, cuya rehabilitación ha sido finalista de los premios FAD de arquitectura 2012. El espacio puede ser fácilmente dividido en módulos independientes separados por grandes paneles de acero y permitir así la programación de contenidos de forma simultánea: proyecciones, grandes exposiciones, conciertos, talleres de producción de obra, charlas, propuestas escénicas o actividades sociales. El proyecto transforma la nave en un gran espacio expositivo versátil y polivalente, que puede funcionar como la mayor sala de exposiciones, instalaciones o actividades de artes vivas de Madrid o como un conjunto de espacios independientes de menor tamaño (hasta 5 salas). Esta flexibilidad se logra mediante la introducción en los dos espacios de doble altura de unos recintos de puertas de dos alturas, concebidos como una gran instalación efímera que contrasta con el carácter tectónico e imperecedero de la envolvente arquitectónica de la nave. Estas puertas, que garantizan mediante sencillos giros la total polivalencia del espacio interior de la nave, dotan igualmente a los mismos de la versatilidad lumínica y ambiental requerida en cada uno de los espacios según las características de la actividad realizada (Las instalaciones del edificio también han sido sectorizadas para colaborar con esta versatilidad espacial). El material utilizado para realizar estas cajas de puertas es el acero, cuyo cromatismo contrasta con la superficie interior de los paramentos de la envolvente, caracterizándose así, de modo particular los dos espacios en doble altura de la nave. Cuando las puertas se abran los paramentos puros y herméticos de la caja oscura desaparecen, apareciendo la envolvente actual con su característica estructura de finos perfiles metálicos. El estrecho cuerpo adosado a la nave en su fachada hacia el río Manzanares alberga las dotaciones de servicio.
MATADERO MADRID - CENTRO DE CREACIÓN CONTEMPORÁNEA Antiguos Matadero y Mercado Municipal de Ganados
Pº de la Chopera, 2 a 14 C/V a Pza. de Legazpi 8, Vado de Santa Catalina y Av. del Manzanares. Madrid.
Actuación inicial: Luis Bellido González, arquitecto y José Eugenio Ribera Autaste, ingeniero. 1910 (Proyecto) 1910-1925 (Obras).
Matadero de aves y gallinas: Luis Bellido González y Francisco Javier Ferrero Llusiá: 1926 (Proyecto) 1932-1933 (Obras).
Acondicionamiento de la Casa del Reloj, Nave de Terneras y pabellones de acceso para Junta Municipal del Distrito de Arganzuela y salas culturales y deportivas: Rafael Fernández-Rañada Gándara: 1983 (Proyecto) 1983-1984 (Obras).
Rehabilitación de la “nave de patatas” para Invernadero-Palacio de Cristal, antiguo parque del matadero y consolidación estructural de naves del recinto sur: Guillermo Costa Pérez-Herrero: 1990 (Proyecto) 1990-1992 (Obras).
Adaptación de naves para sedes del Ballet Nacional y Compañía Nacional de Danza: Antonio Fernández-Alba y José Luis Castillo-Puche Figueira 1990 (Proyecto) 1993-1999 (Obras)
Vestíbulo y Espacio Intermediae. (nave 17c) Arquitectos Arturo Franco y Fabrice Van Teslaar en colaboración con el arquitecto de interiores Diego Castellanos 2006-07
Naves del Español (naves 10, 11 y 12) Arquitectos Emilio Esteras 2007-10 y Justo Benito 2009-10
Central de Diseño (nave 17) Arquitecto José Antonio García Roldán 2007
Taller y Oficina de Coordinación (parte de la nave 8) Arquitecto Arturo Franco 2010
Calle y Plaza Matadero Arquitectos Ginés Garrido, Carlos Rubio y Fernando Porras 2011
ESCARAVOX Andrés Jaque Arquitectos 2012
Depósito de especies y nuevo acceso por Legazpi. BCP Ingenieros -Luis Benito Olmeda y Francisco Calderón- con María Langarita y Víctor Navarro arquitectos. 2011
Nave 16 Arquitectos: Alejandro Vírseda, José Ignacio Carnicero e Ignacio Vila Almazán, 2011
Nave de Música (Nave 15) Arquitectos: María Langarita y Víctor Navarro, en colaboración con el diseñador mexicano Jerónimo Hagerman, 2011
Cineteca y Cantina Archivo Documenta (nave 17 c, d, e y f) Arquitectos: José María Churtichaga y Cayetana de la Quadra Salcedo 2011
Casa del Lector. Centro Internacional para la Investigación, el Desarrollo y la Difusión de la Lectura de la Fundación Germán Sánchez Ruipérez. (naves 13 y 14, 17b y tres crujías de la nave 17. Arquitecto Antón García Abril. Diseño gráfico y señalización: Alberto Corazón. Interiorismo Jesús Moreno y Asociados 2012
El arquitecto Joaquín Saldaña resulta ganador del concurso convocado por el Ayuntamiento de Madrid el año 1899 para la realización de los nuevos matadero y mercado municipal de ganados en la Dehesa de La Arganzuela, junto al Manzanares, si bien, finalmente las obras se realizan de acuerdo con el proyecto redactado en 1910 por Luis Bellido, arquitecto de propiedades del Ayuntamiento, con la colaboración de J. Eugenio Ribera, ingeniero de reconocido prestigio. El conjunto arquitectónico se compone de 48 edificios agrupados en cinco sectores de producción: dirección y administración, matadero, mercado de abastos, mercado de trabajo y sección sanitaria, cuenta además con viviendas para el personal y capilla; también de sistema de circulaciones y ferrocarril propios... una autentica ciudad laboral.
