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Reference: Photo 24/(335)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 28 Aug 1915
See also:
- View this at the British Library's site
"독일에선 '허벅지 간격' die Oberschenkel-Lücke (=Thigh Gap) 논쟁이 한창! 빼빼 마른 몸매를 꿈꾸는 소녀들이 건강에 얼마나 나쁜지도 모르고 두 허벅지 사이에 간격이 있어야 미녀에 속한다고 난리":http://www.stern.de/lifestyle/mode/gefaehrlicher-schoenheitskult-thigh-gap-nur-schoen-mit-luecke-2070585.html ...! 우리나라 아가씨들도 마찬가지 이려나?posted by 싱싱한활자
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Shibu Onsen is a historic and attractive hot spring town in Yamanouchi, which has retained a traditional atmosphere. Nestled in a small valley, Shibu Onsen is spread out on a gentle slope beside the Yokoyugawa River, with Yudanaka Onsen located below and the Jigokudani Monkey Park above.
During its long history, the area has been visited for its hot spring water by a lot of people, including priests, samurai and poets. Some of the ryokan (Japanese style inns) that line Shibu's narrow streets, date back over 400 years, adding greatly to Shibu's atmosphere. Guests of the ryokan are encouraged to take a stroll around town in the traditional onsen clothing of yukata robes and geta sandals.
One incentive to walk around the town is to make use of the public bath houses, of which there are nine. The public baths are locked and, except for one, only accessible to locals and overnight guests, who are provided with a master key by their ryokan. The bath houses are small buildings, divided into a women's side and a men's side, and the baths themselves are quite simple. The bath houses are numbered, but also have special names and cure different ailments. Source: www.japan-guide.com
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Yamanouchi is a municipality in northern Nagano Prefecture with a variety of tourist attractions. The area's Jigokudani Monkey Park draws many visitors because of its unique wild monkeys, who bathe in the park's natural hot springs. The monkeys are not the only ones enjoying the water, as the nearby towns of Shibu Onsen and Yudanaka Onsen are centered around the bathing experience.
The largest ski resort in Japan, Shiga Kogen, is also located within Yamanouchi. One single ticket gives skiers and snowboarders access to dozens of runs, some of which hosted events during the 1998 Nagano Winter Olympics. Shiga Kogen and other parts of Yamanouchi are part of the Joshinetsu Kogen National Park, which offers hiking and other outdoor activities when there is no snow on the hills. Source: www.japan-guide.com
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
JV Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tino Romero 11:17.25 1 1 1
2. Wasco Oscar Gomez 11:26.11 2 2 1
3. East Marc Sotello 11:26.90 3 x 1
4. Shafter Matthew Yanez 11:34.14 4 x 1
5. McFarland Grenardo Garcia 11:34.63 5 x 1
6. Highland Juan Delgado 11:37.47 6 3 1
7. Centennial Brandon Ballard 11:38.17 7 4 1
8. Ridgeview Ernesto Castillo 11:38.94 8 5 2
9. Shafter Elias Picazo 11:40.09 9 x 2
10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3
11. Wasco M. Vasquez 11:49.94 11 7 2
12. East Felix Trevino 11:51.62 12 x 2
13. Ridgeview Tree Hoisson 11:52.34 13 8 4
14. Stockdale Raymon Griggs 11:52.62 14 9 1
15. Highland Rafael Alcaraz 11:53.30 15 10 2
16. East Esteban Vargas 11:54.83 16 x 3
17. McFarland Adam Marquez 11:56.93 17 x 2
18. Frontier Corry Harris 12:02.24 18 11 1
19. Highland M. Shaffer 12:04.99 19 12 3
20. Highland Jo Dixon 12:05.53 20 13 4
21. Centennial Nick Trieberg 12:06.03 21 14 2
22. Highland Daniel Espinosa 12:07.15 22 15 5
23. Foothill Cesar Espinosa 12:10.84 23 16 1
24. Highland Ernan Lopez 12:18.78 24 17 6
25. Stockdale P. Bowen 12:25.59 25 18 2
26. Stockdale Andrew Worth 12:26.63 26 19 3
27. Foothill Jovani Pineda 12:32.47 27 20 2
28. Centennial Jake Smoot 12:33.35 28 21 3
29. Foothill Robert Guillen 12:36.97 29 22 3
30. Garces Jose Lopez 12:37.53 30 23 1
31. Highland Pablo Santiago 12:38.23 31 24 7
32. Ridgeview Ian Dowot 12:38.71 32 25 5
33. Frontier Ramon Sanchez 12:42.97 33 26 2
34. Foothill Peter Reyna 12:45.32 34 27 4
35. Ridgeview Hector Garay 12:45.76 35 28 6
36. Frontier Brian Cisneros 12:46.11 36 29 3
37. Stockdale Cornelius Sockey 12:49.24 37 30 4
38. Stockdale Nick Haley 12:49.57 38 31 5
39. Frontier Christopher Bedke 12:51.77 39 32 4
40. Frontier Chris Corral 12:52.80 40 33 5
41. Centennial CJ Carr 12:55.06 41 34 4
42. Ridgeview Arty Sanchez 12:55.60 42 35 7
43. Garces Dominic Gallegos 12:56.21 43 36 2
44. Foothill Oscar Rivera 12:57.02 44 37 5
45. Shafter Jonatan Lopez 12:59.96 45 x 3
46. Stockdale Evan Szablowsk 13:01.10 46 38 6
47. BHS Hector Sanchez 13:02.38 47 39 1
48. Foothill Guillermo Cisneros 13:05.95 48 40 6
49. Stockdale Jit Malay 13:06.90 49 41 7
50. Highland Nick Lopez 13:07.10 50 42 8
51. Centennial Craig Varner 13:15.59 51 43 5
52. Highland Tyler Dunlap 13:20.14 52 44 9
53. Stockdale Davis McLeod 13:20.73 53 45 8
54. Foothill Luis Garcia 13:22.06 54 46 7
55. Shafter Miguel Sanchez 13:23.34 55 x 4
56. Independence Curtis Valencia 13:25.34 56 47 1
57. Wasco Kyle Bearley 13:26.41 57 48 3
58. Ridgeview Martin Oropeza 13:27.08 58 49 8
59. Frontier Chris Mount 13:28.88 59 50 6
60. Wasco Anthony Ramirez 13:29.86 60 51 4
61. Frontier Jairo Garcia 13:34.10 61 52 7
62. Stockdale Kevin Chun 13:37.01 62 53 9
63. Foothill Marcos Sandoval 13:38.55 63 54 8
64. Arvin Jose Rodriguez 13:39.04 64 x 1
65. Frontier Steven Saenz 13:39.36 65 55 8
66. Stockdale John Bracamant 13:40.57 66 56 10
67. Wasco Kr. Brown 13:43.42 67 57 5
68. Stockdale Adrian Esquivas 13:45.00 68 58 11
69. Stockdale Joshua St. Clair 13:46.57 69 59 12
70. BHS Josh Harbin 13:49.65 70 60 2
71. Mira Monte Hislon Belo 13:53.35 71 x 1
72. Stockdale Eric Jorgensen 13:56.96 72 61 13
73. Garces Anthony Martinez 14:05.99 73 62 3
74. Arvin Rodger Tabada 14:15.08 74 x 2
75. Stockdale Phillip Radon 14:16.70 75 63 14
76. Stockdale Landon Medina 14:18.10 76 64 15
77. East Donald Sanchez 14:18.32 77 x 4
78. Frontier Spencer Cordova 14:25.94 78 65 9
79. Frontier Matt Walker 14:32.16 79 66 10
80. Wasco Arturo Miranda 14:32.82 80 67 6
81. Highland Luis Lopez 14:36.85 81 68 10
82. Independence Devin Lane 14:43.22 82 69 2
83. Garces Sterling Garza 14:43.64 83 70 4
84. Mira Monte Michael Pineda 14:45.10 84 x 2
85. Stockdale Joshua Le 14:45.99 85 71 16
86. Independence Michael Gallarza 14:46.50 86 72 3
87. Foothill William Saavedra 14:48.22 87 73 9
88. BHS Trevor Dalke 14:48.96 88 74 3
89. Independence Andrew Cruz 14:57.45 89 75 4
90. Highland Alex Harrell 15:01.62 90 76 11
91. BHS Wesley Elrich 15:02.07 91 77 4
92. Frontier Jason Phillips 15:02.54 92 78 11
93. Foothill Mason De La Cruz 15:03.92 93 79 10
94. Highland Estevan Espinoza 15:06.66 94 80 12
95. Mira Monte Rick Mendoza 15:08.42 95 x 3
96. Foothill AJ Lara 15:09.07 96 81 11
97. Centennial Jarod Kashwer 15:13.28 97 82 9
98. Highland Ryan Gonzalez 15:28.65 98 83 13
99. BHS Andres Eagleson 15:35.28 99 84 5
100. Frontier Kevin Sanchez 15:41.75 100 85 12
101. Centennial Brent Williams 15:46.70 101 86 10
102. Ridgeview Eric Jacques 15:46.93 102 87 9
103. Garces P. Newman 15:55.87 103 88 5
104. Foothill Jose Mejia 16:22.51 104 89 12
105. Independence Sky Payne 16:38.36 105 90 5
106. Foothill Logan Power 20:16.50 106 91 13
107. Arvin Oswaldo Leyva 24:45.86 107 x 3
108. North Sonny Medina 25:53.00 108 x 1
Q nf: ᴹQ elen (Ak elān • cf Sk रोक, स्वर्; G ἥλιος, ἀστήρ) + ᴹQ tári (Ak tarû • cf Ak Ištar, Sk जनि): a title of Varda as the maker of the stars.
Why not The Lady of the Rings instead of The Lord of the Rings? It would appear quite debatable whether or not these two titles would have achieved equal popularity, at least within Tolkien's socio-historical context. The virtual lack of any exquisitely negative anthropomorphic female main character — the only authentic malefemmine (female villains) being indeed arachnomorphic — in Tolkien's legendarium (as in the doctrinal corpus of the christian religion) has led to speculate on basically idealized moral human models in which most, though not all women — cfr the undescribed female southrons and orcresses — are willingly choosing to embrace good and reject evil, rather than lacking the sheer will or the mere ability of evil actions, words and thoughts, if not as an unconscious reflex of men's, as in a sexist/misogynistic perspective. Tolkien himself, anyway, expressly disclaimed¹ any responsibility arising from each/every arbitrary decontextualization, abusive extrapolation and non-literary (e.g. political-religious) interpretation of his literary works.
NOTES
1. J.R.R. Tolkien 1954: LOTR, pp. XVIII-XXI, 350-351.
REFERENCES
R. Minutolo 2024: Battle of Pelennor Fields.
M.F. Gervais 2024: Middle-earth legendarium family tree.
R. Lehoucq & al. 2021: Middle-earth science.
J.R.R. Tolkien 2021: Middle-earth nature.
W.S. Judd & G.A. Judd 2017: Middle-earth flora.
Reddit 2017: Eagles of Middle-earth in the War of the Ring.
G. de Turris & al. 2016: Dizionario dell'universo di J.R.R. Tolkien.
K. Larsen 2007: Influence of Tolkien on modern science.
B. Bates 2002: The real Middle-earth.
J.R.R. Tolkien 1977: The Silmarillion.
J.R.R. Tolkien 1937: The Hobbit.
Quenta Silmarillion Eldalambenen • Eagles in Middle-earth • WHL0137-LS • onomastics • nomix.it
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY
A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011
QUESTIONS????COMMENTS?????
CALL KYMARA DIRECTLY AT..
207-286-7399
OR EMAIL KYMARA@KYMARA.COM
Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
www.andynoise.com/fallbtchalf08.html
Place Name Time Pace Div/Tot Sex/Tot Div
1 GALVIN GONZALEZ 1:11:30 5:28 1/8 1/98 M3034
2 David Bacus 1:14:52 5:43 1/4 2/98 M2024
3 ZACHARY HOLT 1:21:52 6:15 1/10 3/98 M1319
4 JORDAN PERRY 1:23:34 6:23 1/8 4/98 M2529
5 Rudy Montoya 1:23:49 6:24 1/11 5/98 M4044
6 Jose Salcedo 1:25:28 6:32 2/4 6/98 M2024
7 Timothy Anderson 1:25:33 6:32 1/18 7/98 M5054
8 Chris Anderson 1:26:31 6:37 2/10 8/98 M1319
9 Diego Diaz 1:26:58 6:39 1/14 9/98 M3539
10 JOHN PURCELL 1:28:22 6:45 3/10 10/98 M1319
11 SHAWNA ROUNTREE 1:29:00 6:48 1/8 1/73 F2529
12 CREGG WEINMANN 1:29:53 6:52 2/18 11/98 M5054
13 Craig Gardner 1:30:40 6:56 3/18 12/98 M5054
14 Javier Cruz 1:31:16 6:58 1/11 13/98 M4549
15 Steve Dirkse 1:31:23 6:59 2/14 14/98 M3539
16 WALTER PAVLAKOVICH 1:31:36 7:00 4/18 15/98 M5054
17 David Little 1:32:46 7:05 4/10 16/98 M1319
18 Ezequiel Gonzalez 1:32:47 7:05 5/10 17/98 M1319
19 Alec Briones 1:33:03 7:07 1/9 18/98 M5559
20 Damon Wilstead 1:33:55 7:11 2/8 19/98 M3034
21 BART VANDERWAL 1:35:35 7:18 2/11 20/98 M4044
22 John Lee 1:35:55 7:20 5/18 21/98 M5054
23 Roehl Caragao 1:36:29 7:22 2/11 22/98 M4549
24 MARK OGILVIE 1:37:25 7:27 3/11 23/98 M4044
25 Dave Hoglund 1:37:26 7:27 2/9 24/98 M5559
26 JEFF GIUMARRA 1:37:29 7:27 3/8 25/98 M3034
27 Jacob Scott 1:37:32 7:27 6/10 26/98 M1319
28 JAMES BELL 1:37:32 7:27 6/18 27/98 M5054
29 Charolette Cholometes 1:37:40 7:28 1/9 2/73 F3034
30 DAVE MEEK 1:38:36 7:32 3/14 28/98 M3539
31 Daniel Ramirez 1:39:18 7:35 3/9 29/98 M5559
32 AARON ALBAY 1:39:25 7:36 7/10 30/98 M1319
33 COURTNEY MOORE 1:40:16 7:40 1/1 3/73 F1319
34 Richard Black 1:40:35 7:41 7/18 31/98 M5054
35 JOSE MONTELONGO 1:40:44 7:42 4/14 32/98 M3539
36 Klaus Benamy-Hackel 1:41:14 7:44 4/9 33/98 M5559
37 MICHAEL RAMIREZ 1:41:20 7:45 2/8 34/98 M2529
38 Raul Gonzalez 1:41:31 7:45 5/14 35/98 M3539
39 Freddie Bingham 1:42:33 7:50 4/8 36/98 M3034
40 Mike Gonzalez 1:42:47 7:51 3/11 37/98 M4549
41 Gerry Saba 1:43:55 7:56 4/11 38/98 M4044
42 DAVE PEGLER 1:44:04 7:57 5/11 39/98 M4044
43 DEBBIE WALLACE 1:45:03 8:02 1/12 4/73 F4549
44 EDDIE PAULSEN 1:45:25 8:03 6/14 40/98 M3539
45 Gary Enns 1:45:33 8:04 7/14 41/98 M3539
46 GREG FONTES 1:45:33 8:04 4/11 42/98 M4549
47 JOE SWEET 1:45:35 8:04 5/8 43/98 M3034
48 Sara Bradford 1:45:52 8:05 2/9 5/73 F3034
49 Daniel Tavarez 1:46:31 8:08 8/14 44/98 M3539
50 Connie Tavarez 1:46:35 8:09 1/5 6/73 F3539
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
51 Todd Witwer 1:47:12 8:11 8/18 45/98 M5054
52 MARK WITCHER 1:48:41 8:18 9/18 46/98 M5054
53 Roy Walford 1:50:02 8:24 1/3 47/98 M6064
54 HAYLEY TOBIN 1:50:13 8:25 1/14 7/73 F4044
55 Amy Fredericks 1:50:33 8:27 1/2 8/73 F6064
56 KELLY LOPEZ 1:50:45 8:28 2/14 9/73 F4044
57 ROBERT JOHNSON 1:50:48 8:28 5/9 48/98 M5559
58 JOSHUA GARZA 1:50:50 8:28 6/11 49/98 M4044
59 Eric Wolf 1:50:52 8:28 3/4 50/98 M2024
60 Derek Jeffery 1:51:02 8:29 3/8 51/98 M2529
61 BROOKS RICHARDSON 1:51:25 8:31 10/18 52/98 M5054
62 Tony Jeffery 1:52:52 8:37 7/11 53/98 M4044
63 Mike Moore 1:53:34 8:41 5/11 54/98 M4549
64 DAVE COWLES 1:54:34 8:45 8/11 55/98 M4044
65 Brian Cisneros 1:55:06 8:48 8/10 56/98 M1319
66 John Wilson 1:55:22 8:49 2/3 57/98 M6064
67 Mike Barella 1:55:26 8:49 9/11 58/98 M4044
68 FRANCISCO RAMIREZ 1:55:29 8:49 9/14 59/98 M3539
69 Jose Torres 1:56:33 8:54 9/10 60/98 M1319
70 Yolanda Hughes 1:56:38 8:55 3/14 10/73 F4044
71 Keith Stearmon 1:56:40 8:55 4/8 61/98 M2529
72 BOB BARTON 1:57:15 8:57 6/11 62/98 M4549
73 JOHN OPHEIM 1:57:22 8:58 3/3 63/98 M6064
74 Margaret Patterson 1:57:26 8:58 2/12 11/73 F4549
75 Jim Cowles 1:57:28 8:58 1/2 64/98 M6569
76 PHILIPPE IGOA 1:58:11 9:02 7/11 65/98 M4549
77 KATE QUINN 1:58:11 9:02 1/7 12/73 F5559
78 Ken Berckes 1:58:18 9:02 11/18 66/98 M5054
79 CARMEN ALBANES 1:58:25 9:03 1/11 13/73 F5054
80 KATHRYN JOSLIN 1:58:28 9:03 3/9 14/73 F3034
81 Darlene Savage 1:59:12 9:06 3/12 15/73 F4549
82 CHRIS DANFORTH 1:59:57 9:10 8/11 67/98 M4549
83 JUAN CERVANTES 2:00:23 9:12 4/4 68/98 M2024
84 JOSIE MARTIN 2:00:31 9:12 2/11 16/73 F5054
85 TAMMY GARCIA 2:01:31 9:17 4/14 17/73 F4044
86 Carol Weston 2:01:47 9:18 2/2 18/73 F6064
87 Esther Ray 2:02:16 9:20 2/7 19/73 F5559
88 Bob Ziemet 2:02:25 9:21 2/2 69/98 M6569
89 TRACY HUBBELL 2:02:40 9:22 5/14 20/73 F4044
90 ERIC BERLIN 2:03:45 9:27 12/18 70/98 M5054
91 craig smith 2:04:15 9:30 9/11 71/98 M4549
92 Jialan Su 2:04:21 9:30 4/9 21/73 F3034
93 DANIEL RODRIGUEZ 2:04:29 9:31 13/18 72/98 M5054
94 Greg Adkins 2:04:32 9:31 10/14 73/98 M3539
95 Tawnie McCaa 2:04:55 9:33 1/2 22/73 F2024
96 ROY PIERUCCI 2:04:56 9:33 6/9 74/98 M5559
97 ALICIA BROWN 2:05:39 9:36 2/5 23/73 F3539
98 Kevin Higgins 2:05:49 9:37 14/18 75/98 M5054
99 Guido Climer 2:06:11 9:38 11/14 76/98 M3539
100 Lonnie Stockton 2:06:16 9:39 6/14 24/73 F4044
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
101 CHARLES MATHER 2:06:55 9:42 5/8 77/98 M2529
102 Meg Reimers 2:07:10 9:43 7/14 25/73 F4044
103 Barb Johnston 2:07:27 9:44 3/11 26/73 F5054
104 Katie Nickell 2:07:27 9:44 8/14 27/73 F4044
105 HOPE ROE 2:07:39 9:45 4/12 28/73 F4549
106 RODERICK MARCIA 2:07:45 9:46 6/8 78/98 M3034
107 Connie Taylor 2:07:46 9:46 5/9 29/73 F3034
108 Nicole Panero 2:07:50 9:46 2/8 30/73 F2529
109 Cory Bringman 2:08:26 9:49 3/5 31/73 F3539
110 LONDO WHITNEY 2:09:11 9:52 12/14 79/98 M3539
111 Odette Hudson 2:09:27 9:53 3/7 32/73 F5559
112 Clarissa Wilstead 2:09:49 9:55 3/8 33/73 F2529
113 JEFF COOMBER 2:09:58 9:56 15/18 80/98 M5054
114 Susan James 2:10:43 9:59 4/11 34/73 F5054
115 JOAN COLLIN S 2:11:42 10:04 5/11 35/73 F5054
116 Denise Haynes 2:11:43 10:04 5/12 36/73 F4549
117 Peg Baird 2:13:42 10:13 6/11 37/73 F5054
118 REBECCA WALKER 2:15:22 10:20 4/8 38/73 F2529
119 Troy Wells 2:15:29 10:21 10/11 81/98 M4044
120 Fred Little 2:15:29 10:21 16/18 82/98 M5054
121 Brock Sheela 2:16:35 10:26 7/8 83/98 M3034
122 Pedro Segura 2:16:59 10:28 7/9 84/98 M5559
123 DELORES CORTEZ 2:17:12 10:29 1/2 39/73 F7099
124 Jennifer Fendrick 2:17:26 10:30 4/5 40/73 F3539
125 Rachel Taylor 2:17:48 10:32 5/8 41/73 F2529
126 DANIEL J. RAMIREZ 2:17:49 10:32 13/14 85/98 M3539
127 Angelica Rogers 2:18:22 10:34 7/11 42/73 F5054
128 Jason Gutierrez 2:19:10 10:38 6/8 86/98 M2529
129 Maria Steele 2:19:13 10:38 8/11 43/73 F5054
130 Janice Horcasitas 2:19:16 10:38 4/7 44/73 F5559
131 DALE VAN SCHAACK 2:20:54 10:46 5/7 45/73 F5559
132 MARILYN JOHNSON 2:20:56 10:46 6/7 46/73 F5559
133 Deanna Koelewyn 2:23:11 10:56 6/12 47/73 F4549
134 Karen Briltz 2:23:15 10:57 9/14 48/73 F4044
135 PEGGY SCHUH 2:23:29 10:58 9/11 49/73 F5054
136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549
137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319
138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529
139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529
140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044
141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054
142 carol montez 2:29:10 11:24 7/12 52/73 F4549
143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549
144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529
145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529
146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044
147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549
148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099
149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559
150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549
152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054
153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044
154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559
155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034
156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044
157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044
158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034
159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044
160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529
161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549
162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024
163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559
164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054
165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539
166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054
167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549
168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034
169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034
170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034
171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539
©2008 Bakersfield Track Club
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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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
وینس 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ಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
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artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
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
faizakhalida.blogspot.com.br/2008/09/denncia-annima-finan...
Na primeira reunião, no início de 2008, com os professores, a reunião de PLANEJAMENTO 2008, o professor Paulo me dava recados diretamente, fazia deboches, chacotas, risos, e repetidamente durante a reunião me perguntava se eu conhecia o funcionário de cor escura, negro, da Secretaria de Segurança de Belford Roxo porque ele era matador. O professor Paulo me dizia que à noite esse funcionário cantava com voz fina de TETÊ ESPÍNDOLA a música "VOCÊ PRA MIM FOI O SOL DE UMA NOITE SEM FIM". Dizia repetidamente para mim que ele era matador. Que ele fazia os serviços (assassinatos) na área do PANTANAL em Duque de Caxias, e, fora do trabalho ele matava pessoas. E insistentemente me perguntava novamente se eu conhecia esse matador. Eu já me encontrava muito abalada porque inclusive eu acreditava realmente que eu iria morrer depois que a orientadora pedagógica Maria da Conceição da Silva Pereira (Conceição) me chamou na sala dela na escola onde eu lecionava e me disse que eu ía tomar um tiro. Eu acreditava que estava marcada para ser assassinada.
