View allAll Photos Tagged HTML
faizakhalida.blogspot.com.br/2010/08/a-demissao-das-minha...
"A felicidade que senti com a realização da cirurgia feita não conseguiu compensar o adoecimento pela quantidade de ofensas que sofri. A fase mais tranquila de minha vida foi o pós-cirúrgico, pois vi um sonho realizado e o acolhimento que recebi do médico e sua equipe, mas ao chegar ao Brasil me vi diante do meu real contexto".
Dr. Kamol Pansritum
"LÁ NA TAILÂNDIA EM 2004, VIAJANDO SÓ E NO TSUNAMI, ME DIZIAM QUE EU ERA A PRIMEIRA BRASILEIRA OPERADA COM O DR. KAMOL PANSRITUM, QUE NENHUMA MULHER TRANSEXUAL DO BRASIL O HAVIA ESCOLHIDO ANTERIORMENTE. O ÚNICO OUTRO CIRURGIÃO TAILANDÊS CONFIADO PELAS BRASILEIRAS ATÉ ENTÃO ERA INACESSÍVEL PORQUE COBRAVA PELO MENOS 3 VEZES MAIS".
No ano de 2004 eu realizei uma cirurgia de redesignação sexual no exterior após o fim do ano letivo deste ano e o último compromisso de trabalho. Aproximadamente, eu viajei dia 22, cheguei no dia 23, mas não pude operar no mesmo dia porque o cirurgião estava cansado por ter realizado outra operação no mesmo dia. Acordei operada no Natal daquele ano, durante a ocasião do Tsunami, lá na Tailândia e me diziam que eu era a primeira brasileira a realizar a cirurgia de redesignação sexual com o médico cirurgião Kamol Pansristum.
PRIMEIRA FUNCIONÁRIA PÚBLICA DO MUNICÍPIO DE BELFORD ROXO A CORRIGIR A DOCUMENTAÇÃO EM RELAÇÃO AO PRENOME E AO SEXO EM VIRTUDE DO PROCESSO TRANSEXUALIZADOR REALIZADO DURANTE O TRABALHO NA REDE PÚBLICA MUNICIPAL.
"Viver a experiência do preconceito, do desprezo
Viver o desprezo de construir um caminho que nunca se percorreu.
Ver e conhecer as pessoas e os inimigos como eles são realmente, e não como se disfarçam.
Ser mulher é nascer no fogo e morrer com a missão cumprida".
VIVÊNCIA DA TRANSFOBIA ADMITIDA E VELADA
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Registro de ocorrência na Delegacia de Polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da prefeitura municipal. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Segunda parte do registro de ocorrência na delegacia de polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da Prefeitura Municipal de Duque de Caxias. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Antes de realizar a cirurgia na Tailândia em dezembro de 2004, eu havia iniciado um acompanhamento médico no Hospital Estadual do Rio de Janeiro chamado IEDE em 06/03/2004. Logo na primeira consulta, que foi uma entrevista longa com o Doutor psiquiatra eu relatei a ele, inclusive, um grande abalo psicológico e mental em virtude do meu trabalho na rede de educação municipal de Belford Roxo no cargo de professorx. Caminhavam juntos nesse momento a minha disforia de gênero e o meu adoecimento psicológico e mental. As pessoas questionam se a cirurgia realizada não curaria todos os meus problemas e adoecimentos psicológicos e mentais. Uma coisa é a disforia de gênero com indicação cirúrgica de redesignação sexual. Outra coisa é o transtorno afetivo bipolar. Outra coisa também é o preconceito. Também o assédio moral. Também o bullying, etc.
PRECONCEITO ERA RELATADO EM PROCESSOS ADMINISTRATIVOS
2006
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
"sentimento de tristeza, desânimo, dificuldades para dormir, cheia de pensamentos, irritabilidade, sentindo-se um lixo ..." (texto transcrito do prontuário médico de 15/06/2004 IEDE)
Após o psiquiatra do IEDE diagnosticar a transexualidade, ele me encaminhou para o tratamento endócrinológico em março de 2004 iniciando oficialmente o processo transexualizador acompanhado por lá. Juntamente com antidepressivo e ansiolítico sedativo, eu fazia uso de hormônio feminino transdérmico e bloqueador antiandrogênico oral. Quando eu cheguei ao IEDE eu já fazia uso de hormônio, estrogênio e progesterona e tive que mudar o que eu já tomava a partir daí.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O hormônio estrogênio mexe com o psicológico e com o mental assim como a medicação psicotrópica também. Um dos sintomas que se desenvolveram em mim foi a depressão por exemplo. Eu já sentia depressão quando cheguei ao Hospital do IEDE e essa questão foi relatada em prontuário médico do Hospital. Outra questão agravante, era que eu tinha também o transtorno afetivo bipolar que só foi diagnosticado uns 7 anos depois. É normal haver o diagnóstico demorado do transtorno bipolar. O uso dos remédios psicotrópicos podem piorar o quadro de quem tem o transtorno bipolar quando não se tem a ciência desta doença mental, eclodindo mania, euforia, quadros de humor e sintomas psicóticos por exemplo.
Diagnóstico do transtorno bipolar leva até 10 anos ou mais
DOCUMENTOS MÉDICOS EM PROCESSOS ADMINISTRATIVOS DE 2003 JÁ APONTAVAM DEPRESSÃO E ADOECIMENTO PSÍQUICO E MENTAL
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2009 nos primeiros meses, eu estive na secretaria municipal de educação levada por uma amiga também funcionária pública municipal da rede de educação de Belford Roxo mostrando o documento médico psiquiátrico da médica que me acompanhava desde maio de 2008 cientificando a Prefeitura Municipal essas minhas realidades a fim de comprovação médica: que eu estava doente, em acompanhamento psiquiátrico, usando medicação psicotrópica, comprometida psicológica e mentalmente para o trabalho e para a vida social; mas o próprio gestor da secretaria de educação, coagido, 2 semanas depois, me disse que iria esquecer que ele tinha recebido ciência desse documento médico porque ele estava sendo pressionado pelo supervisor educacional da secretaria municipal de educação que também atuava como assessor jurídico da procuradoria de Belford Roxo Jorge Silva. O interesse e a mobilização do grupo dominante da Prefeitura Municipal de Belford Roxo era pela minha condenação, pela minha exclusão e pelo silenciamento do que eu passava e passei inclusive em relação a minha saúde psicológica e mental.
2003
HISTÓRICO DE ADOECIMENTO PSÍQUICO NO TRABALHO E PEDIDO DE SOCORRO A PROCURADORIA DE BELFORD ROXO "Não me encontro em condições mentais de desenvolver as minhas atividades. Por Jesus Cristo, preciso de ajuda médica"
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO DA PRIMEIRA FOLHA DO REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN DE DUQUE DE CAXIAS A MÉDICA PSIQUIATRA RELATOU POUCA MELHORA COM O ANTIDEPRESSIVO AMYTRIL QUE A PROFESSORA FAIZA KHÁLIDA ESTAVA USANDO HÁ 7 DIAS (17/07/2003). from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O meu diagnóstico do transtorno bipolar foi fechado apenas em 2011 e somente após o diagnóstico houve melhora. Antes, eu tomava entre as medicações o antidepressivo por indicação médica mas sem considerar essa realidade, podendo isso ter contribuído para os outros quadros graves que eu apresentei como euforia e sintomas psicóticos.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2015 um médico psiquiatra do posto de saúde público municipal de Duque de Caxias que também já me medicou e uma psicóloga perita que faz inclusive perícias para o Tribunal de Justiça do estado do Rio de Janeiro me falaram que o uso dos hormônios durante o meu processo transexualizador também ajudou que eu tivesse apresentado esse quadro de adoecimento mental grave que me levou a demissão nas minhas duas matrículas municipais de Belford Roxo.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
As perícias concluíram que não apenas o uso e o não uso dos hormônios e o uso das medicações psicotrópicas, mas também as alterações bioquímicas e hormonais ocorridas durante este processo influenciaram neste quadro de adoecimento juntamente com as questões que me eram estressoras relacionadas ao preconceito, assédio e bullying no trabalho.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2010 os processos administrativos realizados pela Procuradoria Municipal de Belford Roxo e que originaram os atos administrativos que me demitiram não consideraram que eu estava doente conforme relatam as diversas referências médicas.
Os processos que levaram aos atos administrativos que me demitiram também não consideraram o processo transexualizador que eu realizava tão conhecido publicamente pelos Procuradores Municipais e funcionários das diversas secretarias do município de Belford Roxo como a de educação e das escolas em que eu trabalhava.
O uso dos medicamentos que eu fazia também não foram considerados nestes processos.
"Meu nome de homem foi uma agressão imposta. Eu só quero ter paz no trabalho. Faiza Khálida 35 anos, professora 2008"
"Após uma operação bem-sucedida na Tailândia, Faiza Khálida ainda enfrenta dificuldades em escola municipal"
"Professora transexual luta contra o preconceito
Quatro anos depois de se submeter a uma cirurgia para mudança de sexo, Faiza Khálida, de 35 anos, ainda sofre preconceito na escola em que leciona inglês, em Belford Roxo"
"Tenho tido dores-de-cabeça e chorado muito - conta Faiza"
"Trauma do passado - Faiza foi afastada da primeira escola municipal em que trabalhou pela diretora após começar a fazer mudanças no seu corpo e no seu modo de vestir"
20/08/2007
A Sra Faiza Khálida Fagundes Coutinho apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos, insônia, ansiedade, cefaleias frequentes e dificuldades para cumprir suas tarefas no trabalho (Dra Isabella Vieira Médica CRM 5268631-0)
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A pressão social, a vulnerabilidade social, os problemas sociais presentes como a transfobia relatada pelo Jornal Extra em 2008, a homofobia relatada em processos administrativos e o bullying escolar também não foram citados. Nem mesmo os setores de Assistência Social e Direitos Humanos da Prefeitura Municipal de Belford Roxo e a coordenadoria LGBT (Lésbicas, Gays, Bissexuais, Travestis, Transexuais e Transgêneros) me ligaram ou procuraram para me dar uma palavra de conforto, assistência. Até esses setores que deveriam apoiar grupos marginalizados foram também dominados pelo grupo político dominante.
Embora a Secretaria de Assistência Social e Direitos Humanos e a Coordenadoria LGBT da Prefeitura Municipal de Belford Roxo saibam da situação de vulnerabilidade, dificuldade, isolamento, exclusão e carência de apoio e serviços públicos que muitas transexuais e transgêneros se encontram na escola, no trabalho e na sociedade, eu nunca fui procurada por esses setores responsáveis pela assistência social a LGBTs da Prefeitura Municipal. Em 2011, me foi dito na SEMPOPU (Secretaria Municipal de Políticas Públicas de Belford Roxo) que eu parasse de recorrer da minha demissão, que eu parasse de apresentar documentos e pareceres médicos comprobatórios e não aparecesse mais na Prefeitura mesmo se ainda tivesse algo a dizer já que eu não era bem-vinda.
DIGA NÃO A TODAS AS FORMAS DE PRECONCEITO
NOVEMBRO DA DIVERSIDADE BELFORD ROXO
CAMPANHA DA PREFEITURA MUNICIPAL
PROCESSO 04/1497/03
"Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professorx não aguentei"
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma pessoa de minha família me levou ao programa Rio sem Homofobia para ter apoio psicológico e jurídico. Eles me encaminharam para o núcleo da Defensoria Pública especializado em Diversidade (NUDIVERSIS) que entrou na Justiça em Belford Roxo contra esse ato administrativo que me demitiu.
Louvado seja o Senhor Jesus Cristo para sempre.
Professora Faiza Khálida Fagundes Coutinho
Prefeitura Municipal de Belford Roxo
Matrículas 5508 e 14725
Identidade 09089680-4
CPF 024114147-81
CLICAR PARA ACESSAR OS LINKS:
1- Ameaça de morte, assédio, bullying, tratamento discriminatório e adoecimento psíquico mental quando eu trabalhava na Escola Municipal São Bento em 2002.