Sigue el sistema alemán de pabellones aislados, relacionados por medio de viales y presididos por un edificio administrativo, la "Casa del Reloj" situado sobre el eje principal de la composición. Por sus características arquitectónicas y por su escala es uno de los conjuntos edificados más significativos de Madrid. Se advierte en él una unidad estilística y constructiva derivada del uso racional en sus fábricas de tres materiales esenciales ladrillo, mampostería y cerámica, y una cuidadosa introducción de elementos metálicos en la estructura; además de otros aspectos significativos como el empleo de un lenguaje de inspiración neomudéjar muy atenuado, habitual en la arquitectura industrial de la época. El matadero de Madrid sirve de modelo para la construcción en España de este tipo de edificios.
Para el crítico González Amezqueta "Es un ejemplo de gran calidad de arquitectura industrial perfectamente insertado en los procedimientos del ladrillo, con derivaciones hacia el neomudéjar. La mecánica funcional de los procesos laborales no impide discretas acentuaciones ornamentales, ya que todo el proceso constructivo es estrictamente artesanal, con predominio de las técnicas fabricadas del ladrillo en las partes más acertadas".
En 1926, en zona próxima al Vado de Santa Catalina, proyecta Bellido el matadero de gallinas y aves, siendo realizadas las obras, entre 1932 y 1933, bajo la dirección de Francisco Javier Ferrero con la introducción de una clara y cuidada estructura de hormigón pionera en la ciudad y en la que reside uno de sus valores principales.
A partir de 1940 se llevan a cabo diferentes remodelaciones y ampliaciones, entre ellas la de la nave de patatas, el pabellón de autopsias y los abrevaderos.
En la década de 1980, perdida su función original, el Departamento de Conservación de Edificios del Ayuntamiento comienza la rehabilitación sistemática de los edificios del conjunto para su uso como contenedores de actividades culturales, sociales, deportivas y administrativas propias del Ayuntamiento; primero bajo la dirección de Rafael Fernández-Rañada, que acondiciona la Casa del Reloj para Junta Municipal del Distrito de Arganzuela y la nave de terneras para sala cultural y deportiva, y después, de Guillermo Costa que realiza el Palacio de Cristal (rehabilitación de la nave de patatas para invernadero) y el parque del matadero, con la colaboración del ingeniero, también municipal, M. Ángel Martínez Lucio.
Desde 1996 Costa continúa la consolidación estructural de fachadas y cubiertas de 7 naves del recinto sur, sin un uso predeterminado y en distintas fases, a la espera de la realización del proyecto para su adecuación a nuevas actividades de carácter cultural, comercial o de ocio. Finalmente, el conjunto edificado se incluye en el catálogo de bienes a conservar dentro del Plan General de Ordenación Urbana de 1997.
En el extremo norte parte de las antiguas naves de estabulación son cedidas al Instituto Nacional de Artes Escénicas y de la Música (INAEM) para establecer en ellas las sedes del Ballet Nacional de España y de la Compañía Nacional de Danza, según proyecto de Fernández Alba y Castillo-Puche, concluyéndose las obras de adaptación en 1999.
En 2005 se aprueba la modificación del Plan Especial de Intervención, Adecuación Arquitectónica y Control Urbanístico-Ambiental de Usos del recinto del antiguo matadero municipal, que incrementa el uso cultural hasta el 75% del total.
A partir de 2006 el Ayuntamiento se plantea rehabilitar en distintas fases, mediante proyectos derivados de concursos de arquitectura, este inmenso contenedor de casi 150.000 m2, para albergar multitud de eventos y encuentros, fomentando la creatividad de artistas de múltiples especialidades. El conjunto se convierte en un núcleo de actividad cultural que alberga las más importantes citas de la ciudad. Así, se inician actuaciones para convertir el recinto en centro de apoyo a la creación, en campo de experimentación de la nueva arquitectura, pero siguiendo los criterios de intervención del Plan Especial, que establece la preservación de la envolvente de las naves. La línea maestra que ha guiado las intervenciones es la reversibilidad, de modo que los edificios pueden ser fácilmente devueltos a su estado original. Las actuaciones mantienen expresamente las huellas del pasado para reforzar el carácter experimental de las nuevas instituciones que alojan. Se ha buscado el equilibrio entre el respeto máximo al espacio, y una dotación específica, que lo distinga, a través del uso limitado de materiales industriales directos y que, al mismo tiempo, dé servicio a los diferentes usos que pueda albergar.