FOTO: orientadora pedagógica Conceição
(Maria da Conceição da Silva Pereira)
Depois que a orientadora Conceição (Maria da Conceição da Silva Pereira) me ameaçou de morte na escola, eu passei a temer estar dentro da Escola Municipal Jorge Ayres de Lima. Tinha dias que eu não conseguia entrar na escola. Em um dia, a coordenadora da tarde da Escola Municipal Julio César de Andrade Gonçalves e que já tinha sido inspetora de alunos da tarde da escola municipal Jorge Ayres de Lima, a Joelma, me viu parada na frente da escola chorando não conseguindo entrar para trabalhar. Ela mesma me ajudou a entrar nesse dia na escola, me colocou na sala dos professores e ficou um tempo comigo lá antes de ir embora conversando com a coordenadora Cássia dizendo que eu não estava bem. Tinha dias também que eu não conseguia pegar o ônibus para ir trabalhar e tinha dias que não conseguia sair de casa. Sentia sempre o perigo e o pavor no meu percurso para trabalhar na escola. Percebia que poderia morrer a qualquer momento e que isso poderia ser ao virar de uma esquina.
DECLARAÇÃO MÉDICA
20/08/2007
A Sra. FAIZA KHÁLIDA FAGUNDES COUTINHO apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos, insônia, ansiedade, cefaleias frequentes e dificuldades para cumprir suas tarefas no trabalho.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A primeira vez que eu fui ameaçada de morte no meu trabalho como professora efetiva da rede municipal de Belford Roxo foi em 2002, na SEMED, Secretaria Municipal de Educação, dentro de uma sala fechada, pela Subsecretária de Educação Rosângela Maria Gonçalves de Oliveira que me disse que se eu não fizesse tudo o que ela estava me mandando fazer que ela me matava e acabava com a minha vida.
FOTO: subsecretária de educação
Rosângela Maria Gonçalves de Oliveira
Em 2002 também um amigo professor de Geografia que tentou me defender desse assédio moral e homofobia da Subsecretária de Educação Rosângela Maria e da diretora municipal de Belford Roxo Vera Lúcia Castelar, na época gestora da Escola Municipal São Bento, foi assassinado, segundo informação, com diversos tiros no rosto. Então quando esses professores da Escola Municipal Jorge Ayres de Lima faziam essa pressão psicológica, inclusive me falando sobre matadores, mortes, se eu estava ciente disso, me perguntando o que ocorreria se eu fosse assassinada, se haveria alguma retaliação dos matadores de onde eu moro, todas essas conversas me abalavam ainda mais psicologicamente.
FOTO: diretora Vera Lúcia Castelar (mat. 53165)
Eu comecei a sentir DEPRESSÃO PROFUNDA por causa do trabalho mesmo em 2002, após a ameaça de morte da Subsecretária de Educação do Município Rosângela Maria Gonçalves de Oliveira. Ela me ordenou que eu ficasse quieta em casa e não tivesse contato com ninguém. Eu ficava em DEPRESSÃO PROFUNDA no meu quarto. Mas foi só no ano seguinte em 10 de julho de 2003 que eu consegui pedir ajuda MÉDICA quando estive na Emergência do Centro Psiquiátrico do Rio de Janeiro começando a fazer uso de medicação psicotrópica.
FORMULÁRIO DE EMERGÊNCIA DO CENTRO PSIQUIÁTRICO CONSTA DE DIVERSOS PROCESSOS ADMINISTRATIVOS DE 2003
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Desde o ano de 2003 então eu passei a usar e a depender de medicação psicotrópica para conseguir trabalhar, eu trabalhava à base de remédios.
Medicamento / remédio psiquiátrico DIAZEPAM prescrito no Centro Psiquiatrico do Rio de Janeiro para a professora transexual Faiza Khálida em 10 de julho de 2003 após depressão profunda causada por discriminação no trabalho na educação de Belford Roxo de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
RECEITUÁRIO DE CONTROLE ESPECIAL CENTRO PSIQUIÁTRICO RIO DE JANEIRO PRESCRIÇÃO AMITRIPTILINA 10/07/03. OS PRIMEIROS TRATAMENTOS PSICOLÓGICOS APÓS VIVÊNCIAS TRAUMÁTICAS NO TRABALHO e INÍCIO DO USO DE MEDICAMENTOS PSICOTRÓPICOS PARA CONSEGUIR TRABALHAR. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
RECEITUÁRIO DE CONTROLE ESPECIAL PASSADO PELA MÉDICA PSIQUIATRA TÉCNICA DO CAPS DE DUQUE DE CAXIAS - MEDICAMENTO PARA DEPRESSÃO (17/07/2003) Professora transexual de Belford Roxo Faiza Khálida após relato de tratamento discriminatório no trabalho. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Nesse ano, em 2003, eu relatei para a Prefeitura Municipal de Belford Roxo, em processo que eu precisava de ajuda médica e psicológica e pedi , pelo amor de Deus, por Jesus Cristo, que a Prefeitura Municipal de Belford Roxo custeasse e promovesse um tratamento para mim.
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Na Escola Municipal São Bento, as pessoas entravam dentro da escola, me jogavam coisas e me ofendiam enquanto eu estava dando aula para os alunos. As pessoas me jogavam coisas pelos buracos das paredes das salas de aula, xingavam, diziam e gritavam palavras homofóbicas para mim. Era chamada de viadinho e me colocavam apelido. A diretora Vera Lúcia Castelar não tomava providência, quando via, virava as costas para a situação e, quando eu pedia a ela providência e posicionamento, ela me dizia que aquilo acontecia porque eu tinha esse jeito de ser. Eu ouvia risos, chacotas, escárnios mesmo durante o meu deslocamento dentro da escola e até sobre o modo como eu andava.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A Subsecretária de Educação Rosângela Maria Gonçalves de Oliveira e a diretora Vera Lúcia Castelar não me aceitavam mais na Escola Municipal São Bento. Como a Subsecretária de Educação Rosângela Maria não conseguiu me demitir porque 8 supervisores Educacionais enviados por ela para a escola não permitiram, ela tentou que eu fosse trabalhar no lugar onde seria o fim do mundo para mim, ou seja, no lugar onde fosse mais longe, onde eu demorasse mais para chegar, tivesse o pior acesso e onde eu teria de pegar mais conduções que na opinião dela era Nova Aurora. Mas a Subsecretária de Educação Rosângela Maria também não conseguiu me mandar para lá também porque a professora que teria que sair de lá não quis. Assim, ela decidiu me mandar para a Escola Municipal Jorge Ayres de Lima porque tinha um professor chamado "André Aza" que era gay e penava perdendo o senso e o controle de si mesmo em diversas situações antes de ser assassinado.
Quando eu entrei na escola municipal Jorge Ayres de Lima, o futuro diretor José Carlos Neto Filho, que na época era um dos professores que eram sempre beneficiados com a distribuição e o recebimento do pagamento de dobras, aulas extras, já me tratava com discriminação. Não tinha educação nem ética profissional, fazia chacotas, deboches e brincadeiras homofóbicas. Não me respeitava nem na frente dos alunos.
PROCESSO 04/3977/06
"Esse diretor já me fez passar por inúmeros constrangimentos sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido".
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Não era só comigo. Havia outro professor chamado Irani, de Educação Física, que ele falava muito mal por trás debochando, ridicularizando e menosprezando como se ele fosse homossexual e quando se tornou diretor, o mandou embora. Ele também debochava de aluno homossexual e passava a mão na perna de aluna da escola, mas os outros professores que também eram favorecidos com recebimento de salários de dobras como os professores Luis Pedreti (de matemática), Paulo e Fernando, participantes das situações de escárnios, ajudavam a enrolar a mãe da aluna abusada sexualmente abafando este e outros casos graves que ocorriam, como homofobia e racismo. Um protegia o outro das reclamações dos alunos e pais de maus-tratos, assédios, homofobia e racismo cometidos por eles na escola.
Existem
"Existem quem pouco se importa
com o sentimento das pessoas
Existem aqueles que não têm amor pelo ser humano
Existe a pobreza de espírito
Existe quem planta espinhos
Existe quem usa de violência pela violência"
Os professores Luis Pedreti e Fernando ficavam me falando que tem que ter um poder paralelo se não vira bagunça. Que isso é necessário na sociedade. Que tem que ter os marginais para botar ordem. O professor Luis Pedreti de matemática também me perguntava se haveria retaliação dos marginais da minha localidade caso eu fosse assassinada por alguém de lá, o que aconteceria depois se acontecesse isso comigo. Essas conversas me deixavam apavorada. Eu passei a relatar na internet coisas que eu sentia. Eu sentia e acreditava que iria morrer. O professor Luís Pedreti do grupo de professores beneficiado com dobras, aulas extras me dizia que ele era amigo de hacker e que ele poderia saber a senha do meu orkut e dos meus blogs onde eu escrevia.
2006
"Preciso ser respeitada em meus direitos como pessoa e funcionária pública"
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Dentro da escola e na sala dos professores eu ficava com esses professores o tempo todo me fazendo pressão. Eles falavam alto, falavam o tempo todo chamando a atenção, falavam todos juntos quando era o caso, chegavam a gritar, para mim era muito perturbador. Quando eu chegava na sala dos professores e ela estava vazia, eu percebia que imediatamente eles largavam as turmas deles e íam ficar na sala dos professores me fazendo pressão emocional e psicológica.
"Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio".
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Eu escutava que eu não deveria ser professora. Que eu deveria trabalhar fazendo shows em boates gays ao invés de dar aulas. Era realizado reuniões e abaixo-assinado para eu sair da escola. Relatório, reunião e ocorrência eram feitos para a promoção de inquérito e punição disciplinar. Escutava sobre o comportamento de mulheres lésbicas que não tinham vergonha de "agredir a sociedade" e beijar uma outra mulher em um ambiente público. Debochavam de personalidades LGBTs. Me traziam alunos homossexuais da escola municipal Jorge Ayres de Lima e humilhavam os alunos na minha frente, faziam coisas que me deixavam revoltada. Era proibida de dar aula para determinada turma da escola que me aceitava bem e testemunhava em meu favor no meu trabalho. Parecia que o que eles queriam era que eu me exaltasse, depois me indispusesse, ficasse nervosa, perdesse o controle e o estado emocional porque as conversas e situações íam sempre nesse objetivo.
IEDE
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho".
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Eu não conseguia ir a Belford Roxo, achava que todos estavam contra mim. Achava que todos estavam unidos para me prejudicar e me agredir. Que eu era perseguida por toda a organização da Prefeitura Municipal de Belford Roxo, os seus funcionários e que eu estava marcada para morrer. Meu estado de saúde mental evoluiu para um estado preocupante. Em maio de 2008, quando eu iniciei o tratamento com a médica psiquiátrica, eu me apresentava muito DEPRIMIDA e ANSIOSA e tinha MEDO de sofrer agressão. Além disso eu estava, NERVOSA, APÁTICA, DESMOTIVADA. Eu sentia que era PERSEGUIDA PELOS COLEGAS DE TRABALHO. A médica atestou que eu FALTAVA porque eu estava DOENTE e as faltas haviam ocorrido por essa JUSTIFICATIVA.
(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo , matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)
Bendito é o preciosíssimo sangue do Senhor Jesus
Jesus é o caminho
Louvado o Senhor Jesus Cristo para sempre.
1- Secretaria de Educação e Procuradoria Municipal de Belford Roxo me puniram por escrever nos diários de classe que tinha fortes dores de cabeça na escola e que a escola para mim era um lugar de traumas emocionais e profissionais.
2- Havia descaso com meu estado psicológico e mental.
3- Procuradores de Belford Roxo não levavam em conta meu estado mental.
4- A perturbação mental começou em 2002 quando fui ameaçada de ruína e morte pela subsecretária de educação de Belford Roxo após anos sofrendo homofobia em escola municipal.
5- Nova ameaça de morte em escola em 2007 piorou meu quadro psicológico e mental.
6- Roubo dos meus 2 aparelhos portáteis que eu utilizava para dar aulas contribuiu para meu estado de abatimento, desânimo, desmotivação e depressão.
7- Relatório técnico sobre meu desempenho em 2002 me trouxe danos profissionais e pessoais.
8- Primeira parte - sobre danos gerados pelo relatório técnico de 2002.
9- Segunda parte - sobre danos gerados por relatório técnico de 2002.
10- Procurador de Belford Roxo LORIVAL ALMEIDA DE OLIVEIRA mentiu dizendo que eu havia recebido cópia de processo para ter como me defender. Na ESCOLA MUNICIPAL JORGE AYRES DE LIMA não me deram cópia de nada e de nenhum processo. Não me deixaram ler o processo ou tirar cópia dele.
11- Orientadora se mobilizava para me tirar de escola municipal de Belford Roxo e me prejudicava, exclusão e isolamento.
12- Em 2009, o subsecretário municipal de Educação de Belford Roxo Miguel de Sousa Ramiro que prometeu mandar a minha frequência pelo período coberto pelo LAUDO MÉDICO PSIQUIÁTRICO, 2 semanas depois disse para mim que havia esquecido de tudo inclusive do MEU LAUDO MÉDICO mediante a pressão do supervisor educacional, consultor e assessor jurídico Jorge Silva (mat. 54368). OFÍCIOS REFERENTES A MIM FORAM EXTRAVIADOS NA SEMED (secretaria municipal de educação de Belford Roxo).
13- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.
14- 2002 foi o ano em que pela primeira vez eu senti que havia ficado doente por causa do trabalho.
15- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.
16- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.
17- Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento.
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
18- Em processo administrativo de 2003 arquivado pela PROCURADORIA eu pedi socorro e registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo sintomas psiquiátricos pedindo em nome do Senhor Jesus Cristo ajuda médica e psicológica ".
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
19- O PROCESSO ADMINISTRATIVO DA PREFEITURA MUNICIPAL DE BELFORD ROXO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
20- Processo Administrativo 04/001497/03 - Data 04/06/2003 - HOMOFOBIA - " Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professora não aguentei. Fui humilhada muitas vezes. Me disseram que eu teria de ser perfeita se quisesse continuar a ser professora ".
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
21- A falta de aceitação social, intolerância, maldade e preconceito me causavam sofrimento.
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
22- Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 - Esse diretor já me fez passar por inúmeros constrangimentos sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade que não diz respeito a ele. Esse diretor proibiu até onde pôde de assinar o meu nome Faiza Khálida no ponto da escola e inclusive me proibia de trabalhar usando saia ou vestido outra situação ridícula e fica debochando da foto em meus assentos funcionais que se encontra na SEMED.
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
23- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.
Registro de ocorrência na Delegacia de Polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da prefeitura municipal. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Segunda parte do registro de ocorrência na delegacia de polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da Prefeitura Municipal de Duque de Caxias. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
24- Meu estado psicológico e mental era ignorado como se me ver mal e transtornada fosse justamente o que se desejasse.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
25- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transgêneros, travestis e transexuais.
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Procurador Municipal e Presidente da Comissão Permanente de Inquérito Administrativo José Domingos Lucena (mat 11/20.972) diz no processo 04/002743/03 em 24/10/2005 que a professora Leila Bonine deve ser convidada a ler a lei antidiscriminatória from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
26- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
27- Em 1/10/2005 o Jornal O DIA informava na sua reportagem que eu havia começado a tomar hormônios em 2002 e a fazer procedimentos como o laser, que eu enfrentava um processo transexualizador e que eu necessitava inclusive da adequação burocrática e administrativa. O jornal O DIA também informava que eu fazia acompanhamento com psicólogos e tomava remédios como calmantes e antidepressivos por determinação médica.
Por que me julgas se desconheces o que sofro?
JIM PIKE (Jay Scott Pike) (born 1924, Philadelphia, Pennsylvania), is an American comic book artist and commercial illustrator known for his 1950s and 1960s work for Marvel Comics and DC Comics, advertising art, and as a Playboy-affiliated good girl artist. He created the DC character Dolphin and co-created the Marvel character Jann of the Jungle.
Biography
Early life and career
Born in Philadelphia, Pennsylvania, Jay Scott Pike enrolled at the Art Students League in Manhattan, New York City at the age of 16. After military service in the United States Marines, he went on to study at the Parsons School of Design, Syracuse University, and the Ringling School of Art in Sarasota, Florida.
The DC Comics character Dolphin, was created by Pike in Showcase #79 (Dec. 1968). Cover art by Jim Pike.
His earliest confirmed comic book art is the five-page story "The Living Dead", by an unknown writer, in Adventures into Terror #3 (April 1951), from Atlas Comics, the 1950s forerunner of Marvel Comics. Tentative earlier credits exist, but because it was not standard practice during this period to list complete writer/artist comic-book credits, confirmation is difficult.
Comic books
Pike quickly became a regular Atlas Comics contributor, drawing in a variety of genres for such titles as the Westerns Black Rider, Red Warrior, Texas Kid, and Wild Western; such crime comics as All True Crime Cases Comics, Amazing Detective Cases, Crime Must Lose, and Justice; romance comics, including Girl Confessions, Love Romances, Love Tales, My Own Romance, Secret Story Romance, and True Secrets; war comics such as Battle, Battlefield, Battlefront, Combat Casey, Men's Adventures, Men in Action, and War Action; and horror comics including Adventures into Weird Worlds, Journey into Mystery, Mystic, and Uncanny Tales; and jungle adventure such as Jungle Tales, and Lorna, the Jungle Girl, among other comics. With writer Don Rico, he co-created the character Jann of the Jungle in Jungle Tales #1 (Sept. 1954), and drew her adventures in numerous issues of that title and her own series. His final Atlas/Marvel works were the six-page story "When a Romance Ends" in Love Romances #87 (May 1960), and the five-page "Love Or Infatuation?", written by Stan Lee, years later in issue #105 (May 1963). (Many of Pike's 1950s Atlas stories were reprinted by Marvel Comics in the 1970s.)
Pike began drawing for rival DC Comics in the mid-1960s, beginning with the 12-page story "In the Name of Love", starring Wendy Winthrop, Television Model, by an unknown writer, in Girls' Romances #99 (March 1964). He primarily drew for the publisher's romance comics, including Heart Throbs, Our Love Story, Secret Hearts, and Young Love. For Heart Throbs, Pike and inker Russ Jones illustrated the long-running feature "3 Girls—Their Lives—Their Loves," which ran from 1966–1970.
In addition to his DC romance work, Pike as both writer and artist created the undersea superheroine Dolphin in Showcase #79 (Dec. 1968). His stories continued to appear in DC Comics through Girls' Love Stories #180 (Dec. 1973).
Later career
By the early 1960s, Pike was drawing covers for such magazines as True Detective.
His good girl art pinup work included succeeding Art Frahm on the "panties-falling-down" series for the A. Fox calendar company. The last in this series, featuring a brunette and her dog outside a construction site, is entitled "Dog Tied"
As an advertising artist, he worked on campaigns for clients including Borden, Ford Motor Company, General Mills, Pepsi, Procter & Gamble, and Trans World Airlines. Near the end of his commercial career, Pike began painting fine art canvases of nudes, as well as pencil drawings of nudes that appeared in Playboy clubs before being published.
After a long hiatus from comic books, Pike returned in 1993 to draw layouts for two issues and then do full penciling for an issue on the DC Comics series Scarlett #12-14 (Dec. 1993 - Feb. 1994). He also penciled the 58-page story "All Good Things" in DC's one-shot comic Star Trek: The Next Generation The Series Finale (1994)
Pike is now retired and living in Florida, where he still paints every day.
Bibliography
The Pin-Up Art of Jay Scott Pike, Vol. 1 (SQP Inc., 2006) ISBN 0-86562-129-2, ISBN 978-0-86562-129-9
ON THE ROAD WITH MIKE GELLERMAN
Roy Lichtenstein
01 NOVEMBER 2010
Most of his best-known artworks are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. (He would occasionally incorporate comics into his work in different ways in later decades.) These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: "Roy's work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There is no exact copy." However, some have been critical of Lichtenstein's use of comic-book imagery, especially insofar as that use has been seen as endorsement of a patronizing view of comic by the art mainstream; noted comics author Art Spiegelman commented that "Lichtenstein did no more or less for comics than Andy Warhol did for soup."
Deconstructing Roy Lichtenstein (sources for Lichtenstein's comic-book paintings)
mgellerman.blogspot.com/2010/11/roy-lichtenstein.html
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum
www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Tombstone of William Caven (1830 - 1904) and family. He a Presbyterian minister, educator, and theologian. He was much involved in the affairs of Knox College, a part of the University of Toronto.
Mount Pleasant Cemetery, Toronto, Canada. Late afternoon, fall 2020. Pentax K1 II.
From The Dictionary of Canadian Biography. www.biographi.ca/en/bio/caven_william_13E.html
CAVEN, WILLIAM, Presbyterian minister, educator, and theologian; b. 26 Dec. 1830 in Kirkcolm, Scotland, son of John Caven and Mary Milroy; m. July 1856 Margaret Goldie, daughter of botanist John Goldie, and they had three sons and three daughters; d. 1 Dec. 1904 in Toronto.
William Caven was born into a Scottish Secessionist family with strong Covenanting roots. Among his ancestors were men who signed the Solemn League and Covenant and whose names appeared on the roll of the Wigton martyrs. Liberal principles in politics and voluntaryism in religion were characteristics of this tradition. William was educated at home in Scotland by his father. In 1847 the family moved to Upper Canada, to Dumfries Township, near Galt (Cambridge). John Caven taught in Ayr and later served as superintendent of schools in Waterloo County. William taught school for a few months in Blandford Township before beginning studies for the ministry with William Proudfoot* and Alexander Mackenzie at the United Presbyterian Seminary in London, Upper Canada, in 1847. In 1852 Caven was licensed by the Presbytery of Flamborough and accepted a call to the two-point charge of St Marys and Downie. He was ordained on 7 October that year.
Caven would make significant contributions to church and nation in three areas: as an educator, as an ecclesiastical statesman, and as a leader of public campaigns for the preservation of Protestant moral principles in the legislation of various levels of government. In 1866 he was offered and accepted the chair of exegetical theology and apologetics at Knox College, Toronto, where he had been lecturing in exegetical theology since 1864, following the resignation of George Paxton Young*. By 1869 Caven was also teaching biblical criticism. Towards the end of his life, in 1896, a separate chair of Old Testament literature would be created, and Caven would be left with the chair of New Testament literature and exegesis. Upon the retirement of Principal Michael Willis* in 1870, Caven was named chairman of the senate of Knox College. Three years later he was appointed principal; he would hold the post till his death. Under his leadership the college raised some $120,000 for new buildings on Spadina Avenue, which opened in 1875. As an educator he was active outside the college as well, and in 1887 he succeeded Goldwin Smith as president of the Ontario Teachers’ Association. Queen’s College, Kingston, had conferred an honorary dd upon him in 1875 and Princeton Theological Seminary in New Jersey did the same in 1896. Also in 1896 he received an lld from the University of Toronto.
Caven guided Knox College during a time of intense theological ferment and taught biblical studies in years marked by heated debate in all Protestant theological colleges over the nature and authority of Scripture. His position in the religious controversies of the late 19th century was that of a moderate conservative. Though open to new insights gained by thorough investigation of the Bible, he insisted that the burden of proof rested on those advocating change in doctrine or practice. “A well-balanced mind,” Caven wrote in the Knox College Monthly in 1891, “is at once conservative and progressive; – conservative of everything good which has come down to us, while it seeks by careful investigation to enlarge the boundaries of ascertained truth and to purge away errors and mistakes.” He was confident that the central doctrines of evangelical Protestantism concerning God and humanity – the Trinity, the person of Christ, original sin, the atonement, and justification – were clearly evident in Scripture and were sufficient foundations for any task of theological reconstruction that might face the church. “The Church started out with a revelation of truth,” he told Donaldson Grant in an interview in 1902, “which could not be disproved and which no change could destroy. The belief in one God, in one Saviour, in one Holy Spirit, and in one way of salvation from the guilt and power of sin, may be more clearly apprehended and more exactly stated, but no radical change can be made in the content of that belief, based as it is on divine revelation.”
In the various proceedings of the heresy trial of Daniel James Macdonnell* from 1875 to 1877, Caven supported Macdonnell’s right to raise questions about the doctrinal standards of the Presbyterian Church in Canada. Caven’s view of the limits of that questioning, however, was clearly stated in articles in 1879 and 1882 in the Catholic Presbyterian, a journal serving the Pan-Presbyterian Alliance, an international council of Presbyterian churches. Whatever developments there might be in the construction of doctrine, he argued, these would have to remain steadfastly biblical, take due regard of the church’s doctrinal attainments, and contribute to “the growing spiritual life and holiness of the Church.”