RECEITUÁRIO DE CONTROLE ESPECIAL PASSADO PELA MÉDICA PSIQUIATRA TÉCNICA DO CAPS DE DUQUE DE CAXIAS - MEDICAMENTO PARA DEPRESSÃO (17/07/2003) Professora transexual de Belford Roxo Faiza Khálida após relato de tratamento discriminatório no trabalho. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
REMÉDIO TAMBÉM PASSADO PELA PSIQUIATRA E HOMEOPATA TÉCNICA DO CAPS DE DUQUE DE CAXIAS EM 17/07/2003 - 2 TABLETS MANHÃ / TARDE / NOITE - (HOMEOPATIA) - Quadro depressivo - professora transexual Faiza Khálida da rede municipal de educação de Belford Roxo from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
RECEITUÁRIO DE CONTROLE ESPECIAL CENTRO PSIQUIÁTRICO RIO DE JANEIRO PRESCRIÇÃO AMITRIPTILINA 10/07/03. OS PRIMEIROS TRATAMENTOS PSICOLÓGICOS APÓS VIVÊNCIAS TRAUMÁTICAS NO TRABALHO e INÍCIO DO USO DE MEDICAMENTOS PSICOTRÓPICOS PARA CONSEGUIR TRABALHAR. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Medicamento / remédio psiquiátrico DIAZEPAM prescrito no Centro Psiquiatrico do Rio de Janeiro para a professora transexual Faiza Khálida em 10 de julho de 2003 após depressão profunda causada por discriminação no trabalho na educação de Belford Roxo from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
2- Buscando eu ajuda psicológica e iniciando o uso de medicamento contínuo para conseguir trabalhar em 2003 após vivencias traumáticas no trabalho.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICO PSIQUIATRA EDGAR TAVARES DA CLÍNICA DE REABILITAÇÃO CASA DAS PALMEIRAS ENCAMINHOU PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE DE EDUCACAO DE BELFORD ROXO PARA PSICOTERAPIA AMBULATORIAL EM 21 DE JULHO 2003 - ADOECIMENTO PSÍQUICO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO do encaminhamento do médico Edgar Tavares da Clínica Casa das Palmeiras FOI ESCRITO O TELEFONE E O ENDEREÇO DO AMBULATÓRIO DO IPUB (Ufrj) - Encaminhando professora Faiza Khálida para psicoterapia ambulatorial em 21/7/2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
3- Processo administrativo 04/14/97/03 - Assunto: Homofobia - AMBIENTE DOENTIO - onde registrei - "Eu sendo professorx não aguentei a homofobia. O preconceito é muito grande nas escolas municipais. Fui humilhada muitas vezes. É um ambiente doentio".
Prefeitura Municipal de Belford Roxo - Protocolo 04/001497/03 - Requerente: Xxxxxx (Faiza Khálida) Fagundes Coutinho - Matrículas 5508 e 14725 - professora em processo transexualizador - Assunto: Homofobia - Data: 04/06/2003 - escrito à mão from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas, é um ambiente doentio. PROCESSO 04/001497/03 página 03 - 04 de junho de 2003 - Prefeitura Municipal de Belford Roxo - Assunto: HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
4- PROCESSO ADMINISTRATIVO 04/2061/03 - Apresentei o Formulário Referência do Centro Psiquiátrico Rio de Janeiro de 10/07/2003 que também consta em vários outros processos administrativos: "MUITA CEFALEIA, INSÔNIA, MUITO AGRESSIVA, CHORA COM FACILIDADE, VONTADE DE SE MATAR, TRISTEZA, CID PSIQUIÁTRICO E SOLICITAÇÃO DE ATENDIMENTO E CONSULTAS PSIQUIÁTRICAS".
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Processo Administrativo da Prefeitura Municipal de Belford Roxo relata mentira usada em relatório técnico de 2002 para excluir professora transexual Faiza Khálida da escola e documentos médicos com CID psiquiátrico e sintomas depressivos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Processo administrativo 04/2061/03 - Prefeitura Municipal de Belford Roxo - Estado do Rio de Janeiro - A professora Faiza Khálida em processo transexualizador de 30 anos foi atendida na emergência em 10/07/2003.CID psiquiátrico - Folha 04 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
5- Processo Administrativo 04/2743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Vem requerer providências pela DISCRIMINAÇÃO por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei. - Assédio Moral, Danos Morais, Discriminação, Relatório criminoso. "ERA DESRESPEITADA NO EXERCÍCIO DA MINHA FUNÇÃO. DAVA AULAS SENDO CHAMADA DE VIADO, ME JOGAVAM TERRA". "FIQUEI PERTURBADA, FRAGILIZADA, DESORIENTADA, COM OS NERVOS PRONTOS PRA EXPLODIR, PARANOICA, EM DEPRESSÃO COM AS PESSOAS QUE FICAVAM ME CHAMANDO DE VIADINHO DEBOCHANDO DA MINHA SEXUALIDADE". Também constam o Formulário Referência do Centro Psiquiátrico Rio de Janeiro e solicitação da médica do CAPS de tratamento psiquiátrico.
PROCESSO ADMINISTRATIVO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - PREFEITURA MUNICIPAL DE BELFORD ROXO - Requerente: Xxxxxx FAGUNDES COUTINHO (PROFESSORA FAIZA KHÁLIDA) de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
EXCELENTÍSSIMO SENHOR PREFEITO DO MUNICÍPIO DE BELFORD ROXO Vem requerer a Vossa Excelência que se digne a conceder: Providências pela discriminação por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei estadual número 3406/00 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Procurador Municipal e Presidente da Comissão Permanente de Inquérito Administrativo José Domingos Lucena (mat 11/20.972) diz no processo 04/002743/03 em 24/10/2005 que a professora Leila Bonine deve ser convidada a ler a lei antidiscriminatória from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
6- Diretora Vera Lúcia Castelar (mat. 53165) preparou relatório técnico criminoso em 2002 para me afastar da Escola Municipal São Bentos nas 2 matrículas. Eu fui ameaçada de ruína completa por causa deste relatório pela subsecretária de educação Rosângela Maria Gonçalves de Oliveira em 2002 e ameaçada de morte caso chegasse a 100 metros da escola em que eu trabalhava sofrendo discriminação. Após eu pedir reparação pelos DANOS, AMEAÇAS, CONSTRANGIMENTOS E TRAUMAS que me ocorreram por causa deste relatório técnico analisado também pelos 8 supervisores educacionais entre eles Jorge Silva (mat. 54368) , Antônio Carlos Lustosa (mat. 54434) e Joelma Milão, o relatório sumiu dentro da secretaria municipal de educação de Belford Roxo sendo anunciado em 2005 como se ele nunca tivesse existido. Eu continuava sendo tratada como homem na secretaria de educação mesmo após cirurgia transgenital.
7- Em 2005 a reportagem do Jornal O Dia informava que eu havia começado a tomar hormônios 3 anos antes em processo transexualizador. Mesmo após cirurgia e decisão judicial o nome social ainda não era mudado no diário da escola e na ficha funcional. Nesse momento o diretor da escola municipal Jorge Ayres me proibia de usar saia ou vestido conforme relatei em processo de 2006.
8- Em 2007, voltei a caminhar para o agravamento do meu estado mental revivendo traumas do passado na rede de educação em Belford Roxo após orientadora Conceição dizer que eu deveria sair da escola por ser transexual, promover inquérito administrativo disciplinar contra mim, ameaça de morte e dificuldades como abaixo-assinado para sair da escola.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
9- Em dezembro de 2007, Procurador-Geral de Belford Roxo Lorival Almeida de Oliveira e José Domingos Lucena abriram inquérito promovido pela orientadora Conceição que me dizia que eu não podia estar na escola Jorge Ayres por ser transexual. A advogada da Secretaria Estadual de Direitos Difusos pediu cópia do processo para ela poder me defender. Não me foi permitido ter cópia do processo nem mesmo quando fui intimada a assinar a punição administrativa na secretaria de educação, sendo lá tratada como homem.
10- O contexto profissional em 2008 me causava abatimento e depressão, os meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais em que eu lecionava. A orientadora da escola teria tratado com o rapaz que entrou na escola para danificar minha câmera digital na sala dos professores na frente dela.
11- O relatório discriminatório da diretora Vera Lucia Castelar em 2003 me ocasionou diversos danos inclusive psicológicos, mentais e administrativos, este relatório foi usado para me ameaçar, coagir e chantagear. No relatório técnico da diretora constava a mentira que eu não havia entregado o planejamento. Isso causava indignação inclusive da professora que havia entregado o planejamento junto comigo.
CLICAR AQUI TAMBÉM PARA LER SOBRE OS DANOS ME OCASIONADOS PELO RELATÓRIO TÉCNICO DISCRIMINATÓRIO DE 2002 DA DIRETORA VERA CASTELAR SOBRE MIM.
12- Em 2008 eu não conseguia desenvolver as minhas atividades devido ao meu quadro mental. A pressão social e o constrangimento sofrido fizeram com que eu apresentasse sintomas como depressão relatados em prontuários médicos, e este fato me fez deixar de comparecer ao trabalho.
13- Secretaria Municipal de Educação de Belford Roxo e Procuradoria Municipal silenciaram o preconceito que eu passei na rede pública de educação.
14- O julgamento fundamentalista religioso moral condenatório da identidade de gênero e da orientação sexual, piadinhas, deboches, ofensas, agressões e desrespeitos no trabalho me causavam cefaleia, choro, tristeza, ideação suicida e depressão desde 2003. Esse preconceito social cisnormativo me levava ao sofrimento e a ideação suicida.
15- A médica psiquiatra atestou em maio de 2008 que dificilmente haveria solução do meu quadro de adoecimento mental porque não havia resolução dos problemas sociais e referentes ao meu trabalho que me estressavam.
16- Para me condenar em inquérito administrativo disciplinar, procurador-geral de Belofrd Roxo Lorival Almeida de Oliveira mentiu em processo declarando que eu havia recebido cópia de processo, não permitindo que a advogada da Secretaria Estadual de Direitos Humanos e Difusos do Estado do Rio de Janeiro recebesse cópia do processo.
17- Orientadora pedagógica mobilizava para me tirar da escola. Vivenciava o isolamento.
18- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transexuais e transgêneros.
19- Transfobia que sofri no banheiro da Prefeitura em 13/10/2008 com o subsecretário Paulo Allevato RG 3473270 IFP.
20- Uma semana após eu ser levada em 2009 a secretaria municipal de educação de Belford Roxo por uma colega também funcionária pública do município mostrando ao subsecretário de educação Miguel de Sousa Ramiro o laudo médico atestando que eu estava comprometida para o trabalho e para a vida social, o subsecretário municipal de educação Miguel de Sousa Ramiro me disse pelo seu telefone celular que esqueceria que ele tinha conhecimento do laudo médico psiquiátrico porque ele tinha que obedecer as ordens do supervisor Jorge Silva (mat. 54368).
21- Em tudo o que me acontecia no meu trabalho de professora da rede municipal de Belford Roxo, nos documentos e relatórios administrativos, não era admitida essa realidade que eu enfrentava com todos os medos, embates, incertezas, discriminações, constrangimentos, prejuízos emocionais e psicológicos. Na escola, eu me sentia um ser do outro mundo em espetáculo circense, alvo do julgamento, conceitos e preconceitos de todos os agentes. As mudanças hormonais, físicas e cerebrais também não eram levadas em conta quando se avaliava minha conduta profissional. Eu era uma funcionária pública julgada fora da minha realidade que eu sou, fui e vivia. Somadas as alterações físicas eu tinha osteopenia, hérnias de disco com irradiação nas pernas e braços, fraturas, grande redução e aumento de peso chegando aos 100 kg, pressão alta e baixa. Eu atravessava um processo transexualizador. O direito à saúde que eu tinha por ser diagnosticada transexual não era apenas a questão da cirurgia transgenital paga com minhas economias de trabalho. Era um processo de adequação física, psicológica,mental, profissional, afetiva e social.