En 2012, tras la visita del jurado de los premios FAD a Matadero Madrid, decidió reconocer la labor en conjunto de todos los arquitectos que han participado en el proceso de reforma. El fallo valora “tanto la actitud global de la propuesta, que apuesta de una forma valiente por la experimentación y el respeto a los espacios de libertad gestionados desde la sociedad civil, como la conceptualización del proyecto, desde su inicio en el 2007 con la rehabilitación del vestíbulo y el espacio Intermediae, hasta las recientes intervenciones de la Nave 16 y la Nave de Música finalistas en la presente edición de los Premios FAD”. Así mismo, el jurado destacó de Matadero Madrid “la inteligencia colectiva, la unidad que le viene inferida por la arquitectura industrial preexistente, y que con un mínimo de protagonismo exterior de las nuevas intervenciones, en el interior resuelve con rigor y autenticidad las diversas necesidades del extenso programa del centro, buscando no sólo mantener los espacios arquitectónicos y formas estructurales, sino también el carácter, la atmósfera y sobre todo el irrepetible paso del tiempo”.
Ese mismo año el Colegio Oficial de Arquitectos de Madrid otorgó uno de sus premios a las intervenciones en la Cineteca y Archivo Documenta, y en la Nave 16. Por último, destaca la interconexión de Matadero Madrid y Madrid Río mediante la urbanización de los espacios públicos -Calle y Plaza Matadero- por el mismo equipo de arquitectos -Ginés Garrido, Carlos Rubio y Fernando Porras- que proyectó Madrid Río. Está previsto además que dicha conexión, gracias a dos nuevos accesos, se amplíe entre diciembre de 2012 y julio de 2013. Madrid Río ha recibido, entre otros premios, el International Architecture Award 2012 del Chicago Athenaeum of Architecture and Design y el European Centre for Architecture Art Design and Urban Studies, el Premio de Diseño Urbano y Paisajismo Internacional otorgado por el Comité de Críticos de Arquitectura CICA, en el marco de la XIII Bienal de Buenos Aires; o el Premio FAD de Ciudad y Paisaje 2012, entre otros galardones.
be sure to view the comparison chart on Full Screen
OK. At first glimpse, this comparison might sound unfair. The D300, featuring a 12 MP sensor was released in 2007, while the D7100, featuring a 24 MP sensor was released almost 6 years later in 2013. Six years. That is a long time in the digital world.
PREFACE
But let's start from the beginning. I am, or at least was most of the time very happy with my D300 for more than 5 years now. The camera travelled from the darkest basements to far asian cities and islands. And I never considered it an option to give away my cam as it never failed, never let me in the dark, never disappointed me. After having the D40 for a year before going to the D300 I was learning to appreciate the straight and clean layout of the control elements on the D300. It is truly straightforward. Shooting modes (P,M,S,A), ISO, WB, Exposure, Aperture and many more important settings can be very easily accessed without ever going into the menu. Hold the specific settings button while clicking the exposure dial thru the option value range. Release the button and it is set. Thats it. This straight UX approach was another strong reason I was soo happy with that camera. Also with the quality of the camera, especially its built quality – full metal (magnesium alloy) body - and the haptic feeling I was always more than satisfied over those years. For the image quality I was also quite pleased. Except, that sometimes I felt a bit more resolution for cropping could have been in those situations where you once again had to hurry snapping a shot without fine adjusting of the frame. On other occasions I was feeling like wanting more High ISO with less noise to shoot in the dark by hand. But as both of those requests seemed like only having one answer, namely going to full-frame (FX-Format) I dismissed the idea of upgrading . I was more than often on a holiday in a situation were I was tired to carry around my bulky and heavy bag. Going to full frame would not have meant to spend much more money on lenses but also to carry around an even bulkier and more heavier bag than the one I am sick of right now. So on holiday you will see me often just with the camera hanging from my shoulder, having the 35mm f/1.8 on and thats it. I highly appreciate the ability to move virtuously. Without moving, there is not much different scenes you are going to take in a day. And if you don't have a car with you or someone who is happy to carry your equipment (tripod, bag, umbrellas … what else do you need?) you really don’t feel like moving that much while taking all that material with you.
I remember also one of my close friends wanting me to convert to Canon, but this was also never an option for me. Not only having to switch a whole system of lenses, flashes and accessories, but I was and I am appreciating the nature of Nikon products in all ways a lot. Canon cameras often come out with newer features (Full-Frame-Sensors, Video, ...) or higher image quality more soon than Nikon ones. But to me they never felt that solid holding them in my hands as the Nikon cameras. I had Canon Cameras in my hand which cost more than double of the D300, but they always feel like cheap plastic to me. They never feel that solid as I would spend that much money on them. I also have some recent models of premium cars in my mind where manufacturers really failed in interior materials for +100k USD cars. I never would going to buy those – even I had the money - as they have cheap plastic buttons on the command panel, despite of being highly awarded by the so called independent specialized press.