Caven’s views were promulgated through many articles, reviews, sermons, and addresses published or reported in the religious and secular press or issued in pamphlet form. The international theological journal with which he was most closely associated was the Presbyterian Review, edited by Archibald Alexander Hodge of Princeton Theological Seminary and Charles Augustus Briggs of Union Theological Seminary in New York City. Caven became an associate editor in 1885 and regularly contributed book reviews and reports on Canadian affairs. In 1890, on the eve of the heresy trial that led to Briggs’s suspension from the Presbyterian ministry in 1893 and broke the official connection of Union seminary with Presbyterianism, the journal became the Presbyterian and Reformed Review. Caven remained on the editorial board and continued to publish in the journal until 1903.
In addition to his duties at Knox College, Cavenwas active in the affairs of the University of Toronto. For almost 20 years following the affiliation of Knox with the university in 1885, he served on the university’s senate. He played a crucial role in the negotiations that resulted in more adequate government funding for University College and in the federation of the University of Toronto in 1887 [see Sir Daniel Wilson*]. Caven had initially opposed the appeal for increased funding, but came to see the value of a single university with several colleges. His position was made public in two lengthy letters to the Globe in December 1883, later published in a pamphlet. A single university, he argued, would bring together various classes and creeds and make a significant contribution to the elimination of sectionalism, partyism, and denominationalism. State control should be coextensive with state support, eliminating any alliances between individual churches and the civil government. This position was consistent with the voluntaryism of Caven’s Secessionist background.
Caven was recognized as an adviser of Sir Oliver Mowat, premier of Ontario from 1872 to 1896, and of George William Ross* during his years as minister of education in Ontario from 1883 to 1899 and as premier from 1899 to 1905. Both Caven and Mowat belonged to St James Square Presbyterian Church. They were elected elders by the congregation in 1870 but declined to serve because of the burdens of their respective offices. Both were officers of the Evangelical Alliance, Caven serving for some years as vice-president of the Toronto branch. Caven gave the eulogy at Mowat’s public funeral. Premier Ross saw Caven as a “better judge of abstract problems than of men,” but acknowledged him to be a valued adviser. The two politicians recognized Caven as a key figure in keeping the Scottish and Irish Presbyterians in the Liberal camp.
Caven was a leader in the negotiations that led in 1875 to the unification of various Presbyterian bodies to form the Presbyterian Church in Canada [see John Cook*] as well as in the initial stages of the negotiations that would lead to church union in 1925. When the Cavens had immigrated in 1847, Presbyterians in British North America were organized into eight distinct bodies reflecting geographical and theological differences. A series of regional unions reduced the number to four by 1868. In 1870, in the wake of confederation and at the urging of prominent Presbyterian businessmen, negotiations for a single Presbyterian church in the dominion began in earnest. The following year the Canada Presbyterian Church (formed in 1861 by a union of the Free Church and the United Presbyterian Church in Canada in connection with the United Presbyterian Church in Scotland) added Caven and five others to its union committee. Their presence was intended to counteract the resistance to union from such Free Church partisans as the Reverend Lachlan McPherson of East Williams Township and the Reverend John Ross of Brucefield. Caven’s leadership in the cause of church union was acknowledged when he was elected moderator of the Canada Presbyterian Church for 1874–75 and invited to participate in the founding service of the Presbyterian Church in Canada at Montreal’s Victoria Hall on 15 June 1875 (he would serve as moderator of this body in 1892–93).
Presbyterians now constituted the largest Protestant denomination in Canada and were confident that their numerical strength, economic resources, and ecclesiastical vision were adequate to the challenge of expansion that faced them in the new dominion. Caven and others, notably George Monro Grant of Queen’s College, hoped for a broader union that would bring together all of the evangelical Protestant churches in Canada. From 1888 until his death in 1904, Caven chaired a series of committees on church union appointed by the Presbyterian General Assembly. In 1889 he was a key speaker at the Toronto Conference on Christian Unity, which brought together Presbyterians, Anglicans, and Methodists. These talks faltered as a result of the Anglican insistence on the historic episcopate.
In 1898 the Canadian Society of Christian Unity was founded under the presidency of Herbert Symonds, an Anglican; George Grant served as its second president, and Caven as its third. Caven presented his General Assembly with a memorial from the society in 1902, asking that union be actively pursued. That same year the Methodist General Conference in Winnipeg issued an invitation to the Congregationalists and the Presbyterians to seek organic union. The Presbyterians again appointed Caven to convene their committee. The first joint meeting, led by his successor Robert Harvey Warden, took place in Knox’s Church, Toronto, from 20 to 22 Dec. 1904, just three weeks after Caven’s death. Caven had also played a leading role in the Pan-Presbyterian Alliance from its inception in 1877. He served as its president for the last four years of his life.
In a feature article in the first issue of the Westminster, an interdenominational magazine edited by Caven’s former pupil James Alexander Macdonald*, Caven summarized the principles that informed his advocacy of church union. There was nothing in Scripture, he argued, that sanctioned the divided state of the church. Admittedly, many of the current divisions resulted from conflicts over the purity of doctrine or the freedom of religion, but when the reasons for disunity disappeared, as Caven was sure they had among evangelical Protestants, union should be restored. He listed four conditions for reunion: affirmation of the great doctrines of the Christian faith, agreement on the constitution and administrative structures necessary to allow the church to pursue its mission, a free spiritual life that acknowledged the glory of God as its supreme aim, and mutual esteem and affection among the denominations. One of the reasons for Caven’s advocacy of church union was his belief that a united Protestantism would have a much more powerful influence on national righteousness than separate denominations.
Together with his work for church union, Caven was a spokesman for the Protestant moral reform causes of “equal rights,” sabbath observance, and temperance. Like his fellow clergyman Donald Harvey MacVicar, he played a major role in the opposition to the Jesuits’ Estates Act of 1888 [see Honoré Mercier*]. Caven’s objections to the Quebec bill restoring to the Jesuits a significant portion of the income from estates confiscated at the time of the conquest were fourfold. He saw the legislation as a violation of the trust under which the lands were given to the Quebec legislature; it disrupted the arrangement by which the revenues were devoted to higher education; it elevated the authority of Roman canon law over the law of the empire; and it recognized the right of the pope to interfere in Canadian civil affairs in a way that compromised true freedom. His opposition was based on the principle that churches must not receive public funds to aid them in their proper work, nor may they draw upon the public treasury with the excuse of doing work beneficial to the state.
Opposition to the act and to the federal government’s refusal to disallow it crystallized in ministerial associations and in the Evangelical Alliance. In Toronto protests culminated in the gathering of Canada’s first and only Anti-Jesuit Convention, on 11–12 June 1889. The meetings, chaired by Caven, led to the establishment of the Equal Rights Association to continue the agitation for disallowance. Caven was chosen as its president. Ensuing events led to a struggle between Caven, who saw the ERA as a principled pressure group, and D’Alton McCarthy*, who sought to turn the association into a Protestant political party. Caven’s views held sway until his resignation as president in December 1890. Some linked the ERA with the founding of the Protestant Protective Association, but Caven roundly condemned the latter organization for its intolerance and political aspirations. Throughout the controversy, Caven remained supportive of the educational policies of Oliver Mowat and George Ross with respect to the rights of Catholics in Ontario. Later, however, he actively opposed public support for Catholic schools in Manitoba.
Shortly after the “equal rights” agitation, Caven, a member of the Lord’s Day Alliance, became a leading spokesman in efforts to resist the introduction of Sunday streetcars in Toronto. From his appearance on the platform at a mass rally in December 1891 until Sunday cars were allowed in 1897, he was consistent in his opposition through ministerial associations and citizens’ committees, in the pulpit, on the platform, and in the press. It was not enough, he argued in a pamphlet published in 1897, to leave sabbath observance to the religious sentiment of the community. “A community has a common life, and the fundamental convictions of any community must at length necessarily influence and find expression in its laws.” Legislative protection of the rest and quiet of the Lord’s Day as a commemoration of creation and redemption was “surely necessary and right” in a Christian nation such as Canada. Caven’s minister at St James Square, Alfred Gandier, noted in an obituary in the Globe that he refused to use Sunday streetcars and walked two miles to church each week.
Another important moral cause that enjoyed Caven’s public support was the temperance movement. Caven was on the executive of the Ontario branch of the Dominion Alliance [see Francis Stephens Spence*] when in 1902 the Ross government introduced temperance legislation patterned on that in Manitoba. The Manitoba act had just survived a legal challenge in the Judicial Committee of the Privy Council. Attached to the Ontario bill, however, was provision for a referendum to ascertain public support. Caven and the executive of the Dominion Alliance reluctantly accepted the referendum, recognizing that the legislation required significant public support if it was to be enforced. Caven took part in the campaign through platform and press, but the temperance activists were narrowly defeated. Writing in the Globe in 1904, Caven continued to urge the government to be true to its promises and abolish the bar, though he was satisfied with the proposed legislation that would permit the consumption of alcohol in private homes.
Caven’s death from pneumonia late in 1904 was mourned in editorials across Canada. As a churchman, he was remembered as one who steadfastly opposed any unreasonable innovation that threatened to destroy popular reverence. As a citizen, he was honoured as one who upheld the centrality of Protestant moral principles in the life of the nation.
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
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Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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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
وینس Venetsiya
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Thierry Geoffroy / Colonel
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
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Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
ezimba is a web site that can apply different imaging effects.
I used one picture for all the effects just for consistency for comparison. The title for each photo consists of the category of the effect and the name of the effect. Some effects would be better used on a different image. There are some effects also that appear to do the same thing in different effect categories.
Ezimba also has a Facebook app, Google Android app, and a free iPhone app. Please note that the free iPhone app puts a small logo on the edited image. You can buy the paid ezimba app and not have the logo.
The Death of Canadian Journalism - Sean Condon on the homegrown media
giant that's holding the nation hostage.
Sean Condon's website: www.seancondon.com/index.html
The Death of Canadian Journalism
By SEAN CONDON
In a crowded bar in downtown Vancouver, a group of reporters from the city’s main daily newspaper, The Vancouver Sun, gather after work to do what most people revel in after a long week at the office: bitch about the boss. While images of the Iraq War, Wal-Mart and Kid Rock quickly flash and disappear on the television screens above them, editors are mocked, columnists are ridiculed and the paper their bylines appear in is panned up and down.
There’s nothing too radical about most of their complaints – it’s not secret to anyone in the city that the Sun is a dull suburban paper pretending to be a respectable urban broadsheet. With few exceptions, there’s little investigative journalism left within its pages, and most of what gets printed is so tepid and banal that it’s almost entirely useless to read.
It’s when the reporters start talking about what’s happening inside the newsroom that they reveal a deeper and more disturbing problem with the flagship newspaper in Canada’s third largest city: one that explains everything that is wrong with the increasing consolidation of the media around the world.
Overly anxious that they’re not caught exposing the paper’s dirty secret, reporters at the Sun say that morale has hit rock bottom and an alarming atmosphere of fear and paranoia has infected the newsroom. With a tone of anger and resentment, reporters tell stories about vindictive editors who spend more time attacking them over personal and petty grievances than they do worrying about the deteriorating quality of the paper. Anyone that dares question the authority of Editor-in-Chief Patricia Graham is bullied, isolated and forced out of the paper.
Reporters say the story inside the Sun is that inexperienced editors rise through the ranks because they toe the company line or are personal friends with senior editors and not because they produce good journalism or defend the public trust. There newly empowered editors are known for not letting reporters pitch their own ideas and for pushing press releases onto veteran journalists who grudgingly grind out copy before deadline, caring very little about what they write. Reporters who challenge this system are moved out of their department, questioned about their stories and eventually given an ultimatum by the editors: quit or we’ll make your life hell.
“The culture at The Vancouver Sun is incredibly poisonous and it extends right through the newsroom,” confides Charles Campbell, a former editorial board member at the paper, who says he was surprised at how much disdain senior management had towards the paper’s star reporters. “There are very few [reporters] who are particularly happy or proud of The Vancouver Sun as a newspaper.”
While the Sun has a long history of acrimonious newsrooms and lengthy labor disputes, it was also once a respected paper that boasted some of the top journalists in the country and consistently broke stories that changed the political landscape of the city and province. When the paper was part of the Southam chain, the newsroom had a bigger budget and more independence – reports were even allowed to criticize the paper in print. But once CanWest Global Communications got its hands on the Sun in 2000, it slashed funding, silenced writers and allowed an inexperienced, and strangely insecure, management to take control. The paper has never been as irrelevant or dysfunctional as it is today.
CanWest has such a stranglehold on the city that any reporter caught speaking out against them would have trouble finding work in Vancouver again. This toxic environment has created such a chill amongst reporters that getting them to talk about the turmoil is extremely difficult. One news staffer that initially agreed to be quoted as an anonymous source later backed out for fear of repercussion. A former reporter was so worried by the ruthless reach of the editors that they would only talk off-the-record. Most wouldn’t even take that risk.
“If [the Editor-in-Chief] found out I talked, I’d be finished,” said one reporter when declining an interview. “If there was another game in town it’d be different, but there’s nothing else in this city. There’s nowhere to go.”
CanWest’s dominance over Vancouver is extraordinary even in an era of unprecedented global media consolidation and convergence.
Led by CEO Leonard Asper and the powerful Asper family, the Winnipeg-based corporation now owns both of Vancouver’s daily newspapers (the Sun and the tabloid Province), the city’s top-rated television station (GlobalTV), 12 community newspapers, eight analog and digital television stations, and one of two national papers. For good measure, it also owns the only daily in the nearby provincial capital, Victoria’s Times Colonist. A throwback to the classic Company Town, CanWest has turned Vancouver into the single-most media concentrated city in the western world.
Cities thrive in diverse media markets. In Montreal, four different companies own the city’s four major dailies, each presenting four unique perspectives on issues that concern its citizens. The same is true in cities from Toronto and New York to London and Paris. But as a small number of corporations swallow up more media outlets every year, the conflicts within the Sun are being duplicated across the country. With the largest private newspaper publisher in Canada, Black Press, recently taking ownership of Osprey, one of the most diverse, just four corporations now control 70 percent of the country’s newspaper circulation.
Cities stagnate in consolidated media markets. CanWest has a total of 13 daily newspapers in Canada, where its only competitors are often vapid tabloid or commuter dailies. On the East Coast, the Irving family owns every English-language newspaper in the province of New Brunswick and a series of dailies and weeklies throughout the Maritimes. Without any real competition, these newspapers can manipulate their content to push a single point of view. In Canada, this had led to a one-sided debate on the country’s role in Afghanistan, where editorials back the country’s military intervention and pay little attention to the mounting civilian causalities and ongoing human rights violations. But nowhere is the freedom of the press in as much danger as Vancouver, where the CanWest monopoly controls an astonishing 70 percent of the entire media market and is the only voice of record for the city.
“The story of the Sun should be presented as a cautionary tale [to the rest of the world],” says Marc Edge, a former Vancouver journalist and author of Pacific Press: The Unauthorized Story of Vancouver’s Newspaper Monopoly. “If you want to see the future of media, just look at Vancouver where you have the tightest control of media in the free world. If you allow cross-media ownership like the [Federal Communications Commission in the United States] has been considering, this is how it could end up.”
Editorial Eclipse
The internal turmoil of the Sun is a stark contrast to the colorless content on its pages. While almost all corporate newspapers have an obvious pro-business slant, the Sun leaves little doubt about where its bias lies. Corporate press releases are disguised as news stories, puff pieces on right-wing politicians pose as investigative journalism and hatchet jobs on activists purport to be fair and balanced reporting. In 2002, the Sun spent $3 million to run a series of advertorial stories praising the virtues of British Columbian businesses called ‘Believe BC.’ The stories weren’t marked as advertising features as they should have been, but were either listed as a ‘Special Feature’ or left completely unmarked.
The timing of the Believe BC series was especially insulting since it came right after the newly elected right-wing provincial government had slashed social services for the poor by $2 billion while cutting taxes for the rich by $2 billion. But there has been little coverage in the paper since then of how the cuts caused Vancouver’s homeless population to double in just three years. Although Sun reporters aren’t given direct orders to write glowing reports about the provincial government, they say they are discouraged from writing claims made by government critics. There has also been a conscious decision from the paper’s management to ignore government protesters, even when their actions are top stories for national news agencies. More often than not, the Sun is not the voice of the community, but a mouthpiece for the provincial government – over the years CanWest has donated thousands of dollars to the current provincial government and the Sun employs the premier’s brother as a columnist.
However, most troubling of all is that the Sun refuses to be held to account to the many criticisms lobbied at them by media analysts and their own current and former employees. A request for an interview with the paper’s Editor-in-Chief, Patricia Graham, was denied because Adbusters is protecting the identity of the Sun reporters who have spoken out.
“The Vancouver Sun has a policy of avoiding the use of unnamed sources,” wrote Graham in an email. “We consider it a violation of journalistic ethics to permit people to criticize others while remaining anonymous. I do not care to participate in interviews with publications whose ethical standards I do not share.”
Aside from the fact that any Sun reporter named would immediately be fired, Graham overlooks the fact that most media outlets allow anonymous sources if the importance of their information outweighs the potential for public skepticism. But Adbusters couldn’t even get a copy of the Sun’s code of ethics to verify what the paper’s policy on using anonymous sources actually is. While other news agencies post their code of ethics online, a request to the Sun was denied on the grounds that it’s not available to the public. Like much of what is happening in the Sun, the paper seems to prefer keeping the public in the dark.
Black Hole
The Aspers bought the Sun and over 130 newspapers across the country from Conrad Black’s Hollinger Inc. at a time when major media corporations around the world were clamoring for convergence. But while CanWest had one of the largest television networks in the country, it had zero experience in newspapers. Like many newly formed media conglomerates at the time, it quickly lost millions of dollars trying to make its different media outlets work together. Just as newspaper circulation was plummeting across North America, the Aspers paid Black an inflated $3.5 billion for a product in an ailing industry that they had no idea how to run.
With their fledgling newspaper empire quickly crumbling and its newly adopted national daily The National Post hemorrhaging profits from the other dailies, the Aspers tried to stop the hemorrhaging with massive layoffs – leaving already thin newsrooms stretched beyond repair. Today, reports at CanWest papers have to write more stories in less time, which adds another level of pressure in already tense environments. Instead of investigative journalism, there has been an increase in one-source stories. Many reporters have been moved off of beats and turned into general assignment reporters, giving them less knowledge on the issues they cover and less access to sources that help them cultivate and uncover breaking news.
CanWest further exasperated the problem by carelessly spending $5 million launching its now-defunct, youth-oriented commuter daily, Dose, while saving $4.6 million this past June by abandoning its partnership with the national newswire, Canadian Press (CP). Reporters across the chain have been extremely distressed by this latest move, saying it will force shorthanded newsrooms to produce extra copy for which the CP co-operative could once be relied upon. Since newspapers are still the best, and often the only, mechanism that gives the public in-depth analysis on issues, all of these cuts have damaged the public’s ability to have the kind of qualified and informed debate required in a democracy.
“This whole corporatization of journalism is not healthy,” says Mike Gasher, director of journalism at Concordia University and a former Vancouver Province reporter. “I know journalism is a business, but I think it’s just a question of how you strike the balance between the quality of the product and the bottom line. My concern is that when you have these conglomerate ownerships, that not only own several newspapers, but radio, television, internet, then I think by definition the commitment to any one of those properties is decreased.”
CanWest did not return multiple requests for an interview. Adbusters Media Foundation is currently suing CanWest along with another national broadcaster for refusing to air its public awareness campaigns about mass consumerism on their stations, which was also one of the reasons that Graham gave for turning down an interview.
Burnout
The acrimony inside the Sun is excessive when compared to other newspapers, but there are high levels of dissatisfaction and depression in all of CanWest‘s dailies. Not long after CanWest bought Black’s chain, it sparked international uproar when it broke the journalistic autonomy and implemented a national editorial policy. In 2001, the Aspers dictated a series of editorials from Winnipeg and demanded its papers not run any editorial that held views opposed their “core positions” – which primarily focused on lowering taxes and supporting Israel in the Middle East. After journalists at Montreal’s The Gazette angrily withheld their bylines, the controversy forced CanWest to drop the policy. However, it sent an early message to its newsrooms that their independence had vanished.
“I can say to our critics and to the bleeding hearts of the journalist community that it’s the end of the world as they know it, and I feel fine,” callously said David Asper, the family’s publication chairman, about the Gazette’s protest.
But the national editorial policy was almost benign compared to the firing of Ottawa Citizen publisher Russell Mills for running a feature about then Prime Minister Jean Chretien’s suspicious financial dealings and an editorial calling for his resignation. Asper patriarch Izzy Asper (now deceased) had close ties to Chretien and the country’s ruling Liberal party, and the firing sent a chill throughout the entire CanWest chain that still exists today. Although CanWest has since toned down its editorial interference (its most recent act was to replace all mention of Palestinian “militants” with “terrorists” in newswire copy), reporters at its papers say the damage has already been done.
“People do their jobs, they roll their eyeballs, and a lot of them at quitting time stop thinking about it,” says one staffer at The Gazette.
The primary complaint heard from CanWest reporters today is that the corporation’s drastic financial cuts have done the most to sink morale. In almost revolutionary development, editors and publishers at CanWest papers have also begun to openly criticize the Aspers to their reporters because of the budget cuts. The Aspers make a sharp contrast to the CanWest papers’ original owners, the Southam family, which turned its newspapers into some of the most competitive and respected in North America. Ironically, CanWest reporters even refer to the Conrad Black era as the “golden age.” Although Black cut back on reporters and was reviled as a tyrant with an overt political agenda, he also invested more in his newsrooms. Today, the computers in the Edmonton Journal newsroom are so old that staff can’t even access their own paper’s website.
“It’s depressing,” says Journal reporter, “and it makes you wonder about the future. There are all sorts of new pressures going on in today’s media, and most of us don’t have confidence that the Aspers have the business acumen to deal with these pressures in an effective way.”
Shine A Light
While CanWest’s control over Canada’s media sheds a disturbing light on the future of media consolidation, the concentration of ownership has in actuality been a major problem brewing in Canada for the past half-century. When The Vancouver Sun and The Province first merged their competing newspapers under a single management company called Pacific Press in 1957 because of economic problems, the federal government investigated the deal and found it would likely be “to the detriment of the public.” However, it backed away from taking any action.
When corporate chains came to control an alarming 77 percent of the country’s circulation, the 1970 Davey Committee stated that “all transactions that increase concentration of ownership in the mass media are undesirable and contrary to the public interest – unless otherwise shown,” and recommended the country form a press review board to rule on mergers. However, none of its recommendations were implemented.
When two major newspaper chains, Southam and Thompson, colluded to each shut down a competing newspaper in Ottawa and Winnipeg in 1980 and both of Vancouver’s daily newspapers were officially handed over to the Southams, the Royal Commission on Newspapers stated that “freedom of the press is not a property right of owners,” and recommended strict ownership limits. Again, no action was taken.
And when a Senate committee on media concentration released a report in 2006 stating, “the concentration of ownership has reached levels that few other countries would consider acceptable” and recommended that large mergers be publicly reviewed, it was outright dismissed by Heritage Minister Bev Oda who argued that “convergence has become an essential business strategy in order to stay competitive.”
Despite an endless amount of evidence provided by federal commissions and investigations showing how dangerous it is to a democracy when fewer companies control the media market – foreign bureaus are reduced, staff is cut back and quality diminished – no Canadian government has ever tried to put the brakes on consolidation. By ignoring the problem for the past 50 years, it has been allowed to grow into a full-blown crisis.
Today, reporters at CanWest simply go through the motions and many veteran journalists say their main goal is to try and get an early buyout from the corporation. Others say they personally tell journalism students to stay out of the business. Seeing the writing on the wall, many journalism students at colleges and universities from Vancouver to Ottawa say they have little interest entering an industry that they had such high hopes for only a few years earlier. Once considered a respected and noble profession that challenged authority and represented its community, CanWest’s consolidation has killed any sense of pride Canadian journalist once had in their job.
The most obvious example of consolidation run amok is Vancouver, where one corporation has such a tight control over the city that it gets away with bullying its reporters and slanting its news coverage without ever being challenged. The problems inside the Sun and CanWest papers will be repeated across the country if consolidation is allowed to continue unabated.
