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Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
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
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
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, 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, ten new participant countries developed national pavilions for the Biennale: Angola, 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 [4], 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.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
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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 )
#KORIGAMI ĐƯỢC CÁC BẠN YÊU NGHỀ TÓC TOÀN QUỐC BÌNH CHỌN LÀ BỘ GIÁO TRÌNH THÔNG MINH DỄ HỌC DỄ HIỂU DỄ ỨNG DỤNG NHẤT TRÊN THỰC TẾ ... HỌC VIÊN CHĂM CHỈ HỌC SAU NÀY CÓ THỂ ĐÀO TẠO BÀI BẢN CHO NHÂN VIÊN CỦA MÌNH KHI TỐT NGHIỆP KINH DOANH RIÊNG
#CAM KẾT HỌC CHUYÊN CẦN RA NGHỀ ĐẠT TRÌNH ĐỘ CHUYÊN MÔN ĐÚNG HOẶC SỚM HƠN KỲ HẠN MONG MUỐN ...
#ĐĂNG KÝ THỦ TỤC + KÝ HỢP ĐỒNG MẪU TẠI TRUNG TÂM LÀ NHẬP HỌC NGAY KHÔNG CẦN CHỜ ĐỢI ...
#KIỂM TRA TAY NGHỀ - CẤP CHỨNG CHỈ NGHỀ MANG THƯƠNG HIỆU KORIGAMI ...
#CÓ CHỖ ĂN Ở NỘI TRÚ DÀNH CHO HỌC VIÊN Ở XA VỚI CHI PHÍ HỢP LÝ ( học viên nội trú nộp 01 bản sao CMND công chứng + 01 bản sao HỘ KHẨU công chứng ... Ưu tiên miễn phí các chi phí này dành cho học viên đăng ký vừa học vừa làm tại trung tâm) ...
#CAM KẾT HỖ TRỢ VIỆC LÀM SAU KHI TỐT NGHIỆP LOẠI KHÁ TRỞ LÊN + HẠNH KIỂM TỐT ...
#TƯ VẤN HỖ TRỢ THIẾT KẾ LẮP ĐẶT TOÀN BỘ NỘI THẤT + SẢN PHẨM + TRANG THIẾT BỊ DỤNG CỤ NGHỀ TÓC + SPA KHI HỌC VIÊN TỐT NGHIỆP MỞ TIỆM ... THẢO LUẬN PHƯƠNG PHÁP KINH DOANH BỀN VỮNG THU HỒI VỐN NHANH ... LÀM GIÀU BẰNG CHÍNH THỰC LỰC ...
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KHÓA ĐƠN
@Khóa A cơ bản cắt ép uốn nhuộm gội sấy nam nữ (15tr / 4 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-day-cat-toc-nam-nu-ep-uon-nhuom.html
@Khoá B nâng cao dành cho thợ đã biết nghề (20tr / 2 tháng ... tặng một số dụng cụ học tập cần thiết). www.korigami.vn/p/khoa-b-day-cat-toc-nam-nu-ep-uon-nhuom....
@Khoá C cơ bản cấp tốc dành cho các bạn đang chờ Visa đi nước ngoài định cư (20tr / 2 tháng hoặc nhanh hơn ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-c-day-cat-toc-nam-nu-ep-uon-nhuom....
@Khoá D trang điểm chuyên nghiệp (15 tr / 2 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-d-trang-iem-e-boi-toc-co-dau.html
@Khoá E bới tóc chuyên nghiệp (10 tr / 2 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-d-trang-iem-e-boi-toc-co-dau.html
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KHÓA GHÉP
@Khoá học liên thông khóa AB cơ bản nâng cao (25tr / 6 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-ab-day-cat-toc-nam-nu-ep-uon-nhuom...
@Khoá học liên thông siêu tốc BC cơ bản nâng cao (30 tr / tầm 3-4 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-ab-day-cat-toc-nam-nu-ep-uon-nhuom...
@Khóa học liên kết trang điểm + bới tóc chuyên nghiệp D+E ( 20 triệu / 3 tháng ra nghề ... tặng bộ dụng cụ trang điểm chuyên nghiệp ... phụ liệu tóc sẽ do học viên tự trang bị )
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HÓT NHẤT 2013:
@Khoá học AZ tổng quát tất cả các khoá học hiện có tại Korigami (45 tr / 7-8 tháng ra nghề ... tặng đầy đủ dụng vụ học tập). www.korigami.vn/p/khoa-en-z-tong-hop-cat-toc-nam-nu-trang...
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KHÓA HỌC RIÊNG BIỆT TỪNG CHUYÊN NGÀNH www.korigami.vn/p/khoa-f1-f2-f3-f4-cat-toc-nam-nu-co-ban....
@ Khóa cắt tóc nam cơ bản F1 ( 8 triệu / 1 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt )
@ Khóa cắt tóc nam nâng cao + hóa chất tóc nam F2 ( 11 triệu / 2 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt + tài trợ hóa chất làm tóc )
@ Khóa cắt tóc nữ cơ bản F3 ( 11 triệu / 1,5 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt )
@ Khóa cắt sấy tạo kiểu tóc nữ chuyên sâu F4 ( 14 triệu / 1,5 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt )
@ Khóa cắt sấy tạo kiểu tóc nữ chuyên sâu + hóa chất toàn diện tóc nữ F5 ( 23 triệu / 2,5 đến 3 tháng ... tặng đầy đủ dụng cụ học nghề tóc nữ )
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KHÓA HỌC CHUYÊN NGÀNH HÓA CHẤT LÀM TÓC
@ KHÓA [G] NHUỘM TÓC CHUYÊN NGHIỆP : học phí 6 triệu / 7 buổi học ~ 1 tuần / hỗ trợ miễn phí hóa chất khi thực hành trên mẫu tóc thật.
@ KHÓA [H] ÉP DUỖI PHỒNG VOLUME + UỐN MÁY SETTING + LÀM XÙ TỔNG HỢP : học phí 8 triệu / 15 buổi học ~ 02 hoặc 03 tuần / hỗ trợ miễn phí hóa chất khi thực hành trên mẫu tóc thật.
@ KHÓA [ I ] CHUYÊN NGÀNH UỐN XOĂN MÁY NÓNG SETTING KỸ THUẬT SỐ : học phí 6 triệu / 7 buổi học / hỗ trợ miễn phí hóa chất khi thực hành trên mẫu tóc thật.
@ KHÓA GHÉP [G + H] : học phí 12 triệu / 20 buổi học ~ 3 đến 4 tuần : nội dung học kết hợp 2 khóa [G] và [H]
@ KHÓA GHÉP [G + I] : học phí 10 triệu / 20 buổi học ~ 3 đến 4 tuần : nội dung học kết hợp 2 khóa [G] và [ I ]
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KHÓA VỪA HỌC VỪA LÀM --- HƯỞNG RẤT NHIỀU ƯU ĐÃI DO KORIGAMI TÀI TRỢ
@Khoá J vừa học vừa làm - trình độ tương đương khoá A (15 tr / 9 tháng ... không tặng dụng cụ học tập ... miễn phí ăn ở nội trú trong suốt quá trình học đến ra nghề ... sau 4 tháng học xét cấp học bổng và ký hợp đồng làm việc lâu dài tại trung tâm Korigami ...)
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Bạn nên truy cập link dưới đây để tham khảo thật cẩn thận từng chi tiết về hồ sơ thủ tục đăng ký + chế độ chương trình học cuát tất cả các khóa học tạo mẫu tóc - trang điểm - bới tóc cô dâu - vẽ móng nghệ thuật ... trình độ cơ bản đến nâng cao - thời gian ra nghề thông thường hoặc siêu tốc - những chế độ ưu đãi dành cho học viên vừa học vừa làm tại www.korigami.vn/p/ao-tao-va-day-nghe.html
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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 )
Erstes Shooting mit meinen neuen Blitz-Fernauslösern hat heute stattgefunden. Leider sind die Adapter, um die Empfänger mit den Blitzen zu verbinden, nicht sehr gut verarbeitet und einer ist gleich mal gebrochen.
Had the first shooting with my new flash-triggers today. Too bad, that the adapters, which you need to connect the triggers to the flashes, aren't the best quality. One broke already.
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Camera: Canon 5D Mark II
Lens: Canon 100mm f2.8L IS
Focal Length: 100mm
ISO: 400
Exposure: 1/400 sec at f / 3.2
Exposure Bias: -2/3 EV
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Nutzungbedingungen für dieses Bild / Terms of use for this picture
photo published on www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...
Save your money and one day it'll return the favor.
Ah money... to spend it or to save it, that is the question.
I found this philosophical add on a phone booth a few months ago. And thought it was the perfect time to post it: before black Friday, before the craziness of the holidays, before we start working on all those wish lists, ...