COMMON FEATURES
OK. Lets first take a look, not at the differences of those both cameras. Let's take a look of what they have in common. Both are Nikon F-Mount DSLRs with a DX-Sensor (crop factor 1.3x). Both have the four basic important shooting modes – P, M, S, A. Both have an HDMI output on the left and a LCD on top. And the D7100 has at least a body which is partially made of magnesium alloy. Both have a 100 % viewfinder (0.94x). Both can shoot 14-bit NEF's, and both are featuring a 51-point AF sensor and an AF-motor, so non AF-S lenses will have AF function on both cams as well. Both can be equipped with a battery grip, and if you take a look at the menus you'll also find both cameras having extensive settings options which is almost the same huge feature list once more. And interestingly the D300s (the video enabled succeeder of the D300) is available at almost the same price right now as the D7100 is.
VIDEO
Let's just assume for a second that the only feature I am missing on my D300 is the video. Especially on holiday there is always something funny happening you want to take a video of, but often that is not in ideal light conditions. Smartphones just miss up taking videos in dim light and they don't have any optical zoom. So for taking just a little bit serious video it might be a good feature to have on the camera. But for buying a new camera with new money the step from to the D300s is just not far enough for me. It does not feature 1080p or 30fps video recording. And compared to the D300 there is just not more in the box finally than the video.
When spending money on a new camera you want to have more than just one feature. I never thought before that I am going to leave this super straight and solid prosumer Nikon line – not in favour for a less-pro product line. But as it turns out, the D7100 has much more image detail and quality offering in a package which is even lighter and more easy to carry than my old D300 and it is giving me 1080p video, while spending even a little less than for the D300s without missing all those detailed menu settings and major features. That's it. Said like this, it sounds very simple.
DIFFERENCES
Finally, I want to point out, which features you might be missing in case you are going for that same “upgrade” as me, or which features you might gain.
D300 havs, D7100 don't havs - flash sync plug (the old round one) - round 10 pin cable socket for remote cable shutter release and the older style GPS modules - display cover (protects your display from scratches) - straightforward controls - CF card slot (big cards, easy to grab, but be careful with the pins) - manual pop up flash (it never fires unless you release it first, no matter which program – that makes you look more smart than those people who are taking photos in the night of far objects (like skylines) or shooting thru windows with accidently firing the flash ;) - more solid body - bigger top LCD - bigger body more easy to grab (but also more heavy) - high shooting rate of up to 6/8 shots per second (8 only with battery grip or sw tweak***) - big buffer space (will enable you continues shooting of up to 18 RAWs (12-bit) at 6 FPS with fast cards) - LCD screen features more realistic tones and colors - in camera preview is of higher quality
D7100 havs, D300 don't havs - 24 MP sensor - Video recording - SD cards (hell are these small!) - DUAL SD card slots (second one can be set to JPG, backup or overflow) - IR sensor (for triggering the shutter) - many shooting scene modes (your friends who are not into photography might be able to take photos as well) - flash pop up is controlled by software now (to disable the flash, be sure to choose the right settings first) - shooting rate at 6 shots per second also for 14-bit NEFs (3 on the D300), but as of the - limited buffer space the burst rate drops dramatically (under 3 fps depending on your card) after 5 or 6 takes. - support for newer style GPS receivers and the Wifi-Adapter - LCD screen features adjustable backlight - HDMI-C socket (HDMI-A-Cables need an adapter)
That is not a comprehensive list, but the biggest differences I have encountered so far.
LOW PASS FILTER
Finally one last stop at the so called “low-pass-filter”. I have read on many sources on the web that there is “no significant difference” in picture detail by removing the low-pass-filter. I can confirm now while comparing both cameras that this is not true. The D7100 100% crops show definitely higher sharpness on the pixel level than the shots from my D300. Sure, that effect can only be observed while having a lens which is able to deliver that high detail. Just look at the photos I took here. Despite that DX prime lens' super low price tag, its able to deliver this. And there are probably more pricy prime lenses available which can even surpass this performance.
DISPLAY
The back display of both cams are different, but I cannot see any benefit in case of the D7100 LCDs in having another W-subpixel. If you place the cameras side by side you will easily notice that the colors and tones on the display of the D300 are much more natural. The D7100 has an adjustable backlight now and a little bit more true black. That is both a plus. But the photos on the D7100 seem oversharped on playback. But luckily this effects can only be observed on the screen. The photos itself on your memory card are of highest quality on both cams.
Image playback on the D7100 over HDMI shows black bars on left and right side - even if you zoom in into the photo - this is something nobody likes to see, especially as the D300 was able to do that better back then in 2007 already. But despite Nikon knowing from customer complains about this problem they never went to fix it and so this sticks out as a deliberate attempt to cancel this as a pro-camera and keep a distance to the higher priced 3-digit and one-digit product line.
VERDICT
As for the overall picture quality there is not much big difference between both cams. They perform almost equal in terms of dynamic range and white balance. But when you have the right lens mounted, the D7100 is the clear winner in resolution and detail. Also in Low-Light situations the D7100 tends to preserve more details than the D300.