Because the priority of the paper’s corporate controller is on the bottom line instead of the public trust, a once-proud newspaper chain has turned into a skeleton of its former self. Reporters at CanWest papers who don’t conform the corporate perspective have few options or alternatives since CanWest owns the majority of media in most of their cities. Despite the restrictions, some reporters have managed to produce good journalism, but those that try to speak out have been harassed, silenced and sent packing. When journalists are denied resources and can’t truthfully disseminate information, the entire public is held hostage. It’s time to set them free.
Who's looking out for you?
The Birds of Ireland: A Field Guide with Jim Wilson
Shorebirds of Ireland with Jim Wilson.
Freshwater Birds of Ireland with Jim Wilson
www.markcarmodyphotography.com
The Rock Pipit (Anthus petrosus) is a small species of passerine bird that breeds in western Europe on rocky coasts. It has streaked greyish-brown upperparts and buff underparts, and is similar in appearance to other European pipits. There are three subspecies, of which only the Fennoscandian form is migratory, wintering in shoreline habitats further south in Europe. The Eurasian rock pipit is territorial at least in the breeding season, and year-round where it is resident. Males will sometimes enter an adjacent territory to assist the resident in repelling an intruder.
Its population is large and stable, and it is therefore evaluated as a species of least concern by the International Union for Conservation of Nature (IUCN).
The Rock Pipit is closely related to the Water Pipit and the Meadow Pipit, and is rather similar in appearance. Compared to the meadow pipit, the rock pipit is darker, larger and longer-winged than its relative, and has dark, rather than pinkish-red, legs. The water pipit in winter plumage is also confusable with the rock pipit, but has a strong supercilium and greyer upperparts; it is also typically much warier. The rock pipit's dusky, rather than white, outer tail feathers are also a distinction from all its relatives. The habitats used by rock and water pipits are completely separate in the breeding season, and there is little overlap even when birds are not nesting. (wikipedia)
This very pale individual was feeding very well at the base of the East Pier in Dun Laoghaire, Dublin.
DR. ADOLFO VÁSQUEZ ROCCA
www.danoex.net/adolfovasquezrocca.html
Eastern Mediterranean University - Academia.edu
E-mail: adolfovrocca@gmail.com
TRAYECTORIA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012
PUBLICACIONES
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
dialnet.unirioja.es/servlet/autor?codigo=1053859
Publications Scientific
de.scientificcommons.org/adolfo_v%C3%A1squez_rocca
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
BIBLIOTECA UNI>ERSIA – Unesco - CSIC
biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...
Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
Biblioteca Universidad Complutense de Madrid
Revistas Científicas Complutenses
Directorio de recursos digitales - Ministerio de Cultura, España
Biblioteca Asociación Filosófica UI
www.uruguaypiensa.org.uy/categoria_144_1_1.html
Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca
Philosophy & Art: Pinterests Design
ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO
www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1
'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,
Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,
- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012
INVESTIGACIÓN:
2009 - 2010
Proyecto de Investigación N° DI-10-09/JM - UNAB
“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB
2011 - 2012
- Proyecto de Investigación N° DI-08-11/JM - UNAB
- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello
Asistente de Investigación:
Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos
ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA
TRAYECTORÍA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.
– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM
Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/
(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso
(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.
(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.
(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB
(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB
(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV
(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB
(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB
(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM
(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP
(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV
(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM
(2009-2010) Profesor visitante Florida Christian University USA
(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH
(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.
(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.
(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)
SEMINARIOS
Asignaturas de Postgrado impartidos:
2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".
2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"
2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"
2007 1º Seminario Sloterdijk - Nietzsche
2007 2º Seminario: Sloterdijk un pensador estético
2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"
2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"
2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.
ENTREVISTA:
“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.
www.alcances.cl/ver-articulo.php?id=81
Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.
www.revistadefilosofia.com/44-04.pdf
Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.
dialnet.unirioja.es/descarga/articulo/4052835.pdf
Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/
Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140
www.ldiogenes.buap.mx/revistas/24/127.pdf
Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...
Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32
www.revistadefilosofia.com/46-02r.pdf
Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.
www.revistadefilosofia.com/46-02.pdf
Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457
pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca.pdf
Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490 pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca_...
Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...
Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420
pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf
Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445
pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.
www.doaj.org/doaj?func=fulltext&aId=1320292
2013
Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...
Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.
cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...
Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 68 / marzo - abril 2013, Madrid.
www.margencero.com/almiar/limites-medicina-concepto-muert...
Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712
www.observacionesfilosoficas.net/sloterdijkensayosdeintox...
Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.
rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...
Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.
rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:
www.observacionesfilosoficas.net/download/Peter-sloterdij...
Vásquez Rocca, Adolfo, "Sloterdijk; Psicopolítica, Globalización y Mundo interior del Capital", En Escáner Cultural - Revista de Arte Contemporáneo y Nuevas Tendencias, Santiago- [Re-Edición 2013], Paper y Conferencia en el IV Congreso Internacional y VII Nacional de Filosofía del Derecho, Ética y Política, Organizado por la Facultad de Filosofía, de Derecho y la Oficina de Relaciones Interinstitucionales (ORI) de la Universidad Libre en Colombia, y la Facultad de Derecho del Centro Universitário Newton Paiva en Bello Horizonte – Brasil, 22, 23 y 24 de abril de 2013, Programa del Congreso
Vásquez Rocca, Adolfo, "Sartre; teoría fenomenológica de las emociones, existencialismo y conciencia posicional del mundo", Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 69 / mayo-junio 2013, Madrid.
www.margencero.com/almiar/sartre-existencialismo-y-concie...
Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490
www.theoria.eu/nomadas/35/adolfovrocca_2.pdf
Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio – julio-diciembre 2012-2013, pp. 127 – 140
www.ldiogenes.buap.mx/revistas/24/127.pdf
Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo", En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – mayo, 2013
rinabrundu.com/2013/05/05/sloterdijk-y-heidegger-normas-p...
Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457
www.theoria.eu/nomadas/35/adolfovrocca.pdf
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo. Ensayos de intoxicación voluntaria y constitución psicoinmunitaria de la naturaleza humana”, En ARTEFACTO -Pensamientos sobre la Técnica- UBA, abril, 2013
www.revista-artefacto.com.ar/pdf_textos/84.pdf
DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL
dialnet.unirioja.es/servlet/autor?codigo=1053859
ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN
www.danoex.net/adolfovasquezroccainvestigacion.html
Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO
www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a
ADOLFO VÁSQUEZ ROCCA
emui.academia.edu/AdolfoVasquezRocca
Pontificia Universidad Católica de Valparaíso
Universidad Complutense de Madrid
Universidad Andrés Bello UNAB
E-mail: adolfovrocca@gmail.com
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
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Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum
www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
During this Chinese New Year , family will get together , starting from the reunion dinner during the eve. Then staying up throughout the night aka guarding the night so that your loved one and parents will have longvetity....
Throughout the chinese new year , family will do home visiting to relatives and friends , with a pair of mandrain orange in their hand.
Kids during this period as they will received ang bao from the married adults. Ang bao aka red packet is a chinese new year tradition whereby the married will put $$$ inside it as a blessing.
One of the event during this festive period is River Hongbao.
.:Taken from From River HongBao 2012
Introduction
River Hongbao 2012
As the year of the Rabbit draws to a close, River Hongbao prepares to welcome the Year of the Dragon with the biggest New Year Carnival in Singapore at The Float @ Marina Bay! From 21st to 29th January 2012, The Float will be turned into a wonderland of culture, food, lights and entertainment daily from 12 noon to 11.30pm (On Chinese New Year’s Eve 22 January 2012, from 12 noon till 1am).
With 25 years of success, next year’s River Hongbao aims for even greater heights, focusing on Fun, Culture and Heritage. Visitors will get to learn more about Chinese culture and heritage while engaging in fun-filled activities throughout the River Hongbao site.
Highlights
The Wonders of Guangxi
River Hongbao will be collaborating with the Culture Department of Guangxi Zhuang Autonomous Region for the very first time, bringing the region’s specialties in food, dance, song and handicraft to River HonIntroduction
River Hongbao 2012
As the year of the Rabbit draws to a close, River Hongbao prepares to welcome the Year of the Dragon with the biggest New Year Carnival in Singapore at The Float @ Marina Bay! From 21st to 29th January 2012, The Float will be turned into a wonderland of culture, food, lights and entertainment daily from 12 noon to 11.30pm (On Chinese New Year’s Eve 22 January 2012, from 12 noon till 1am).
With 25 years of success, next year’s River Hongbao aims for even greater heights, focusing on Fun, Culture and Heritage. Visitors will get to learn more about Chinese culture and heritage while engaging in fun-filled activities throughout the River Hongbao site.
Highlights
The Wonders of Guangxi
River Hongbao will be collaborating with the Culture Department of Guangxi Zhuang Autonomous Region for the very first time, bringing the region’s specialties in food, dance, song and handicraft to River Hongbao visitors. Performers from the region’s ethnic minorities will entertain the audience with many song and dance items native to their individual tribes as well as excerpts adapted from the highly acclaimed movie Liu San Jie (刘三姐). Visitors will also have the opportunity to view traditional handicraft exhibits and get first hand experiences with live cultural demonstrations like caramel painting, paper cutting, rice carving and many more!
Lighting up the Bay
Possibly the largest lantern display in Southeast Asia, River Hongbao 2012 will see more than 60 exquisitely designed lanterns on display, adding to the spectacular view of the Marina Bay. Handcrafted by Chengdu craftsmen, this year will see a myriad of materials used and the marriage of traditional design with technical effects, creating livelier and more vibrant designs to bring the Float to life with lights, movement and sound.
Martial God of Wealth （武财神）
Chinese New Year is all about auspicious tidings and good luck, which makes the God of Wealth, deemed as the patron of wealth and prosperity, an integral part of River Hongbao. This year, River Hongbao welcomes the Martial God of Wealth as the main highlight of the lantern display. According to traditional belief, the Martial God of Wealth is a symbol used in boosting economy and bringing wealth and prosperity to businessmen. An expert in geomancy has also advised that placing the Martial God of Wealth at the Bay area this year will help in stabilize Singapore’s position in the recently tumultuous global economy.
Biggest ever River Hongbao Food Street
With more than 40 stalls, this year’s River Hongbao Food Street will be the biggest ever set up and aims to tantalize visitors’ taste buds with 70 varieties of New Year goodies and local hawker favourites like Hainanese Chicken Rice, Nasi Lemak, Roti Prata and many more. Other than local fare, visitors will also have the rare opportunity to sample Guangxi local specialties specially prepared by Guangxi chefs like Guilin Rice Noodles （桂林米粉）, Bamboo Rice （竹筒饭）and Yu Lin Meatballs （玉林肉蛋）.
River Hongbao will also be collaborating with At-Sunrice Globalchef Academy for the very first time, inviting their students to create and market a special Nian Gao （Chinese New Year Sticky Rice Cake年糕）, only available for sale at River Hongbao. More details of this culinary showcase will be unveiled in future press conferences.
Greater Youth Participation
Expect a more ‘youthful’ River Hongbao as the committee plans for more youth involvement. Students will be invited to train as tour guides of River Hongbao’s ‘History of Chinese Education in Singapore’ Exhibition as well as to visit the Exhibition as part of their Chinese cultural curriculum, organize Lantern Riddles Contest and also get the chance to perform nightly on the River Hongbao stage. Online quizzes, of which answers can only be found at River Hongbao site, will also be hosted via River Hongbao’s website (www.riverhongbao.sg) and Facebook Page to pique their interest.
Night after Night of exciting performances!
Nine nights of festivities, nine nights of exciting performances to wow the audience! With Prime Minister Lee Hsien Loong gracing the event as the Guest-of-Honour, River Hongbao will open on 21st January with a wonderful fireworks display as well as performances by Guangxi Performing Group and Taiwanese Singer Zhang Xiu Qing（张秀卿）.
On 22nd January, President Tony Tan will be ushering in the Year of the Dragon with another spectacular fireworks display followed by exciting performances by Guangxi, Zhang Xiu Qing as well as our very own local performing groups, artistes and students!
From 26th to 29th January, our local talents like Liu Ling Ling, Huang Qing Yuan, Li Pei Fen, Wang Lei, Chen Jian Bin will be hosting Local Talent night (26th January), performers from the Malaysia, Indonesia, Thailand and Philippines will entertain the masses on SCCCI Night (27th January), student groups will take center stage with
their dynamic performances on Youth Night (28th January) and performers from all different ethnic groups will come together in a grand finale to wrap up River Hong Bao on Harmony Night (29th January).
gbao visitors. Performers from the region’s ethnic minorities will entertain the audience with many song and dance items native to their individual tribes as well as excerpts adapted from the highly acclaimed movie Liu San Jie (刘三姐). Visitors will also have the opportunity to view traditional handicraft exhibits and get first hand experiences with live cultural demonstrations like caramel painting, paper cutting, rice carving and many more!
Lighting up the Bay
Possibly the largest lantern display in Southeast Asia, River Hongbao 2012 will see more than 60 exquisitely designed lanterns on display, adding to the spectacular view of the Marina Bay. Handcrafted by Chengdu craftsmen, this year will see a myriad of materials used and the marriage of traditional design with technical effects, creating livelier and more vibrant designs to bring the Float to life with lights, movement and sound.
Martial God of Wealth （武财神）
Chinese New Year is all about auspicious tidings and good luck, which makes the God of Wealth, deemed as the patron of wealth and prosperity, an integral part of River Hongbao. This year, River Hongbao welcomes the Martial God of Wealth as the main highlight of the lantern display. According to traditional belief, the Martial God of Wealth is a symbol used in boosting economy and bringing wealth and prosperity to businessmen. An expert in geomancy has also advised that placing the Martial God of Wealth at the Bay area this year will help in stabilize Singapore’s position in the recently tumultuous global economy.
Biggest ever River Hongbao Food Street
With more than 40 stalls, this year’s River Hongbao Food Street will be the biggest ever set up and aims to tantalize visitors’ taste buds with 70 varieties of New Year goodies and local hawker favourites like Hainanese Chicken Rice, Nasi Lemak, Roti Prata and many more. Other than local fare, visitors will also have the rare opportunity to sample Guangxi local specialties specially prepared by Guangxi chefs like Guilin Rice Noodles （桂林米粉）, Bamboo Rice （竹筒饭）and Yu Lin Meatballs （玉林肉蛋）.
River Hongbao will also be collaborating with At-Sunrice Globalchef Academy for the very first time, inviting their students to create and market a special Nian Gao （Chinese New Year Sticky Rice Cake年糕）, only available for sale at River Hongbao. More details of this culinary showcase will be unveiled in future press conferences.
Greater Youth Participation
Expect a more ‘youthful’ River Hongbao as the committee plans for more youth involvement. Students will be invited to train as tour guides of River Hongbao’s ‘History of Chinese Education in Singapore’ Exhibition as well as to visit the Exhibition as part of their Chinese cultural curriculum, organize Lantern Riddles Contest and also get the chance to perform nightly on the River Hongbao stage. Online quizzes, of which answers can only be found at River Hongbao site, will also be hosted via River Hongbao’s website (www.riverhongbao.sg) and Facebook Page to pique their interest.
Night after Night of exciting performances!
Nine nights of festivities, nine nights of exciting performances to wow the audience! With Prime Minister Lee Hsien Loong gracing the event as the Guest-of-Honour, River Hongbao will open on 21st January with a wonderful fireworks display as well as performances by Guangxi Performing Group and Taiwanese Singer Zhang Xiu Qing（张秀卿）.
On 22nd January, President Tony Tan will be ushering in the Year of the Dragon with another spectacular fireworks display followed by exciting performances by Guangxi, Zhang Xiu Qing as well as our very own local performing groups, artistes and students!
From 26th to 29th January, our local talents like Liu Ling Ling, Huang Qing Yuan, Li Pei Fen, Wang Lei, Chen Jian Bin will be hosting Local Talent night (26th January), performers from the Malaysia, Indonesia, Thailand and Philippines will entertain the masses on SCCCI Night (27th January), student groups will take center stage with
their dynamic performances on Youth Night (28th January) and performers from all different ethnic groups will come together in a grand finale to wrap up River Hong Bao on Harmony Night (29th January).
.:Taken from From Wikipedia, the free encyclopedia:.
Chinese New Year
Chinese New Year is the most important of the traditional Chinese holidays. In China, it is known as "Spring Festival," the literal translation of the Chinese name 春節 (Pinyin: Chūn Jié), since the spring season in Chinese calendar starts with lichun, the first solar term in a Chinese calendar year. It marks the end of the winter season, analogous to the Western carnival. The festival begins on the first day of the first month (Chinese: 正月; pinyin: Zhēng Yuè) in the traditional Chinese calendar and ends with Lantern Festival which is on the 15th day. Chinese New Year's Eve, a day where Chinese families gather for their annual reunion dinner, is known as Chú Xī (除夕) or "Eve of the Passing Year." Because the Chinese calendar is lunisolar, the Chinese New Year is often referred to as the "Lunar New Year".
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Reference: Photo 24/(74)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 24 Jul 1915
See also:
- View this at the British Library's site
The main shopping road in Avignon heading south of Place de l'Horloge.
Rue de la Bonaparte, built from 1856 to 1867, required a major displacement of residents in order to be built. Between Porte de la République and Place de l'Horloge, you will see the old barracks converted into the Hautpoul Civic Center, Agricola Perdiguier Square, the Jesuit church on the former cloister of Saint-Martial, the High School Chapel that became the Lapidary Museum, a bronze fountain by Paul Pamard, the bust of Frederic Mistral and the famous sweet shop, Péchés Gourmands.
On the corner of Rue de la Republique and Rue Frederic Mistral is the former Chapelle du college des Jesuites, now the Musee Lapidaire.
The chapel of the Jesuit College was designed originally to present the medieval sculptures and Gallo-Roman the Musée Calvet . For ten years, these spaces are open to other museum collections of ancient Egyptian, Greek and Etruscan.
These developments herald the faces of future archaeological rooms at the Musée Calvet.
This beautiful testimony of Baroque architecture , located in the heart of Avignon, is not the work of one architect as evidenced by recent research by the historian Alain Breton. Martellange Etienne (1568 or 1569-1641) designed Plans of the church and began construction in 1620 . Eight years later, the architect Avignon Francis Royers of Valfenière said the yard and took him to run.
The building has a plan of great simplicity , consisting of a nave , preceded by a narthex and leading the choir consists of a short-span and a pentagonal apse, flanked by two vestries. In these latter is the ground floor of the towers used respectively tower and shelter for a clock. The nave is flanked on either side of five bays pierced by arcades and dominated by stands with balusters. Above the galleries are superimposed a frieze decorated with plants, a cornice and the attic.
Large windows, now bricked up one side and once fitted with stained glass, whose implementation was entrusted to the glass Nîmes F. Commeaux , surmounted the whole. At the entrance of the nave took place two rounds of stairs accessing the side galleries and the large central gallery with balustrade, built in 1660 only. Architectural decoration, due mainly to the sculptor Avignon, Reynau Barbeau , relies heavily on the rich repertoire of plastic plants: palms, acanthus leaves, garlands, rosettes.
The exuberance of carefully controlled setting, the harmonious distribution in the upper part of the building, exalt the supreme elegance of the ridge overlooking the vaulted nave, while in the choir, play strong lines of the barrel vault terminated by a cul de four pentagonal, forms as an irresistible call to infinity.
All strikes again by his majesty, although the building has undergone many changes and damage as evidenced by the current configuration of the choir. Indeed, in the late seventeenth century a monumental altar of plaster occupied the entire space. This portico of gigantic proportions, which did no less than ten columns, sixteen pilasters, an attic, and made the circuit of the apse, was created by John Péru, architect and sculptor Avignon. The same Péru elaborated the glory of plaster taking place at the base of the apsidal arch. It is also during this time that the niche once provided with a bay window and fitted on the back wall of the apse, was performed.
In the first half of the nineteenth century the transformation of the college hall and chapel in kitchens, laundry and dining room led to the ruin of the choir, the total disappearance of the altarpiece and the partial destruction of the glory of Péru. When in 1851 the church was again assigned to worship, important work intervened within the choir: installation of an altar, a communion of support, restore the glory of Peru .
At the same time, the oak paneling concealing dark base of the pilasters partly covering the walls, breaking somewhat the strength of the original order. Similarly, the beautiful altar of gilded wood adorned the grand stand at the entrance to the nave, made no part of the original decor but comes from the chapel of a commune in the Vaucluse (Thor). In the first two decades of the twentieth century, the chapel underwent many vicissitudes and served, for example, an exhibition of an airplane, fair beekeeping. The decision to locate within its walls a lapidary museum break came very opportunely with solutions sometimes extravagant and ill-suited to the nobility of the building .
Close ups of the frontage of the museum / former chapel on Rue de la Republique.
Jamie L. Whitten Federal Building, Washington, D.C, on May 26, 2017. USDA photo by Lance Cheung.
From the General Services Administration (www.gsa.gov/portal/ext/html/site/hb/category/25431/action...):
Building History
Through the latter half of the nineteenth century, the U.S. Department of Agriculture established its physical presence on the western end of the Mall in Washington, D.C., with a collection of Victorian-era brick and wood buildings, grouped in an informal plan. By the turn of the century, the department had out-grown its existing facilities and sought a Congressional
appropriation to build a combined laboratory and administrative building. This new Administration Building would begin the transformation of the department's complex into a highly formal composition of classical style buildings and would set the standard for the large federal buildings of the early part of the twentieth century.
The design and siting of the new Administration Building was subject to direct influence of McMillan Plan architects Charles McKim and Daniel Burnam, who advised President Theodore Roosevelt on the implementation of the plan during its early years. The 1901 McMillan Plan sought to reconcile competing visions of the development of the federal city, and featured a
landscaped and harmonious Mall, its central core free of buildings. The original site for the new building intruded into the Mall. The site was twice moved to conform to the plan's set back and axial alignment requirements, ultimately resulting in alterations to the design. Thus, the Administration Building was the first building constructed on Mall in accordance with the building
lines established by the McMillan Plan.
Bounded by Jefferson Drive, Independence Avenue, Twelfth Street, and Fourteenth Street, Southwest, the building was designed by the Philadelphia firm of Rankin, Kellogg and Crane. The original appropriation allowed for the construction of the two L-shaped laboratory wings, erected between 1904 and 1908. A subsequent appropriation provided for the construction of
the central block, between 1928 and 1930. The building has served as the office of every secretary of Agriculture since 1930. In 1974, it was listed in the National Register of Historic Places. In 1995, the building was named for Congressman Jamie L. Whitten of Mississippi who served as chairman of the Agriculture Appropriations Subcommittee. The only departmental office building on the National Mall, it exemplifies the importance of the Department of Agriculture at the time it was built.
Architecture
The architect's original plan called for the central domed administrative building with two large U-shaped laboratory wings, one on either side. Although never completed as proposed due to the lengthy hiatus in construction phases, the original design served as the basis for the design of the completed building, which exhibits the Beaux Arts Classicism favored by the McMillan Commission. Major elements, including the dome and the height and configuration of the wings, were changed due to the reduced size of the site, reduced appropriations, and direction from the architects of the former McMillan Commission and later from the U.S. Commission of Fine Arts.
The facade of the long, white marble building is composed of three major elements: the taller, five story, projecting central block and the two flanking, symmetrical, four-story wings. The three elements are joined together by two recessed, symmetrical, three-story, connecting corridor links, dating to 1930. The overall shape is that of an elongated E with the primary facade facing the Mall and the L-shaped wings returning toward Independence Avenue.
The central block is five stories in height, the top story being an attic above the entablature. The principal element is a shallow Roman Corinthian portico which rises from the top of the rusticated ground floor through the fourth floor. A series of arched openings pierce the rusticated base. The entablature of the central block has a modillioned cornice and supports a paneled parapet above the portico. The three attic panels carry quotations from Saint Paul, Abraham Lincoln and George Washington referring to agriculture. The main entryway is at grade through the three central arches in the rusticated ground floor.
The wings are four stories with a rusticated ground floor, a piano nobile, a third floor and an attic floor set behind the balustrades capping the entablature. Three-bay pavilions project slightly at each end of the two wings. The pavilions have engaged Roman Ionic colossal orders above the rusticated base and pediments containing allegorical sculptures symbolizing fruits, flowers, cereals and forests. All ground floor windows are round arched. The main floor windows have flat caps, and those above have simple architraves. The wings have denticulated cornices and hip roofs clad in red tile.