This campaign is sponsored by The American Institute of Certified Public Accountants (AICPA). The bottom of the add sends you to www.feedthepig.org/, an entertaining website to entice us to save our precious dollars. It is full of interesting facts and tips but also videos, calculators, ... I recommend the click. You'll be greeted by Benjamin Bankes, the only pig I know who wears a white tuxedo so well. And of course, you can befriend Benjamin Bankes on MySpace. Of course.
__________________________
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...
"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.
"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.
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.
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
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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
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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
"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.
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
hi.kingdomsalvation.org/gospel/the-true-meaning-of-raptur...
संदर्भ के लिए बाइबिल के पद:
"तुम भी तैयार रहो; क्योंकि जिस घड़ी तुम सोचते भी नहीं, उसी घड़ी मनुष्य का पुत्र आ जाएगा" (लूका 12:40)।
"मैं चोर के समान आता हूँ" (प्रकाशितवाक्य 16:15)।
"देख, मैं द्वार पर खड़ा हुआ खटखटाता हूँ; यदि कोई मेरा शब्द सुनकर द्वार खोलेगा, तो मैं उसके पास भीतर आकर उसके साथ भोजन करूँगा और वह मेरे साथ" (प्रकाशितवाक्य 3:20)।
"जिसके कान हों वह सुन ले कि आत्मा कलीसियाओं से क्या कहता है" (प्रकाशितवाक्य 2:7)।
"मेरी भेड़ें मेरा शब्द सुनती हैं; मैं उन्हें जानता हूँ, और वे मेरे पीछे पीछे चलती हैं" (यूहन्ना 10:27)।
परमेश्वर के अति-उत्कृष्ट वचन:
"स्वर्गारोहण" नीचे स्थानों से उँचे स्थानों पर उठाया जाना नहीं है जैसा कि लोग कल्पना करते हैं। यह एक बहुत बड़ी ग़लती है। स्वर्गारोहण मेरे द्वारा पूर्वनियत और चयनित किए जाने को संदर्भित करता है। यह उन सभी पर लक्षित है जिन्हें मैंने पूर्वनियत और चयनित किया है। जिन लोगों ने ज्येष्ठ पुत्रों की, मेरे पुत्रों की, या मेरे लोग की हैसियत प्राप्त कर ली है, वे सभी ऐसे लोग हैं जो स्वर्गारोहित किये जा चुके हैं। यह लोगों की अवधारणाओं के साथ सर्वाधिक असंगत है। जिन लोगों का भविष्य में मेरे घर में हिस्सा है वे सभी ऐसे लोग हैं जो मेरे सामने स्वर्गारोहित किये जा चुके हैं। यह पूर्णतः सत्य है, कभी भी नहीं बदलता है, और किसी के द्वारा भी अस्वीकार नहीं किया जा सकता है। यह शैतान के विरुद्ध जवाबी हमला है। जिस किसी को भी मैंने पूर्व नियत किया है वह मेरे सामने स्वर्गारोहित किया जाएगा।
"वचन देह में प्रकट होता है" से "एक सौ चौथा कथन" से
मनुष्य विश्वास करता है कि सलीब पर चढ़ने और पुनरूत्थान के बाद, यीशु सफेद बादल पर स्वर्ग में वापस चला गया, और उसने सर्वोच्च महान के दाएँ हाथ पर अपना स्थान ग्रहण किया।उसी प्रकार, मनुष्य कल्पना करता है कि यीशु फिर से सफेद बादल पर सवार होकर (यह बादल उस बादल की ओर संकेत करता है जिस पर यीशु तब सवार हुआ था जब वह स्वर्ग में वापस गया था), उन लोगों के बीच वापस आएगा जिन्होंने हज़ारों सालों से उसके लिए बहुत अधिक लालसा रखी है, और यह कि वह यहूदियों का स्वरूप और उनके कपड़े धारण करेगा। मनुष्य के सामने प्रकट होने के बाद, वह उन्हें भोजन प्रदान करेगा, और उनके लिए जीवन के जल की बौछार करवाएगा, और मनुष्य के बीच में रहेगा, अनुग्रह और प्रेम से भरपूर, जीवन्त और वास्तविक, इत्यादि। फिर भी उद्धारकर्त्ता यीशु ने ऐसा नहीं किया; उसने मनुष्य की कल्पना के विपरीत किया। वह उनके बीच में नहीं आया जिन्होंने उसकी वापसी की लालसा की थी, और वह सफेद बादल पर सवारी करते हुए सभी मनुष्यों के सामने प्रकट नहीं हुआ। वह तो पहले से ही आ चुका है, किन्तु मनुष्य उसे नहीं जानता है, और उसके आगमन से अनजान बना हुआ है। मनुष्य केवल निरुद्देश्यता से उसका इन्तज़ार कर रहा है, इस बात से अनभिज्ञ कि वह तो पहले ही सफेद बादल (वह बादल जो उसका आत्मा, उसके वचन, और उसका सम्पूर्ण स्वभाव है और स्वरूप है) पर अवरोहण कर चुका है, और वह अब उन विजेताओं के समूह के बीच में है जिसे वह अंत के दिनों के दौरान बनाएगा।
"उद्धारकर्त्ता पहले ही एक "सफेद बादल" पर सवार होकर वापस आ चुका है" से
"वह जिसके कान हो, सुन ले कि आत्मा ने कलीसियाओं से क्या कहा।" क्या तुमने अब पवित्र आत्मा के वचन सुन लिए हैं? परमेश्वर के वचन तुम्हें अचानक मिले हैं। क्या तुम उन्हें सुनते हो? अंत के दिनों में परमेश्वर वचन का कार्य करता है, और ऐसे वचन पवित्र आत्मा के वचन हैं, क्योंकि परमेश्वर पवित्र आत्मा है और देहधारी भी हो सकता है; इसलिए, पवित्र आत्मा के वचन, जैसे अतीत में बोले गए थे, आज देहधारी परमेश्वर के वचन हैं। कई विवेकहीन मनुष्य हैं जिनका मानना है कि पवित्र आत्मा के वचन मनुष्य के कान में सीधे स्वर्ग से उतर कर आने चाहिए। इस प्रकार सोचने वाला कोई भी परमेश्वर के कार्य को नहीं जानता है। वास्तव में, पवित्र आत्मा के द्वारा कहे गए कथन वे ही हैं जो परमेश्वर ने देहधारी होकर कहे। पवित्र आत्मा प्रत्यक्ष रूप से मनुष्य से बात नहीं कर सकता है, और यहाँ तक कि व्यवस्था के युग में भी, यहोवा ने प्रत्यक्ष रूप से लोगों से बात नहीं की। क्या इस बात की बहुत कम सम्भावना नहीं होगी है कि वह आज के युग में भी ऐसा ही करेगा? कार्य को करने के लिए परमेश्वर को कथनों को बोलने के लिए, उसे अवश्य देहधारण करना चाहिए, अन्यथा उसका कार्य उसके उद्देश्य को पूरा नहीं कर सकता है। जो परमेश्वर के देहधारी होने को इनकार करते हैं, वे ऐसे लोग होते हैं जो आत्मा को या उन सिद्धान्तों को नहीं जानते हैं जिनके द्वारा परमेश्वर कार्य करता है। जो मानते हैं कि अब पवित्र आत्मा का युग है फिर भी उसके नए कार्य को स्वीकार नहीं करते हैं वे अस्पष्ट विश्वास में जीने वाले लोग हैं। मनुष्यों का इस प्रकार का व्यवहार कभी भी पवित्र आत्मा का कार्य प्राप्त नहीं करेगा। जो लोग चाहते हैं कि पवित्र आत्मा प्रत्यक्ष रूप से उनसे बात करे और अपना कार्य करे, फिर भी वे देहधारी परमेश्वर के वचनों या कार्य को स्वीकार नहीं करते हैं, वे कभी भी नए युग में प्रवेश या परमेश्वर से पूरी तरह से उद्धार प्राप्त नहीं कर पाएँगे।
"वह मनुष्य किस प्रकार परमेश्वर के प्रकटनों को प्राप्त कर सकता है जिसने उसे अपनी ही धारणाओं में परिभाषित किया है?" से
परमेश्वर मौन है, और हमारे सामने कभी प्रकट नहीं हुआ, फिर भी उसका काम कभी नहीं रूका है। वह सभी भूमियों पर देखता है, सभी का नियंत्रण करता है, और मनुष्य के सभी वचनों और कर्मों को देखता है। उसका प्रबंधन चरणबद्ध है और उसकी योजना के अनुसार है। यह चुपचाप, नाटकीय प्रभाव के बिना आगे बढ़ता है, मगर उसके चरण मनुष्यों के निकटतम बढ़ते रहते हैं, और उसका न्याय का आसन बिजली की रफ्तार से ब्रह्माण्ड में तैनात होता है, और उसके तुरंत बाद हमारे बीच उसके सिंहासन का अवरोहण होता है। वह कैसा आलीशान दृश्य है, कितनी भव्य और गंभीर झाँकी! कपोत के समान, गरजते हुए सिंह के समान, पवित्र आत्मा हम सब के बीच में पहुँचता है। वह बुद्धिमान है, वह धर्मी और आलीशान है, वह अधिकार से युक्त और प्रेम एवं करुणा से भरा हुआ, चुपचाप हमारे बीच में पहुँचता है। ...