I read on many sites on the web that people recommend the D300(s) as a more solid working body for professional photographers who take their 3000 images a week, but finally I believe that professional photographers can afford more recent and more pricey equipment as the D4 for example. So we are really not talking about professional photography here I guess.
I really liked the super solid body and the straightforward controls on the D300. But at the same time I don't want to miss that resolution and detail plus on the D7100 anymore. If you are used to the controls on any prosumer Nikon it might need a little time to get used to the layout of the controls on the D7100, but that is nothing to worry about if you have that time. Also the smaller image buffer on the D7100 might be something to consider, as the burst rate just drops much more early than on the D300. As a fashion show photographer this drop in burst rate, is unacceptable. The D300 image buffer allowed taking 3 times the number of RAW pictures slowing down, as long as you agree on the fact that 12 bit raw is enough and you wont need 14 bit.
Finally, I believe, that if you don't care about using CF or SD cards, and if you don't care about having a camera body fully made of metal alloy or half synthetics, the D7100 will give you much more than just more image detail. It will give you a more advanced focussing system, a lighter body, a second memory card slot and of course Video. And all that for a very decent price tag. So for me it is really an option while not going to FX (more weight, more pricey lenses) but still having major image detail improvement and a few relevant features.
And as my friend Ivo says. It is a new toy to play with as well for sure. :)
Himno de la palabra de Dios "La compasión de Dios hacia la humanidad"
La compasión de Dios hacia la humanidad
I
La “compasión”, puede entenderse de diferentes formas.
Significa amar, proteger y cuidar.
“Compasión”, significa amar profundamente y cuidar,
pero no para herir.
En definitiva es un reflejo de amor y ternura,
o expresar el sentimiento de que no abandonará.
Es la misericordia y la tolerancia de Dios al hombre.
Aunque sea una palabra común entre la humanidad,
pero lleva la voz de Su corazón y Su actitud al hombre.
Cuando Dios habló, todo se reveló.
II
En las calles de Nínive, y Sodoma también,
había maldad y mucha crueldad.
Y en su arrepentimiento,
el corazón de Dios cambió, las destrucciones fueron perdonadas.
Su actitud a la palabra e instrucción de Dios
fue diferente de la gente de Sodoma.
Su sumisión a Dios fue completa,
y su arrepentimiento por todo fue real.
Fueron sinceros en todo.
Y una vez más Dios mostró Su compasión otorgada sobre ellos.
De "La Palabra Manifestada En Carne (Continuación)"
Recomendado：App de la Iglesia de Dios Todopoderoso
One day I started filling a spreadsheet with all the languages I've used over the years (and with percentages of focus on each one) with the intention of creating a chart.
It got bigger than I expected. I guess never counted how many platforms I had actually used.
The original chart (created in LibreOffice) didn't look exactly good, so I decided to write custom code to plot the chart the exact way I wanted it to look like. This is the result. It was created with some messy JS code that rendered the data to a canvas object. I tweaked the colors a little bit and added the titles in Photoshop.
I think it's an interesting visualization of the platforms I've used. There are many different solutions to the problem, I think, but so far I'm pretty happy with this result.
Please view in the original size.
The source code can be found here. It was never meant to be released nor too flexible so it's a little bit too linear and hard-coded, but what the hell.
el.godfootsteps.org/videos/knocking-at-the-door-trailer.html
Εισαγωγή
φωνή Θεού
Ελληνική Χριστιανική ταινία «χτυπώντας την πόρτα» Οι χριστιανοί παρευρίσκονται στο γαμήλιο δείπνο μαζί με τον Κύριο (Τρέιλερ)
Ο Κύριος Ιησούς είπε: «Εν τω μέσω δε της νυκτός έγεινε κραυγή· Ιδού, ο νυμφίος έρχεται, εξέλθετε εις απάντησιν αυτού». (κατά Ματθαίον 25:6). «Ιδού, ίσταμαι εις την θύραν και κρούω· εάν τις ακούση της φωνής μου και ανοίξη την θύραν, θέλω εισέλθει προς αυτόν και θέλω δειπνήσει μετ’ αυτού και αυτός μετ’ εμού». (Αποκάλυψη 3:20). Κατά τα τελευταία δύο χιλιάδες χρόνια, εκείνοι που πιστεύουν στον Κύριο είναι σε επαγρύπνηση και περιμένουν τον Κύριο να κρούσει τη θύρα, άρα πώς Εκείνος θα κρούσει τη θύρα της ανθρωπότητας όταν επιστρέψει; Κατά τις έσχατες ημέρες, κάποιοι άνθρωποι έχουν επιμαρτυρήσει ότι ο Κύριος Ιησούς έχει επιστρέψει – ως ο ενσαρκωμένος Παντοδύναμος Θεός – και ότι εκτελεί το έργο της κρίσεως κατά τις έσχατες ημέρες. Αυτή η είδηση έχει ταράξει ολόκληρο τον θρησκευτικό κόσμο.