As a result of design changes required to fit the site, the east and west elevations of the wings appear curiously truncated in design. At the rear, the courtyard elevations of the wings are trimmed with marble but faced with light buff brick instead of marble. The second and third floor windows of the central block are separated by cast iron spandrels ornamented by roundels
with bison heads. The rear elevation of the central block has pilasters. Two limestone clad bridges spring from the wings at the third story level to carry enclosed blind passages over Independence Avenue. The bridges, constructed in 1936, connect to the Agriculture South Building, which was constructed in 1932 on the site of the original administrative building. The most striking feature of the interior is the two-story skylit brick courtyard, located on the ground floor of the central block.
The courtyard has a central fountain and, on its west wall, a marble World War I memorial carved by John Flanagan and bearing the names of fallen employees of the Department of Agriculture. A groin vaulted corridor surrounds the courtyard. The main stairway is semicircular. At the second floor level the curved wall of the stairwell has a mural, O fortunates Nimium, Sua si bona norit, Agricolas, painted by Gilbert White in 1934. The subject is drawn from the classic poet Virgil's work, Georgics (On Farming).
The building remains remarkably as it was constructed. In 1990, the barrel vaulted skylight over the courtyard was restored.
Wolf Pack Invite 09/27/08
River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008
www.andynoise.com/wolfpack08.html
Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.
Varsity Boys Team Results
1 MCFA McFarland 25
2 PADA Palmdale 95
3 RIDG Ridgeview 118
4 SHAF Shafter 130
5 BAEA East Bakersfield 142
6 BAKE Bakersfield 174
7 WASC Wasco 176
8 STOC Stockdale 210
9 FTHL Foothill 233
10 GARC Garces Memorial 254
11 ARVI Arvin 321
12 NORT North 324
13 Fron Frontier 345
14 SOUT South 404
15 BACH Bakersfield Christian 423
16 WSTB West Bakersfield 461
TFCC Taft INC
1. 16:18 179 179 Chris Schwartz Sr M FTHL 1
2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2
3. 16:38 450 450 Robby Baker Jr M RIDG 3
4. 16:44 297 297 Marco Perez So M MCFA 4
5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5
6. 16:51 294 294 Marco Camargo Jr M MCFA 6
7. 16:54 451 451 Alex Garcia Jr M RIDG 7
8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8
9. 16:58 295 295 Eddie Garcia Sr M MCFA 9
10. 17:04 296 296 Francisco Nava So M MCFA 10
11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11
12. 17:10 402 402 Adrian Ramos Jr M PADA 12
13. 17:16 400 400 Victor Hernandez Sr M PADA 13
14. 17:19 72 72 Andrew Ariey Sr M BAKE 14
15. 17:20 403 403 Daniel Ramos Jr M PADA 15
Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.
Varsity Girls Team Results
1 RIDG Ridgeview 45
2 SHAF Shafter 73
3 PADA Palmdale 94
4 NORT North 95
5 STOC Stockdale 124
6 FTHL Foothill 142
7 BAKE Bakersfield 142
8 GARC Garces Memorial 189
9 Fron Frontier 243
10 SOUT South 278
BAEA East Bakersfield INC
ARVI Arvin INC
WASC Wasco INC
TFCC Taft INC
WSTB West Bakersfield INC
BACH Bakersfield Christian INC
1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF
2. 21:04 430 430 Tijerra Lynch So F RIDG
3. 21:07 369 369 Merino Jennifer Sr F PADA
4. 21:10 428 428 Jessica Huizar Jr F RIDG
5. 21:12 89 89 Lucia Garcia Jr F BAEA
6. 21:17 208 208 Monica Guzman Jr F GARC
7. 21:23 330 330 Cecilia Lopez Sr F NORT
8. 21:33 90 90 Sophia Garcia So F BAEA
9. 21:35 136 136 Natalie Fernandez So F FTHL
10. 21:46 2 2 Tonya Hernandez Jr F ARVI
11. 21:53 624 624 Alejandra Gutierrez Sr F WASC
12. 21:55 372 372 Anaiz Ortiz Sr F PADA
13. 21:56 426 426 Ashley Duran Sr F RIDG
14. 22:05 459 459 Lindsee Handel So F SHAF
15. 22:12 45 45 Gabrielle Lerma So F BAKE
JV Boys Results
1 MCFA McFarland 29
2 RIDG Ridgeview 72
3 BAEA East Bakersfield 105
4 PADA Palmdale 118
5 SOUT South 150
6 Fron Frontier 160
7 WASC Wasco 161
8 STOC Stockdale 169
9 FTHL Foothill 237
10 GARC Garces Memorial 246
11 MiMo Mira Monte 278
12 BAKE Bakersfield 341
SHAF Shafter INC
TFCC Taft INC
ARVI Arvin INC
NORT North INC
1. 11:06 284 284 Bryan Calvo Sr M MCFA
2. 11:23 290 290 Pedro Sanchez Jr M MCFA
3. 11:34 661 661 Eric Sanchez Jr M WASC
4. 11:34 100 100 felix Trevino So M BAEA
5. 11:36 277 277 Bernardo Garcia Fr M MCFA
6. 11:39 440 440 Ernesto Castillo Jr M RIDG
7. 11:45 476 476 Matt Yanez Jr M SHAF
8. 11:46 439 439 Michael Anseno Sr M RIDG
9. 11:47 98 98 Marc Sotello Jr M BAEA
10. 11:47 474 474 Elias Picazo Sr M SHAF
11. 11:49 288 288 Adam Marquez Fr M MCFA
12. 11:50 394 394 Ramirez Miguel Jr M PADA
13. 11:50 393 393 Nicholas Mayo Jr M PADA
14. 11:53 276 276 Ismael Bautista Fr M MCFA
15. 12:00 101 101 Esteban Vargas Sr M BAEA
JV Girls Results
1 PADA Palmdale 27
2 STOC Stockdale 51
3 RIDG Ridgeview 66
4 MiMo Mira Monte 100
SOUT South INC
BAKE Bakersfield INC
FTHL Foothill INC
NORT North INC
GARC Garces Memorial INC
1. 14:45 494 494 Claudia Cuevas Sr F SOUT
2. 15:05 420 420 Natalia Motta Sr F RIDG
3. 15:12 528 528 Amber Crabtree Sr F STOC
4. 15:28 351 351 Amy Diaz Sr F PADA
5. 15:33 360 360 Lizet Onofre Jr F PADA
6. 15:41 364 364 Crystal Schachter Jr F PADA
7. 15:48 531 531 Shelby Pinkham Jr F STOC
8. 15:51 41 41 Felisa Torres Sr F BAKE
9. 15:52 118 118 Lucia Garcia Jr F FTHL
10. 15:54 362 362 Karina Ortega Jr F PADA
11. 15:54 328 328 Aubree Mossburg Jr F NORT
12. 16:04 365 365 Michelle Silva Jr F PADA
13. 16:06 367 367 Zaria Zambrano Jr F PADA
14. 16:07 525 525 Justine Benavidez Sr F STOC
15. 16:19 128 128 Nancy Tenorio Sr F FTHL
Frosh/Soph Boys
1 MCFA McFarland 25
2 WASC Wasco 66
3 FTHL Foothill 95
4 STOC Stockdale 114
5 RIDG Ridgeview 121
6 PADA Palmdale 139
7 SHAF Shafter 174
8 Inde Independence 183
9 TFCC Taft 254
10 BAKE Bakersfield 287
11 RFKH RFKH 312
12 GARC Garces Memorial 313
13 ARVI Arvin 337
14 MiMo Mira Monte 383
SOUT South INC
Error 2042 #N/A INC
1. 10:53 666 666 Jorge Zuniga Fr M WASC
2. 10:55 282 282 Chavez Ryan Fr M MCFA
3. 11:12 275 275 Sergio Avelar Fr M MCFA
4. 11:25 638 638 Eddie Aguilar So M WASC
5. 11:26 280 280 Leo Perez Fr M MCFA
6. 11:26 278 278 Jose Monrreal Fr M MCFA
7. 11:36 177 177 Genaro Quintanar Fr M FTHL
8. 11:38 541 541 Alex Eckley Fr M STOC
9. 11:39 279 279 Gonzalo Mulato Fr M MCFA
10. 11:40 252 252 Dwayne Facho So M Inde
11. 11:41 434 434 Brandon Magno Fr M RIDG
12. 11:42 383 383 Corey Nieto Fr M PADA
13. 11:48 543 543 Abraham Mayorga So M STOC
14. 11:49 467 467 Pablo Mendez Fr M SHAF
15. 11:50 650 650 Asencion Mendoza Sr M WASC
Frosh/Soph Girls
1 MCFA McFarland 43
2 Inde Independence 51
3 STOC Stockdale 73
4 FTHL Foothill 101
5 TFCC Taft 121
6 RIDG Ridgeview 139
7 RFKH RFKH 173
8 WASC Wasco 180
SOUT South INC
BAEA East Bakersfield INC
NORT North INC
BAKE Bakersfield INC
GARC Garces Memorial INC
1. 14:02 267 267 Corina Garcia So F MCFA
2. 14:02.6 270 270 Kathy Torres Fr F MCFA
3. 14:09 266 266 Olivia Ayon Fr F MCFA
4. 14:09 586 586 Daisy Guitron Fr F TFCC
5. 14:16 522 522 Madison Schutzner Fr F STOC
6. 14:23 484 484 Natalie Espinoza So F SOUT
7. 14:37 248 248 Sara Sullivan Fr F Inde
8. 14:37 110 110 Erica Castro So F FTHL
9. 14:44 237 237 Natalie Ambriz So F Inde
10. 14:46 93 93 Mayra Ponce So F BAEA
11. 14:50 244 244 Acacia Ingram So F Inde
12. 14:58 523 523 Victoria Valos So F STOC
13. 15:00 268 268 Liset Perezchica Fr F MCFA
14. 15:03 249 249 Katelynn Webb Fr F Inde
15. 15:20 135 135 Mari Escuedero So F FTHL
SALKANTAY TREK 5 DAYS AND 4 NIGHTS WITH CAMP AT LLACTAPATA - MACHU PICCHU TOUR PERU
This trek takes you around the stunning Mount Salkantay, which is the second largest mountain in Cusco region (6,277m / 20,577ft). On your first night, you will camp within the clear sight of the snowcapped peak of Salkantay Mountain. Second day will be the longest day of the trek, the most challenging, and you will climb a bit harder. However, the view at the top is stunning and unique.
The walk to the famous Apacheta pass which is at 4650m/15,088ft is not strenuous nor very steep. Afterward, it is mainly a descent into more tropical area passing Andenes and Chaullay. On your third night, you will camp at LLACTAPATA (2,700m/9,157ft) while enjoying the great views of Machu picchu,Wuayna Picchu mountains and the Inca citadel of Machu Picchu (Inca city). Ending at the most important mystic center of the world: Machu Picchu.
Program Itinerary
Day 1: Cusco - Mollepata - Marcco Ccasa - Soraypampa – Salkantaypampa
At 5:00am (Time in Peru), we pick you up from your hotel, then we drive in our private bus to Mollepata (2,850m/9,407ft) for 3 hours. Along the way there are spectacular views of villages such as: Iscuchaca and Limatambo, stunning valleys and snow-capped mountains such as: Salkantay, with a stop for breakfast at Mollepata. Then we continue by bus to Marcoccasa (3200m/10,557ft), where we meet our horsemen, horses and pack all our equipment onto the horses. Afterwards we start the gradual climb of 527 meters by walk through pristine Andean valley landscapes for about 3.5 hours before arriving to Soraypamapa (3850m/12,700ft) for lunch. After lunch, we continue gentle climb for 2 hours through more unspoiled Andean valley to our first campsite at Salkantay Pampa located at 4100m/13,527ft.
Meals: Breakfast, Lunch & Dinner
Accommodation: camping facilities.
Maximum Altitude: 4100m/13,527ft.
Minimum Altitude: 2850m/9,497ft.
Walking distance: 12km approx
Difficulty: Moderate.
Day 2: Salkantaypampa – Collpapampa
After an early delicious breakfast, we start trekking with a moderate climb for 3 hours to reach the Apacheta pass (4,650m/15,367ft). From here, we can enjoy the spectacular views of snowcapped mountains such as: Salkantay (6,277m/20,717ft), Humantay, Huayanay, white rivers, and small lakes.
At the Apacheta Pass, you can leave a piece of rock carried from the bottom as a present to the Apu Salkantay(Mountain god), During Inca times, the walkers used to leave their shoes, clothes, jewels or simply piece of rock as an offering. We continue walking for 2 hours downhill for lunch at Huayracmachay. Then depending on the group's trekking ability, weather and walking conditions, we will decide whether to walk for 2 to 3 hours downhill to reach to our second campsite at Colpapamapa (2,877m/9,497ft).
Meals: Breakfast, Lunch & Dinner
Accommodation: camping facilities
Maximum altitude: 4,650m/15,367ft.
Minimum altitude: 2,877m/9,497ft.
Walking distance: 19km approx
Difficulty: Challenge.
Day 3: Colpapampa - La Playa – LLACTAPATA
On this day we walk for 3 hours through the beginnings of the rainforest; enjoying a myriad of flora and fauna including orchids, birds, coffee, cacao and fruit plantations. We arrive at La Playa (2,060m/6,797ft) for lunch, with free time to rest before climbing uphill for 3 hours through the Andean cloud forest to the Puncuyoc pass and then onto LLACTAPATA which is located at 2,700m/8,907ft (an Inca site located straight in front of the citadel of Machu Picchu), which is our third evening´s campsite.
The panoramic view from our campsite is breathtaking; you can enjoy a different angles view of Machu Picchu, the Huanay Picchu Mountains, the citadel of Machu Picchu and the Aobamba canyon, where another Inca trail can be seen as well. We trek off the beaten track exploring places no one else does and we are the ONLY one camping at LLACTAPATA.
Meals: Breakfast, Lunch & Dinner
Accommodation: camping facilities
Maximum altitude: 2,850m/9,407ft.
Minimum altitude: 2,000m/6,600ft.
Difficulty: Moderate.
Day 4: LLAQTAPATA – Hidroelectrica - Aguas Calientes.
After a late breakfast enjoying the spectacular views of Huaynapicchu, Machu Picchu Mountains and the citadel of Machu Picchu, we start walking downhill for 2 hours to Hidroelectrica for lunch. After lunch we walk to Aguas Calientes town through the national park of Machu Picchu, enjoying the surroundings of the iconic Machu Picchu and the wall which surrounds the Inca Citadel.
Meals: Breakfast, Lunch, & Dinner
Accommodation: Private hostel.
Maximum Altitude: 2,700m/9,157ft.
Minimum Altitude: 1,870m/6,177ft.
Walking distance: 12km approx
Difficulty: Moderate.
Day 5: Aguas Calientes - Machu Picchu - Cusco
Rise early to take advantage of viewing Machu Picchu in the early morning light. This is the best time to view the 'Lost City of the Incas'. Join our local guide for a detailed interpretation of the site and Inca history without the pressure of other tour groups that arrive at midday with a lot of time for further exploring, photos and climb to Huanaypicchu or up to the Sun Gate. Then we head back to Aguas Calientes for buffet lunch. Later in the afternoon we return by train to Ollantaytambo or Poroy and will then be transferred by van to Cuzco, arriving in the evening.
Meals: Breakfast & Lunch
Maximum altitude: 2,440m/7,937ft.
Difficulty: Easy.
WHAT IS INCLUDED?
Pre-trek briefing with your tour guide.
Collection from your hotel in the morning of the trek departure.
Private transport from Cusco to Mollepata-Marcoccasa (starting point of the trek)
Entry fee to Machu Picchu
English speaking, experienced professional guide
Comfortable tents (sleeping 2 people in a 4 person tent)
Meals as indicated in the itinerary (optional vegetarian food with prior request)
All camping equipment such as: dining tent, table, chairs, kitchen tent and toilet tent
Bus ticket from Aguas Calientas to Machu Picchu and return
First Aid kit including emergency oxygen bottle
Train ticket from Aguas Calientes to Poroy - Cusco
Private transport from Ollantaytambo to your hotel in Cusco
Celebration dinner in Aguas Calientes (touristic restaurant )
Lunch in Aguas Calientes on the last day
Hostel in Aguas Calientes with private room and bathroom
Mules and horses (for equipment and personal items) including horsemen - 7 kilos of your personal items such as extra clothes, sleeping bag will be carried by our mules
Provision of a horse in case of emergency such as illness, to ensure trek can be completed by all participants
Basic foam sleeping mattress
Guided tour within Machu Picchu
Boiled water for drinking and washing purposes
WHAT IS NOT INCLUDED?
Walking sticks (rentable)
Sleeping bag adequate for temperature of minus 10°C (rentable for $20 for duration of the trek)
Dinner on the last day
Entry to Huanapicchu ($10)
Extra activities such as zip line and barbecues.
Additional horses for extra personal luggage above that of the personal item allowance.
Optional up - grades (train and hotel)
Tips for the cook, horsemen and guide (Every Salkantay Trek staff receive a fair and decent payment immediately after they end their trip. However tips are optional and a great gesture of appreciation for them)
WHAT YOU SHOULD BRING?
A lightweight, waterproof day pack with change of clothes for the whole period of the trek (must not exceed 7 kilos)
Sleeping bag adequate for temperature of minus 10°c (rentable for $20 for duration of the trek)
Sturdy hiking boots
Warm clothes and trekking pants (trousers)
Layers of clothes, include thermals, for variable temperatures especially at night
Head torch with spare batteries
Camera with extra film and batteries
Sun protection: sunscreen, sunhat, sunglasses
Woolen socks, gloves, scarf, woolen hat for cold nights
Insect repellent
Extra plastic bags, especially in the wet season
Waterproof clothing or a rain poncho
Water bottles and water purifying tablets - Optional
Personal medical kit with a simple whistle
Extra money for souvenirs, drinks, tips
Walking sticks (rentable)
Favorite snacks
Inflatable mattress
Toilet paper
Sandals or flip-flop
Swimming costume
Original passport and ISIC card if is applicable.
ITENERARY NOTED
The time stated within this program is approximate and walking time may differ dependent upon the group´s capability and progress and as such the guide may change the lunch spot and campsite if it is required. Each guide has his or her own preferred route and it may not follow exactly the schedule described here. However all items listed within the above schedule will be covered.
Trek conditions also vary according to the season. In the dry season ( May - September) the trail can be very dusty and hot in the day time, in the wet season (Octomber - March) it can be slippery and muddy and during the shoulder season the conditions can be variable. All year round in the mountains the stone sliding can happen at any time, particularly after heavy rains. Salkantay-Trek takes no responsibility for trail condition.
This Trek is adventurous and challenging experience, crossing several high passes and some rivers do not have a substantial bridge and can be dangerous to cross in periods of heavy rain. This region is not frequently visited by tourists, therefore tourist infrastructure is limited. Visitors should be aware that things change, or may not go to plan. This is all part of the adventure! We can change the date of your train ticket to the following day. Hotels costs and costs associated with returning to Machu Picchu the following day are additional to trek costs. Please also note that your entry ticket to Machu Picchu is valid for one day only, if you wish to visit the ruins on a second consecutive day you will need to purchase the ticket again. Please bring an open mind, flexibility and a good sense of humor.
VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Sfuggi all’influenza delle tenebre e verrai guadagnato da Dio
Cos’è l’influenza delle tenebre? È l’influenza di Satana che inganna, corrompe, incatena e controlla le persone; è un’influenza che ha un’aura di morte. Tutti coloro che vivono sotto il dominio di Satana sono destinati a perire.
Come puoi sottrarti all’influenza delle tenebre dopo aver ottenuto la fede in Dio? Dopo aver sinceramente pregato Dio, volgi il tuo cuore a Lui completamente. A questo punto, il tuo cuore è mosso dallo Spirito di Dio, sei disposto a dare tutto te stesso e, in questo momento, sei sfuggito all’influenza delle tenebre. Se tutto ciò che l’uomo fa piace a Dio e risponde alle Sue richieste, allora costui è qualcuno che vive dentro le parole di Dio, e qualcuno che vive sotto la cura e la protezione di Dio. Se gli uomini non sono in grado di mettere in pratica le parole di Dio, ingannandoLo continuamente, agendo in modo superficiale con Lui e non credendo nella Sua esistenza, tali uomini vivono tutti sotto l’influenza delle tenebre. Gli uomini che non hanno ricevuto la salvezza di Dio vivono tutti sotto il dominio di Satana, cioè vivono tutti sotto l’influenza delle tenebre. Coloro che non credono in Dio vivono sotto il dominio di Satana. Persino coloro che credono nell’esistenza di Dio possono non necessariamente vivere nella luce di Dio, poiché coloro che credono in Lui possono non necessariamente vivere dentro le parole di Dio e possono non necessariamente essere uomini in grado di obbedire a Dio. L’uomo si limita a credere in Dio e, a causa della Sua incapacità di conoscere Dio, egli vive ancora dentro i vecchi precetti, dentro parole morte, in una vita che è oscura e incerta, non pienamente purificato da Dio o completamente guadagnato da Dio. Pertanto, mentre è scontato che coloro che non credono in Dio vivono sotto l’influenza delle tenebre, persino coloro che credono in Dio possono comunque vivere sotto la loro influenza, poiché lo Spirito Santo non ha svolto alcuna opera su di loro. Coloro che non hanno ricevuto la Grazia di Dio o la misericordia di Dio, e coloro che non riescono a vedere l’opera dello Spirito Santo, vivono tutti sotto l’influenza delle tenebre; coloro che si limitano a godere della grazia di Dio ma non Lo conoscono, vivono anch’essi sotto l’influenza delle tenebre per la maggior parte del tempo. Se un uomo crede in Dio eppure spende la maggior parte della propria vita sotto l’influenza delle tenebre, allora l’esistenza di quest’uomo ha perso il proprio significato, per non parlare di coloro che non credono nell’esistenza di Dio.
Tutti coloro che non riescono ad accettare l’opera di Dio, o che la accettano ma non sono in grado di soddisfare le Sue richieste, vivono sotto l’influenza delle tenebre; solo coloro che cercano la verità e sono in grado di soddisfare le richieste di Dio riceveranno benedizioni da Lui, e solo loro sfuggiranno all’influenza delle tenebre. Gli uomini che non sono stati affrancati, che sono sempre controllati da certe cose e incapaci di dare il loro cuore a Dio, sono uomini sotto il giogo di Satana e che vivono sotto un’aura di morte. Coloro che non tengono fede ai loro doveri, che non assolvono ai compiti assegnati da Dio, e coloro che non svolgono la propria funzione nella Chiesa, vivono sotto l’influenza delle tenebre. Coloro che deliberatamente disturbano la vita della Chiesa, che deliberatamente distruggono i rapporti tra i fratelli e le sorelle, o formano le proprie bande, vivono ancora più profondamente sotto l’influenza delle tenebre; vivono sotto la schiavitù di Satana. Coloro che hanno un rapporto scorretto con Dio, quelli che hanno sempre desideri stravaganti, che vogliono sempre ottenere un vantaggio e che non cercano mai di trasformare la propria indole, sono uomini che vivono sotto l’influenza delle tenebre. Coloro che sono sempre sciatti, che non sono seri nella loro pratica della verità, e che non cercano di soddisfare i desideri di Dio ma solo quelli della propria carne, anche costoro sono uomini che vivono sotto l’influenza delle tenebre e avvolti nella morte. Coloro che praticano la disonestà e l’inganno quando svolgono il lavoro per Dio, che trattano Dio in modo superficiale, che ingannano Dio e che pensano sempre a se stessi, sono uomini che vivono sotto l’influenza delle tenebre. Tutti coloro che non riescono ad amare sinceramente Dio, che non cercano la verità, e che non si concentrano sulla trasformazione della propria indole vivono sotto l’influenza delle tenebre.
Se vuoi essere apprezzato da Dio, devi in primo luogo sottrarti all’influenza delle tenebre di Satana, aprire il tuo cuore a Dio e volgerlo completamente a Dio. Le cose che stai facendo ora sono apprezzate da Dio? Hai rivolto il tuo cuore a Dio? Le cose che hai fatto sono state quelle che Dio ti ha richiesto? Sono conformi alla verità? Devi interrogare te stesso in qualsiasi momento, concentrarti sul nutrirti delle parole di Dio, spiegare il tuo cuore davanti a Lui, amarLo con sincerità e spenderti con dedizione per Dio. Uomini siffatti riceveranno sicuramente l’apprezzamento di Dio.