...
और तब भी यही वह साधारण मनुष्य है जो लोगों के बीच में छुपा हुआ है जो हमें बचाने के नये काम को कर रहा है। वह हमें कोई सफाई नहीं देता है, और न बताता है कि वह क्यों आया है। वह केवल उस काम को करता है जिसे वह चरणों में, और अपनी योजना के अनुसार, करने का इरादा रखता है। उनके वचन और कथन अब बार-बार सुनाई देते हैं। सांत्वना देने, उत्साह बढ़ाने, स्मरण कराने, चेतावनी देने, से लेकर डॉटने-फटकारने, और अनुशासित करने तक; ऐसे स्वर जो नरम और दयालु हैं से ले कर, ऐसे वचनों तक जो भयंकर और राजसी हैं—वे सब मनुष्य में तरस और कँपकँपी दोनों भरते हैं। हर बात जो वह कहते हैं हमारे अंदर गहरे छिपे रहस्यों पर सीधे चोट करती है, उसके वचन हमारे हृदयों में डंक मारते हैं, हमारी आत्माओं पर डंक मारते हैं, हमें लज्जित और अपमानित कर देते हैं। ...
हमारी जानकारी के बिना, इस महत्वहीन व्यक्ति ने, परमेश्वर के कार्य में एक के बाद एक कदम में हमारी अगुवाई की है। हम अनगिनत परीक्षाओं से गुजरते हैं, अनगिनत ताड़नाओं के अधीन किये जाते हैं और मृत्यु द्वारा हमारी परीक्षा ली जाती है। हम परमेश्वर के धर्मी और आलीशान स्वभाव के बारे में सीखते हैं, उसके प्रेम और करुणा का आनंद भी लेते हैं; परमेश्वर के महान सामर्थ्य और विवेक की सराहना करते हैं, परमेश्वर की सुंदरता के गवाह बनते हैं, और मनुष्य को बचाने की परमेश्वर की उत्कट इच्छा को देखते हैं। इस साधारण मनुष्य के वचनों में, हमें परमेश्वर का स्वभाव और सार ज्ञात हो जाता है; परमेश्वर की इच्छा समझ जाते है, मनुष्य की प्रकृति और उसका सार ज्ञात हो जाता है, हम उद्धार और पूर्ण होने का मार्ग जान जाते हैँ।
"परमेश्वर के प्रकटन को उनके न्याय और ताड़ना में देखना" से
परमेश्वर का प्रत्येक वचन हमारे मर्मस्थल पर चोट करता है, और हमें दुःखी एवं भयभीत कर देता है। वह हमारे विचारों को प्रकट करता है, हमारी कल्पनाओं को प्रकट करता है, और हमारे भ्रष्ट स्वभाव को प्रकट करता है। वह सब जो हम कहते और करते हैं, और हमारे प्रत्येक विचार और सोच, हमारा स्वभाव और सार उसके वचनों के द्वारा प्रकट होता है, हमें अपमानित करता हुआ और भय से काँपता हुआ छोड़ देता है। हमें यह महसूस कराते हुए कि हम पूरी तरह उजागर कर दिए गए हैं, और यहाँ तक कि पूरी तरह से राजी महसूस कर करवाते हुए, वह हमें हमारे सभी कार्यों, हमारे लक्ष्यों और अभिप्रायों को, और यहाँ तक कि हमारे भ्रष्ट स्वभाव जिसे हमने कभी खोजा नहीं है, के बारे में भी बताता है। परमेश्वर अपने प्रति हमारे विरोध के लिए हमारा न्याय करता है, अपनी ईशनिंदा और तिरस्कार के कारण हमारी ताड़ना करता है, और हमें यह अनुभव करवाता है कि उसकी दृष्टि में हम मूल्यहीन हैं, और हम ही जीवित शैतान हैं। हमारी आशाएँ चूर-चूर हो जाती हैं, हम उससे अविवेकपूर्ण माँगें करने और उसके सामने ऐसा प्रयास करने का साहस अब और नहीं करते हैं, और यहाँ तक कि रात भर में हमारे स्वप्न गायब हो जाते हैं। यह ऐसा तथ्य है जिसकी कल्पना हममें से कोई नहीं कर सकता है और जिसे हममें से कोई भी स्वीकार नहीं कर सकता है। एक क्षण के लिए, हमारे मन असंतुलित हो जाते हैं, और हम नहीं जानते हैं कि मार्ग पर आगे कैसे बढ़ें, नहीं जानते हैं कि अपना विश्वास कैसे जारी रखें। ऐसा लगता है कि हमारा विश्वास जहाँ था वहीं वापस लौट गया है, और यह कि हम कभी प्रभु यीशु से मिले और परिचित हुए नहीं हैं। हमारी आँखों के सामने हर बात हमें हक्का-बक्का कर देती है, और हमें महसूस करवाती है मानो हमें बाहर कर दिया गया है। फिर हम हताश होते हैं, हम हतोत्साहित होते हैं, और हमारे हृदयों की गहराई में अदम्य क्रोध और निरादर होता है। हम उसे बाहर निकालने का प्रयास करते हैं, कोई तरीका ढूँढ़ने का प्रयास करते हैं, और, उससे भी अधिक, हम अपने उद्धारकर्ता यीशु की प्रतीक्षा करना जारी रखने का प्रयास करते हैं और अपने हृदयों को उसके सामने उड़ेलते हैं। यद्यपि ऐसे अवसर भी आते हैं जब हम बाहर से न तो घमंडी होते हैं और न विनम्र, तब भी अपने हृदयों में हम नुकसान की ऐसी भावना से व्यथित हो जाते हैं जैसी पहले कभी नहीं हुई। यद्यपि कभी-कभी हम बाहरी तौर पर असामन्य रूप से शांत दिखाई दे सकते हैं, किंतु भीतर हम समुद्र की गर्जना जैसी यातना का अनुभव करते हैं। उसके न्याय और ताड़ना ने हमें हमारी सभी आशाओँ और स्वप्नों से वंचित कर दिया है, और हमारी अनावश्यक इच्छाओं से रहित कर दिया है, हम यह मानने के लिए तैयार नहीं हैं कि वह हमारा उद्धारकर्ता है और हमारा उद्धार करने में सक्षम हैं। उसके न्याय एवं ताड़ना ने हमारे और उसके बीच एक गहरी खाई पैदा कर दी है और यहाँ तक कि कोई उसे पार करने की इच्छा भी नहीं कर रहा है। उसके न्याय और ताड़ना के कारण पहली बार हम इतना अधिक नुकसान और इतना बड़ा अपमान झेलते हैं। उसके न्याय और ताड़ना ने हमें परमेश्वर के आदर और मनुष्य के अपराध के बारे में सहनशीलता की वास्तव में सराहना करने दी है, जिसकी तुलना में हम बहुत अधम और अशुद्ध हैं। उसके न्याय और ताड़ना ने पहली बार हमें अनुभव कराया कि हम कितने अभिमानी और आडंबरपूर्ण हैं, और कैसे मनुष्य कभी परमेश्वर की बराबरी नहीं कर सकता है, और उसके समान नहीं बन सकता है। उसके न्याय और ताड़ना ने हमारे भीतर यह उत्कंठा उत्पन्न की है कि हम ऐसे स्वभाव में अब और न रहें, और हमारे भीतर ऐसे स्वभाव तथा सार से जितना जल्दी हो सके छुटकारा पाने की, और आगे उसके द्वारा तिरस्कृत और उसके लिए घृणित न होने की इच्छा उत्पन्न की है। उसके न्याय और ताड़ना ने हमारे लिए उसके वचनों का आज्ञापालन करना, और अब उसके आयोजनों और व्यवस्थाओं के विरुद्ध विद्रोह न करना सुखद बनाया। उसके न्याय और ताड़ना ने हमें एक बार फिर जीवन की खोज करने की इच्छा दी है, और उसे हमारे उद्धारकर्ता के रूप में स्वीकार करने की प्रसन्नता दी है.... हम विजय के कार्य से बाहर निकल गए हैं, नरक से बाहर आ गए हैं, मृत्यु की छाया की घाटी से बाहर आ गए हैं.... सर्वशक्तिमान परमेश्वर ने हमें, लोगों के इस समूह को जीत लिया है! उसने शैतान पर विजय पाई है, और अपने सभी शत्रुओं को पराजित कर दिया है!