22- Relatório, ocorrência, inquérito, reunião e abaixo-assinado pela minha saída da escola municipal Jorge Ayres de Lima a partir da chegada da orientadora Conceição em 2007.
23- História - professora Faiza Khálida da rede municipal de educação de Belford Roxo.
24- Procuradora Municipal Débora Fernandes C. Pinto (mat. 80/28.585) indicada e fundamentalista religiosa, de posse do meu laudo médico psiquiátrico comprobatório de transtorno bipolar incapacitante, CRM, endereço e telefone da médica que me avaliava desde maio de 2008 e relato sobre problemas sociais relacionados a transexualidade, transfobia, homofobia, assédio e bullying, ignorou tudo e negou por 2 vezes a solicitação determinando que eu ficasse excluída do serviço público de Belford Roxo municipal.
25- A minha doença transtorno bipolar com sintomas psicóticos.
Louvado O Senhor Jesus Cristo para sempre.
[
O Advogado do Emigrante Português ]( r.info-castilhoadvogados.com/912361q1b0rf.html ) [ ]( r.info-castilhoadvogados.com/1048co6la1b0rd.html )
Estimados Portugueses Emigrados pelo Mundo
Os nossos melhores cumprimentos
É com enorme prazer que o(a) contactamos a fim de lhe dar a conhecer que o serviço de O Advogado do Emigrante Português celebra doze anos de existência e de plena actividade, onde muitos foram os Portugueses por esse mundo fora que recorreram aos nossos serviços, legalizando e lutando pelos seus direitos em Portugal apesar da distância.
Para comemorar esta data a Sociedade de Advogados Tavares Castilho, Rodrigues & Associados SP, RL, criadora do serviço [ O Advogado do Emigrante Português ]( r.info-castilhoadvogados.com/1048co7dq1b0rd.html ) e do serviço [ Mudar o Estado Civil em Portugal ]( r.info-castilhoadvogados.com/1048co8661b0rd.html ), oferecerá aos seus clientes um desconto de 30 % sobre o valor da tabela interna da sociedade em todos os serviços, aplicando-se o mesmo a todos os orçamentos já dados.
Esta campanha vigorará até ao final do presente ano de 2016.
Assim, usufrua desta oportunidade para recorrer aos nossos serviços e aproveitar para, legalizar o seu estado civil em Portugal ou divorciar-se ou exigir partilhas, entre outros serviços, que poderá conhecer nos nossos sites:
r.info-castilhoadvogados.com/1048co8ym1b0rd.html
r.info-castilhoadvogados.com/1048co9r21b0rd.html ENVIE UM E-MAIL - NÓS LIGAMOS GRÁTIS [ ]( r.info-castilhoadvogados.com/1048coaji1b0rd.html ) O Advogado do Emigrantes Português
O ADVOGADO DO EMIGRANTE PORTUGUÊS é propriedade da sociedade de Advogados TAVARES CASTILHO RODRIGUES & ASSOCIADOS SOCIEDADE DE ADVOGADOS SP. R. L,
AVEIRO / LISBOA / ÁGUEDA / ESPANHA
Site web: www.castilhoadvogados.com
E-mail: geral@castilhoadvogados.com
Telefone: 00351 234 48 22 14
Fax: 00351 234 48 00 45
This email was sent to very30chum@photos.flickr.com
You received this email because you are registered with TAVARES CASTILHO RODRIGUES & ASSOCIADOS SOCIEDADE DE ADVOGADOS SP RL
We respect your privacy.
[ Unsubscribe here ]( r.info-castilhoadvogados.com/912361q1b0rg.html )
Enviado pela
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.
Villa Baraka consists of 4 bedrooms; 2 bedrooms on the second level boasting rice field views and outdoor private seating areas and 2 bedrooms on the ground floor overlooking the pool and spacious living area with a well equipped kitchen with all modern conveniences and its sit up bar. This 2 storey villa has 4 en suite bedrooms in modern tropical shades of warm shade of brown gives an air of tranquility and calm living. Bali modern and chic, carefully designed villas with a sense of tranquility envelops you as you enter this haven. There are safe deposits boxes in every room, one satellite TV 42 inch flat screen with international channels, and free wireless internet service.
Image Credit: NASA. . For more information Visit NASA's Multimedia Gallery You may wish to consult NASA's
image use guidelines. If you plan to use an image and especially if you are considering any commercial usage, you should be aware that some restrictions may apply.
________________________
NOTE: In most cases, NASA does not assert copyright protection for its images, but proper attribution may be required. This may be to NASA or various agencies and individuals that may work on any number of projects with NASA. Please DO NOT ATTRIBUTE TO PINGNEWS. You may say found via pingnews but pingnews is neither the creator nor the owner of these materials.
_________________
Additional information from source:
In 2002, NASA produced the Blue Marble, the most detailed true-color image of the Earth's surface ever produced. Using data from NASA’s Terra satellite, scientists stitched together four months of observations of the land surface, coastal oceans, sea ice, and clouds into a seamless, photo-like mosaic of every square kilometer (.386 square mile) of our planet. In October 2005, the creators of the Blue Marble released a new version of the spectacular image collection that provides a full year's worth of monthly observations with twice the level of detail as the original called the Blue Marble: Next Generation.
Like the original, the Blue Marble: Next Generation is a mosaic of satellite data taken mostly from a NASA sensor called the Moderate Resolution Imaging Spectroradiometer (MODIS) that flies board NASA’s Terra and Aqua satellites.
Blue Marble: Next Generation improves the techniques for turning satellite data into digital images, providing greater detail in areas that usually appear very dark to the satellite (because a large amount of sunlight is being absorbed), for example in dense tropical forests. The ability to create a digital image that provides great detail in darker regions without 'washing out' brighter regions, like glaciers, snow-covered areas, and deserts is one of the great challenges of visualizing satellite data. The new version also improves image clarity, and gives highly reflective bodies of water a more realistic appearance.
Image Credit: NASA
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 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
JV Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tino Romero 11:17.25 1 1 1
2. Wasco Oscar Gomez 11:26.11 2 2 1
3. East Marc Sotello 11:26.90 3 x 1
4. Shafter Matthew Yanez 11:34.14 4 x 1
5. McFarland Grenardo Garcia 11:34.63 5 x 1
6. Highland Juan Delgado 11:37.47 6 3 1
7. Centennial Brandon Ballard 11:38.17 7 4 1
8. Ridgeview Ernesto Castillo 11:38.94 8 5 2
9. Shafter Elias Picazo 11:40.09 9 x 2
10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3
11. Wasco M. Vasquez 11:49.94 11 7 2
12. East Felix Trevino 11:51.62 12 x 2
13. Ridgeview Tree Hoisson 11:52.34 13 8 4
14. Stockdale Raymon Griggs 11:52.62 14 9 1
15. Highland Rafael Alcaraz 11:53.30 15 10 2
16. East Esteban Vargas 11:54.83 16 x 3
17. McFarland Adam Marquez 11:56.93 17 x 2
18. Frontier Corry Harris 12:02.24 18 11 1
19. Highland M. Shaffer 12:04.99 19 12 3
20. Highland Jo Dixon 12:05.53 20 13 4
21. Centennial Nick Trieberg 12:06.03 21 14 2
22. Highland Daniel Espinosa 12:07.15 22 15 5
23. Foothill Cesar Espinosa 12:10.84 23 16 1
24. Highland Ernan Lopez 12:18.78 24 17 6
25. Stockdale P. Bowen 12:25.59 25 18 2
26. Stockdale Andrew Worth 12:26.63 26 19 3
27. Foothill Jovani Pineda 12:32.47 27 20 2
28. Centennial Jake Smoot 12:33.35 28 21 3
29. Foothill Robert Guillen 12:36.97 29 22 3
30. Garces Jose Lopez 12:37.53 30 23 1
31. Highland Pablo Santiago 12:38.23 31 24 7
32. Ridgeview Ian Dowot 12:38.71 32 25 5
33. Frontier Ramon Sanchez 12:42.97 33 26 2
34. Foothill Peter Reyna 12:45.32 34 27 4
35. Ridgeview Hector Garay 12:45.76 35 28 6
36. Frontier Brian Cisneros 12:46.11 36 29 3
37. Stockdale Cornelius Sockey 12:49.24 37 30 4
38. Stockdale Nick Haley 12:49.57 38 31 5
39. Frontier Christopher Bedke 12:51.77 39 32 4
40. Frontier Chris Corral 12:52.80 40 33 5
41. Centennial CJ Carr 12:55.06 41 34 4
42. Ridgeview Arty Sanchez 12:55.60 42 35 7
43. Garces Dominic Gallegos 12:56.21 43 36 2
44. Foothill Oscar Rivera 12:57.02 44 37 5
45. Shafter Jonatan Lopez 12:59.96 45 x 3
46. Stockdale Evan Szablowsk 13:01.10 46 38 6
47. BHS Hector Sanchez 13:02.38 47 39 1
48. Foothill Guillermo Cisneros 13:05.95 48 40 6
49. Stockdale Jit Malay 13:06.90 49 41 7
50. Highland Nick Lopez 13:07.10 50 42 8
51. Centennial Craig Varner 13:15.59 51 43 5
52. Highland Tyler Dunlap 13:20.14 52 44 9
53. Stockdale Davis McLeod 13:20.73 53 45 8
54. Foothill Luis Garcia 13:22.06 54 46 7
55. Shafter Miguel Sanchez 13:23.34 55 x 4
56. Independence Curtis Valencia 13:25.34 56 47 1
57. Wasco Kyle Bearley 13:26.41 57 48 3
58. Ridgeview Martin Oropeza 13:27.08 58 49 8
59. Frontier Chris Mount 13:28.88 59 50 6
60. Wasco Anthony Ramirez 13:29.86 60 51 4
61. Frontier Jairo Garcia 13:34.10 61 52 7
62. Stockdale Kevin Chun 13:37.01 62 53 9
63. Foothill Marcos Sandoval 13:38.55 63 54 8
64. Arvin Jose Rodriguez 13:39.04 64 x 1
65. Frontier Steven Saenz 13:39.36 65 55 8
66. Stockdale John Bracamant 13:40.57 66 56 10
67. Wasco Kr. Brown 13:43.42 67 57 5
68. Stockdale Adrian Esquivas 13:45.00 68 58 11
69. Stockdale Joshua St. Clair 13:46.57 69 59 12
70. BHS Josh Harbin 13:49.65 70 60 2
71. Mira Monte Hislon Belo 13:53.35 71 x 1
72. Stockdale Eric Jorgensen 13:56.96 72 61 13
73. Garces Anthony Martinez 14:05.99 73 62 3
74. Arvin Rodger Tabada 14:15.08 74 x 2
75. Stockdale Phillip Radon 14:16.70 75 63 14
76. Stockdale Landon Medina 14:18.10 76 64 15
77. East Donald Sanchez 14:18.32 77 x 4
78. Frontier Spencer Cordova 14:25.94 78 65 9
79. Frontier Matt Walker 14:32.16 79 66 10
80. Wasco Arturo Miranda 14:32.82 80 67 6
81. Highland Luis Lopez 14:36.85 81 68 10
82. Independence Devin Lane 14:43.22 82 69 2
83. Garces Sterling Garza 14:43.64 83 70 4
84. Mira Monte Michael Pineda 14:45.10 84 x 2
85. Stockdale Joshua Le 14:45.99 85 71 16
86. Independence Michael Gallarza 14:46.50 86 72 3
87. Foothill William Saavedra 14:48.22 87 73 9
88. BHS Trevor Dalke 14:48.96 88 74 3
89. Independence Andrew Cruz 14:57.45 89 75 4
90. Highland Alex Harrell 15:01.62 90 76 11
91. BHS Wesley Elrich 15:02.07 91 77 4
92. Frontier Jason Phillips 15:02.54 92 78 11
93. Foothill Mason De La Cruz 15:03.92 93 79 10
94. Highland Estevan Espinoza 15:06.66 94 80 12
95. Mira Monte Rick Mendoza 15:08.42 95 x 3
96. Foothill AJ Lara 15:09.07 96 81 11
97. Centennial Jarod Kashwer 15:13.28 97 82 9
98. Highland Ryan Gonzalez 15:28.65 98 83 13
99. BHS Andres Eagleson 15:35.28 99 84 5
100. Frontier Kevin Sanchez 15:41.75 100 85 12
101. Centennial Brent Williams 15:46.70 101 86 10
102. Ridgeview Eric Jacques 15:46.93 102 87 9
103. Garces P. Newman 15:55.87 103 88 5
104. Foothill Jose Mejia 16:22.51 104 89 12
105. Independence Sky Payne 16:38.36 105 90 5
106. Foothill Logan Power 20:16.50 106 91 13
107. Arvin Oswaldo Leyva 24:45.86 107 x 3
108. North Sonny Medina 25:53.00 108 x 1
4.0-liter Tipo 209 V12 cylinders (330 cc per cylinder)
300 CV @ 6600 rpm
Number of units produced: 50 examples
Production period: 1963
The Ferrari 330 America is a hermaphrodite introduced by Ferrari in 1963 as the successor of the 250.