Tutti coloro che credono in Dio eppure non perseguono la verità, non hanno modo di sfuggire all’influenza di Satana. Tutti quelli che non conducono la propria vita con onestà, che si comportano in un modo di fronte agli altri ma in un altro alle loro spalle, che offrono un’apparenza di umiltà, pazienza e amore mentre in sostanza sono subdoli, scaltri e non hanno alcuna lealtà verso Dio, tali persone sono l’esempio tipico di coloro che vivono sotto l’influenza delle tenebre. Sono della stessa specie del serpente. Coloro la cui fede in Dio è sempre a proprio vantaggio, che sono sicuri di essere nel giusto e arroganti, che si mettono in mostra e proteggono la propria condizione, sono quelli che amano Satana e si oppongono alla verità. Resistono a Dio e appartengono completamente a Satana. Coloro che non sono attenti ai fardelli di Dio, che non servono Dio con tutto il cuore, che si preoccupano costantemente dei propri interessi e di quelli della loro famiglia, che sono incapaci di abbandonare tutto per spendersi per Dio, e non vivono mai secondo le Sue parole, vivono fuori dalle parole di Dio. Tali uomini non possono ricevere l’apprezzamento di Dio.
Quando Dio ha creato l’uomo, l’ha fatto perché questi godesse delle Sue ricchezze e Lo amasse in modo sincero; in tal modo, l’uomo vivrebbe nella Sua luce. Oggi, tutti coloro che non sono in grado di amare Dio, che non sono attenti ai Suoi fardelli, che sono incapaci di dare tutto il loro cuore a Dio, incapaci di considerare il cuore di Dio come se fosse il proprio, incapaci di caricarsi sulle spalle i fardelli di Dio come se fossero i propri – ebbene, la luce di Dio non splende su nessuno di tali uomini e, pertanto, vivono tutti sotto l’influenza delle tenebre. Essi percorrono un sentiero che è diametralmente opposto alla volontà di Dio, e tutto ciò che fanno non ha un briciolo di verità. Sguazzano nel fango con Satana, e sono quelli che vivono sotto l’influenza delle tenebre. Se riesci a nutrirti costantemente delle parole di Dio così come a essere attento alla Sua volontà e a mettere in pratica le Sue parole, allora appartieni a Dio e sei una persona che vive dentro le parole di Dio. Sei disposto a sfuggire al dominio di Satana e a vivere nella luce di Dio? Se vivi dentro le parole di Dio, allora lo Spirito Santo avrà un’opportunità per compiere la Propria opera; se vivi sotto l’influenza di Satana, allora lo Spirito Santo non avrà nessuna opportunità di realizzare alcuna opera. L’opera che lo Spirito Santo compie sugli uomini, la luce che Egli fa splendere sugli uomini e la fiducia che Egli concede agli uomini durano solo per un momento; se essi non sono attenti e non prestano attenzione, l’opera realizzata dallo Spirito Santo passerà senza che se ne accorgano. Se gli uomini vivono nelle parole di Dio, allora lo Spirito Santo sarà con loro e agirà su di loro; se gli uomini non vivono nelle parole di Dio, allora vivono nella schiavitù di Satana. Gli uomini che vivono con un’indole corrotta non hanno la presenza o l’opera dello Spirito Santo. Se vivi nella sfera delle parole di Dio, se vivi nella condizione richiesta da Dio, allora appartieni a Lui e la Sua opera sarà compiuta su di te; se non vivi nella sfera delle richieste di Dio ma vivi invece sotto il dominio di Satana, allora vivi di certo nella corruzione di Satana. Solamente vivendo nelle parole di Dio e dando il tuo cuore a Lui, puoi soddisfare le Sue richieste; devi fare come Dio dice, devi fare delle parole di Dio il fondamento della tua esistenza e la realtà della tua vita, e solo allora apparterrai a Dio. Se pratichi sinceramente secondo la volontà di Dio, Egli eseguirà la Propria opera su di te e allora vivrai sotto le benedizioni di Dio, vivrai nella luce del volto di Dio, coglierai l’azione che lo Spirito Santo compie, così come proverai la gioia della presenza di Dio.
Per sfuggire all’influenza delle tenebre, devi per prima cosa essere fedele a Dio e anelare alla ricerca della verità – solo allora avrai una corretta condizione. Vivere nella corretta condizione è la premessa indispensabile per sfuggire all’influenza delle tenebre. Non avere la corretta condizione significa che non sei fedele a Dio e che non aneli alla ricerca della verità. Quindi sfuggire all’influenza delle tenebre è fuori discussione. Che l’uomo possa sfuggire all’influenza delle tenebre ha fondamento nelle Mie parole, e se l’uomo non riesce a praticare in conformità con le Mie parole, non sfuggirà alla schiavitù dell’influenza delle tenebre. Vivere nella corretta condizione significa vivere sotto la guida delle parole di Dio, vivere nella condizione di essere fedeli a Dio, vivere nella condizione di ricercare la verità, vivere nella realtà di spendersi sinceramente per Dio, vivere nella condizione di amare sinceramente Dio. Coloro che vivono in queste condizioni e dentro questa realtà si trasformeranno gradualmente man mano che entrano più profondamente nella verità, e si trasformeranno con l’approfondirsi dell’opera, finché, alla fine, saranno certamente guadagnati da Dio e giungeranno ad amarLo sinceramente. Coloro che sono sfuggiti all’influenza delle tenebre saranno in grado di afferrare e comprendere gradualmente la volontà di Dio, e di entrare infine in intimità con Dio. Non solo non avranno alcuna concezione riguardo a Dio e nessuna ribellione contro di Lui, ma giungeranno a detestare ancora di più le concezioni e la ribellione che hanno avuto in precedenza, generando un autentico amore per Dio nei loro cuori. Coloro che non sono in grado di sfuggire all’influenza delle tenebre sono concentrati sulla propria carne, e sono pieni di ribellione; il loro cuore è colmo di concezioni umane e di filosofie di vita, così come delle proprie intenzioni e decisioni. Dio richiede l’esclusivo amore dell’uomo e che l’uomo sia totalmente dedito alle Sue parole e all’amore per Lui. Vivere all’interno delle parole di Dio, scoprire ciò che l’uomo dovrebbe cercare nelle Sue parole, amare Dio come risultato delle Sue parole, darsi da fare nell’interesse delle parole di Dio, vivere per le parole di Dio – queste sono tutte cose che l’uomo dovrebbe ottenere. Tutto deve essere costruito sulle parole di Dio, e solo allora l’uomo sarà in grado di soddisfare le richieste di Dio. Se l’uomo non è provvisto delle parole di Dio, non è altro che un verme posseduto da Satana. Valutalo nel tuo cuore – quante parole di Dio hanno messo radici dentro di te? In quali cose vivi in accordo con le parole di Dio? In quali cose non sei vissuto in accordo con le parole di Dio? Se non hanno attecchito pienamente in te, fino a che punto lo hanno fatto? Nella tua vita di ogni giorno, sei sotto il controllo di Satana o sei guidato dalle parole di Dio? Le tue preghiere sono attivate dalle Sue parole? Sei uscito dalla tua condizione negativa attraverso l’illuminazione delle parole di Dio? Prendere le parole di Dio a fondamento della tua esistenza, questo è ciò che ognuno dovrebbe intraprendere. Se le parole di Dio non sono presenti nella tua vita, allora vivi sotto l’influenza delle tenebre, sei ribelle a Dio, opponi resistenza a Dio e stai disonorando il Suo nome – la fede di tali uomini in Dio è solo danno, un intralcio. Quanta parte della tua vita è stata vissuta secondo le Sue parole? Quanta parte della tua vita non è stata vissuta secondo le Sue parole? Quanto di ciò che le parole di Dio ti hanno richiesto è stato realizzato in te? Quanto è andato perso in te? Hai esaminato con attenzione tali cose?
Per sfuggire all’influenza delle tenebre, un aspetto è che richiede l’opera dello Spirito Santo, e un altro aspetto è che richiede devota cooperazione da parte dell’uomo. Perché dico che l’uomo non è sul retto sentiero? In primo luogo, se un uomo è sul retto sentiero sarà in grado di dare il suo cuore a Dio, un compito che richiede un lungo periodo di tempo per accedervi poiché l’umanità è sempre vissuta sotto l’influenza delle tenebre ed è stata sotto la schiavitù di Satana per migliaia di anni. Pertanto questo accesso non può essere ottenuto in un giorno o due. Ho sollevato tale questione oggi così che gli uomini possano comprendere la propria condizione; riguardo a ciò che significa l’influenza delle tenebre e a ciò che significa vivere nella luce, tale accesso diventa possibile quando l’uomo è in grado di discernere tali cose. Questo perché devi sapere quale sia l’influenza di Satana prima di potervi sfuggire, e solo allora avrai il percorso per liberartene gradualmente. Per quanto riguarda cosa fare da quel momento in poi, questa è faccenda dell’uomo stesso. Devi sempre accedere da un aspetto positivo e mai aspettare passivamente. Solo in questo modo sarai guadagnato da Dio.
www.kingdomsalvation.org/it/escape-from-the-influence-of-...
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
PETER SLOTERDIJK Por ADOLFO VÁSQUEZ ROCCA
DR. ADOLFO VÁSQUEZ ROCCA
www.danoex.net/adolfovasquezrocca.html
VÁSQUEZ ROCCA, Adolfo
Doctor en Filosofía
Domicilio
Valparaiso, Chile
Adscripción Académica
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
Eastern Mediterranean University - Academia.edu
E-mail: adolfovrocca@gmail.com
TRAYECTORIA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012
PUBLICACIONES
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
dialnet.unirioja.es/servlet/autor?codigo=1053859
Publications Scientific
de.scientificcommons.org/adolfo_v%C3%A1squez_rocca
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
BIBLIOTECA UNI>ERSIA – Unesco - CSIC
biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...
Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
Biblioteca Universidad Complutense de Madrid
Revistas Científicas Complutenses
Directorio de recursos digitales - Ministerio de Cultura, España
Biblioteca Asociación Filosófica UI
www.uruguaypiensa.org.uy/categoria_144_1_1.html
Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca
Philosophy & Art: Pinterests Design
ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO
www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1
'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,
Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,
- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012
INVESTIGACIÓN:
2009 - 2010
Proyecto de Investigación N° DI-10-09/JM - UNAB
“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB
2011 - 2012
- Proyecto de Investigación N° DI-08-11/JM - UNAB
- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello
Asistente de Investigación:
Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos
ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA
TRAYECTORÍA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.
– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM
Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/
(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso
(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.
(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.
(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB
(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB
(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV
(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB
(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB
(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM
(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP
(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV
(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM
(2009-2010) Profesor visitante Florida Christian University USA
(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH
(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.
(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.
(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)
SEMINARIOS
Asignaturas de Postgrado impartidos:
2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".
2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"
2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"
2007 1º Seminario Sloterdijk - Nietzsche
2007 2º Seminario: Sloterdijk un pensador estético
2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"
2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"
2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.
ENTREVISTA:
“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.
www.alcances.cl/ver-articulo.php?id=81
Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.doaj.org/doaj?func=abstract&id=1160879&recNo=...
Vásquez Rocca, Adolfo, “El Género Bowie: Andrógino, New romantic y Glam-rock”, Sección Cultural 'Mujer', La Tercera, Periódico, Santiago, 2012.
mujer.latercera.cl/2012/02/26/01/contenido/19_3278_9.shtml
Vásquez Rocca, Adolfo, "Sloterdijk; secretos bizarros de Freud, discretas obsesiones telecomunicativas y primeras formaciones de psicología profunda europea", En Revista LA LÁMPARA DE DIÓGENES, Año 12, números 22 y 23, Volumen 12 ISSN: 1870-4662; BUAP – MEX – PHILOSOPHER'S INDEX – 2012
www.ldiogenes.buap.mx/revistas/22/165.pdf
Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.
www.tendencias21.net/La-modernidad-liquida-podria-licuar-...
Vásquez Rocca, Adolfo, "Ontología y Fenomenología del Cuerpo en Jean-Luc Nancy: los nuevos escenarios de la corporeidad y la apostasía de los órganos", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm
Vásquez Rocca, Adolfo, "Nicanor Parra: Antipoemas, parodias y lenguajes híbridos. De la Antipoesía al lenguaje del Artefacto", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)] pp. 213 - 231
www.ucm.es/info/nomadas/americalatina2012/adolfovasquezro...
Vásquez Rocca, Adolfo, "La crisis de la noción de sujeto y las psicopatologías del yo", En Revista ESPIRAL Nº 38 – 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, México.
www.revistaespiral.org/espiral_38/filosofia_adolfo.html
Adolfo Vásquez Rocca, "Jean-Luc Nancy: Téchne de los cuerpos y apostasía de los organos; El intruso, ajenidad y reconocimiento", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm
Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– citando op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca en Margen Cero; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.
www.tendencias21.net/La-modernidad-liquida-podria-licuar-...
Vásquez Rocca, Adolfo, "Jean Baudrillard; de la metástasis de la imagen a la incautación de lo real", En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – www.arqchile.cl/baudrillard.htm
Vásquez Rocca, Adolfo, "Peter Sloterdijk y Walter Benjamin; Air Conditioning en el Mundo interior del Capital", En EIKASIA, Revista de Filosofía, Nº 25 - ISSN 1885-5679 - SAF -Sociedad Asturiana de Filosofía, Oviedo, España, pp. 25-38. Archivo: Academia.edu paper: www.academia.edu/1614097/Peter_Sloterdijk_y_Walter_Benjam...
Vásquez Rocca, Adolfo, "El Valor Cognoscitivo de la Ficción o la Experiencia Estética como Simulación Gnoseológica: de Duchamp a Feyerabend", En ESPIRAL Nº 39, Revista de Pensamiento y Cultura Contemporánea, Tijuana, México
www.revistaespiral.org/espiral_39/filosofia_adolfo.html
Vásquez Rocca, Adolfo, "El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos", En Almiar, MARGEN CERO, Madrid, mayo, 2012, www.margencero.com/almiar/arte-galeria/
Versión ampliada, de la Publicación original: Vásquez Rocca, Adolfo, "El arte abandona la galería ¿Adónde va? En torno a Beuys y la reconstrucción del Museo como proyecto ilustrado", DEBAT'S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.
Vásquez Rocca, Adolfo, Artículo Conferencia: “Del 'Humanismo' de Sartre al 'Anti-humanismo' de Heidegger", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Paraninfo Facultad de Filosofía y filología, Universidad Complutense de Madrid, 2012. En Manuscritos Transversales ©, UCM, 2012.
www.slideshare.net/AdolfoVasquezRocca/del-humanismo-de-sa...
Vásquez Rocca, Adolfo, “El Futuro de la Universidad Pública y la Crisis de la Educación en Chile”. En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – Sección PEP Publicación Educación Pública.
www.arqchile.cl/publicacion_educacion_publica.htm
Vásquez Rocca, Adolfo, “Lógica Paraconsistentente, Mundos Posibles y Ficciones Narrativas. La Ficción como campo de proyección de la Experiencia”, Reedición Ampliada en Revista de la Sociedad de Estudios Filosóficos de Madrid, Post-scriptum de A Parte Rei, 2012.
serbal.pntic.mec.es/~cmunoz11/vasquez38.pdf
Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo" En Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas Universidad Complutense de Madrid | 32 (2011.4) NÓMADAS. 32 - Julio-Diciembre. 2011 (II), pp. [102-125]
www.academia.edu/1614355/_Sloterdijk_y_Heidegger_Normas_p...
VV.AA., Vásquez Rocca, Adolfo, Del Arco Carabias, Javier PHD. - Université Paris X Nanterre, “Sloterdijk Espumas: De la masa líquida a la masa espumosa: el advenimiento del temor”; sobre textos de Sloterdijk y Bauman y reflexiones de Adolfo Vásquez Rocca, En TENDENCIAS 21 –Revista Asociada al Capítulo español del Club de Roma y al Master en Bioinformática de la Universidad Complutense de Madrid–; y al Instituto de Ingeniería de España, Sección: Filosofía de la Ciencia y Tecnología ISSN 2174-6850
www.tendencias21.net/biofilosofia/De-la-masa-liquida-a-la...
Vásquez Rocca, Adolfo, “Poética del Ajedrez; Composición y escritos tácticos”, En Revista Almiar, MARGEN CERO ©, Madrid 2012, Revista Fundadora de la Asociación de Revistas Culturales de España, www.margencero.com/articulos/articulos2/poetica_ajedrez.htm
Vásquez Rocca, Adolfo, 'LE NÉANT DANS LA PENSÉE CONTEMPORAINE', Livre, Bès Editions , París, © 2012
Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012, ISBN: 978-2-35424-151-3
Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: "Le Néant Dans la Pensée Contemporaine", Bès Editions © 2012
Vásquez Rocca, Adolfo, “La crisis de las Vanguardias Artísticas y el debate modernidad - postmodernidad”, En, NÓMADAS Nº Especial –Revista Crítica de Ciencias Sociales y Jurídicas | - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº Especial , pp. 259 – 272
pendientedemigracion.ucm.es/info/nomadas/12/avrocca2.pdf
Vásquez Rocca, Adolfo, “La Fotografía y las formas del olvido; del furor de la imagen al frenesí de lo real”, En Revista Almiar, MARGEN CERO © , Madrid 2012, Revista Fundadora de la Asociación de Revistas Digitales de España. www.margencero.com/articulos/articulos2/foto_olvido.htm
Vásquez Rocca, Adolfo, "Individualismo, modernidad líquida y terrorismo hipermoderno; de Bauman a Sloterdijk", En ERRANCIA, La Palabra Inconclusa– Revista de Psicoanálisis, Teoría Crítica y Cultura, Nº 3 © 2012, Universidad Nacional Autónoma de México UNAM
www.iztacala.unam.mx/errancia/v3/errancia_3.html
Vásquez Rocca, Adolfo, “Sloterdijk y Heidegger: las Repúblicas del saber, graneros y cultivos de la verdad; sobre la(s) historia(s) de la verdad o ‘economía política de la verdad’”, En Espiral Nº 41 - 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, BC. México.
www.revistaespiral.org/espiral_41/filosofia_adolfo.html
Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.
www.revistadefilosofia.com/44-04.pdf
Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.
dialnet.unirioja.es/descarga/articulo/4052835.pdf
Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/
Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140
www.ldiogenes.buap.mx/revistas/24/127.pdf
Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...
Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32
www.revistadefilosofia.com/46-02r.pdf
Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.
www.revistadefilosofia.com/46-02.pdf
Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...
Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420
pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf
Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445
pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.
www.doaj.org/doaj?func=fulltext&aId=1320292
2013
Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...
Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.
cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...
Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Madrid, 2013.
www.margencero.com/almiar/limites-medicina-concepto-muert...
Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712
www.observacionesfilosoficas.net/sloterdijkensayosdeintox...
Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.
rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...
Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.
rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:
www.observacionesfilosoficas.net/download/Peter-sloterdij...
DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL
dialnet.unirioja.es/servlet/autor?codigo=1053859
ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN
www.danoex.net/adolfovasquezroccainvestigacion.html
Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO
www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a
ADOLFO VÁSQUEZ ROCCA
Pontificia Universidad Católica de Valparaíso
Universidad Complutense de Madrid
Universidad Andrés Bello UNAB
E-mail: adolfovrocca@gmail.com
.........
innisfreegarden.org/garden.html
We arrived at Innisfree as soon as it opened at 10AM one mid-August morning when the entire Northeastern US was in the middle of a record heatwave. Despite the heat and humidity, we were able to make a quick 1.5 mile circle on the path around the deep glacial lake at the heart of this 150 acre garden before we wilted and had to return to our air conditioned car. The harsh mid-day light made photography challenging, as you can see. We learned that Innisfree, said by some to be one of the world's Ten Great Gardens, opens at sunrise on three occasions each year, and we are already planning another trip to the Hudson River Valley in the future when we hope we can see and photograph this amazing place under better conditions.
"Like the pyramids of Egypt or the Great Wall of China, Innisfree helps us to define what we mean by ‘civilization’. It’s one of the few places in this world that lived up to — nay, exceeded — my expectations."
David Wheeler, Editor, Hortus (2013)
"In the late 1920s, Walter Beck and his wife, avid gardener and heiress Marion Burt Beck, began work on Innisfree, their country residence in Millbrook, New York. Walter Beck’s fascination with Asian art influenced his painting, the collecting he and his wife pursued, and their ideas on garden design. In the 1930s, Beck discovered the work of 8th-century Chinese poet, painter and garden maker Wang Wei. Studying scroll paintings of his famed garden, the Wangchuan Villa, Beck observed that Wang created carefully defined, inwardly focused gardens and garden vignettes within a larger, naturalistic landscape. Wang’s place-making technique — christened “cup gardens,” by Beck — influenced centuries of Chinese and Japanese garden design. It is also the principal design motif in the Innisfree landscape. Like his Chinese predecessor, Beck created three-dimensional pictures in the garden, incorporating both rocks from the site and horticultural advice from his wife. Unlike Wang Wei, or perhaps more familiar figures like Lawrence Johnston, who used his cup-like rooms at Hidcote in England to draw one through a sequence of events and create an overall sense of place, Beck focused more on individual compositions. Relating these to each other and to the landscape as a whole was the genius of Lester Collins."
The genius of this place lies not so much in the ideas which the designers formulated for the cup gardens, many of which are disarmingly simple, but in the way they have been maintained over the years. Essentially, everything is allowed to settle into the prevailing spirit of the place; if it does not, it is removed. It is this sensitivity, care and attention to the qualities of landscape, natural and made, that make Innisfree such a memorable success.
Tim Richardson, Great Gardens of America (2000)
Western gardens are usually designed to embrace a view of the whole. Little is hidden. The garden, like a stage set, is there in its entirety, its overall design revealed in a glance. The traditional Chinese garden is usually designed so that a view of the whole is impossible. [It] requires a stroll over serpentine, seemingly aimless arteries. The observer walks into a series of episodes, like Alice through the looking glass."
Lester Collins, Innisfree: An American Garden (1994)
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Il vero amore per Dio è spontaneo
Tutte le persone sono state sottoposte al raffinamento tramite le parole di Dio. Se non fosse stato per il Dio incarnato, l’umanità non sarebbe affatto benedetta in tale sofferenza. Questo concetto può anche essere espresso come segue: coloro che sono in grado di accettare le prove delle parole di Dio sono persone benedette. Sulla base del calibro originale delle persone, del loro comportamento e dei loro atteggiamenti verso Dio, non sono degne di ricevere questo tipo di raffinamento. Hanno goduto di tale benedizione perché sono state innalzate da Dio. Dicevano che non erano degne di vedere il volto di Dio o di ascoltare le Sue parole. Oggi, è interamente grazie all’elevazione di Dio e alla Sua misericordia che le persone hanno ricevuto il raffinamento delle Sue parole. Questa è la benedizione di ogni singola persona che vive negli ultimi giorni, lo avete sperimentato personalmente? In quali aspetti gli individui debbano soffrire e avere delle battute d’arresto dipende da Dio, e non dalle esigenze delle persone. Questo è assolutamente vero. Ogni credente deve possedere la capacità di subire le prove delle parole di Dio e di soffrire nell’ambito delle Sue parole. Riuscite a capirlo con chiarezza? Pertanto, la sofferenza che hai subito è stata scambiata con le benedizioni odierne; se non soffri per Dio, non puoi ottenere la Sua lode. Forse ti sei lamentato in passato, ma per quanto tu ti sia lamentato, Dio non se ne ricorderà. Oggi è un altro giorno e non vi è motivo di soffermarsi sui problemi di ieri.