"परमेश्वर के प्रकटन को उनके न्याय और ताड़ना में देखना" से
जब तुम राज्य के युग में देहधारी परमेश्वर के कार्य के प्रत्येक कदम का अनुभव प्राप्त कर लोगे, तब तुम अनुभव करोगे कि अनेक वर्षों की तुम्हारी आशाएँ अंततः साकार हो गयी हैं। तुम अनुभव करोगे कि केवल अब तुमने परमेश्वर को वास्तव में आमने-सामने देखा है, केवल अब ही तुमने परमेश्वर के चेहरे को निहारा है, परमेश्वर व्यक्तिगत कथन को सुना है, परमेश्वर के कार्य की बुद्धि की सराहना की है, और वास्तव में महसूस किया है कि परमेश्वर कितना वास्तविक और सर्वशक्तिमान है। तुम महसूस करोगे कि तुमने ऐसी बहुत सी चीजों को पाया है जिन्हें अतीत में लोगों ने कभी देखा या धारण नहीं किया था। इस समय, तुम संतुष्ट रूप में जान लोगे कि परमेश्वर पर विश्वास करना क्या है, और परमेश्वर के हृदय के अनुसरण में होना क्या है। निस्संदेह, यदि तुम अतीत के विचारों से जुड़े रहते हो और परमेश्वर के दूसरे देहधारण को अस्वीकार या इनकार करते हो, तब तुम खाली-हाथ रहोगे और कुछ नहीं पाओगे, और अंततः परमेश्वर का विरोध करने के दोषी होगे। वे जो सत्य का पालन करते हैं और परमेश्वर के कार्य के प्रति समर्पण करते हैं, वे दूसरे देहधारी परमेश्वर – सर्वशक्तिमान—के नाम के अधीन आएँगे। वे परमेश्वर से व्यक्तिगत मार्गदर्शन पाने में सक्षम होंगे, वे अधिक उच्चतर सत्य को प्राप्त करेंगे और वास्तविक मानव जीवन ग्रहण करेंगे।
"केवल वह जो परमेश्वर के कार्य को अनुभव करता है वही परमेवर में सच में विश्वास करता है" से
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html
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
My Name Is Barack Hussein Obama, and I Approve of Humiliating myself For U.s.(1)
In Barack's quest to apologize for America by bowing to foreign dictators, has he failed to speak up for our Republic and freedom?
Submitted for your approval...
Meet Barack Obama, a portrait of self-obsession. Barry brought America to her knees with his Marxist policies. Now, we face the Obamination of Desolation crisis(2) in the Obama Zone…
Tweeter Meme of Obama TV Shows for Obowma, the Superbower in the Obama Zone
t.co/ApX24ke9 Indefinite Arrested Development #ObamaTVShows
t.co/sJ14BJAt Absolut Obamunism #ObamaTVShows
t.co/7tsJVFM4 America's Got Trouble #ObamaTVShows
t.co/qIVxdIpt Big Brother #ObamaTVShows
t.co/gyoQAa1w The Blunder Years #ObamaTVShows
t.co/sBbi3Ucg Crappy Days #ObamaTVShows
t.co/EbJHXy96 Czar 54, Where Are You? #ObamaTVShows
t.co/maki4HRT Volt 54, Where Are You? #ObamaTVShows
t.co/wwJF4lEN The Debt is High #ObamaTVShows
t.co/kW2SQ34x Different Strokes #ObamaTVShows
t.co/uhsDEOpq The Dukes of Kenya #ObamaTVShows
t.co/JQbZit2P The Fascist Princess of Bel-Air #ObamaTVShows
t.co/wwJF4lEN The Sixteen Trillion Dollar Man #ObamaTVShows
t.co/WjcODUrx Fast and Furious #ObamaTVShows
t.co/vgNlXvVy Fascist Forward #ObamaTVShows
t.co/ib20Gd4j Gomer Pyle, U.S.M.C. #ObamaTVShows
t.co/xAfNzUAr Lost In Space #ObamaTVShows
t.co/OpdzAGfp M. A. S. H. - Made America a Socialist Hell #ObamaTVShows
t.co/TFeWUop8 Muslim Island #ObamaTVShows
t.co/d9N2zLyx My Favorite Marxist #ObamaTVShows
t.co/HczzLAqM NBC Nightly News with Barry Soetoro #ObamaTVShows
t.co/SwWj7VDp Wheel of Misfortune #ObamaTVShows
You Tube Video: The Obama Zone
(1) Photoshop Satire notes…
A) Ah-So Sorry Emperor Akihito, my Pacific Puppet -
Barack Bows down to Emperor Akihito and Empress Michiko at the Imperial Palace in Tokyo on Nov 14, 2009.
Obama's Saikeirei (最敬礼 Profound Bow, bending over more than 45 degrees from the waist from the upright posture) expressed a sincere apology. A Japanese reporter asked Obama, "Was it the Right Decision" to Drop A-Bombs on Hiroshima and Nagasaki to end World War II? The Apologist-in-Chief did not answer her question.
B) Comrade Hu, Can I have my Chinese Change now? -
Barack Bows to Chinese President Hu Jintao during the official arrivals for the Nuclear Security Summit in Washington on April 12, 2010.
China is the largest foreign holder of U.S. debt. According to the U.S. Treasury, China held 1.15 trillion dollars of Treasury Securities as of June, 2012. Japan comes in a close second with 1.11 trillion dollars.
C) You might be a Muslim if you bow down to King Abdullah of Saudi Arabia. -
Barack Bows down to King Abdullah bin Abdulaziz Al Saud at the G20 Summit in London on Apr 2 , 2009.
[youtube=http://www.youtube.com/watch?v=tCAffMSWSzY]
D) Special delivery of my Obamacare Oinkment for my Subservient Swine Flu Puppet. -
Barack Bows to Mexican President Felipe Calderon at the G20 Summit in Los Cabos, Baja California, Mexico on June 18, 2012.
(2) The failed Obamanomics of Obama's Economic Record.
1. Median Household Income has declined by 7.3% percent from January 2009 ($54,983) to June 2012 ($50,964)
2. According to the Federal Reserve, the median net worth of families plunged by 39 percent in three years, from $126,400 in 2007 to $77,300 in 2010
3. According to the Federal Reserve, the percentage of families with no or negative wealth increased to 32.5 percent in 2010 - up from 19.2 percent in 2007.
4. According to the Pew Research Center, the middle income class has shrunk to 51 percent in 2011 from 61 percent in 1971.
5. According to the Pew Research Center, the median Net Worth of the Middle Class plummeted 39% from $152,950 in 2007 to $93,150 in 2010.
6. According to the Pew Research Center, middle income class share of U.S. income shrunk to 45 percent in 2010 from 62 percent in 1970.
7. The unemployment rate in the United States has been above 8 percent for 43 straight months from Feb 2009 to Aug 2012.
8. Long-term Unemployed Americans (jobless for 27 weeks or more) has risen by 92 percent from 2.6 million (Jan 20, 2009) to 5 million (Aug 2012)
9. The average duration of unemployment is 39.2 weeks (Aug 2012), a 96 percent increase from strong>20 weeks when Obama took office.
10. The percentage of working age Americans with a job has been below 59 percent for 36 straight months
11. According to the National Employment Law Project, 58 percent of the new jobs created have been low paying jobs.
12. According to the Center for Economic and Policy Research, only 24.6 percent of all of the jobs are "good jobs."
13. In 2011, 53 percent of college graduates under the age of 25 were either unemployed or underemployed last year.
14. The number of jobs created by new businesses decreased by approximately 1 million from 2008 to 2010.
15. One out of every four workers earn less than $10 per hour in the 'Recovery' from the Great Recession.
16. Due to the Great Recession, the average pay for self-employed people has fallen 8 percent from $46724 in 2006 to $43,003 in 2010.
17. In the past decade, insurance premiums have increased three times as fast as wages.
18. Worker Health insurance contributions have risen by 17.5 percent from 3,515 family coveragein 2009 to $4,129 family coverage in 2011.
19. From 2001 to 2010, America has lost 15 manufacturing facilities every day on average. In 2010, an average of 23 manufacturing facilities every day closed every day.
20. According to Harvard Univesity's State of the Nation's Housing 2012 Study, 20.2 million American households spent more than half of their incomes on housing in 2010, a 12.8 percent increase from 2007 (17.9 million American households)
21. Since 2009, the cost of Household electricity skyrocketed by $300 in one year to $1419 in 2010. Electric rates have increased above the inflation rate for five consecutive years.