The 330 America was simply a 250 GT/E with a larger engine, the new 4.0 L Tipo 209 V12, with 300 CV @ 6600 rpm.
"330" refers to the approximate displacement of each single cylinder.
All 330 models used an evolution of the 400 Superamerica's 4.0 L Colombo V12 engine. It was substantially changed for the 330 cars, however, with wider bore spacing and the notable use of a true alternator rather than a dynamo generator.
The 330 GTC/GTS (598/100 examples 1966-1968) shared their chassis with the 275, only the 330 GT 2+2 (1099 examples, 1964-1967) was a truly unique product.
Ferrari 275 und 330 GT 2+2 have their transmission at the rear-axle (transaxle-layout) for better weight distribution.
MotorWORLD Classics Berlin
ExpoCenter City under the radio-tower
8 to 11 October 2015
Lagu Rohani Kristen Terbaru 2019 - Nyanyikan Pujian bagi Tuhan Mahakuasa
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
I
Kau Tuhan yang b'nar yang t'lah muncul dalam daging,
Jurus'lamat yang t'lah datang!
Engkaulah Tuhan yang benar, yang s'lalu bekerja
'tuk kes'lamatan kemanusiaan!
Kau pimpin manusia ke masa s'karang.
'Tuk s'penuhnya menyucikan,
Kau berinkarnasi dalam daging dua kali!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
II
Kau t'lah mend'rita dan dianiaya.
Kau dipermalukan, ditolak oleh zaman yang kejam.
Harga yang Kau bayar dengan darah, k'ringat, air mata,
s'penuhnya tunjukkan kasih-Mu 'tuk manusia.
Kehendak, kekudusan-Mu diungkapkan.
Watak-Mu yang benar,
t'lah diungkapkan pada kami!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
Kau sungguh indah, layak dapat pujian kekal.
Kami nikmati kasih-Mu, kami ingin membalasnya.
Tuhan Mahakuasa, kami mengasihi-Mu!
Dengan lagu, tarian kami puji watak-Mu yang b'nar!
Biarkan kami tunjukkan kasih bagi-Mu!
III
Kau ungkap kebenaran, sirami dengan firman-Mu,
agar kami hidup di hadirat-Mu.
Kau curahkan keb'naran hidup ke dunia,
agar Kau bisa s'lamatkan kami!
S'telah lakukan firman-Mu,
kami bertumbuh, pahami keb'naran.
Firman-Mu hakimi, murnikan,
jadikan kami manusia baru.
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
IV
Kau pulihkan hidup normal kemanusiaan,
bawa kami ke tempat tujuan yang indah.
Kau t'lah kalahkan Iblis dan s'penuhnya
s'lamatkan kami, dapat kemuliaan!
Puji hikmat-Mu, kami akan s'lalu tinggikan Engkau.
Puji kemahakuasaan-Mu, kami bersaksi tentang-Mu!
Kami nyanyikan pujian bagi-Mu!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
Tuhan Mahakuasa, Tuhan yang indah,
kami nyanyikan pujian bagi-Mu s'lamanya!
Dengarkan lebih banyak lirik lagu rohani terbaru 2019.
Sunday's True Blood premiere answered at least one burning question: Is Lafayette alive? Answer: Yes! Nobody is more surprised by this turn of events than Nelsan Ellis, the actor who plays Lafayette.
As a fan of the Sookie Stackhouse novel series, on which Alan Ball based the vampire drama for HBO, Ellis knew that Lafayette, Merlotte's wisecracking cook — and part-time pornographer/drug dealer — is totally dunzo after Book 1. When he arrived on set for the finale episode's table read, he prepared himself for the end. "I thought, this was fun, time to look for the next gig," he says.
But then... what's this? That painted toenail in the car didn't belong to Lafayette after all! "'You know we're not going to kill you, right?'" Ellis remembers Ball telling him. "And I was like, 'Noooo...'" Ball told the actor that he decided to keep Lafayette in the cast after shooting a scene between Ellis and Rutina Wesley, who plays Lafayette's cousin, Tara, in the pilot episode. Ellis and Wesley have combustive chemistry for sure, which Ellis attributes to their long friendship. (They attended Juilliard together in the early '00s.)
So now that Lafayette has been spared, what's next for the flamboyant entrepreneur?
When we last saw him, he was chained up in a dungeon watching a fellow prisoner get disemboweled by a very cranky Eric, his vampire captor. Ellis reveals that, this season, Lafayette's fate will be inextricably tied with that of the vampires, but that their relationship won't always be quite as adversarial. "[Lafayette] stays with the vampires basically throughout the season," he says. "I guess how deep down the rabbit hole he goes with Eric is the biggest teaser I can give."
"Eric makes people beholden to him," says Ellis. "He did it to Sookie, and now he does force Lafayette to work for him to repay him for something he's done for him." Oh jeez, Lafayette isn't going to become a vampire, is he? Not any time soon, says Ellis. "I have a sneaking suspicion that, in the future, the vampires are going to learn to respect him and not mess with him," he says. "He's going to find a way to elevate his position with them. Lafayette is a survivor, so he's not going to stay in this scared state too long." Excellent!
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
The Pacman Nebula is an emission nebula in the constellation Cassiopeia.
Looks MUCH better on a dark background in the light box.
Technical info about the image:
Object: The Pacman Nebula, NGC 281
Sky: LM ~5
Mount: CGEM
Imaging scope: C9.25 at f/6.3
Imaging FL: 1480mm
Imaging camera: SBIG ST-4000XCM
Lights: 110x180s (5.5h)
Calibration: 8 sky flats, 36 darks
Guide scope: Orion 9x50 finder scope
Guide camera: Meade DSI I (2s intervals)
Other details: Images acquired with CCDOPS v5, guided with PHD (using GPUSB), calibrated and stacked using Deep Sky Stacker, post-processed in Photoshop CS5.
----
Looking for a better astronomy planner for iOS? Head over to my profile for a link to Observer Pro.
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
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
This trek offers an outstanding combination of amazing mountain and valley scenery in a remote area, the visit will really get an in-site into the Authentic Quechua Communities and see thatched stone houses surrounded by herds of llamas and alpacas, and even guinea pigs running loose inside the houses. This hike starts in the Lares Valley and village of the same name, where you can enjoy a night dip in its relaxing hot springs, to then follow to the Andean communities of Huacahuasi, Patacancha and Willoq, reaching the village of Aguas Calientes on the third night, after a 2-hour train-ride from Ollantaytambo. Finally, the fourth day is devoted to visiting the impressive Inca citadel of Machupicchu
Package Name:Lares Trek
Duration: 4 Days / 3 Nights
Type of Trek : Alternative Trek to Machu Picchu
Group Size : To suit group requirements - (no more than 12 Persons)
Difficulty degree of this hike: Moderate / Challenge
Departures Day:
Daily Departures - Small Groups
All private service departure dates are adapted to your request.
A minimum of 2 persons is needed for this trek
Activities: Adventure / Trekking / Biking / Ecological/
High Season: April - November
Route: Closed in February
Lares Trek Itinerary:
Day 1: Cusco - Lares (Hot Spring)
Day 2: Lares (Hot Spring) - Ipsaycocha)
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
Day 4: Aguas Calienties - Machu Picchu - Cusco
Day 1: Cusco - Lares (Hot Spring)
We leave Cusco at 6:00am in a private transport and drive for an approximated 4h through part of the Sacred Valley to then head towards Lares (3100m/10168ft), a little rural village located in the beautiful valley of the same name, hosting some well-known hot springs. Upon arrival, we leave our equipment and continue towards Choquecancha, an impressive archaeological site with amazing views of the neighboring valleys. After our visit, we hike back to Lares, where we can enjoy an evening dip in its hot springs before or after our dinner is served. Our camp will be set next to the thermal baths and access is free the whole night.
Day 2: Lares (Hot Spring) - Ipsaycocha)
After an early wake up and breakfast, we meet our horsemen and horses and leave our campsite at around 9.00am to walk along an ascending path that will lead us to Huacahuasi, (3600m/11808ft). This remote Andean community is located in an impressive valley, where the typical lifestyle and house constructions of the Quechua communities living at high altitude can be appreciated. We stop to visit a typical house and family, before we enjoy our lunch. In the early afternoon, we continue our hike ascending toward the mountain pass of Ipsay (4450m/14596ft/3h), walking across little communities and Andean flats (pampas) with the presence of llamas and alpacas. The pass offers impressive views of Mount Veronica and the surrounding snow-capped peaks. Just half an hour from this point is Ipsayqocha, a beautiful lagoon next to which we set our camp and spend the night, amidst awesome scenery.
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
After two full days of hiking today is much easier. After an early breakfast we walk downhill through a wide-open valley for about 2½ hours until we arrive at the village of Patacancha. We will have a chance to view some textiles made by the people of this community - the high quality weavings are famous for their intricate designs reflecting aspects of their everyday lives and culture. After we also get the chance to walk slowly down the valley to Willoq, another Quechua village where the locals still wear their traditional dress and are proud to maintain their cultural identity. From Patacancha we will take our transport further down the valley to Inca town of Ollantaytambo where we will rest and have lunch, then catch our afternoon train to AguasCalientes. This is an amazing journey that starts in the Quechua highlands and slowly descends to lush tropical vegetation as we near AguasCalientes. Total journey time about 1½ hours. Tonight we stay in the small quaint town of Machu Picchu.
Day 4: Aguas Calienties - Machu Picchu - Cusco
5 am breakfast then at 5.30am we get the bus to Machu Picchu. We need to depart early so those who wish to climb Huayna Picchu will need to sign up before the 2 hour guided tour. During your visit to these ancient ruins you will see clouds fly past and Machu Picchu will disappear with in them, so make sure you take pictures whilst the ruins are visible. After the tour you will have free time to explore the mountain of Huayna Picchu overlooking all of Machu Picchu - by far the best view! Huayna Picchu will take approximately 2 hours return trip. It is now your choice to enjoy lunch just outside the ruins or take the bus back to AguasCalientes to explore this small and quaint village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.
What is Included:
English speaking guide
Pre-departure information meeting,
Machu Picchu entrance fees.
First aid kit, portable oxygen Tank,
3 night accommodation in tourist hostel,
Transfers,
Bus ticket Aguas Calientes Machu Picchu - Aguas Calientes,
Expedition train ticket Aguas Calientes - Ollantayatmbo,
Transfer from Ollantaytambo - Cusco Hotel
What is NOT Included:
International air fares to Peru,
Domestic flights, airport taxes,
Meals other than those specified in your itinerary,
Personal insurance.