Alcune persone dichiarano che cercano di amare Dio ma non ci riescono, e quando sentono dire che Dio sta per allontanarsi, allora provano amore per Lui. In generale, alcune persone non mettono in pratica la verità, e quando sentono dire che Dio sta per allontanarsi adirato, si presentano al Suo cospetto e pregano: “Oh, Dio, Ti prego, non andarTene. Dammi una possibilità! Dio! Non Ti ho soddisfatto in passato; Sono stato Tuo debitore e Ti ho resistito. Oggi sono disposto a offrire pienamente il mio corpo e il mio cuore per poter finalmente soddisfarTi e amarTi. Non avrò più questa opportunità”. Hai mai pregato così? Quando qualcuno prega in questo modo è perché la sua coscienza è stata risvegliata dalle parole di Dio. Gli esseri umani sono tutti intorpiditi e annebbiati mentalmente. Sono soggetti al castigo e al raffinamento ma non sanno ciò che Dio sta realizzando. Se Dio non operasse così, le persone sarebbero ancora confuse e nessuno potrebbe ispirare sentimenti spirituali nei loro cuori. Solo le parole di Dio che esprimono giudizio e rivelano le persone possono portare tale frutto. Pertanto, tutto si ottiene e si adempie tramite le parole di Dio, ed è solo attraverso le Sue parole che è stato suscitato l’amore dell’umanità per Dio. Se le persone amassero Dio basandosi solo sulla propria coscienza, non vedrebbero alcun risultato. Non avveniva forse già in passato che le persone fondassero il loro amore per Dio sulla coscienza? È mai esistita una sola persona che abbia preso l’iniziativa di amare Dio? È solo attraverso l’incoraggiamento delle parole di Dio che Lo hanno amato. Alcune persone dicono: “Seguo Dio da tanti anni e ho ricevuto grandi manifestazioni della Sua grazia, e una moltitudine di benedizioni. Sono stato raffinato e giudicato dalle Sue parole. Tramite ciò sono riuscito a comprendere molte cose e ho visto l’amore di Dio. Devo ringraziarLo, devo ripagare la Sua grazia. Io soddisferò Dio con la morte e baserò il mio amore per Lui sulla mia coscienza”. Basandosi unicamente sui sentimenti della coscienza, le persone non riescono a sentire l’amabilità di Dio; basandosi unicamente sulla coscienza, l’amore per Dio sarà debole. Se parli solo di ripagare la grazia e l’amore di Dio, non avrai alcun impulso nell’amore per Lui; amarLo in base ai sentimenti della coscienza è un approccio passivo. Perché dico che è un approccio passivo? Si tratta di un problema pratico. Che tipo di amore è questo? Non è come cercare di ingannare Dio e agire solo meccanicamente per Lui? La maggior parte delle persone crede che non ci sia alcuna ricompensa per il fatto di amare Dio, e che saranno condannate ugualmente per il fatto di non amarLo, per cui basta semplicemente non peccare. Pertanto, amare Dio e ripagare il Suo amore sulla base dei sentimenti della propria coscienza è un approccio passivo, che non corrisponde all’amore per Dio che sgorga spontaneo dal cuore. L’amore per Dio dovrebbe essere un sentimento autentico che procede dal profondo del cuore di una persona. Alcuni dicono: “Sono disposto a perseguire Dio e a seguirLo. Ora Dio vuole abbandonarmi ma io desidero ancora seguirLo. Che Lui mi voglia o meno, io Lo amerò comunque e alla fine Lo conquisterò. Offro il mio cuore a Dio, e qualunque cosa Egli faccia, Lo seguirò per tutta la vita. Nonostante tutto, devo amare Dio e devo conquistarLo; non avrò pace finché non Lo avrò conquistato”. Possiedi tale volontà?
Il percorso della fede in Dio è il percorso dell’amore per Lui. Se credi in Lui devi amarlo; tuttavia, amare Lui non comporta solo ripagare il Suo amore o amarLo in base ai sentimenti della coscienza: si tratta di amore puro per Dio. A volte le persone si basano solo sulla coscienza e non riescono a sentire l’amore di Dio. Perché ho sempre detto: “Possa lo Spirito di Dio muovere il nostro spirito”? Perché non ho parlato di muovere le coscienze affinché amino Dio? Perché le coscienze delle persone non riescono a sentire la bellezza di Dio. Se non ti lasci convincere da queste parole, puoi usare la tua coscienza per sentire il Suo amore, e avrai un po’ di motivazione in quel momento ma poi essa scomparirà. Se usi la tua coscienza solo per percepire l’amabilità di Dio, hai una motivazione quando preghi, ma dopo essa sparisce, si dissolve. Come mai? Se usi soltanto la tua coscienza, dentro di te non sarai in grado di suscitare l’amore per Dio; quando percepisci davvero la Sua amabilità nel cuore, il tuo spirito sarà mosso da Lui, e solo in quel momento la tua coscienza potrà svolgere il suo ruolo originario. Ciò significa che quando le persone sono state mosse da Dio nel loro spirito e quando il loro cuore ha acquisito conoscenza e incoraggiamento, ossia dopo aver acquisito esperienza, solo allora saranno in grado di amare effettivamente Dio con la coscienza. Amare Dio con la coscienza non è sbagliato: si tratta del livello più basso di amore per Dio. Il modo di amare degli esseri umani, che rende a malapena giustizia alla grazia di Dio, non può assolutamente spingere il loro ingresso proattivo in essa. Quando le persone ottengono una parte dell’opera dello Spirito Santo, cioè quando vedono e gustano l’amore di Dio nella loro esperienza pratica, quando hanno qualche conoscenza di Dio e si accorgono veramente che Dio è autenticamente degno dell’amore dell’umanità e che Egli è infinitamente amabile, ebbene solo allora sono in grado di amare veramente Dio.
Quando le persone contattano Dio tramite i loro cuori ed essi sono in grado di volgersi completamente a Lui, compiono il primo passo dell’amore umano per Dio. Se vuoi amare Dio, devi prima essere in grado di volgere il tuo cuore a Lui. Che significa volgere il cuore a Dio? Significa che tutto ciò che persegui nel tuo cuore è volto all’amore e alla conquista di Dio, e ciò indica che hai rivolto completamente il tuo cuore a Dio. A parte Dio e le Sue parole, non esiste quasi nient’altro nel tuo cuore (famiglia, ricchezza, marito, moglie, figli o altre cose). Anche se esiste, tutto ciò non può occupare il tuo cuore, e non pensi alle tue prospettive future, ma ricerchi solo l’amore per Dio. Quando arriverai a fare ciò, avrai completamente rivolto il tuo cuore a Dio. Supponi che tu stia ancora facendo piani per te stesso nel tuo cuore e che stia continuando a perseguire il tuo vantaggio personale, pensando sempre: “Quando posso fare una piccola richiesta a Dio? La mia famiglia, quando diventerà benestante? Come posso procurarmi dei begli abiti? …” Se stai vivendo in tale stato, ciò prova che il tuo cuore non è pienamente rivolto a Dio. Se hai solo le parole di Dio nel tuo cuore e sei in grado di pregare Dio e di avvicinarti a Lui in ogni momento, come se Egli ti fosse molto vicino, come se fosse dentro di te e tu fossi in Lui, se sei in tale stato, significa che il tuo cuore è stato alla presenza di Dio. Se preghi Dio, nutrendoti ogni giorno delle Sue parole, pensando sempre all’opera della Chiesa, dimostrando considerazione per la volontà di Dio, usando il tuo cuore per amarLo veramente e soddisfare il Suo cuore, il tuo cuore apparterrà a Dio. Se il tuo cuore è occupato da tante altre cose, allora è ancora occupato da Satana e non è veramente rivolto a Dio. Quando il cuore di qualcuno è veramente rivolto a Dio, proverà amore genuino e spontaneo per Lui e potrà ponderare l’opera di Dio. Pur essendoci ancora degli stati di stoltezza e irragionevolezza, queste persone saranno comunque in grado di avere considerazione per gli interessi della casa di Dio, per il Suo lavoro, e per un loro cambiamento di indole. Il loro cuore sarà assolutamente nel giusto Alcune persone sventolano sempre la bandiera della Chiesa, qualunque cosa facciano; la verità è che lo fanno solo per il proprio vantaggio. Sono persone che non possiedono la giusta motivazione. Sono disoneste e ingannevoli, e la maggior parte delle cose che fanno è volta a ricercare il loro tornaconto personale. Questo tipo di persona non persegue l’amore di Dio; il suo cuore appartiene ancora a Satana e non può volgersi verso Dio. Dio non ha modo di ottenere questo tipo di persona.
Il primo passo per amare Dio veramente ed essere conquistati da Lui consiste nel volgere completamente il cuore a Dio. In ogni singola cosa che fai, esamina quello che hai dentro e chiediti: “Ciò che sto facendo scaturisce da un cuore pieno di amore per Dio oppure è mosso da qualche intenzione personale? Qual è il mio obiettivo reale?” Se vuoi consegnare il cuore a Dio, devi prima sottometterlo, rinunciando a tutte le tue intenzioni e raggiungendo il punto di esistere totalmente per Dio. Questa è la strada da seguire per dare il cuore a Dio. Che cosa vuol dire sottomettere il cuore? Significa prendere le distanze dai desideri smodati della propria carne, non desiderare le benedizioni di uno stato sociale o le comodità, fare ogni cosa per soddisfare Dio, e dedicare pienamente il cuore a Lui, e non a sé stessi. Ecco cos’è.
Il vero amore per Dio viene dalla profondità del cuore; è un amore che esiste solo sulla base della conoscenza di Dio da parte dell’umanità. Quando il cuore di qualcuno si rivolge completamente a Dio, nutre l’amore per Dio, ma questo amore non è necessariamente puro né necessariamente completo. Ciò avviene perché esiste una certa distanza tra il cuore di una persona che si rivolge completamente a Dio e la possibilità che essa consegua una vera comprensione e adorazione per Lui. Il modo in cui si può ottenere il vero amore di Dio e conoscere l’indole di Dio consiste nel volgere il proprio cuore a Lui. Dopo aver autenticamente consegnato il proprio cuore a Dio, si comincia a entrare nell’esperienza della vita, con conseguente cambiamento di indole, crescita graduale dell’amore per Dio e della conoscenza di Dio. Quindi, volgere il proprio cuore a Dio rappresenta il prerequisito per imboccare la retta via dell’esperienza di vita. Quando si volge il cuore al cospetto di Dio, esso è pieno di desiderio per Lui, ma non di amore per Lui, perché non si possiede la comprensione di Dio. Anche se in questa circostanza si prova un certo amore per Lui, esso non è né spontaneo né sincero. Ciò avviene perché tutto ciò che proviene dalla carne dell’uomo è un prodotto emotivo e non deriva da una comprensione autentica. Si tratta solo di un impulso momentaneo che non riesce a trasformarsi in adorazione a lungo termine. Quando le persone non hanno comprensione di Dio, possono amarlo solo in base alle proprie preferenze e alle loro nozioni individuali; questo tipo di amore non può essere definito né spontaneo né genuino. Quando il cuore di qualcuno si rivolge veramente verso Dio, è in grado di pensare agli interessi di Dio in tutto, ma se non si possiede alcuna comprensione di Dio non si potrà avere un amore veramente spontaneo. Tutto ciò che si potrà fare sarà compiere alcune funzioni per la Chiesa e svolgere qualche dovere, ma senza avere alcun fondamento. Questo tipo di individuo ha un’indole difficile da cambiare; sono tutte persone che non perseguono la verità o non la capiscono. Anche se una persona rivolge completamente il proprio cuore a Dio, non significa che il cuore pieno di amore per Dio sia completamente puro, perché coloro che hanno Dio nel cuore non necessariamente nutrono amore per Lui. Ciò riguarda la distinzione tra chi persegue e chi non persegue la comprensione di Dio. Se una persona ha comprensione di Lui, è chiaro che il suo cuore si è volto completamente a Dio, e che il suo amore sincero per Dio nel cuore è spontaneo. Solo questo tipo di persona ha Dio nel cuore. Rivolgere il proprio cuore verso Dio è un prerequisito per imboccare la strada giusta, per comprendere Dio e per raggiungere l’amore di Dio. Non rappresenta un indicatore di adempimento del dovere di amare Dio, né è un segno di vero amore per Lui. L’unico modo in cui si può ottenere l’amore genuino di Dio consiste nel rivolgere il cuore a Lui, e ciò dovrebbe anche essere la prima cosa che una delle Sue creature dovrebbe fare. Coloro che amano Dio sono tutte persone che cercano la vita, cioè persone che cercano la verità e vogliono veramente Dio; tutte hanno l’illuminazione dello Spirito Santo e sono state sollecitate da Lui. Sono tutte in grado di essere guidate da Dio.
Quando qualcuno riesce a percepire di essere in debito verso Dio, ciò avviene perché è spinto dallo Spirito; in presenza di tale percezione, tenderà anche ad avere un cuore pieno di desiderio e riuscirà a perseguire l’ingresso nella vita. Se tuttavia ti fermi a un certo punto, non sarai in grado di andare più in profondità; correrai ancora il pericolo di restare intrappolato nella rete di Satana, e, raggiunto un certo punto, ne resterai imprigionato. L’illuminazione di Dio permette alle persone di conoscere sé stesse e, in seguito, di percepire il loro debito verso Dio così come la loro volontà di collaborare con Lui, abbandonando le cose che non Lo compiacciono. Questo è il principio dell’opera di Dio. Siete tutti disposti a perseguire la crescita nella vostra vita e ad amare Dio, e vi siete pertanto liberati della vostra superficialità? Se ti sei solo liberato da questo modo di agire e non causi alcun problema, evitando di metterti in mostra, ciò significa che stai davvero cercando di crescere nella tua vita? Se non mostri alcun comportamento superficiale, ma non entri nelle parole di Dio, significa che sei una persona priva di un progresso proattivo. Qual è l’origine dell’adozione di comportamenti superficiali? Agisci con lo scopo di crescere nella vita? Stai cercando di qualificarti per essere una delle persone scelte da Dio? Qualunque sia la cosa su cui ti concentri, essa corrisponde a ciò che vivi; se ti concentri sulla superficialità, il tuo cuore è focalizzato sulle cose esterne, e non riuscirai in alcun modo a perseguire la crescita nella vita. Dio richiede un cambiamento di indole, ma tu continui a perseguire le cose esterne; questo tipo di persona non avrà modo di cambiare la propria indole! Si comportano tutti in un certo modo prima di diventare maturi nella vita, ossia devono accettare il giudizio, il castigo e il perfezionamento delle parole di Dio. Se non hai le parole di Dio, ma ti basi meramente sulla tua fiducia e sulla tua volontà, tutto quello che fai si fonda semplicemente sullo zelo. In altri termini: se vuoi crescere nella vita, devi nutrirti, e comprendere maggiormente le parole di Dio. Tutti coloro che sono perfezionati dalle Sue parole sono in grado di metterle in pratica; coloro che non subiscono il perfezionamento e il giudizio delle Sue parole, non possono essere idonei a essere usati da Lui. Fino a che punto, quindi, vivete in base alle Sue parole? Solo nutrendovi delle parole di Dio e riuscendo a confrontarle con la vostra condizione di vita, trovando un percorso di pratica nella luce in relazione ai problemi che spiego, la vostra pratica sarà corretta e rispecchierà il cuore di Dio. Solo chi possiede questo tipo di questa pratica ha la volontà di amare Dio.
it.godfootsteps.org/genuine-love-for-god-is-spontaneous.html
[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]
enriqueviolanevado.blogspot.com/2020/05/las-propuestas-de...
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A mediados de octubre de 2019 se publicaron en la página del Distrito Único Andaluz las propuestas de exámenes de cada una de las materias que integran las Pruebas de Acceso del curso 2018-2019, como se puede comprobar en el siguiente enlace:
www.juntadeandalucia.es/economiaconocimientoempresasyuniv...
En esta tanda de exámenes todas las opciones «A» presentan un ejercicio práctico de geografía humana o económica y un tema de geografía física. Como puede suponerse, las opciones «B» muestran un ejercicio práctico de geografía física y un tema de geografía humana o económica, para satisfacción de los amantes de las ordenadas reverberaciones y las terribles simetrías.
En cuanto al vocabulario, se sigue escrupulosamente el listado oficial (el de noviembre de 2018) y los conceptos por referencias siguen igualmente esta relación.
En cuanto a los ejercicios prácticos, sólo en un caso (el fotoplano de Barcelona) se repiten documentos aparecidos en propuestas de año anteriores. El resto presenta mapas ya conocidos pero con preguntas nuevas o introduce ejercicios completamente novedosos. Esta avalancha de documentos inéditos no se producía desde los años fundacionales de 2001, 2002 y 2003 y complicó, y de qué manera, el examen de junio de 2019. Por lo demás transforma el preparatorio de la asignatura en el presente curso en un laberinto para el alumno y para el profesor.
Si la Ponencia de Geografía está más que preocupada por el escuálido número de escolares que escogen la asignatura para selectividad y por el intolerable porcentaje de suspensos que consiguen en esta prueba, desde luego no lo demuestra multiplicando el número de ejercicios prácticos (que es la pregunta que más se valora). Difícilmente podría haber tomado una medida más contraproducente.
Los ejercicios prácticos seleccionados son mapas, mapas de diagramas y un fotoplano. La mayor parte procede de la página en internet del Atlas Nacional de España del Instituto Geográfico Nacional. Se trata de una publicación con una calidad cartográfica excepcional. Pero también se pueden encontrar mapas muy buenos en las distintas versiones del manual de geografía de segundo de bachillerato para el alumno. Y muchas editoriales permiten visualizar su cartografía en formato digital. Buscando los documentos en estas publicaciones darían más oportunidades al alumno estudioso y al profesor que procura prepararlos con esmero. Pero una vez más, estos son los grandes perdedores de la geografía andaluza.
Nos queda la pregunta del tema, y de nuevo nos encontramos otro despropósito. El tema nueve (El Proceso de Urbanización de España y el Sistema de Ciudades) aparece en dos pruebas distintas. Si la ponencia ha establecido las unidades temáticas que ha considerado oportuno, será por qué todas son igual de importantes. Reiterar temas en las pruebas desacredita al profesor que insiste en impartir todo el temario y pone contra las cuerdas al alumno que se presenta a la evaluación extraordinaria tras haber suspendido la ordinaria.
Una última observación: puesto que el temario ha cambiado por completo, el modelo de examen se adaptará para aminorar los efectos del cierre de institutos y del confinamiento y los ejercicios prácticos llevan ya varios años creciendo de forma inmoderada, la utilidad de estas propuestas para repasar o para realizar pronósticos resultará muy limitada, por no decir nula.
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La obra que hemos escogido como encabezamiento es Velas en la Playa de Valencia del valenciano Joaquín Sorolla y Bastida. Se trata de un óleo sobre tabla pintado en una fecha que oscila entre 1886 y 1889. Sus medidas son 17,4 x 27,5 centímetros.
La clasificación de este cuadrito ofrece dificultades al historiador del arte tradicional. No se puede considerar boceto, estudio u obra inacabada. La etiqueta que más se le acerca es la de apunte del natural. El propio Sorolla los llamaba “apuntes”, “manchas”, y “notas de color”. Llegó a pintar más de dos mil óleos de este tipo sobre cartones o tablillas. Los utilizó a veces para ensayar composiciones, pero a menudo como mero ejercicio. Las conservaba en su estudio, sujetas con alfileres, y aunque los hacía figurar en sus exposiciones, no parece que los vendiera, o que ni siquiera su rendimiento económico le interesara. A su muerte pasaron al Museo Sorolla donde se conservan. La que comentamos tiene el número de inventario 228.
Para ser pintado en los años de formación y consolidación, Velas en la Playa de Valencia presenta no ya una concepción avanzada, sino rupturista con todo lo que se pintaba por aquel entonces. Sorolla se esfuerza tanto en plasmar lo esencial que el crítico no sabe si señalar que la obra manifiesta un naturalismo exacerbado o simplemente se trata de una composición abstracta.
En el 2019 el Museo organizó una exposición temporal de estas obras bajo el título Cazando Impresiones. Sorolla en Pequeño Formato. La pintura que comentamos fue la escogida para presentar la muestra en los medios de comunicación y como portada del catálogo.
La imagen procede de la cuenta de twitter del Museo:
The accident happened shortly before 11 a.m. at 60 Centre St.
newsfeedresearcher.com/data/articles_e15/ide2008.04.12.13...
NEW YORK (AP) — A car hurtled up the courthouse steps made famous by "Law & Order" on Friday, injuring six people, one of whom was pinned beneath the vehicle and had to be freed by firefighters. The car jumped a curb, rear-ended a coffee cart and careered up the busy stairs of Manhattan's state Supreme Court building, pinning one man beneath its front end. Firefighters covered the pinned man's face with a sheet to protect him from sparks and metal fragments as they used powerful electrical saws to cut through the 1999 Nissan sedan he was trapped under. Then they lifted the auto and pulled the man onto a stretcher before taking him away. [1] A 1999 Nissan Altima with New York license plates struck a fire hydrant, jumped the sidewalk, crashed into a coffee and bagel cart and then pinned a 32-year-old man in a business suit against a railing on the steps of the State Supreme Court building at 60 Centre Street in Lower Manhattan on Friday shortly before 11 a.m., witnesses and police officers said.[2]
Two pedestrians and a coffee cart vendor were injured when an out-of-control car jumped the curb Friday morning onto a sidewalk outside the New York State Supreme Court building at Foley Square in lower Manhattan.[3] Six people were hurt, including one man who was pinned under the vehicle and had to be freed by firefighters. The car jumped a curb, rear-ended a coffee cart and careened up the busy stairs of Manhattan's state Supreme Court building, pinning one man beneath its front end.[4] Police say a Queens man was under arrest after his car jumped a curb in Lower Manhattan Friday morning, injuring six people, including a man who was pinned to the steps outside the State Supreme Court building.[5]
NEW YORK (AP) — Emergency workers have freed a man pinned under a car that smashed into the steps of the state Supreme Court building in downtown Manhattan.[6] Associated Press - April 11, 2008 11:43 AM ET NEW YORK (AP) - Emergency workers are trying to free a man who was pinned by a car that careened up the steps of the state Supreme Court building[7]
NEW YORK (AP) — A car smashed into the steps of a court building Friday, pinning a man who had to be freed by emergency workers.[8]
The accident shortly before 11 a.m. at 60 Centre St. The car mounted the sidewalk, smashed into a coffee cart and went up the steps before hitting the man. Emergency workers are using a power saw to free the man, who appears to be pinned from the mid-chest down and has blood on his face.[9] Workers had to use a power saw to free the man who was pinned by the car, according to the Associated Press. "He was conscious, but he really was in bad shape," said Agosto. "He got carried over. Luckily he wasn't positioned under the car. He was just in front of it where help was able to get to him." A 26-year-old food vendor was thrown from his coffee cart onto the ground several feet away. He was taken to St. Vincent's Hospital where he is said to be in stable condition. His cousin operates a cart nearby. "He's got broken ribs, a broken nose and internal bleeding," said the victim's cousin Mustafa Peerzada.[5]
Witnesses say the 1999 Nissan Altima was heading north on Centre Street when it took a sharp right turn, struck a fire hydrant, jumped the sidewalk, crashed into a coffee cart and continued up several steps of the courthouse at 60 Centre Street shortly before 11 a.m. "My initial thought was that it was some type of terror attack, because I just saw the donut cart, like, 'Boom!'" said witness Ashish Kapoor. The AP said that Bello was incoherent after he was removed from the car. Both he and a 45-year-old female passenger were removed to Bellevue where they were in stable condition Friday night. All of those injured were in stable condition Friday night, and none of the injuries were said to be life-threatening.[5] The sixth person to be taken to a hospital was Maryanne Hom, 59, a retiree. She was sitting on the steps on the courthouse holding an ice pack to her knee and described what she saw, while waiting for an ambulance to arrive. She said she was on her way to her home nearby when she stopped at the bagel cart to order breakfast and suddenly the car, traveling north on Centre Street, barreled up the sidewalk. "I was at the breakfast wagon," she said.[2]
Bello's car landed on the steps of 60 Centre Street. He was cut loose by emergency workers and taken to the hospital.[5]
An out-of-control car jumped a curb on Centre Street and mowed down three pedestrians outside the State Supreme Court.[10] A car jumped the curb Friday in front of the State Supreme Court building in lower Manhattan.[11]
The car went over the sidewalk of the state Supreme Court building in downtown Manhattan, hit a coffee cart and went up several steps before hitting the man.[8] A car has run over a man after going onto a sidewalk and up several steps of the state Supreme Court building in downtown Manhattan.[9]
A car sits on the steps of State Supreme Court after jumping the curb, taking out a fire hydrant and damaging a food cart before pinning a man underneath the vehicle Friday, April 11, 2008, in New York.[1] NEW YORK, April 11 (UPI) -- At least five people were injured Friday when a car rammed the steps of a state court building in New York City.[12]
Associated Press - April 11, 2008 7:33 PM ET NEW YORK (AP) - The way one man sees it, it's a miracle no one was killed today in New York when a car hurtled up the courthouse steps made famous[4] NEW YORK - Hours after a car hurtled up the courthouse stairs made famous by "Law & Order," injuring six people, a pedestrian was hit by a taxi across the street just yards away.[13] WNBC-TV in New York reported that six people were injured, including a husband and wife who were in the car, as well as four pedestrians, two male and two female.[14]
"The guy's getting married in two, three weeks. He's engaged, so I hope nothing happens to him, bad." Three pedestrians were also injured, including a 35-year-old woman, a 32-year-old man and a 58-year-old woman who was injured when she jumped out of the car's path. Witnesses described a terrifying scene, many of whom said they had to run for their lives. 'I don't know if he lost control or whatever happened to the car, but he was coming pretty quick and he jumped the sidewalk,' said one witness. 'I'm just lucky that I was standing there waiting for the light this time. That's all, I'm just glad.[5] Maio and Court Officer Xavier Agosto said the car leapt over the curb, grazed a coffee cart and spilled the vendor onto the sidewalk, before crashing on the steps, smashing through a bronze handrail and pinning the man.[13] The car went over the sidewalk, hit a coffee cart and went up several steps before hitting the man.[7] The car drove onto the sidewalk, smashed into a coffee cart and went up several steps before hitting the man.[14]
According to NY1, the car "crashed into a coffee cart and continued up several steps of the courthouse," where one man was pinned under the car.[10] The taxi's front grill was knocked out. About 4 1/2 hours earlier, a car jumped a curb, rear-ended a coffee cart and careered up the busy stairs of the courthouse, pinning one man beneath its front end and injuring several others.[13]
A car jumped the curb downtown and slammed into several people on the steps of the Supreme Court.[11] The accident took place at Manhattan's state Supreme Court building.[13] The crash took place at about 11 a.m. at the state Supreme Court in lower Manhattan, Newsday reported.[12]
Reference: Photo 24/(240)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 4 Aug 1915
See also:
- View this at the British Library's site
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Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
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Inca Trail Trek to Machu Picchu
The Inca Trail to Machu Picchu is beyond a doubt one of the most beautiful trails in America and an unforgettable experience not to be missed. The trail leads through the protected wild nature of the Peruvian jungle and forest steppe, passes several archeological Inca sights and offers impressive views. The Incas used this itinerary for theirpilgrimage to the sacred citadel Machu Picchu. inca trail to machu Picchu.