22. Home Values have fallen 18 percent.
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 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
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Lancia Delta Integrale Evo2 (1993)
www.zwischengas.com/de/VC/veranstaltungsberichte/Motorwor...
MOTORWorld Classics Berlin
ExpoCenter City under the radio-tower
8 to 11 October 2015
From the blog post:
~~~~~
In the deep space of the sea, I have found my moon~Jacques Cousteau
Man, this episode was something
Kicked it off Wed night and was mesmerized
Going down into the chilling depths of the Antarctic, the undulating ice on the icebergs was something mysterious and magical
Instead of barren waters, life is exploding to the gills
Then the twilight zone, 200m down into the Pacific, the outer limit of light that can reach from the surface
Cock-eyed squid where one eye is normal and the other bulging to see silhouettes of fish swimming above!
Barreleye with a transparent head!
90% of all fish move around here; who knew‽
Lantern fish are most common and move up to the surface in the night to feed
The Cock-eyed squid have a go at the Lantern fish and, when they are exhausted, they start attacking one another. Pouch a smaller one and squirt ink as a decoy!
The BBC team switch off the lights and the surrounding bioluminescence is mysterious and other-worldly
it's enough to explore the Ocean in your backyard to get that far-out feeling of Space
Further down into the midnight zone, 1000m down, where no light ever reaches
A whale carcass falls down (whale fall) and is stripped clean over months by Bluntnose sixgill sharks and other crustaceans such as Spider Crabs
Everything recycled all the way down the chain; everyone gets their cut in due course
All so mysterious
No one told the Old Ma that She couldn't do all this and She goes berserk with gay abandon; in the first episode, we see female fish that turn males when the current dominant male is no longer exciting enough!
Last night, finished the rest of the episode
Gets weirder
The temporary oasis of the whale fall is replaced by the permanent ones of coral, with fish abounding in them
Coral that's 4,000 years old, growing in mm per year
Very delicate and dainty some of it, like the Venus' Flower Basket; with shrimp locked inside for life once they get in and grow big
However, deep-sea trawlers with their dredging nets have destroyed these as well, reducing them to so much rubble
"Marionettes that the puppeteer has thrown into the discard", as Maugham writes in The Razor's Edge
One should live with reverence, says Jiddu. One sees so little of it for other denizens of Mother Earth. IMHO, it's a good thing the Coronavirus happened, otherwise a virus called Mankind would have overrun Mother Earth in no time
Further afield to the Gulf of Mexico where a lake of brine, heavier than sea water, forms at the bottom of the Ocean!
An eel swims in the brine for too long and gets into toxic shock; somehow it wriggles out of it
Then, the underwater mid-ocean ridge formed by plate tectonics
The water is fuming with volcanic fire below and creatures are furiously active there; Ed Ricketts would have been so happy!
Then the Lost City Hydrothermal Field in the Mid-Atlantic Ridge
What a magnificent feeling at the end
Kudos to the intrepid team and their fantastic underwater vehicles that enabled them to record all this for such vicarious enjoyment later
A lot of people attack the sea, I make love to it~Jacques Cousteau
~~~~~
Sydney Morning Herald article about sea horses in sydney:
www.smh.com.au/environment/conservation/seahorses-thrive-...
Seahorses thrive on shark nets: expert
They are found clinging to Sydney's shark nets, where they make their home, fall in love and dance together each morning.
While critics decry shark nets as environmentally destructive underwater eyesores, Sydney's seahorses need the nets to survive, says University of Newcastle marine scientist and seahorse expert David Harasti.
Harasti, whose research on the marine creatures' dependence on shark nets will be published in a scientific journal later this year, says it is their way of adapting to the changing harbour environment.
"Over the years we've lost a lot of habitat like sponge gardens, soft corals and sea grasses," he says.
"The seahorses are now adapting to change and living on the shark nets."
He says the nets are "perfect" for seahorses.
"They're very weak swimmers and they can't swim away to escape predators so they rely on two things - something to curl their tail around and something [weedy] they can hide among. The nets provide both."
He said that, when the nets at Clifton Gardens, adjoining Sydney Harbour National Park, were last replaced, the local seahorse population refused to return for two years.
In his soon-to-be-published paper, he recommends leaving a layer of growth on the bottom metre of the nets when cleaning them.
"The seahorse population in Sydney Harbour is stable and doing well and that's mainly because of the nets," he said.
"I refer to the nets as an underwater pub, an attraction device ... you get one seahorse there, then another one will come along ... and then more and more will start to come."
Harasti's latest research will focus on 22 baby seahorses bred at Sydney Aquarium and released at Clifton Gardens on May 17. This follows the release of 30 babies in 2007 at Sydney's Manly beach.
Seven of the 2007 batch are regularly seen and one has started breeding.
Harasti wants to see if survival will be better at Clifton Gardens where there is a different habitat and less wave action.
All the babies will be tagged with a pink or yellow fluorescent tag and monitored by divers every two weeks.
"The main thing is to see if captive-bred animals will survive in the wild once they're released," Harasti says.
"If we've got an area where sea horses were wiped out through over-collection or loss of habitat there may be an opportunity to reintroduce seahorses back and repopulate."
Sydney Harbour is home to two species, the potbelly seahorse - the largest seahorse in the world - and the more common White's seahorse, which is found only along the coast from Foster to Sydney.
Australia has 20 species of seahorses and there are about 60 species around the world. They are found everywhere except the cold Arctic and Antarctic waters.
They are most threatened in waters around Vietnam, Thailand and the Philippines, where they are harvested for traditional Chinese medicine.
Harasti describes the seahorse as unique because the male gives birth, the only animal to do so.
They also "like company and are very, very sociable and one of the few marine animals that fall in love", he says.
"At the start of breeding, a male and female will come together and they'll stay together the whole season," he says.
"They'll live about a metre apart and every morning they'll come together and do a little mating dance where the male and female curl their tails together.
"We've just found that the same pairs actually come together the following breeding season as well. They are long-term monogamists."
The male gives birth about four or five times over summer, producing about 100 babies at a time. As soon as he's done, the female deposits more eggs in his pouch.
Harasti says the evolutionary reason for the male seahorse's pregnancy is a mystery, as is where they go during winter.
"What happens in Sydney and Port Stephens every winter after the breeding season finishes is a lot of the adult sea horses disappear.
"We think that they move into deep water but we've never ever been able to find them over winter.
"The same animals ... turn back up in shallow water on the nets in breeding season again.
"It's a big mystery where they go in the winter months."
Harasti says there is something inherently fascinating about seahorses.
"It's their whole appearance, they've got the head of a horse, the body of a mermaid," he says.
"It's just the way they look - they've got that sort of mystic aura about them."
baophapluat.vn/kinh-te/tau-halong-express-quotdap-chieuqu...
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.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
嘜可奈因 麥可奈因 www.smmgl.com/mm5/2751.html
五步倒透皮迷藥 www.smmgl.com/mm5/2745.html
動情素催情水 www.smmgl.com/mm5/2752.html
精品迷藥噴霧(暈倒型) www.smmgl.com/mm5/321.html
Dicke Bohnen - mit Kritharaki
www.lecker.de/dicke-bohnen-mit-kritharaki-80883.html
1 Glas Dicke Bohnen (Abtropfgewicht 425 g) abgießen (mit Wasser kurz aufkochen und abtropfen lassen.)
1 mittelgroße Zwiebel, kleingeschnitten
1-2 Knoblauch Zehen, zerdrückt
2 Ingwerpflaumen, zerkleinert
In Pflanzenöl andünsten, dann
2 EL Tomatenmark zufügen und
1 TL Garam Masala (Harissa)
einige Minuten anschwitzen.
Die Bohnen zugeben,
1/4 l Gemüsebrühe angießen und ca. 15 Minuten sanft köcheln lassen.
Mit Salz und Pfeffer abschmecken.
Die Kritharaki-Nudeln kochen.
Gemeinsam mit den Bohnen anrichten
Im Rezept ist gebackener Hokkaido und Kresse dabei.
Mein Tofu musste weg.... daher diese Beilage auch noch:
Tofu Teriyaki
für 4 Personen
450 g fester Tofu, in kleine Würfel schneiden, dann in Küchenpapier wickeln um überschüssiges Wasser zu entfernen.
3 EL Sojasoße
3 EL Mirin (süßer Reiswein) 3 EL brauner Zucker
(Ich habe fertige Teriyaki-Soße genommen)
2 Knoblauchzehen, zerkleinert
1 TL geriebener Ingwer
Miteinander mischen, den Tofu in die Marinade geben und mind. 30 Minuten (oder über Nacht) darin marinieren lassen.