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 © 2010 - 2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
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
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
el.kingdomsalvation.org/listen-to-His-word-obey-Him.html
I
Ο Θεός δεν νοιάζεται
αν κάποιος είν' ασήμαντος
ή και σπουδαίος.
Αρκεί ο άνθρωπος
ν' ακούει τον Θεό,
να υπακούει σ' ό,τι
ο Θεός διατάζει κι εμπιστεύεται,
και τότε θα μπορεί να συνεργάζεται
στο έργο Του,
στο σχέδιό Του και στο θέλημά Του,
έτσι το θέλημα και το σχέδιό Του
ανεμπόδιστα να προχωρούν,
τέτοιες πράξεις αξίζουν,
αξίζουν την ενθύμηση από τον Θεό,
κι αξίζουν να λάβουν
την ευλογία Του.
Ο Θεός θεωρεί πολύτιμους
τέτοιους ανθρώπους
και εκτιμάει τις πράξεις τους,
καθώς και την καρδιά
και την τρυφερή
στοργή τους γι' Αυτόν.
Αυτ' είναι του Θεού η στάση.
II
Ο Θεός δεν νοιάζεται
αν κάποιος είν' ασήμαντος
ή και σπουδαίος.
Αρκεί ο άνθρωπος
ν' ακούει τον Θεό,
να υπακούει σ' ό,τι
ο Θεός διατάζει κι εμπιστεύεται,
και τότε θα μπορεί να συνεργάζεται
στο έργο Του,
στο σχέδιό Του και στο θέλημά Του,
έτσι το θέλημα και το σχέδιό Του
ανεμπόδιστα να προχωρούν,
τέτοιες πράξεις αξίζουν,
αξίζουν την ενθύμηση από τον Θεό,
κι αξίζουν να λάβουν
την ευλογία Του.
Ο Θεός θεωρεί πολύτιμους
τέτοιους ανθρώπους
και εκτιμάει τις πράξεις τους,
καθώς και την καρδιά
και την τρυφερή
στοργή τους γι' Αυτόν.
Αυτ' είναι του Θεού η στάση.
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Χριστιανικά τραγούδια
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
Thierry Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
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
newsroom.iuk.edu/articles/2012/01-jan/milt-and-jean-cole-...
www.flickr.com/photos/iukokomo/sets/72157628800000035/
www.insideindianabusiness.com/newsitem.asp?ID=51072
foundationcenter.org/pnd/news/story.jhtml?id=367800013
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
kokomoperspective.com/news/local_news/milt-and-jean-cole-...
newsroom.iuk.edu/campus/17-campus-news/328-inspire-power-...
www.youtube.com/watch?v=uD3exIJ-hGs
www.facultyfocus.com/articles/academic-leadership/academi...
homepages.indiana.edu/issue/page/normal/439.html
www.kokomoherald.com/main.asp?SectionID=52&SubSection...
de-de.facebook.com/IndianaUniversityKokomo/posts/16732143...
www.senegalaisement.com/senegal/photos_galerie_senegal.ph...
www.kokomoherald.com/Content/News/All-News/Article/IU-Kok...
homepages.indiana.edu/web/page/normal/22373.html
tackk.com/michaelharrischancellor
articles.southbendtribune.com/2011-10-02/news/30236848_1_...
www.insideindianabusiness.com/newsitem.asp?ID=51072
articles.washingtonpost.com/2008-11-02/news/36841810_1_bi...
kokomoperspective.com/news/local_news/transformation-begi...
homepages.indiana.edu/web/page/normal/22030.html
homepages.indiana.edu/web/page/normal/20760.html
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
iufoundation.iu.edu/newsroom/archive/2012/cole-iuk-gift.html
newsroom.iuk.edu/campus/17-campus-news/310-trustees-appro...
m.foundationcenter.org/pnd/news/story.jhtml?id=295700040
newsroom.iuk.edu/campus/17-campus-news/191-milt-and-jean-...
Chancellor Michael Harris sharing the news of $1.25 million gift from Milt and Jean Cole
www.indianaeconomicdigest.net/main.asp?SectionID=31&S...
www.indianaeconomicdigest.net/main.asp?Search=1&Artic...
www.indianaeconomicdigest.net/main.asp?Search=1&Artic...
www.indianaeconomicdigest.net/main.asp?Search=1&Artic...
indianaeconomic55.1upprelaunch.com/main.asp?SectionID=31&...
www.facebook.com/kokomoradio/posts/206860172661725
www.facebook.com/kokomoradio/posts/206860172661725
www.universitiesnews.com.previewdns.com/2012/05/20/us-iuk...
www.facebook.com/IndianaUniversityKokomo/posts/1566467844...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
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-...
kokomoperspective.com/news/local_news/transformation-begi...
kokomoperspective.com/news/local_news/governor-appoints-c...
kokomoperspective.com/news/local_news/mcrobbie-chancellor...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/community/education/iu-kokomo-chanc...
kokomoperspective.com/news/iu-kokomo-finalist-for-nationa...
kokomoperspective.com/news/local_news/iu-kokomo-contribut...
kokomoperspective.com/news/iu-kokomo-recognized-for-tuiti...
kokomoperspective.com/news/iu-kokomo-sets-summer-enrollme...
kokomoperspective.com/xtra/education/iu-kokomo-graduates-...
kokomoperspective.com/xtra/education/iu-kokomo-hosts-regi...
kokomoperspective.com/kp/news/iu-kokomo-restructures-to-b...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/community-to-be-bro...
kokomoperspective.com/local_sports/intercollegiate-athlet...
kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
kokomoperspective.com/lifestyles/iu-kokomo-student-alunni...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/xtra/education/iuk-summer-enrollmen...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
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-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
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
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-...
kokomoperspective.com/news/local_news/transformation-begi...
kokomoperspective.com/news/local_news/governor-appoints-c...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/mcrobbie-chancellor...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/community/education/iu-kokomo-chanc...
kokomoperspective.com/news/iu-kokomo-finalist-for-nationa...
kokomoperspective.com/news/local_news/iu-kokomo-contribut...
kokomoperspective.com/news/iu-kokomo-recognized-for-tuiti...
kokomoperspective.com/news/iu-kokomo-sets-summer-enrollme...
kokomoperspective.com/xtra/education/iu-kokomo-graduates-...
kokomoperspective.com/xtra/education/iu-kokomo-hosts-regi...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
kokomoperspective.com/kp/news/iu-kokomo-restructures-to-b...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/community-to-be-bro...
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
kokomoperspective.com/lifestyles/iu-kokomo-student-alunni...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/xtra/education/iuk-summer-enrollmen...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
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...
bulldogs.kettering.edu/perspective/2010/08/01/china-2010/
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
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-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
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
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
homepages.indiana.edu/web/page/normal/20830.html
nciia.org/network/conference/2010/presenters/michael_harris
kokomoperspective.com/news/local_news/transformation-begi...
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
www.indianaeconomicdigest.net/main.asp?SectionID=31&S...
nciia.org/network/conference/2010/presenters/michael_harris
www.facultyfocus.com/articles/academic-leadership/academi...
tackk.com/michaelharrischancellor
blogs.forbes.com/people/michaelharrischancellor/
www.businesswire.com/news/home/20100602005505/en/Ketterin...
www.mlive.com/news/flint/index.ssf/2010/02/post_92.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/sports/iuk/naia-approves-indiana-un...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
Indiana University Kokomo Receives $1.25 Million Gift ...
philanthropynewsdigest.org/.../indiana-university-kokomo-receives-1.25...
Jan 22, 2012 - Indiana University Kokomo has announced a $1.25 million gift from the family of Milt and Jean Cole, owners of Cole Hardwood in Logansport, ...
You visited this page on 7/13/15.
Michael Harris Chancellor, IU Kokomo Chancellor, $1.25 ...
www.slideshare.net/.../indiana-university-kokomo-receives....
Jan 25, 2014 - Indiana University Kokomo Receives $1.25 Million Gift | News | PND In ... news/ indiana-university-kokomo-receives-1.25-million-gift[1/25/2014 ...
You've visited this page 3 times. Last visit: 7/13/15
Chancellor Michael Harris IUK Receives $1.25 Million Gift ...
www.slideshare.net/.../chancellor-michael-harris-iuk-rece....
Mar 1, 2014 - Indiana University Kokomo Receives $1.25 Million Gift | News | PND ... .org/news/indiana-university-kokomo-receives-1.25-million-gift[3/1/2014 ...
Michael Harris Chancellor Indiana university kokomo vision ...
www.slideshare.net/.../indiana-university-kokomo-receives....
Nov 26, 2013 - Indiana university kokomo receives $1.25 million gift. ... /indiana-university-kokomo-receives-1.25-million-gift AVrm2oYN Like 0 0 0 Google + 0 ...
www.edizionilpuntodincontro.it/libri/dieci-grandi-capi-li...
"Cavallo Pazzo, Capo Dan George, Falco Nero, Capo Joseph, Orso In Piedi, Capo Seattle, Nuvola Rossa, Ohiyesa, Red Jacket e Toro Seduto sono dieci famosi capi indiani che hanno segnato la storia di un popolo nobile e fiero. Le loro parole sono infuse di una profonda saggezza. Parlano di amicizia, dignità, coraggio, fratellanza, comprensione reciproca e amore per la natura; valori che sono alla base della tradizione del "piccolo grande popolo".
In questo illuminante e prezioso volumetto, sono raccolti dieci discorsi che ci parlano al cuore e ci permettono di conoscere un punto di vista diverso da quello a cui i luoghi comuni ci hanno abituati. I discorsi di questi grandi capi indiani vibrano di saggezza, di fierezza e di coraggio; sono discorsi che, seppure pronunciati più di un secolo fa, mantengono inalterato il loro valore morale."
"Crazy Horse, Chief Dan George, Black Hawk, Chief Joseph, Standing Bear, Chief Seattle, Red Cloud, Ohiyesa, Red Jacket and Sitting Bull are ten famous Indian leaders who marked the history of a noble and proud people. Their words are infused with profound wisdom. They talk about friendship, dignity, courage, brotherhood, mutual understanding and love for nature; values that are the basis of the tradition of the "little great people".
In this enlightening and precious booklet, ten speeches are collected that speak to our hearts and allow us to know a different point of view from the one to which clichés have accustomed us. The speeches of these great Indian leaders vibrate with wisdom, pride and courage; they are speeches which, although pronounced more than a century ago, maintain their moral value unchanged."
Thierry Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 7 Saturday October 12 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/watch-florida-g...
ncaafootball2013live.blogspot.com/2013/10/watch-florida-g...
2013 NCAA College Football Week 7
ALL LIVE GAME SCHEDULE
Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
Michigan State Spartans V Indiana Hoosiers-From:-12:00pm
Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm
TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm
Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>
Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>
Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>
South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>
Duke Blue Devils V Navy Midshipmen-From:-12:30pm
Auburn Tigers V Western Carolina Catamounts-From:-02:00pm
Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm
Western Michigan Broncos V Buffalo Bulls-From:-02:00pm
Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
Baylor Bears V Kansas State Wildcats-From:-03:30pm>>
LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm
Tulane Green Wave V East Carolina Pirates-From:-03:30pm
Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
Oregon Ducks V Washington Huskies-From:-04:00pm>>
Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm
Northern Illinois Huskies V Akron Zips-From:-05:00pm>>
Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>
North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
FIU Golden Panthers V UAB Blazers-From:-07:30pm
Mississippi State Bulldogs V Bowling Green Falcons-From:-07:30pm
UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
Utah State Aggies V Boise State Broncos-From:-08:00pm
Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
Arizona State Sun Devils V Colorado Buffaloes-From:-10:00pm
UCLA Bruins V California Golden Bears-From:-10:30pm>>
Washington State Cougars V Oregon State Beavers-From:-10:30pm
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Suppo
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 7 Saturday October 12 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/watch-florida-g...
ncaafootball2013live.blogspot.com/2013/10/watch-florida-g...