Η Γιανγκ Αϊγκουάνγκ, η πρωταγωνίστρια της ταινίας, πιστεύει στον Κύριο εδώ και δεκαετίες και έχει ήδη αρχίσει να εργάζεται και να κηρύσσει τον λόγο Του με ενθουσιασμό, περιμένοντας να υποδεχθεί την επιστροφή του Κυρίου. Μια μέρα, έρχονται δύο άνθρωποι και κρούουν τη θύρα, λένε στη Γιανγκ Αϊγκουάνγκ και στον σύζυγό της ότι ο Κύριος Ιησούς έχει επιστρέψει και μοιράζονται τον λόγο του Παντοδύναμου Θεού μαζί τους. Εκείνοι συγκινούνται βαθιά από τον λόγο του Παντοδύναμου Θεού, αλλά, επειδή η Γιανγκ Αϊγκουάνγκ έχει βιώσει την πλάνη, την εξαπάτηση και τις απαγορεύσεις των παστόρων και των πρεσβυτέρων, πετάει τους μάρτυρες της Εκκλησίας του Παντοδύναμου Θεού έξω από το σπίτι. Στη συνέχεια, οι μάρτυρες κρούουν τη θύρα τους πολλές φορές και διαβάζουν τον λόγο του Παντοδύναμου Θεού στη Γιανγκ Αϊγκουάνγκ, γινόμενοι μάρτυρες του έργου του Θεού των εσχάτων ημερών. Κατά την ίδια περίοδο, ο πάστορας ενοχλεί και εμποδίζει επανειλημμένα τη Γιανγκ Αϊγκουάνγκ, με αποτέλεσμα αυτή να συνεχίζει να αμφιταλαντεύεται. Ωστόσο, καθώς ακούει τον λόγο του Παντοδύναμου Θεού, η Γιανγκ Αϊγκουάνγκ καταλήγει να κατανοήσει την αλήθεια και καταφέρνει να κρίνει σωστά τις φήμες και τις πλάνες που διαδίδονται από τους πάστορες και τους πρεσβυτέρους. Τελικά, καταλαβαίνει με ποιον τρόπο ο Κύριος κρούει τις θύρες των ανθρώπων κατά την επιστροφή Του στις έσχατες ημέρες και πώς θα πρέπει να Τον υποδεχτεί η ίδια. Όταν καθαρίζει η «ομίχλη», η Γιανγκ Αϊγκουάνγκ ακούει επιτέλους τη φωνή του Θεού και αναγνωρίζει ότι ο Παντοδύναμος Θεός είναι πράγματι η επιστροφή του Κυρίου Ιησού!
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.godfootsteps.org/disclaimer.html
Das Einsetzen des HTML-Codes funktioniert bei mir seid Tagen nicht - möchte das Foto deshalb hier zeigen, da es unter dem Bild als Kommentar nicht geht.
Das ist eine abfotografierte offizielle Postkarte zu der Christo-Ausstellung im Gasometer Oberhausen, die jetzt leider zu Ende gegangen ist. Das Foto hier ist leider noch etwas heller als das Original und ist (oder soll sein) eine Farbaufnahme !
Das ist nicht der Himmel ;-) sondern eher die Hölle ...
Wie so oft stelle ich fest, dass die Ausrichter solcher Ausstellungen keine Ahnung von Fotografie haben und wundere mich, dass sie nicht in der Lage sind, das Foto mit der Wirklichkeit zu vergleichen ... oder direkt angenommen wird, dass es nicht besser geht ...
Im besten Falle ist das SOOC ;-) !
Zum Vergleich:
www.flickr.com/photos/poetry-and-truth/11704528953/in/pho...
Postmarked October 21, 1908.
From www.oocities.org/unionparkdbq/history.html
Like many parks of the time, Union Park began as a trolley park -- a way for electric companies to encourage people to use their services. It officially opened as Stewart Park in April 1891 in a 75-foot-deep valley northwest of Dubuque known as Horseshoe Hollow. "Stewart" was the last name of the man whose farmland was purchased to create the park. It was quite simple that first spring, with hills, streams, and old miners' huts being the highlights, but improvements were scheduled to begin immediately. Such improvements included a dance pavilion, refreshment booth, bowling alleys, employee housing, and a smaller pavilion for private parties. Despite these additions, the first nine years were rather shaky as the park changed hands several times.
It was in 1900 that Stewart Park changed ownership yet again and was renamed Union Park by L. D. Mathes, the man chosen as the new Park Manager. Mathes dedicated his time to creating a new image for the park, and improvements abounded: newer trolley tracks were laid, modern lighting was installed, dirt paths became paved, a new dance hall (The Pavilion) was constructed, and the once simple platform where riders would step on and off the trollies became an elaborate waiting station/depot. This entrance area became known as The Loop, as the single track would split (the trolley would go to the right), form a circle whose far end was the waiting station, and then re-join itself. The Loop was at the east end of the park -- the lower end of the valley.