Den Tofu aus der Marinade nehmen und in einer Schüssel mit 1 EL Maisstärke vermischen, so dass alle Stücke gleichmäßig bedeckt sind.
2 EL Öl in einer Pfanne erhitzen und die Tofuwürfel darin bei mittlerer Hitze etwa 3 bis 4 Minuten braten, bis sie goldbraun und knusprig sind.
Die restliche Marinade erhitzen sowie noch etwas Maisstärke (angerührt in 2 EL Wasser) hinzufügen, die Soße köcheln lassen, bis sie dicker wird.
Die Soße über den Tofu geben und gut mischen.
Mit Reis oder Nudeln servieren.
(so das Rezept, ich denke, ich habe das schon modifiziert).
IMG_1959
"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.
2019 " TOO LATE "exhibition at gallery Sabsay ( 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
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
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
[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]
enriqueviolanevado.blogspot.com/2020/04/ejercicio-practic...
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1. Presencia en las pruebas de selectividad.
Este mapa ha aparecido como propuesta en los modelos de exámenes de 2002 y en el de 2008. En el segundo de estos años fue escogida como el examen de la convocatoria de septiembre.
2. En el mapa siguiente se representa la distribución de las áreas de regadío. Con esta información conteste a las preguntas siguientes:
a) Diga del 1 al 7 el nombre de las Comunidades Autónomas señaladas, afectadas por el máximo regadío (Hasta 1 punto).
b) Deduzca de la información del mapa las posibles causas que explican la localización de la agricultura de regadío en la Península Ibérica (Hasta 1,5 puntos).
c) Enumere los cultivos predominantes en las tierras de regadío de España (Hasta 1,5 puntos).
____________________________________________________
Mapa de la distribución de las áreas de regadío
1. En el mapa siguiente se representa la distribución de las áreas de regadío. Con esta información conteste a las preguntas siguientes:
a) Diga del 1 al 7 el nombre de las Comunidades Autónomas señaladas, afectadas por el máximo regadío.
1 Aragón
2 Comunidad Valenciana
3 Castilla y León
4 Extremadura
5 Castilla-La Mancha
6 Murcia
7 Andalucía
b) Deduzca de la información del mapa las posibles causas que explican la localización de la agricultura de regadío en la Península Ibérica.
La técnica del regadío consiste en el aporte a los cultivos de agua adicional a la proporcionada por las precipitaciones, procedentes de las aguas superficiales o subterráneas. Resulta escaso en el norte peninsular húmedo, y tiene su mayor peso en las áreas de clima mediterráneo, en las que precipitaciones resultan escasas e irregulares. El agua de regadío suele proceder de los embalses y canales de ríos grandes (Ebro, Guadiana…) y medianos (Segura y Turia). Por ello las áreas de regadío se concentran en las cuencas fluviales, destacando los valles del Ebro, del Duero y del Guadalquivir. También se abastecen del agua de acuíferos subterráneos situados a gran profundidad, trasvases, depuración urbana y desalinizadoras. El regadío es una técnica agrícola que ha duplicado su superficie a lo largo del siglo XX.
En el litoral mediterráneo predomina el regadío intensivo, que se beneficia de las temperaturas suaves, la protección del relieve, la existencia de suelos apropiados y de la demanda internacional.
En el interior peninsular predomina el regadío extensivo, que se beneficia del agua aportada por los grandes ríos peninsulares, de la mecanización total que permiten sus cultivos y de la creciente demanda de cereales para piensos y de ciertos cultivos industriales. No obstante, existen también importantes áreas de regadío intensivo a orillas de los ríos Ebro y Guadalquivir.
c) Enumere los cultivos predominantes en las tierras de regadío de España.
En los regadíos del litoral mediterráneo y en los que se sitúan en la proximidad de los centros urbanos se cultivan hortalizas como el espárrago, el tomate o la patata.
Los frutales se localizan en las áreas litorales y en los valles fluviales del interior peninsular. Hay que distinguir entre cítricos (Comunidad Valenciana y Andalucía); frutales de hueso (litoral mediterráneo); frutales con pepita (Asturias y Cataluña) y el plátano (Canarias).
Los cultivos industriales de regadío son la remolacha (cultivada en el valle del Duero), el lúpulo (León), el tabaco (Cáceres) y el algodón (Andalucía).
Los cultivos herbáceos (alfalfa, maíz forrajero, veza, yero) son propios de los regadíos extensivos de Andalucía, Aragón, Navarra y ambas Castillas. Una incorporación reciente es la quinoa.
Señalar que cada vez más aumenta la superficie de regadío de especies tradicionalmente considerados de secano como el trigo y el olivo, pues con esta técnica su rendimiento resulta muy superior.
Las hortalizas se destinan al consumo en fresco o a la industria conservera. Los cultivos industriales se destinan a la transformación en fábricas y los herbáceos en principio se destinaban para la alimentación animal en fresco o en seco, pero la producción para consumo humano resulta cada vez más relevante.
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NO Self promotion by Image / HTML or WEB Link
NO Faves With out Comments plz,
Doing such act might cause you A Block from Me
Only Appreciation. Critics . comments Faves, Notes , Blog it And Own Comments are welcome and NO Round Up Comments plz !!
Take Some time with me to share your feelings here,
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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My write up on photographing the new Cosmopolitan of Las Vegas here
On the weekend of November 20-21, 2010, I was invited to photograph the new Cosmopolitan of Las Vegas prior to their opening December 15, 2010 in Las Vegas NV.
This set of images represents my efforts that weekend to showcase this newest resort property opening up on the Las Vegas Strip. Thanks to David Scherer from The Cosmopolitan of Las Vegas for showing me around, to Miiko Mentz at Katalyst Films for helping to arrange the shoot, and to my wife for modeling for me.
To learn more about The Cosmpolitan of Las Vegas, check out their website here or their Facebook page here.
he.kingdomsalvation.org/God-is-lovely.html
I
הו, הו, הו, הו...
אתה מבטא את האמת. אתה כובש את לבי.
ניסיונותיך מטהרים את שחיתותי.
באמצעות משפטך, אני משיג את האמת.
בהכרת טבעך אני רואה את יופייך.
אתה כל כך יפה, אתה כל כך יפה,
בכל המובנים, בכל המובנים, שאני נופל על ברכיי
רק לשבח אותך. הו, הו
II
לאהבתך אחיזה סביב לבי.
לו עזבתיך, לא יכולתי לחיות בעולם הזה.
דבריך מובילים אותי מחוץ לאפלה.
אני רואה שדבריך הם אמת, ויקרים ממש!
אתה כל כך יפה, אתה כל כך יפה,
בכל המובנים, בכל המובנים, שאני נופל על ברכיי
רק לשבח אותך.
III
ניחוח אהבתך כה מתוק, כבושם נפלא.
אני רוצה ללכת אחריך כל ימי חיי.
כן, אני עוזב הכל כדי להשיג חיים ואמת.
למרות הזיכוך, זה משמעותי להפוך למושלם על ידיך.
להיוושע על ידיך, הברכה הכי גדולה בחיים.
כשאני חושב על אהבתך, אני מלא שמחה.
כי אתה כל כך יפה, אתה כל כך יפה,
בכל המובנים, בכל המובנים.
אתה כל כך יפה, אתה כל כך יפה,
בכל המובנים, בכל המובנים,
שאני נופל על ברכיי רק לשבח אותך.
ניחוח אהבתך כה מתוק, כבושם נפלא.
אני רוצה ללכת אחריך כל ימי חיי. הו, הו, הו, הו...
לכל ימי חיי, כן - לכל ימי חיי.
מתוך 'עקבו אחר השה ושירו שירים חדשים'
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You can licence images through My Getty image
All of My Reviews｜心得文：
Olympus MZD 17mm f/1.2 PRO Review
Olympus MZD 25mm f/1.2 PRO Review
Olympus MZD 45mm f/1.2 PRO Review
Panasonic LEICA DG 12mm f/1.4 Review
Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
FaceBook｜Blogger ｜Instagram ｜500PX
You can licence images through My Getty image
All of My Reviews｜心得文：
Olympus MZD 17mm f/1.2 PRO Review
Olympus MZD 25mm f/1.2 PRO Review
Olympus MZD 45mm f/1.2 PRO Review
Panasonic LEICA DG 12mm f/1.4 Review
Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
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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
Chancellor Michael Harris, IU Kokomo, leads the Campus to initiating sports and than membership in NAIA
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
homepages.indiana.edu/web/page/normal/20569.html
about.me/michaelharrischancellor
homepages.indiana.edu/web/page/normal/22030.html
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
www.insideindianabusiness.com/newsitem.asp?ID=51072
www.youtube.com/watch?v=uD3exIJ-hGs
www.kokomoherald.com/main.asp?SectionID=52&SubSection...
newsroom.iuk.edu/athletics/3-athletics-news/264-naia-appr...