2013 NCAA College Football Week 7
ALL LIVE GAME SCHEDULE
Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
Michigan State Spartans V Indiana Hoosiers-From:-12:00pm
Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm
TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm
Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>
Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>
Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>
South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>
Duke Blue Devils V Navy Midshipmen-From:-12:30pm
Auburn Tigers V Western Carolina Catamounts-From:-02:00pm
Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm
Western Michigan Broncos V Buffalo Bulls-From:-02:00pm
Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
Baylor Bears V Kansas State Wildcats-From:-03:30pm>>
LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm
Tulane Green Wave V East Carolina Pirates-From:-03:30pm
Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
Oregon Ducks V Washington Huskies-From:-04:00pm>>
Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm
Northern Illinois Huskies V Akron Zips-From:-05:00pm>>
Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>
North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
FIU Golden Panthers V UAB Blazers-From:-07:30pm
Mississippi State Bulldogs V Bowling Green Falcons-From:-07:30pm
UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
Utah State Aggies V Boise State Broncos-From:-08:00pm
Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
Arizona State Sun Devils V Colorado Buffaloes-From:-10:00pm
UCLA Bruins V California Golden Bears-From:-10:30pm>>
Washington State Cougars V Oregon State Beavers-From:-10:30pm
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Suppo
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 7 Saturday October 12 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/watch-florida-g...
ncaafootball2013live.blogspot.com/2013/10/watch-florida-g...
2013 NCAA College Football Week 7
ALL LIVE GAME SCHEDULE
Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
Michigan State Spartans V Indiana Hoosiers-From:-12:00pm
Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm
TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm
Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>
Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>
Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>
South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>
Duke Blue Devils V Navy Midshipmen-From:-12:30pm
Auburn Tigers V Western Carolina Catamounts-From:-02:00pm
Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm
Western Michigan Broncos V Buffalo Bulls-From:-02:00pm
Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
Baylor Bears V Kansas State Wildcats-From:-03:30pm>>
LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm
Tulane Green Wave V East Carolina Pirates-From:-03:30pm
Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
Oregon Ducks V Washington Huskies-From:-04:00pm>>
Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm
Northern Illinois Huskies V Akron Zips-From:-05:00pm>>
Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>
North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
FIU Golden Panthers V UAB Blazers-From:-07:30pm
Mississippi State Bulldogs V Bowling Green Falcons-From:-07:30pm
UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
Utah State Aggies V Boise State Broncos-From:-08:00pm
Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
Arizona State Sun Devils V Colorado Buffaloes-From:-10:00pm
UCLA Bruins V California Golden Bears-From:-10:30pm>>
Washington State Cougars V Oregon State Beavers-From:-10:30pm
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Suppo
Through WSJ Online which I follow on Twitter, I was alerted to Kuroda's Wall Street Journal timely and informative opinion piece on Asia's Food Crisis (2008-05-05). I realized that this article was rich in research-based information and provided an excellent summary of a pivotal moment in the social history time-line of the way in which "Wealth Disparities Will Intensify." See Drummond and Tulk (2006). First I dugg Kuroda's article.
Then I began a slow world rhizomic process using the semantic web with its microblogs, blogs, social bookmarking, aggregators and folksonomies locating this article at the centre of a dendronic cartography.
Leaving all the windows and tabs open on Firefox I worked with and between Adobe Photoshop, notepad, blogs, etc to produce this series of layered images which I call digitage. They conform to Powerpoint's default size and highest resolution (1440 x 900). I saved them as .jpg to upload to the Flickr account using my new handy Flickr desktop uploader. These images Circum Asian Pacific Globe snurl.com/27ekf 2. "Globalization: Food, Fertilizer and Fuel", snurl.com/27el3 3. On the Tomato Trail 4. Consuming Questions: East and West snurl.com/27en3 were then combined into a .ppt PowerPoint file entitled "Food, Fertilizer, Fuel" which conforms to the slidenet.com default size. Once the slidenet.com presentation was uploaded I collected all the urls and transformed them into snurls. (Snurls are shortened urls that can also be used with microblogging services like Twitter.)
This article then on the East and West was a catalyst to my first "snurl cloud" or "snurl roll" on on Twitter. (A second snurl cloud links to the first: "Wealth Disparities Will Intensify also on Twitter (2008-05-06).
In a sense this is a virtual faint echo of Barndt's Tangled Routes (2001). See also Flynn-Burhoe (2006-11-17) on the layered digitage linking tomatoes, French Fries, fast foods, high-meat-protein-consumption, Milton Friedman's "The Social Responsibility of Business is to Increase Profits" (1970), Cannibals with Forks and Barndt's Tangled Routes: Women, Work and Globalization on the Tomato Trail (2001).
Webliography and Bibliography
Barndt, Deborah. 2001. Tangled Routes: Women, Work and Globalization on the Tomato Trail. Aurora, ON. Garamond Press.
Drummond, Don & Tulk, David (2006 ) Lifestyles of the Rich and Unequal: an Investigation into Wealth Inequality in Canada. TD Bank Financial Group.
Flynn-Burhoe, Maureen. 2006. "Wealth Disparities Will Intensify (Drummond and Tulk 2006)." >> December 15, 2006.
Kuroda, Haruhiko. 2008. "Solving Asia's Food Crisis". Wall Street Journal Asia. May 5, 2008.
Text for Flynn-Burhoe, Maureen 2008. "Food Fertilizer Fuel." >> papergirls.wordpress.com
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
Birthday Wishes for Mom. - greetings-day.com/birthday-wishes-for-mom.html #Birthday, #BirthdayWishes, #ForMom, #HAPPYBIRTHDAY
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
______________________
For information from Creative Commons on proper licensing for images believed to already be in the public domain please-- click here. By using this image from this site, you are acknowledging that you have read all the information in this description and accept responsibility for any use by you or your representatives. You are accepting responsibility for conducting any additional due diligence that may be necessary to ensure your proper use of this image.
________________
Public Domain. Suggested credit: Carl Van Vechten/Library of Congress via pingnews. Additional information from source:
TITLE: [Portrait of Billie Holiday]
CALL NUMBER: LOT 12735, no. 521 [P&P]
Check for an online group record (may link to related items)
REPRODUCTION NUMBER: LC-USZ62-116612 (b&w film copy neg.)
For publication information see "Carl Van Vechten Photographs (Lots 12735 and 12736)" (http://www.loc.gov/rr/print/res/079_vanv.html)
MEDIUM: 1 photographic print : gelatin silver.
CREATED/PUBLISHED: 1949 Mar. 23.
CREATOR:
Van Vechten, Carl, 1880-1964, photographer.
NOTES:
Title derived from information on verso of photographic print.
Van Vechten number: III GG 10.
Also available on microfilm.
Gift; Carl Van Vechten Estate; 1966.
Forms part of: Portrait photographs of celebrities, a LOT which in turn forms part of the Carl Van Vechten photograph collection (Library of Congress).
SUBJECTS:
Holiday, Billie, 1915-1959.
FORMAT:
Portrait photographs.
PART OF: Van Vechten, Carl, 1880-1964. Portrait photographs of celebrities
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
DIGITAL ID: (intermediary roll film) van 5a52120 hdl.loc.gov/loc.pnp/van.5a52120
(b&w film copy neg.) cph 3c16612 hdl.loc.gov/loc.pnp/cph.3c16612
CARD #: 2004663022
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California
This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!
Notice that there are no springs in this design, any spring action is from the steel and wood supports.
The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.
SOUTHERN PACIFIC RAILWAY POST OFFICE #12
BUILT: c.1880 BY CARTER BROTHERS
WEIGHT: 13 TONS
LENGTH: 43'
DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD
This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.
As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they
had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.
By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.
dsc00676, 34.154469,-118.307759, 2009.10.18 16.41.50, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Coupler.jpg
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
enriqueviolanevado.blogspot.com.es/2016/05/comentario-de-...
En Madrid se halla una multitud de nobles, unos opulentos, otros ricos y mucha parte pobres que no contribuyen poco a la decadencia de su población, a la agricultura, al comercio y fábricas. La alta idea que tienen concebida de su nacimiento los entretiene en la inacción, y en la ociosidad, con el pretexto de adquirir algún empleo capaz de mantener su familia con decencia, y no ponerle algún borrón, [rehúyen] el aplicarse al comercio, a las manufacturas, o a cualquier género de industria, y desprecian con altanería al labrador y al artesano. En España el que tiene origen noble, toda su descendencia es noble, por más pobre y vaga que sea; como al contrario el labrador y artesano por más riquezas que hayan adquirido [...] si no nació noble nunca lo será, si no se le concede tal privilegio por el Rey.
LARRUGA, E.: Memorias políticas y económicas, 1787, pp. 9-10.
Comentario
Eugenio Larruga Boneta (Zaragoza, 1745-Madrid, 1803) fue un historiador y economista español. Catedrático en la Universidad de Zaragoza, ocupó diversos cargos institucionales. Realizó estudios sobre la economía y la administración territorial española. Es considerado una de las figuras más prominentes de la Ilustración en España. Entre sus libros destaca las Memorias políticas y económicas sobre los frutos, fábricas, comercio y minas de España, con inclusión de las órdenes, disposiciones y reglamentos expedidos para su gobierno y fomento. Con ayuda estatal, fue publicando esta magna obra entre 1787 y 1800, bien que quedó inconclusa. El fragmento que figura en el examen procede de esta obra, en concreto del primer tomo.
En el texto el autor realiza una crítica a la nobleza española, a la que considera como una de la que causas del atraso económico de la nación, pues todo aquel que se considere noble cree que se deshonra si trabaja en el comercio o en las manufacturas, considerando la agricultura y la artesanía como especialmente humillantes. Estos prejuicios pasan de padres a hijos, pues la condición de aristócrata es hereditaria y afecta a toda la descendencia. Además no depende del nivel de riqueza, sino que únicamente se consigue por nacimiento o mediante nombramiento real. La abundancia de nobles en la ciudad de Madrid se explica por qué en la capital existen más posibilidades de conseguir empleos «honrosos» como escribanos, procuradores, abogados…
El fragmento es una muestra elocuente de la desigualdad jurídica y el inmovilismo que caracterizaba a la sociedad estamental, con una marcada división entre grupos privilegiados (nobleza y clero) y el llamado tercer estado. Los ilustrados y la dinastía borbónica intentaron cambiar esta situación, llegándose a publicar en 1783 una Real Cédula que decretaba que los oficios artesanales ni eran deshonrosos ni inhabilitaban para la función pública. Con todo, hubo que esperar a las revoluciones liberales, en concreto a la Regencia de María Cristina de Borbón, para liquidar el entramado jurídico del Antiguo Régimen, y aun así, se realizó mediante transacciones que permitieron a la nobleza conservar (e incluso aumentar) sus posesiones.
Observaciones:
1. El texto de Eugenio Larruga registra en las pruebas de 2014 - 2015 su primera aparición en la selectividad andaluza. Hay que recordar que el primer tema se introdujo en el curso 2012-2013, por lo que su repertorio de prácticas resulta muy limitado. Con todo, se debe recordar que en los primeros exámenes del milenio aparecían contenidos de esta etapa de la Historia de España.
2. La reproducción del texto supone una adaptación del original bastante chapucera. Donde aparece «y no ponerle algún borrón, [rehúyen] el aplicarse al comercio» debería figurar «y no ponerle algún borrón; porque su política gradúa de tal el aplicarse al comercio». Más abajo se ha suprimido un revelador «en su tráfico e industria, en beneficio y ventajas del estado».
3 .En la selectividad se otras latitudes se incluye un segundo párrafo que ayuda, y no poco, a clarificar el sentido del texto. Añadiendo esta segunda parte y corrigiendo las adaptaciones el texto quedaría así:
«En Madrid se halla una multitud de nobles, unos opulentos, otros ricos y mucha parte pobres que no contribuyen poco a la decadencia de su población, a la agricultura, al comercio y fábricas.