A rustic bandstand was built in 1905, and two years later a more elaborate one was constructed farther up the valley. The new bandstand (henceforth known as the Rustic Bandstand) was complete with a plaza and semi-circle of benches. In 1908, additional land was purchased to the west end of the park and a children's playground was erected. Mathes tried to make this area extra special with slides, swings, a carousel (the small kind you climb on at playgounds), sandboxes, and other fun amusements. A pavilion for picnics and parties was also constructed near the playground. It was this pavilion that would later adopt a somewhat macabre moniker for its involvement in the sad events surrounding the flood in 1919.
In addition to the children's playground, a roller coaster was also built in 1908. It appears from the picture in Boge's book that this ride was a side-friction coaster in the classic figure-eight design. During the same year, work was done on a cave ("Wonder Cave") that had been discovered on the land some years back. Hardened walkways (including steps and small bridges) and lights were installed inside the cave.
A year later, in 1909, the plaza in front of the the Rustic Bandstand was taken down and the largest theater in Iowa was built. Known as Mammoth Theatre, this huge structure stretched from one side of the valley to the other side, dividing the park in two. There were 1,500 opera-style seats inside, followed by benches, plus room for thousands more to see the show for free on the hill outside. You see, the back wall (on the north side of the valley) was open, so those passing by on the hill could see right in.
From www.skytourszipline.com/union-park/
Union Park: Historical Overview.
The idea of Union Park began more than 120 years ago in the mind’s eye of Dubuque citizen William G. Stewart. Stewart’s generosity and vision for the land were essential for the concept to become reality. In the years following his initial land gift to the city, other individuals and companies would become part of the production and play large and varying roles.
A timeline of the major actions and events relating to Union Park follows:
1890. William G. Stewart donated several acres of farmland to the city with hopes of creating a place where Dubuque families could have outings.
March 6, 1891. The Dubuque Electric Railway Light and Power Company, known locally as the Allen and Swiney Motor Line Company, purchased an additional forty acres of land from Stewart’s farm. The company’s goal was to publicize the use of electricity through a means of transportation they used around the city: trolleys. They hoped their idea of a park at the end of their trolley line would give them the needed publicity. For purposes of their ultimate goal, it met with limited success.
April 26, 1891. The park officially opened. A fee of 10¢ delivered the first visitors by trolley to the then-named Stewart Park, snuggled in Horseshoe Hollow. [The return trip cost 15¢.]
May 11, 1893. Money soon became an impossible obstacle for the park's owners. Unable to operate a trolley line and a park, Allen and Swiney sold out to the Old Colony Trust Company.
July 7, 1899. As a result of a series of legal actions, the ownership of the property became part of the General Electric Company. General Electric reorganized the local firm into the Home Electric Company that sold out to Union Electric Company. A park manager was hired. The park was renamed Union Park, after the new company owner.
1900. A cave was discovered. In years to come, a casual walk through the cave offered some momentary respite from steamy August days. The cave was modernized in 1908 with the addition of a walkway and electric lights.
1904. Dirt trails and paths were replaced with cement sidewalks (image at left) that ran from the loading platform to all the buildings. The construction of a new dance hall, known as The Pavilion, was a major event. Visitors to the park were also impressed when the loading platform, little more than a dock, was replaced by an elaborate shelter (image at lower right) that protected visitors from inclement weather.
1905. A unique bandstand made of gnarled tree branches was constructed.
1907. A second bandstand of the same design was built farther into the valley with hundreds of benches nearby. Grand concerts from this bandstand were held on a regular basis each week. [Newspaper accounts from the time tell of the bands and orchestras being paid from $2,500 to $5,000 weekly. The bandstand was also the setting for many high school and college graduations.]
1908. More land was purchased; a children's playground was developed that offered a variety of equipment including slides, swings and carousels. A wooden roller coaster was constructed.
1909. The Mammoth Theater (image at left), advertised as the largest in the West, was built. Costing Union Electric $30,000 to construct, the Mammoth Theater stretched from one hillside to the other dividing the park into two parts. Anticipating large crowds, 1,500 opera chairs were installed. The theater, designed carefully for excellent acoustics, was open at one end, allowing an additional 5,000 people to see and hear (at no charge) the musical programs. [Seating inside the theater: Depending on the program and time of day, sitting in the opera seats cost audience members ten to fifteen cents; benches set up behind the opera seats cost five to ten cents.]
1910. A children's wading pool was added. (See image at right.) [It was modeled after, and constructed as a miniature of, the internationally known wading pool in Chicago's Ogdon Park.]
1911 to 1919. Park use flourished. In 1916 Union Electric Company assets were sold to the Dubuque Electric Company, but continued attention to beautifying the area led the park to remain one of eastern Iowa's most popular and enchanting settings.