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
homepages.indiana.edu/web/page/normal/20760.html
homepages.indiana.edu/web/page/normal/20830.html
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
www.insideindianabusiness.com/newsitem.asp?ID=46170
www.insideindianabusiness.com/newsitem.asp?ID=53209
homepages.indiana.edu/web/page/normal/22568.htm
kokomoperspective.com/xtra/education/u-s-news-world-repor...
newsroom.iuk.edu/campus/17-campus-news/341-indiana-univer...
www.insideindianabusiness.com/newsitem.asp?id=54735
www.iukcougars.com/article/2.php#.UhQJRsu9KSM
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
newsinfo.iu.edu/news/page/normal/22530.html
www.linkedin.com/in/michaelharrischancellor
newsroom.iuk.edu/campus/17-campus-news/341-indiana-univer...
www.insideindianabusiness.com/newsitem.asp?id=54735
indianaeconomicdigest.com/Main.asp?SectionID=31&SubSe...
www.universitiesnews.com.previewdns.com/2012/05/20/us-iuk...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/news/local_news/milt-and-jean-cole-...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/lifestyles/iu-kokomo-chancellor-mic...
homepages.indiana.edu/web/page/normal/20760.html
kokomoperspective.com/kids/kokomoans/a-childhood-story-fr...
m.kokomoperspective.com/news/local_news/kokomo-perspectiv...
m.kokomoperspective.com/sports/iuk/naia-approves-indiana-...
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kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
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kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
www.insideindianabusiness.com/newsitem.asp?ID=51072
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kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
Chancellor Michael Harris IUK - On the Move
www.youtube.com/watch?v=uD3exIJ-hGs
kokomoperspective.com/kp/lifestyles/more-students-choose-...
kokomoperspective.com/news/local_news/iu-kokomo-makes-his...
kokomoperspective.com/indiana-university-kokomo-achieves-...
kokomoperspective.com/kp/news/people-of-the-year/article_...
kokomoperspective.com/news/local_news/inaugural-nursing-m...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/xtra/education/u-s-news-world-repor...
kokomoperspective.com/news/local_news/freshman-increase-d...
kokomoperspective.com/former-vatican-employee-increases-d...
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
kokomoperspective.com/sports/iuk/iu-kokomo-selects-cross-...
www.youtube.com/watch?v=uD3exIJ-hGs
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kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
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kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
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whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
nciia.org/network/conference/2010/presenters/michael_harris
www.facultyfocus.com/articles/academic-leadership/academi...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
tackk.com/michaelharrischancellor
tackk.com/michaelharrischancellor
blogs.forbes.com/people/michaelharrischancellor/
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
homepages.indiana.edu/web/page/normal/22373.html
homepages.indiana.edu/web/page/normal/17736.html
homepages.indiana.edu/web/page/normal/17736.html
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
avoyership13.moxai.com/chan-7603525/all_p2.html
kokomoperspective.com/xtra/education/indiana-university-k...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
www.spokeo.com/Michael+Harris+10
www.prnewswire.com/news-releases/indiana-university-kokom...
www.sony.net/SonyInfo/CorporateInfo/History/prospectus.html
The following is the Founding Prospectus of Tokyo Telecommunications Engineering Corporation that Mr. Ibuka drew up in 1946. (Tokyo Telecommunications Engineering Corporation) Established on May 7, 1946
During the war, I worked at Japan Precision Instrument Co. with a number of engineers testing and producing new military equipment. We worked so hard that we literally forgot to sleep or eat. After the war and dissolution of the company, about 20 of these dedicated and truly worthy engineers joined me to start Tokyo Tsushin Kenkyujo (Tokyo Telecommunications Laboratory), for he development and production of communications equipment.
The first and primary motive for setting up this company was to create a stable work environment where engineers who had a deep and profound appreciation for technology could realize their societal mission and work to their heart's content.
During the war, though we were subjected to some of the poorest conditions, we tried hard to fulfill our mission. I experienced how passion together with capabilities can be driven by a profound and fascinating mission. On the other hand, I also realized what could weaken these intense motivations.
Thus I began to conceive of ways for these motivated individuals to be united on a personal level, to embrace a firm cooperative spirit and unleash their technological capacities without any reserve. If this could be accomplished, the organization would bring untold pleasure and tremendous results, regardless of the meagerness of its facilities or the limited number of employees. The end of the war brought us closer to realize this dream.
Not just anyone, but those with similar resolve have naturally come together to embark on this new mission with the rebirth of Japan after the war. We felt no need to discuss how to prepare ourselves for such an embankment. Based on a common understanding we had developed over time, our ship sailed off naturally.
With scarce testing equipment and parts obtained from Japan Precision Instrument and capital the size of an allowance, we drew up a plan to somehow make our way through. We believed that our high aspirations and confidence coupled with our unity and technological know-how would break through any rough waves, despite the small size of our operations. Further, we began on a small scale because we were unable to foresee societal circumstances during a period when our country was facing a turning point. In addition, we realized that it would take some time for our work to be recognized and valued by the society.
However, as we actually began our operations, we realized how much Japan urgently and indispensably required a company like ours - with technological spirit and a set of management policies. We first became aware of this strong need through the activities of the Ministry of Posts and Telecommunications, the Ministry of Transportation and other government agencies related to the field of communications. Unlike the other ministries, which seemed to wallow with their problems, the ministries related to communications defined a clear direction by taking the initiative and announcing numerous detailed plans, such as the release of all-wave receivers to the general public, the liberalization and initiation of private broadcast stations, the overseeing of trial television broadcasting and the rapid rebuilding of the communications
network devastated by the war. These ministries made it seem as tough public companies were being lead by them.
Such activities had a direct influence on us. Due to our close ties with the Ministry of Posts and Telecommunications from the wartime, we soon began receiving large orders for vacuum-tube voltmeters and the like. In little time, proposals for new product research and requests for trial tests grew significantly. In addition, the licensing of all-wave receivers to the public rapidly increased interest in post-war radio programs and in radios themselves. This, coupled with a huge number of 'sets' (such equipment as gramophones) which were destroyed during the war, the demand for radios from our company's radio service division grew by the day. We were also receiving many requests to manufacture quality parts from cooperative university scholars, research laboratories and conscientious enterprises with similar intentions as us.
As mentioned above, the increase in demand from various customers made us more determined. Namely, we realized the importance and need to increase capital and equipment. I feel joy beyond expression that our diligent effort has produced such a great response from all levels of society and that our company has become successful in such a short period of time since its founding. I am delighted not only because this promises our company's rapid growth in the future, but because it means that the ideals we set forth coincided with the role and function a company had to play during the period of Japan's reconstruction.
Purpose of Incorporation
a)To establish of an ideal factory that stresses a spirit of freedom and open-mindedness, and where engineers with sincere motivation can exercise their technological skills to the highest level
b)To reconstruct Japan and to elevate the nation's culture through dynamic technological and manufacturing activities;
c)To promptly apply highly advanced technologies which were developed in various sectors during the war to common households;
d)To rapidly commercialize superior technological findings in universities and research institutions that are worthy of application in common households;
e)To bring radio communications and similar devices into common households and to promote the use of home electric appliances;
f)To actively participate in the reconstruction of war-damaged communications network by providing needed technology;
g)To produce high-quality radios and to provide radio services that are appropriate for the coming new era;
h)To promote the education of science among the general public.
Management Policies
a)We shall eliminate any unfair profit-seeking practices, constantly emphasize activities of real substance and seek expansion not only for the sake of size;
b)We shall maintain our business operations small, advance technologically and grow in areas where large enterprises cannot enter due to their size;
c)We shall be as selective as possible in our products and will even welcome technological challenges. We shall focus on highly sophisticated technical products that have great usefulness in society, regardless of the quantity involved. Moreover, we shall avoid any formal demarcation between electronics and mechanics, and shall create our own unique products uniting the two fields, with a determination that other companies cannot overtake;
d)We shall fully utilize our firm's unique characteristics, which are well known and relied upon among acquaintances in both business and technical worlds, and we shall develop production and sales channels and acquire supplies through mutual cooperation;
e)We shall guide and foster sub-contracting factories in ways that will help them become independent, and we shall strive to expand and strengthen mutual cooperation with such factories;
f)We shall carefully select employees, and our firm shall be comprised of minimal number of employees. We shall avoid to have formal positions for the mere sake of having them, and shall place emphasis on a person's ability, performance and character, so that each individual can fully exercise his or her abilities and skills;
g)We shall distribute the company's surplus earnings to all employees in an appropriate manner, and we shall assist them in a practical manner to secure a stable life. In return, all employees shall exert their utmost effort into their job.