La alta idea que tienen concebida de su nacimiento los entretiene en la inacción, y en la ociosidad, con el pretexto de adquirir algún empleo capaz de mantener su familia con decencia, y no ponerle algún borrón, porque su política gradúa de tal el aplicarse al comercio, a las manufacturas, o a cualquier género de industria, y desprecian con altanería al labrador y al artesano. En España, el que tiene origen noble, toda su descendencia es noble, por más pobre y vaga que sea; como al contrario, el labrador y el artesano, por más riquezas que hayan adquirido con su tráfico o industria, en beneficio y ventajas del Estado, si no nació noble, nunca lo será, si no se le concede tal privilegio por el Rey.
De ahí proviene que el mercader y el artesano que llegó a hacerse rico, se llena de vanidad y abandona el comercio y las artes y procura aplicar a sus hijos a los empleos que tienen por honrosos; y no de otro principio nace tanto número de frailes, abogados, escribanos, procuradores, agentes y otras personas de sobra. Como los hijos de éstos no pueden sostenerse muertos sus padres, se echan a escribientes o a pajes. En el diario se lee la multitud de jóvenes desacomodados que buscan su fortuna por este camino; los que la mayor parte hubieran quedado en sus lugares, sino les hubiera cautivado el cebo halagüeño de labrar su fortuna con comodidad, y a costa del sudor de las partes más desvalida del estado.»
_______________________________________________
El cuadro que preside esta entrada es «La Cocina» de Ramón Bayeu y Subías. Fue realizado como «cartón» o modelo para para la madrileña Real Fábrica de Tapices de Santa Bárbara en torno a 1780. Se trata de un óleo sobre lienzo cuyas medidas son 126 x 199 centímetros.
El tapiz realizado, que pertenece al Patrimonio Nacional, se encuentra en el Palacio de la Granja de San Ildefonso. El cuadro aparece descrito en los recibos de entrega como: «Una cocina con trebejos correspondientes de alambres y en ella se ve al cocinero y al galopín pelando caza y dos mujeres trabajando, y otra para servir». Fue tasado en 3.000 reales.
En junio de 2009 esta obra fue vendida en una subasta extraordinaria realizada en la madrileña Sala Retiro. El precio de salida fue de 100.000 euros. Se desconoce la cifra que, finalmente, alcanzó. Fue adquirido por el empresario y gran coleccionista de arte Juan Antonio Pérez Simón, de origen español y nacionalidad mexicana. Se exhibe, en concepto de depósito, en el Museo de Asturias, emplazado en la ciudad de Oviedo.
Hemos elaborado la reseña con datos procedentes de estas páginas;
www.revistadearte.com/2009/05/22/se-subasta-la-cocina-de-...
www.elcomercio.es/v/20110413/cultura/cocina-bayeu-colecci...
Procedencia de la imagen:
Hacker: "originally, someone who makes furniture with an axe", according to The Jargon File.
I think this shutter was made by a hacker... who use the axe to paint it, too.
Since the first 7 points of the hacker definition can also be used to describe myself, I bought this fancy toy to restore the original hacker work. After all, a sander called "Mouse" is perfect for a hacker... the problem is I'm always trying to turn the wheel ;-)
I've a heavy duty sander (8 kg!) which is good to sand the keel of an aircraft carrier (if you can find a wood one), but it is not very appropriate for small details.
I've seen this small sander at our local version of Home Depot for 35 euro, but it was out of stock and the clerk suggested me to visit the other shop, 50 km away. Before to waste a couple of hours and 7,50 euro of gasoline I asked him to check the inventory on their network, and he stared at me just like I've demanded a spare hadron collider. So I came home, check on eBay and found the same sander in Rome for 1 euro less, shipping included.
Next time I'll check eBay before to go to the shop... so I'll save another 15 km.
Now I guess you want to know the strobist infos...
- lens: SMC Pentax-DA 16-45mm F4.0 ED/AL
- flash on the left: Hanimex TZ1 in tele mode with standard diffuser - 0.13 GBP (yes! 0.16 euro!) on eBay
- left trigger: cactus like
- flash on the right: Vivitar 3500 Thiristor in wide mode, without diffuser - this one far more expensive, 10.50 GBP (13.26 euro) on eBay
- right trigger: ebay optical slave
See the setup below for the flash positions.
If you want to see the shutter "before" version, it had the same ugly color of the rest of this door.
~~~~~~~~~~~~~~~~~~~~~~~~
Hacker: "originariamente, qualcuno che costruiva mobili con un'ascia", secondo The Jargon File.
Penso che questo scuro sia stato fatto da un hacker... che ha usato l'ascia pure per pitturarlo.
Visto che i primi 7 punti della definizione di hacker possono essere anche usati per descrivere me, ho comprato questo bel giocattolino per restaurare il lavoro originale dell'hacker. Dopotutto, una levigatrice chiamata "Mouse" è perfetta per un hacker... il problema è che cerco sempre di girare la rotella ;-)
Ho una levigatrice pesante (8 kg!) che sarebbe buona per levigare la chiglia di una portaerei (se ne trovate una in legno), ma che non è molto appropriata per i piccoli dettagli.
Ho visto questa piccola levigatrice in una negozio di bricolage a 35 euro, ma era esaurita e il commesso mi ha suggerito di visitare l'altro negozio della catena, a 50 km di distanza. Prima di perderci un paio d'ore e 7.50 euro di benzina gli ho chiesto di verificare l'inventario sulla loro rete, e mi ha guardato come se gli avessi chiesto un collisore di adroni. Così me ne sono tornato a casa, ho guardato su eBay ed ho trovato la stessa levigatrice a Roma, per 1 euro meno spedizione compresa.
La prossima volta guarderò su eBay prima di andare fino al negozio... per risparmiare altri 15 km.
Ora immagino vorrete conoscere le info strobiste:
- ottica: SMC Pentax-DA 16-45mm F4.0 ED/AL
- flash a sinistra: Hanimex TZ1 in modo tele mode with diffusore standard - 0.13 GBP (si! 0.16 euro!) su eBay
- trigger a sinistra: tipo cactus
- flash a destra: Vivitar 3500 Thiristor in modo wide, senza diffusore - questo molto più costoso, 10.50 GBP (13.26 euro) on eBay
- trigger a destra: servoflash ottico preso su ebay
Guardatevi il setup più sotto per le posizioni dei flash.
Se volete sapere com'era lo scuro "prima", aveva lo stesso colore angoscioso del resto di questa porta.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
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
twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.(Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine À Saint-Étienne comme ailleurs, les raisons de la réalisation de constructions si modernes durant les Trente Glorieuses relèvent en partie de la réponse donnée à la crise du logement et de la réorganisation industrielle du pays (fixation de la main-d’œuvre, industrialisation du BTP). Mais il faut aussi y voir la traduction physique d’un projet sociopolitique moderne porté par un État centralisateur et des pouvoirs publics puissants (Tomas et al. 2003 ; Dufaux et Fourcaut 2004 ; Veschambre 2011). Le pays est alors dans une période où les aspirations et idéologies portent vers la construction d’une nouvelle ère urbaine, avec ses ambitions (le bien-être, l’hygiène…), et en rupture avec les difficultés d’alors (le taudis, la maladie, l’individualisme…). www.metropolitiques.eu/Les-representations-complexes-des.... les textes de Rachid KADDOUR @ Le logement, jusqu’ici inconfortable et insuffisant, devient l’un des axes majeurs d’intervention : plus de huit millions d’unités sont construites durant la période. La forme de ces logements se doit d’être aussi moderne que le projet. De grands noms et une nouvelle génération d’architectes sont mobilisés. Ceux-ci dessinent des formes géométriques épurées et, dans les opérations importantes, les évolutions techniques leur permettent de multiplier les signaux que sont les longues barres ou hautes tours autour desquelles se structurent les autres immeubles. Comment la tour Plein-Ciel a-t-elle pu passer de symbole de modernité à « emblème d’un désastre urbain » condamné à la démolition ? Tout d’abord, une partie des équipements de la ZUP et la moitié seulement des logements sont réalisés, du fait de prévisions démographiques non atteintes (Vant 1981 ; Tomas et al. 2003). L’inachèvement accentue les désagréments de la situation à six kilomètres du centre, derrière des infrastructures lourdes. Ensuite, tout au long des années 1980 et 1990, la population de Montreynaud se paupérise (départ des plus aisés vers la propriété, montée du chômage) et « s’ethnicise », avec pour effet, suivant des mécanismes analysés ailleurs (Tissot 2003 ; Masclet 2005), que le regard porté sur elle change : dans les discours politiques et la presse, Montreynaud acquiert l’image d’un quartier dangereux. Dès lors, le quartier entre dans les réhabilitations puis la rénovation [6], mais sans effet important sur la vacance, la pauvreté, l’échec scolaire, la délinquance ou les discriminations. Pour de nombreux Stéphanois, il devient un « là‑haut » [7] relégué. La tour devient le symptôme visible de cette dégradation. Des rumeurs se diffusent dès les années 1970 sur sa stabilité et l’isolation du château d’eau [8]. Dix ans après sa livraison, seuls 50 des 90 appartements sont vendus. Cette vacance conduit à l’aménagement d’un « foyer de logements » pour personnes dépendantes psychiatriques qui accentue l’image d’un quartier de relégation. La gestion difficile du foyer et les problèmes financiers d’une partie des propriétaires amènent à classer la copropriété comme « fragile » en 2002. Une étude indique que la démolition « aurait un impact positif sur la requalification du parc de logements du quartier et permettrait également de promouvoir un changement d’image du site » [9]. Le dernier habitant est relogé fin 2008. Acte 3 : la tour Plein-Ciel, monument symbole de Saint-Étienne D’autres images du corpus indiquent toutefois que, à partir des années 2000, l’image stigmatisée de la tour Plein-Ciel comme emblème d’un grand ensemble en difficulté entre en tension avec une autre image plus valorisante d’édifice symbole de Saint-Étienne. En en faisant l’un des théâtres stéphanois de sa saga, Sabri Louatah reconnaît à la tour Plein-Ciel une place particulière dans la ville. Cette représentation se retrouve, de manière beaucoup plus consciente et militante, dans d’autres productions artistiques durant les années 2000. La tour est notamment représentée sur les affiches du festival Gaga Jazz. Si le festival se veut d’ampleur régionale, son nom montre un ancrage stéphanois – le « gaga » désigne le parler local. Le choix d’identité visuelle va dans le même sens : il s’agit « d’utiliser l’image d’un bâtiment symbole à Saint-Étienne » [10]. Pour les graphistes, la tour s’impose, parce qu’elle est « un monument connu de tous les Stéphanois ». Un monument qui a les honneurs d’une carte postale en 1987 [11], et qui, comme il se doit, est abondamment photographié. Jacques Prud’homme, par exemple, la montre sur plusieurs sténopés visibles sur son blog [12]. Pour lui aussi, la tour est l’un des « symboles de Saint-Étienne ». Saint-Étienne, ville industrielle durement frappée par la crise du logement, est exemplaire du mouvement. Les grands ensembles s’y multiplient. Implantés sur des sommets de collines aux entrées de la ville, ils doivent signifier le renouveau. Montreynaud, « nouvelle petite ville à part entière » [3], joue de ce point de vue un rôle clé. Sa tour, en sommet de colline et dont le château d’eau est illuminé la nuit, en est l’emblème, un « symbole de la modernité » [4]. La tour doit son nom au fait de proposer « des appartements en plein-ciel » [5], et l’on peut voir dans cette dénomination une valorisation de la verticalité, à la fois comme source d’oxygène et de lumière, mais aussi comme signal urbain.