July 9, 1919. Weather predictions called for possible thunderstorms on this Wednesday afternoon, but usual summer activities were continued as planned. The first drops of rain in the afternoon quickly turned into a downpour. Picnickers, still feeling secure, ran for nearby shelter, unaware that the cloudburst had created a wall of water that soon tore into the park. The Mammoth Theater, which stretched across the valley, inadvertently served as a dam, blocking the water’s dispersion and making the flood worse. Concrete sidewalks were ripped up by the fury of the torrent. The massive wall of water demolished the merry-go-round and backed up behind the theater to a height estimated to be twenty feet before pushing on downhill. According to the National Weather Bureau, 3.87 inches of rain fell that afternoon, most in less than a two-hour period. Five people died that day at Union Park, and an estimated $15,000 in damage was done.
July 13, 1919. Although none of the debris had yet been removed, Union Park reopened to the public. Visitors were given the opportunity to view the massive damage done by the floodwaters. Plans were developed and rebuilding efforts began immediately.
July 26, 1923. A dance pavilion was rebuilt using the floor from the Mammoth Theater. This ballroom was advertised as the largest in Iowa.
Later in 1923. A 50-foot-by-150-foot Olympic-sized swimming pool, said to be able to hold 2,000 bathers, was constructed to attract residents back to the park. The popular Pavilion was converted into a roller-rink.
Despite best attempts to rekindle interest in Union Park, those efforts failed as attendance remained low. Of concern to Dubuque Electric Company, the park owners at the time, was the appearance of automobiles in Dubuque. Vehicles permitted Dubuque residents, once confined to Dubuque and its attractions, to travel outside the city. Union Park also suffered from the opening, in 1907, of Eagle Point Park, a 133-acre public park and recreation area overlooking the Zebulon Pike Lock and Dam (Lock and Dam No. 11) on the Mississippi River.
April 27, 1927. Dubuque Electric Company sold out to Interstate Power Company.
1934. Interstate Power Company announced that Union Park would close.
1935. Park buildings were dismantled. Union Park's dance hall was reassembled (as the popular Melody Mill) on Sageville Road near the intersection of Highway 52/Northwest Arterial/John F. Kennedy Road. For safety, the cave entrance was blasted shut. Wood from the roller coaster was made into a barn.
September 5, 1946. The YMCA and the Boy Scouts purchased the land; cabins were constructed on the hillsides, along with a mess hall, swimming pool, stables, and bathrooms. [Soon after the completion of the project, the Scouts chose to erect their own campgrounds, leaving the YMCA with the 100-acre Union Park property.]
Early 2010. The Dubuque Community Y began discussing the possibility of expanding the land use of Union Park with a zipline tour.
May 2011. Construction of the Sky Tours Zipline was completed; guides were trained and certified; and the zipline was opened to the public for business.
Ryuhyo Limited Express Okhotsk no Kaze is a seasonal operation of Limited Express Okhotsk that connects Sapporo and Abashiri in Hokkaido. This train is operated from late January to early March for Ryuhyo (Drift ice) viewing. The operation and route is completely the same as Limited Express Okhotsk but this seasonal train is operated by specialised carriages, much better than the regular train of Limited Express Okhotsk. Source: jprail.com
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Abashiri is a city located in Okhotsk Subprefecture, Hokkaido, Japan. Abashiri is known as the site of the Abashiri Prison, a Meiji-era facility used for the incarceration of political prisoners. The old prison has been turned into a museum, but the city's new maximum security prison is still in use.
Abashiri is located in the eastern part of Abashiri Subprefecture, about 50 kilometers east of Kitami. There are no tall mountains, but there are many hills. The Abashiri River flows through the city and there are three lakes (Lake Abashiri, Lake Notori and Lake Tōfutsu) in the city as well. In the winter, tourists visit the city to watch the drift ice. Source: en.wikipedia.org
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Hokkaido (北海道 Hokkaidō, literally "Northern Sea Circuit"), formerly known as Ezo, Yezo, Yeso, or Yesso, is the second largest island of Japan, and the largest and northernmost prefecture. The Tsugaru Strait separates Hokkaido from Honshu. The two islands are connected by the undersea railway Seikan Tunnel. The largest city on Hokkaido is its capital, Sapporo, which is also its only ordinance-designated city. About 43 km north of Hokkaido lies Sakhalin island, Russia, whereas to its east and north-east are the disputed Kuril Islands. Source: en.wikipedia.org
Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
An offhand comment on Max's upload created a tag game. Being who I am, I went a little overboard and created a storyline. The first prince is the former middle child & older brother of the second and destined to rule their kingdom. There were originally 3 brothers but one died in war and now he is going through the paces of learning all he needs to be a proper king, though is still a bit flippant about it all. His younger brother is still the baby of kingdom who was kept by his mother's side and as such is a little more delicate than his older brothers. With one brother gone he's coming to grips with the fact that he might have to take the reins. He's not uncapable or too spoiled or anything, in several ways he'd be a more compassionate king than his brother, but he has a LOT of growing up to do.
The prince in green is the baby prince's love interest and were I able to make some sort of semblance of a plot/movie it would focus on their romance and the shifting dynamics between the brothers as they grieve their sibling & start to move forward in their new lives.
anyway - tag, you're it!