Managing Departments
1)Service Department
When we consider the spread of all-wave receivers in society and introduction of household appliances and televisions, service departments ought to place more importance on both the quality and frequency of their services. Currently, there are not any 'radio technological service providers' in Japan that truly fulfills what their names stand for. The ones that do exist have only provided low technological services to radio dealers. With the introduction of high quality receivers in the future, these inferior service companies will inevitably disappear. On the contrary, due to a large demand for high quality receivers and the rise of venture spirit, large servicing companies that form special alliances with major hardware manufacturers will probably appear.
With this in mind, our company plans to provide the best service by utilizing both its technological skills and measuring instruments. The use of compact service cars is an example of such a service. These cars will service various weights and sizes of electronic phonographs, high quality receivers and television sets. The car contains all the necessary equipment for measuring, fixing and servicing home electronic appliances and will respond speedily to a phone call. The car will improve our work efficiency, and the number of technicians and equipment that is needed can be minimized.
For rural areas, since the number of high quality products are still small, we plan to service our products on a specific date by making arrangements with a specified radio shop.
The fact that the Japanese government allowed all-wave receivers to be used for commercial purposes, has encouraged large and small radio companies, including ours to manufacture them. Due to a lack of materials and other related issues, it will take some time for these products to actually hit the market. To respond to the needs of the consumer in the interim, we have developed a device which will easily convert the customer's hand-held receiver into all-wave receiver. However, materials for the new converting device are also not readily available. Nonetheless, due to its technological superiority and function, we have accumulated orders from consumers as well as radio shops. By next June we plan to manufacture 500 of these products for 400,000 yen in total. In the meantime, we will determine our strategy after observing how all-wave receivers perform on the market.
Orders for repair work are increasing as there are many people who were affected by the war and because of a lack of trustworthy radio shops. Our response to the situation at hand is to make profit secondary to service. We will provide reports which explain the problems in layman's terms and provide the best customer service. We will remain responsible for fixing any problem we find -no matter how complicated they may be. This will be the motto of your service department.
Additionally, we are developing and planning extra high quality receivers, electronic parts and household appliances, though they may be small in number compared to what our competitors are making. Introducing technologies from overseas, creating a library which has information and books on radios, holding workshops to educate consumers on the basics of electronics will also be important issues the service department must address.
(Service to shareholders)
We will provide in-depth service to shareholders in the future. It shall be interesting to add a membership type of a characteristic to a normal relationship between a corporation and shareholders so that members can request service anytime they wish
Additionally, we are developing and planning extra high quality receivers, electronic parts and household appliances, though they may be small in number compared to what our competitors are making. Introducing technologies from overseas, creating a library which has information and books on radios, holding workshops to educate consumers on the basics of electronics will also be important issues the service department must address.
We will give away new equipment, such as a device which prints the contents of a newspaper that it receives over the radio, to develop a more intimate relationship with the shareholders. As household appliances flourish, this becomes an extremely valid method to communicate with our shareholders.
2)Measuring Instrument Department
Compared to the number of radio manufacturers, there are only a few companies that make measuring instruments needed to produce and repair radios. The number is even smaller for radio dealers that are capable of repairing products with these instruments. Although radio receivers which are commonly used by the public can be fixed by non-scientific methods, it will not be possible to do so in the future as equipment becomes more complex, and as people begin to use high quality receivers and all-wave receivers. In the past, the reason why measuring instruments were not frequently used was because they were difficult to use and required many other additional equipment. Either way, the limited number of measuring instrument manufacturers clearly illustrates the ample room that is left for growth in this field, both technologically and from a business point of view. It is a favorable direction for any business that employs sophisticated technology. Profitability is high due to few input materials and high selling price. Moreover, there is very little competition.
Nihon Measurement Company, that we used to belong to, is one of the rare measuring instrument manufacturers. This company started with a very small capital investment and poor facilities. The reason why the company succeeded in such a short period of time is due to the great management style that was employed in its measuring instrument department.
For Totsuko, the vacuum tube volt meter (VTVM) for measuring ultra-short waves is the resulting product of 10 years of endeavor.
The great support we have received from the public is something we can definitely be proud of. Further, the fact that our instrument is one of the best in the world was proven when the Occupation Forces took the product back to the U.S. The production of the VTVM is being planned for this new company (Totsuko) since we have received 150 orders from the Ministry of Communications (about 300,000 yen). We plan to complete the production by the end of March. We are progressing very well.
Since the Ministry has plans to place orders during its fiscal year 1946 for a greater quantity than from the general public, and televisions will probably be a big hit when they are launched in the future, our company can be financially sound even with a single product - VTVM.
In addition, we plan to develop special high quality measuring instruments. We will also place great emphasis on a 'total service measuring equipment.' This measuring equipment will allow even technically untrained radio shop persons to perform analysis on high quality radios. In other words, it will be a simple fault-finding device. The spread of such equipment will make the public realize what true service really means. And we plan to make our equipment useable to small and large manufacturers.
The Service Department I have mentioned at the beginning of this section deals with the general public. The latter part refers to providing service to experts. However, the spirit and the depth of services are the same in both.
3)Communication Equipment Department
The above two departments are in charge of maintaining and managing the company's operations. In contrast, this department helps the company to grow in the future by performing research and development of special communications equipment. The Ministry of Posts and Telecommunications, the Ministry of Finance and other government agencies are aggressively planning to improve the efficiency of the communications network, which they believe is a very important issue. To respond to their needs, our company has developed the following new products.
a)Time Split Multiplex Method
Making use of the existing wire and radio, and with a simple piece of equipment, 3-4 layers of communications become possible. Research began in 1943, at Tohoku Teidai's (university)communications research center during the war. This equipment works uniquely since it employs the most advanced wave-detector technology. The aforementioned government agencies are deeply interested, and if the prototype ordered by the Railway Ministry proves to be successful, the order for the planned 12 layered ultra short wave radio phone device will be ours at an estimated price of 5,600,000 yen.
b)Simple Multiplex Telephone
This is a simple device that uses existing telephone wires to double the amount of communications. A simple multiplex telephone can be made from equipment that we developed with many years of research for a different purpose. The prototype is currently being made, vigorously, which is just another one of our talents. If it is actualized, I am sure there will be great demand for it.
c)Recordable Letter Communication Device
This device was also developed to ease the burden of memorizing communication signals for pilots during the war. However, the war ended before the product could be utilized. The sender uses a typewriter to send a message, instead of a signal emitter, and the receiver can read the output on a tape when the transmission finishes. Recordable Letter Communication Device is simple to use like a portable typewriter. The receiving unit is the size of a small safe which can be used with both radio and wire. In the future, this device can be used by telephone companies to send telegraphs over phone lines, and if someone is not home, the person who called can leave a typed message. Another application for this device is in control centers at railway stations so that commands can be printed out. The device is very convenient and can be used in many fields, but to make the actual product can be very difficult. The production of such a device requires high precision instruments. It is very difficult to make this device into a product immediately. Nonetheless, we are moving forward with the design so that we can make a prototype that is faultless.
d)Program Selection and Reception Method
This is also a device that can be made from a product which has already been developed by our company. First, the studio (sender) begins the program with a sound that is different from the actual program (for example, 'Do' for news and 'Re' for music).
Second, the listener needs the Program Selection and Recognition Receptor to detect different sounds. With this device, a listener can simply press the sound that corresponds to the program he or she wants to listen to, so that the radio automatically switches on when it recognizes the note. And when the program ends, there will be a special sound to denote the end and the radio will automatically switch off. This device can also be used to set the time on clocks and watches to time signals.
e)Other Special Parts
Of the tuning fork oscillator, filtering switch and tuning fork oscillation clock that we researched and developed for use in the war, many have potential applications in the field of communication technology. Thus, if there is demand, we plan to produce them accordingly.
Entire article on Justaddwater.dk: More Visual HTML Jokes.
Photo modified from flickr.com/photos/danielleblue/205261621/
► Ver imagen en alta resolución aquí: www.compartir.me/2013/05/poema-los-abrazos-de-mi-madre.html
Aún conservo en mi memoria
el amor que siempre me daba,
los abrazos que me brindaba
y de pequeña me cuidaba.
A mi mente viene el recuerdo
cuando lloraba amargamente,
ella me cubría de afecto
y me abrazaba dulcemente.
Mamá siempre a mi lado estaba
cuando yo la necesitaba.
Ella siempre me escuchaba,
y con amor me aconsejaba.
"Los Abrazos de mi madre" ~ Arjona Delia
Poema: Los Abrazos de mi Madre || Tarjetas Virtuales, Frases celebres, Día de la madre, Imagenes del dia de la madre, Ocasiones, Frases de madre
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
Reference: Photo 24/(217)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 2 Aug 1915
See also:
- View this at the British Library's site
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
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie 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
--------key words
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