Package Name: Inca Trail Classic
Duration: 4 Days / 3 Nights
Type of Trek: Archaeological, Cultural, ecological and Adventure
Group Size: To suit group requirements
Difficulty degree of this hike: Moderate / Challenge
Departures Day:
- Our company organize daily departures
- All private service departure dates are adapted to your request.
- A minimum of 2 persons is needed for this trek
Activities: Trekking, Camping and Adventure
High Season: March - January
Route: Closed in February
Altitude: 2050 - 4200 m. / 6730 - 13780 f.
Inca Trail Trek Itinerary:
Day 1: Cusco - Km 82 – Wayllabamba - Yuncachimpa
we will leave Cusco (3350m/10990f) at 5:30 am by tourist bus to and head for the Sacred Valley of the Incas. Before we reach our starting point km 82, we make a short break in Ollantaytambo for having the option to get breakfast. The official beginning of the Inka Trail is called km 82. Here we will meet the rest of the group and take care of the registration facilities. After crossing the Rio Urubamba (2200m) we will start the legendary Inca Trail. The first day the trail is easy to walk and a good warm up for the fallowing days. In Miskay we’ll have lunch at a small river bank while getting some information about the archaeological complex of Llactapata. After that, we will continue our hike to Wayllabamba (3100m/10170f) and ascend to Yuncachimpa (3300m/10826f), the camping site we will spend the night in. From here, we have a great view of the mysterious Nevado de Verónica.
Level of difficulty: normal (easy)
Hiking time: 5-6 hours
Total distance: 11km approx.
Day 2: Yuncachimpa - Llulluchapampa – Warmihuañusca pass - Pacaymayu - Runkurakay pass - Chaquicocha
The second day is the ‘Free-Hike-Day’; that means, that everybody should walk in his/her own pace – of course you will meet during the small breaks or see each other while beating the stairs. Early in the morning the trails first leads through the Valley of Llulluchapampa (3850m/12631f). The first 3km are step - enjoy the humid woodland and the water sounds. From Llulluchapampa fallow the way for 2-3 hours until you crest the highest point of this section, the Warmihuañusca (Dead Woman Pass) (4200m/113780f). This climb is known as the most difficult part of the Inca Trail. After a short break at the summit, you continue your hike down with a long and steep descent to the river Pacamayo (Sunrise River) towards the Runkurakay pass (3050m/10007f) until you reach our camping site called Chaquicocha at (3650m/11975f). Here you can relax your body from the tough day while enjoying an amazing view over the mountains.
Level of difficulty: challenge
Hiking time: 7-8 hours
Total distance: 15 km approx.
Day 3: Chaquicocha - Phuyupatamarca – Wiñayhuayna
The third day is the most beautiful one. You can notice a change in the eco-system while walking to the tropical forest of Wiñaywayna. We will pass two small lakes at the top of the second pass (3950m). It’s a gentle climb through beautiful cloud forest and a small Inca tunnel before the third pass (3700m) offers a grand view over the Rio Urubamba Valley. The nearest settlement is named Phuyupatamarca/"Town above the clouds" (3600m/11811f). A well preserved site with long chain Inca baths where one can enjoy impressive ancient engineering. We pass another Inca Tunnel before visiting the ruins of Wiñaywayna/"Forever young" (2650m/8694f). The Inca stairs change into a zigzag trail until you reach a red-roofed white building, our last camping site, and also a location with hot water (5S) and bottled drinks.
Level of difficulty: normal, unforgettable (easy)
Hiking time: 5-6 hours
Total distance: 10 km Approx.
Day 4: Wiñayhuayna - Machu Picchu - Cusco
After our breakfast at 4:30 am, we will head - equipped with our flashlights - to the Inti Punku (Sun Gate) to get the first glimpse of Machu Picchu and watch the sunrise over Machu Picchu and Wayna Picchu. The last triumphal descent will take you almost one hour before we visit the citadel of Machu Picchu (2400m//7874f) around 8.00am. You can enjoy its spiritual charm during a guided tour (about two hours) that helps you to understand the meaning and ancient use of the different buildings. After this tour you will have enough time to explore the archeological site on your own (f.ex. go to the Inca Bridge, explore the variety of buildings or climb Wayna Picchu for an amazing panorama picture). A bus takes you down to Aguas Calientes. Here you can soak away your aches and pain in the town’s hot springs (S10). We will leave Aguas Calientes in the afternoon.
Level of difficulty: normal, unique (easy)
Hiking time: 2-3 hours
Total distance: 7 km approx.
What is Included:
Transport
Private transfer from your hotel in Cusco to km 82
Tourist train from Aguas Calientes to Cusco (Poroy)/or Ollantaytambo and bus to Cusco
Transfer from the train station in Cusco to your hotel in Cusco
Entrance fees to the Inca trail and Machu Picchu
Professional bilingual guide (Spanish and English)
Camping equipment (professional two-persons tents: Doite, model Cima 4, extra light/4kg, Doite, model Kailas 3, extra light/4.5kg and Doite, model Himalaya, extra light/4.5kg; sleeping mats, dining tent equipped with a table and chairs, a sanitary tent)
Cook, cooking equipment, meals (3 breakfasts, 3 lunches and 3 dinners). Food includes pancakes, omelettes, soups, fresh fruit and spaghetti, chicken, fish, meat and rice, all rich in carbohydrates and very suitable for trekking, hot drinks including coca leafs tea which is excellent for the altitude
Tea and snack time everyday (tea, coffee, wantan, popcorn, cracker)
Porters to carry the main luggage (all the equipment and cooking stock)
First-aid kit, oxygen bottle and safety rope
What is not Included:
Sleeping bag rent: US$ 5 per day. Our sleeping bags are –8ºC-comfort (0ºF) and mummy form and include a sleeping liner.
Lunch on the last day after the guided tour at Machu Picchu
Entrance to the Hot Springs in Aguas Calientes
Optional night in Aguas Calientes can be arranged easily.
Alcoholic drinks
Recomended Things To Take
Sleeping bag (you can rent at Cusco Expeditions office).
Bottle of mineral water.
Rain gear and/or plastic poncho (can be purchase in Cusco).
Hiking boots.
Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.
Flashlight.
Sun block.
Insect repellent.
Toilet paper and garbage bag.
Small towel and bathing suit (hot springs optional).
Camera, extra film and extra batteries.
Snacks, chocolates, energy bars.
Emergency money.
Walking stick (optional).
CALL US We are ready to take your call.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)
Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com
MSN: cuscoexpeditions@hotmail.com
Website: www.cuscoexpeditions.com/
Copyright © 2005-2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency
Học phí không thay đổi toàn năm học 2013 www.korigami.vn
Học phí không thay đổi áp dụng cho cả niên học 2013: www.korigami.vn/p/ao-tao-va-day-nghe.html ( tư vấn chương trình học phù hợp với nguyện vọng và các chế độ khuyến mãi ... liên hệ trực tiếp tại hộp thư www.facebook.com/messages/kuansaigon )
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Liên hệ trực tiếp : KORIGAMI 7 TRẦN TẾ XƯƠNG ven hồ Trúc Bạch _ quận Ba Đình _ Hà Nội ( dễ tìm nhất là đi từ 122 Trấn Vũ vào ngã tư đầu tiên rẽ trái là đến nơi _ Xem bản đồ tại đây maps.google.com/maps/ms?msa=0&msid=213092627580361168... )
Ngoài ra... Korigami nhận thực hiện tạo kiểu tóc + trang điểm bới tóc dạ hội theo yêu cầu khi quí khách đặt lịch hẹn trong vòng 1 tiếng trước khi đến ... Hãy gọi hoặc nhắn tin theo số 0915804875 - 0919386104 ( xem giá cả chi tiết các dịch vụ tại đây www.korigami.vn/p/bang-gia-dich-vu-tu-van-cat-toc-tao.html )
DR. ADOLFO VÁSQUEZ ROCCA
www.danoex.net/adolfovasquezrocca.html
Eastern Mediterranean University - Academia.edu
E-mail: adolfovrocca@gmail.com
TRAYECTORIA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012
PUBLICACIONES
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
dialnet.unirioja.es/servlet/autor?codigo=1053859
Publications Scientific
de.scientificcommons.org/adolfo_v%C3%A1squez_rocca
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
BIBLIOTECA UNI>ERSIA – Unesco - CSIC
biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...
Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
Biblioteca Universidad Complutense de Madrid
Revistas Científicas Complutenses
Directorio de recursos digitales - Ministerio de Cultura, España
Biblioteca Asociación Filosófica UI
www.uruguaypiensa.org.uy/categoria_144_1_1.html
Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca
Philosophy & Art: Pinterests Design
ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO
www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1
'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,
Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,
- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012
INVESTIGACIÓN:
2009 - 2010
Proyecto de Investigación N° DI-10-09/JM - UNAB
“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB
2011 - 2012
- Proyecto de Investigación N° DI-08-11/JM - UNAB
- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello
Asistente de Investigación:
Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos
ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA
TRAYECTORÍA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.
– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM
Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/
(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso
(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.
(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.
(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB
(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB
(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV
(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB
(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB
(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM
(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP
(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV
(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM
(2009-2010) Profesor visitante Florida Christian University USA
(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH
(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.
(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.
(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)
SEMINARIOS
Asignaturas de Postgrado impartidos:
2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".
2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"
2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"
2007 1º Seminario Sloterdijk - Nietzsche
2007 2º Seminario: Sloterdijk un pensador estético
2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"
2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"
2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.
ENTREVISTA:
“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.
www.alcances.cl/ver-articulo.php?id=81
Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.
www.revistadefilosofia.com/44-04.pdf
Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.
dialnet.unirioja.es/descarga/articulo/4052835.pdf
Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/
Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140
www.ldiogenes.buap.mx/revistas/24/127.pdf
Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...
Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32
www.revistadefilosofia.com/46-02r.pdf
Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.
www.revistadefilosofia.com/46-02.pdf
Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457
pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca.pdf
Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490 pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca_...
Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...
Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420
pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf
Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445
pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.
www.doaj.org/doaj?func=fulltext&aId=1320292
2013
Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...
Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.
cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...
Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 68 / marzo - abril 2013, Madrid.
www.margencero.com/almiar/limites-medicina-concepto-muert...
Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712
www.observacionesfilosoficas.net/sloterdijkensayosdeintox...
Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.
rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...
Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.
rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:
www.observacionesfilosoficas.net/download/Peter-sloterdij...
Vásquez Rocca, Adolfo, "Sloterdijk; Psicopolítica, Globalización y Mundo interior del Capital", En Escáner Cultural - Revista de Arte Contemporáneo y Nuevas Tendencias, Santiago- [Re-Edición 2013], Paper y Conferencia en el IV Congreso Internacional y VII Nacional de Filosofía del Derecho, Ética y Política, Organizado por la Facultad de Filosofía, de Derecho y la Oficina de Relaciones Interinstitucionales (ORI) de la Universidad Libre en Colombia, y la Facultad de Derecho del Centro Universitário Newton Paiva en Bello Horizonte – Brasil, 22, 23 y 24 de abril de 2013, Programa del Congreso
Vásquez Rocca, Adolfo, "Sartre; teoría fenomenológica de las emociones, existencialismo y conciencia posicional del mundo", Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 69 / mayo-junio 2013, Madrid.
www.margencero.com/almiar/sartre-existencialismo-y-concie...
Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490
www.theoria.eu/nomadas/35/adolfovrocca_2.pdf
Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio – julio-diciembre 2012-2013, pp. 127 – 140
www.ldiogenes.buap.mx/revistas/24/127.pdf
Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo", En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – mayo, 2013
rinabrundu.com/2013/05/05/sloterdijk-y-heidegger-normas-p...
Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457
www.theoria.eu/nomadas/35/adolfovrocca.pdf
Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo. Ensayos de intoxicación voluntaria y constitución psicoinmunitaria de la naturaleza humana”, En ARTEFACTO -Pensamientos sobre la Técnica- UBA, abril, 2013
www.revista-artefacto.com.ar/pdf_textos/84.pdf
DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL
dialnet.unirioja.es/servlet/autor?codigo=1053859
ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN
www.danoex.net/adolfovasquezroccainvestigacion.html
Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu
emui.academia.edu/AdolfoVasquezRocca
ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO
www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a
ADOLFO VÁSQUEZ ROCCA
emui.academia.edu/AdolfoVasquezRocca
Pontificia Universidad Católica de Valparaíso
Universidad Complutense de Madrid
Universidad Andrés Bello UNAB
E-mail: adolfovrocca@gmail.com
photo published on www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...
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used in:
• www.pluggd.in/entrepreneurship-in-india/money-saving-tips...
• www.whereyouarenow.com/blog/2008/09/16/8-steps-to-more-mo...
• www.marketproteges.com/2008/05/this-weeks-feature-saving-...
• www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...
It is amazing that the ongoing events around the Marian apparitions in Medjugorje , a place of pilgrimage in Bosnia-Herzegovina, last until now. Medjugorje became well known all over the world. On Midsummer Day of 1981 six children saw a floating woman on a hill in the small, at that time Yugoslavian village. The woman was pointing to a newborn baby, she wore in her arm. Out of fear the children ran away.
The next day, the 25th of June, the woman appeared again at the same place, this time alone, and this time the children ran to her and they started a conversation with her. This conversation has not ended until today. This woman is Virgin Mary and she still appeares to the six people and talks to them.
She was wearing a light gray dress with a white veil and they told that she had blue eyes and was surrounded by a wreath of twelve stars.
One day later Mother Mary appeared again, but only to one of the girls and she said the words:
“Mir, mir, mir – peace, peace, peace…” This is still the marrow of all her messages. . .
Međugorje is a town located in western Bosnia and Herzegovina, in the Herzegovina region around 25 km southwest of Mostar and close to the border of Croatia. Since 1981, it has become a popular site of religious pilgrimage due to reports of apparitions of the Virgin Mary to six local Catholics.
The name Međugorje literally means "an area between mountains". At an altitude of 200 metres above sea level it has a mild Mediterranean climate. The town consists of an ethnically-homogeneous Croat population of over 4,000. The Roman Catholic parish (local administrative and religious area) consists of five neighbouring villages, Međugorje, Bijakovići, Vionica, Miletina and Šurmanci.
Following reports of apparitions, successive bishops of Mostar ruled the claims groundless. In March 2010, in view of continued public interest, the Holy See announced that the Congregation for the Doctrine of the Faith was forming an investigative commission, composed of bishops, theologians, and other experts, under the leadership of Cardinal Camillo Ruini, the Pope's former Vicar General for the Diocese of Rome.
The messages reputed to Our Lady of Međugorje have a strong following among Catholics worldwide. Međugorje has become one of the most popular pilgrimage sites for Catholics in the world and has turned into Europe's third most important religious place, where each year more than 1 million people visit. It has been estimated that 30 million pilgrims have come to Međugorje since the reputed apparitions began in 1981. Many have reported visual phenomena including the sun spinning in the sky or changing colors and figures such as hearts and crosses around the sun. Some visitors have suffered eye damage while seeking to experience such phenomena.
The phenomenon is not officially approved by the Catholic Church. Msgr. Ratko Perić, bishop of Mostar - and the local ordinary - has opined that, "The numerous absurd messages, lies, falsehoods and disobedience associated from the beginning with the events and "apparitions" of Medjugorje, all refute every claim of authenticity."
On June 24, 1981, reports began of Marian apparitions on Crnica hill in the Bijakovići hamlet, and shortly thereafter confrontations with Yugoslav state authorities began. Pilgrims' donations were seized by the police and access to what was called the Apparition Hill was largely blocked.
In October 1981, Jozo Zovko, then the pastor of the town, was sentenced to three and a half years imprisonment with forced labor for allegedly participating in a nationalistic plot. After Amnesty International, among others, appealed for his release and a judicial appeal was made, the sentence was reduced in the Yugoslav Federal Court in Belgrade to one and a half years, and the priest was released from prison in 1983.
During the Bosnian War, Međugorje remained in the hands of the Croatian Defence Council and in 1993 became part of the internationally unrecognized Croatian Republic of Herzeg-Bosnia. By the Dayton Agreement in 1995, Međugorje was incorporated into the Federation of Bosnia and Herzegovina, populated mostly by Bosniaks and Croats. It lies within the Herzegovina-Neretva Canton, one of ten autonomous regions established so that no ethnic group could dominate the Federation.
In 1992 the town was the launching point for ethnic cleansing on the part of the Croatian Defence Council, which led to the complete destruction of the Serbian Orthodox Žitomislić Monastery. The property of the Franciscan order in Bijakovići below Podbrdo ("Apparition Hill") was used during the war years as a testing ground for grenade launchers by the militia of a local weapons dealer.
On April 2, 1995, at the high point of conflict within the local diocese, Bishop Ratko Perić was kidnapped by Croatian militiamen, beaten, and taken to a chapel run by one of the Franciscans associated with Međugorje, where he was held hostage for ten hours. At the initiative of the mayor of Mostar he was freed without bloodshed, with the help of the United Nations Protection Force.
After the ending of the Bosnian War, peace came to the area: UN peace troops were stationed in western Herzegovina. The town and its environs boomed economically after the war. Over a thousand hotel and hostel beds are available for religious tourism. With approximately one million visitors annually, the municipality of Međugorje has the most overnight stays in Bosnia-Herzegovina.
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The former Seoul Metro carriages which became a luxury train in Việt Nam
In 2008, six 1.435m gauge former Seoul subway carriages were imported into Việt Nam and refurbished for use on the standard-gauge lines in the North
This story began on 9 May 2007, when Vietnam Railways signed an MOE with Seoul Metro (now Seoul Transportation Corporation) for the export to Việt Nam of life-expired first-generation EMU trailer carriages from Seoul Metro, plus maintenance and operation technology.
Built in the early 1980s by Daewoo Heavy Industries for Seoul Metro Lines 1-4, these 1.435m gauge EMU carriages had been withdrawn from operation in accordance with the terms of the Korean Railroad Act, which stipulated that rolling stock must be withdrawn from service after 25 years of operation. According to the Korean Maeil Business Newspaper, instead of selling them for scrap at just 4-5 million won per car, Seoul Metro managed to sell the unpowered trailer cars to Vietnam Railways for 150 million won per car.
For a better look at the original first-generation Seoul Metro trains watch the video 추억의 전동차 - 초저항, Oldest train of Seoul metro, 20-12-2017 by 잡덕아재 at www.youtube.com/watch?v=P9qLT1Y3ZOQ
On 25 July 2008, an initial six EMU trailer carriages were shipped from Incheon to Hải Phòng as part of the first 100% foreign-funded rail passenger service joint venture involving the Korean Dongrim Company.
After the carriages arrived in Việt Nam, Dongrim is reported to have paid the Transport Construction and Investment Consulting Joint Stock Company (Cty CP Tư vấn Đầu tư và Xây dựng, GTVT) to design the refurbished carriages at a cost of US$70.000 and then hired Gia Lâm Railway Works to convert them at a cost of US$300,000. The refurbished subway carriages incorporated comfortable seats, modern air-conditioning/heating, toilets and LCD/TV systems. One car was equipped with a bar/café. To put them in service, the Dongrim Company had to pay Vietnam Railways 20 million VNĐ for a locomotive to haul each train, plus staff salaries and many other costs.
Promoted as the "Ground Boeing" (“Boeing mặt đất”), the train of refurbished 1.435m gauge subway carriages entered service to great fanfare on the 30 April-1 May 2009 weekend, offering a daily service from Gia Lâm to Hạ Long Bay. Tickets were sold at US$15 for foreigners and US$5 for Vietnamese, the price including a shuttle bus to and from Hà Nội.
According to one source, the foreign investor relied on "unrealistic" passenger forecasts from previous research projects, with the expectation that more than 100,000 tourists would use the train each year. In fact, the six carriages were intended to be the first of a delivery of an eventual 54 refurbished metro carriages which Vietnam Railways would eventually deploy on various other tourist routes around the country.
This train did attract many tourists on its launch weekend. However, there were apparently many complaints about the standard of service - and particularly about the length of the journey. At that time, following the upgrading of National Road 18, the road journey to Hạ Long Bay was quick and convenient, taking just over two hours. However, the rather inappropriately named "Hạ Long Express" departed from Gia Lâm not Hà Nội and the slow and indirect rail journey from Gia Lâm to Hạ Long Bay via Kép took over five hours.
In subsequent weeks, passenger numbers declined significantly and on some occasions it was reported that the train was attracting no more than 3-4 passengers per journey. The "Hạ Long Express" ceased operation in early September 2009 and soon after that the parent company Dongrim Railway Transport Co., Ltd (Korea) faced bankruptcy. In subsequent years. the six carriages were acquired by VNR and placed in open store, gathering rust and enveloped by foliage.
Six years later, the old subway carriages were recovered from storage and refurbished again. On 29 May 2015, they became part of the ambitious new "High Quality" HDR3 Gia Lâm-Đồng Đăng service, which offered a twice daily return service and incorporated a free shuttle bus from Hà Nội and pick-up/drop-off services at Gia Lâm, Bắc Giang, Lạng Sơn and Đồng Đăng stations. This journey only took 3.5 hours, 2 hours less than the existing service and the trains were claimed to be "as luxurious as a 5-star hotel" - see the VTC14 video "Bên trong đoàn tàu chất lượng cao Hà Nội - Lạng Sơn" of 30 May 2015 www.youtube.com/watch?v=W4cgBzrcHB8
However, once again the train of ex-subway carriages failed to attract passengers. In September 2016, after just over a year in operation, they were once more withdrawn from service. The reasons given at that time were that every train was running at a loss of 20 million VND and maintenance of the former subway carriages had become increasingly difficult due to the lack of spare parts. Another contributing factor in the train's demise may have been that, at the time, the management of the company responsible for running the service - Hà Nội Railway Transport Company (Cty Vận tải đường sắt Hà Nội) - had just become embroiled in the scandal surrounding the attempt to import 160 second-hand Chinese carriages into Việt Nam.
The former subway carriages were subsequently dumped in a siding at Đồng Đăng Station. Their current whereabouts is unknown.