Acte 2 : la tour Plein-Ciel, symbole d’un grand ensemble en difficulté Si l’on classe chronologiquement le corpus d’images identifiées, la tour Plein-Ciel ressurgit significativement dans les champs de la communication institutionnelle et des arts au tournant des années 2000‑2010. Dans la littérature, l’intrigue de la saga Les Sauvages de Sabri Louatah débute à Saint-Étienne, et la tour Plein-Ciel en est un cadre important :
Pourquoi la tour Plein-Ciel a-t-elle pu être ainsi considérée comme « un monument ancré dans le paysage stéphanois » [13] ? La combinaison peut-être unique en France d’une tour d’habitation à un château d’eau en fait un édifice singulier. Couplée avec son implantation en sommet de colline, cette singularité fait de la tour un point de repère important pour les Stéphanois, mais aussi pour les nombreux supporters de l’AS Saint-Étienne qui se rendent au stade, dont elle est voisine. D’ailleurs, la tour est utilisée comme édifice emblème de la ville sur au moins un autocollant et un tifo de supporters, aux côtés des symboles miniers (chevalement, « crassiers ») et du stade Geoffroy-Guichard. Cette représentation faisant de la tour un « monument » aurait pu sauver l’édifice, suivant un mécanisme, classique dans l’histoire du patrimoine, de défense devant une menace de démolition. De nombreux Stéphanois réagissent, et, pour l’association Gaga Jazz, « les affiches et flyers invitant les Stéphanois aux concerts de jazz font aussi office d’actes de revendication pour la conservation ». La nouvelle équipe municipale socialiste de Maurice Vincent, élue en 2008, reconnaît que la tour « représente un symbole » [14]. Elle soumet en 2010 au vote des habitants de Montreynaud deux possibilités : développer la valeur et la fonction de repère de la tour en la transformant en « symbole artistique de la ville de Saint-Étienne » [15] via l’intervention d’un plasticien, ou bien la démolir et aménager un parc : 71 % des votants se prononcent pour la démolition, soit 230 personnes sur les 318 votants. Les défenseurs de la conservation expriment un double regret : l’ouverture du vote aux seuls habitants de Montreynaud, et la très faible mobilisation de ces derniers. La démolition de la tour a lieu le 24 novembre 2011. Son foudroyage la met une dernière fois sous les projecteurs des nombreux appareils audiovisuels présents. Les images produites s’ajoutent à celles existantes, et constituent autant de traces d’un immeuble dont il n’en reste plus aucune sur le terrain. Cette fin dramatique donne à cette chronique des allures de représentation théâtrale, en trois actes : naissance puis mort de l’édifice, avec un ultime soubresaut sous la forme d’une tentative vaine de sauvetage au nom du patrimoine. C’est une troisième définition du terme de représentation qui est mobilisée dans cette conclusion. Ce sont en effet des représentations, en images et en mots, qui ont permis de constituer cette chronique de la tour. Cette dernière révèle que trois représentations mentales sont associées à l’édifice et à sa verticalité : pour la puissance publique ayant commandé sa réalisation et pour les premiers résidents, la tour est un symbole de modernité ; pour une partie des Stéphanois, mais aussi pour les acteurs ayant décidé sa démolition, elle est l’emblème d’un grand ensemble stigmatisé ; et enfin, pour d’autres Stéphanois, habitants de Montreynaud ou artistes entre autres, la tour est un objet phare et patrimonial dans le paysage de Saint-Étienne. Aux côtés, par exemple, de la Tour panoramique à la Duchère (à Lyon), qui a été profondément rénovée, cette mise en évidence de la trajectoire des perceptions de la tour Plein-Ciel permet d’expliciter que la verticalité dont nos villes ont hérité, tout du moins celle présente dans les grands ensembles, fait l’objet d’un système de représentations complexe et en tout cas plus varié que celui présenté dans les discours de légitimation de la rénovation urbaine.
Bibliographie Dufaux, F. et Fourcaut A. (dir.). 2004. Le Monde des grands ensembles, Paris : Créaphis.
Louatah, S. 2011. Les Sauvages, tome 1, Paris : Flammarion–Versilio. Masclet, O. 2005. « Du “bastion” au “ghetto”, le communisme municipal en butte à l’immigration », Actes de la recherche en sciences sociales, n° 159, p. 10‑25.
Tissot, S. 2003. « De l’emblème au “problème”, histoire des grands ensembles dans une ville communiste », Les Annales de la recherche urbaines, n° 93, p. 123‑129.
Tomas, F., Blanc, J.-N. et Bonilla, M. 2003. Les Grands Ensembles, une histoire qui continue, Saint-Étienne : Publications de l’université de Saint-Étienne.
Vant, A. 1981. Imagerie et urbanisation, recherches sur l’exemple stéphanois, Saint-Étienne : Centre d’études foréziennes. Veschambre, V. 2011. « La rénovation urbaine dans les grands ensembles : de la monumentalité à la banalité ? », in Iosa, I. et Gravari-Barbas, M. (dir.), Monumentalité(s) urbaine(s) aux XIXe et XXe siècles. Sens, formes et enjeux urbains, Paris : L’Harmattan, p. 193‑206.
Notes
[1] Extraits tirés du film Saint-Étienne, on en parle (Atlantic Film, 1970) associé à l’exposition.
[2] Dont Les grands travaux à Saint-Étienne, ville de Saint-Étienne, 1974.
[3] Brochure publicitaire Montreynaud, Saint-Étienne, résidence les Hellènes, non daté.
[4] Propos tenus par un habitant installé dès l’époque.
[5] Brochure publicitaire Des appartements en plein-ciel. La tour de Montreynaud, non daté.
[6] Avec, dans un premier temps, le grand projet de ville (GPV) en 2001, puis la convention avec l’Agence nationale pour la rénovation urbaine (ANRU) en 2005.
[7] Expression régulièrement entendue lors des entretiens.
[8] « Le château d’eau : mille m³ qui ne fuiront pas », La Tribune, 17 novembre 1978, p. 14.
[9] Lettre d’information aux habitants de Montreynaud, ville de Saint-Étienne, mai 2003.
[10] Entretien avec Damien et Sébastien Murat (DMS photo), graphistes.[14] Propos de l’adjoint à l’urbanisme, « Tour Plei
« La tour Plein-Ciel se dressait avec une majesté sinistre au sommet de la colline de Montreynaud […]. À l’aube du XXIe siècle, sa démolition avait été plébiscitée par les riverains […]. La célèbre tour au bol était visible depuis la gare en arrivant de Lyon, et beaucoup de Stéphanois la considéraient […] comme le point doublement culminant de la ville : du haut de ses soixante-quatre mètres qui dominaient les six autres collines mais aussi en tant qu’emblème, d’un désastre urbain éclatant et d’une ville résignée à la désindustrialisation » (Louatah 2011, p. 89).Cette description exprime bien la situation dans laquelle la tour se trouve à la rédaction du roman : en attente de démolition. En 2011, les photographies de Pierre Grasset (voir un exemple ci-dessous), missionné par la ville, montrent l’édifice moribond. L’image de la tour est en France encore fortement attachée à celle du logement populaire, du fait notamment de la présence de ce type d’édifice dans les grands ensembles. Or, si l’on parle des tours d’habitat populaire depuis 2003, c’est essentiellement à propos des démolitions : l’Agence nationale pour la rénovation urbaine (ANRU) incite les bailleurs à détruire prioritairement dans les zones urbaines sensibles les immeubles les plus imposants, dont les tours les plus hautes. Mais l’image négative du « problème des banlieues » et de ses dysfonctionnements est-elle la seule associée aux tours d’habitat populaire ? Ne tend-elle pas à laisser dans l’ombre d’autres représentations attachées à ces édifices ?Une réflexion sur la tour Plein-Ciel à Saint-Étienne est, sur ces points, riche d’enseignements. Tenant une place prépondérante dans le paysage stéphanois, emblématique de l’image des grands ensembles, cette tour édifiée en 1972 est démolie en 2011. La constitution et l’analyse d’un corpus d’une dizaine d’images promotionnelles et artistiques (films, photographies de communication) la mettant en scène permet d’en établir une chronique. Cette dernière met en évidence un système de représentations complexe : tout au long de ses quarante ans d’histoire, l’édifice est en effet perçu comme symbole de modernité, emblème de grand ensemble en difficulté et monument dans le paysage stéphanois. Ces deux dernières représentations, l’une stigmatisée, l’autre valorisée, coexistent même lors des dernières années de la vie de l’édifice. Dans toutes ces représentations différenciées et concurrentes, la verticalité de l’édifice tient un rôle essentiel.Acte 1 : la tour Plein-Ciel, symbole de modernité L’image la plus ancienne identifiée date de 1970. Il s’agit d’un cliché de la maquette de la zone à urbaniser en priorité (ZUP) de Montreynaud, pris sur le stand de l’exposition « Saint-Étienne demain » de la Foire économique. Cette exposition vante les grandes opérations d’urbanisme en cours dans la ville, et vise à montrer « les transformations de la cité et son nouveau visage », afin de rompre avec la « légende de ville noire, industrielle et fixée dans le XIXe siècle » [1]. L’exposition fait partie d’une communication orchestrée par le maire Michel Durafour (1964‑1977). À partir de 1973, les reportages photographiques ou les films [2] mettent à l’honneur Montreynaud (jusqu’à 4 400 logements prévus) et en particulier sa tour Plein-Ciel (par l’architecte Raymond Martin), avec sa verticalité (18 niveaux), le château d’eau qui la coiffe et sa situation en rupture avec la ville ancienne. -La Tour Réservoir Plein Ciel était un immeuble de logement situé à Saint-Étienne, dans le quartier de Montreynaud, classé en zone urbaine sensible. Elle culminait à 63 mètres de haut (92 avec l'antenne).
La tour avait été construite en 1972 par l'architecte Raymond Martin, l'antenne de 63 mètres de haut reste jusqu'en 1992 avant de retour en 1996 afin de répondre à la demande considérable en logements. Elle était considérée comme un symbole du quartier. Visible de loin, elle permettait de repérer le quartier dans la ville.Sa destruction a été effectuée le 24 novembre 2011 à 10 h 45 par foudroyage, après le vote majoritaire (73 %) en faveur. --------------------------------------- Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962 ..missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695... Mémoire2cité Mémoire2Ville Mémoire de l'Habitat,içi la page listant mes 43 albums photos disponibles, çe x 1000 pour chacuns d'entre eux ..Merci aux 5859 followers qui porte une attention particuliere à nos quartiers..la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Levittown: The Construction and Systematic Execution of Discrimination in Modern Suburbia (NHD 2018) www.youtube.com/watch?v=9_KrD6PkX0M … … 17000 maisons en 2 ans un record dans l histoire des annees 60 @ la grande Acceleration @ Un point de bascule avec le changement de regime d'existence les 30 glorieuses americaine @ la constructions de masse.., ici LEVITTOWN a LONGISLAND, 17000 pavillons en 2 ans un Record...Yes this is it my Our Home Town: Levittown, PA (1954) - www.youtube.com/watch?v=9_KrD6PkX0M les 30 glorieuses atomique @ le projet PLOWSHARE de 1957 LE FILM ICI www.youtube.com/watch?v=kpjFU_kBaBE … STRAUSS le promoteur du nucleaire Americain les 30 glorieuses Américaine @ quand celles çi ratent le coche sur le developpement solaire... les occasions manquées de soigner notre humanité..www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695.. A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.
Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.
La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.
- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.
- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)
Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.
- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.
CRITICAL RUN IS A DEBATING FORMAT
www.emergencyrooms.org/criticalrun.html
THE 28/03/2012 we debate
IS NAVIGATION A TREAT ?
CAN ART BE CURATED BY A PHONE ?
"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH
The App store has taken over state institutions like staten museum for kunst
Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .
but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts
is forgetting an active state
is beeing guided a state of apathy .
( i heard once at a DR- news conference that people need to be guided because they are stupid )
should we debate those issues together before to jump
Is the role of the national museum to promotte compagnies that some would also consider as global threat ?
the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )
we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )
every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win
The Critical Run is in collaboration with BAZART and Critical Run
www.emergencyrooms.org/criticalrun.html
this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .
if you like to be one of the global critical run organisateur please contact : 1@colonel.dk
--------
and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )
library.nothingness.org/articles/SI/en/display/2
CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk
A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .
HOW IT WORKS .
A DIFFICULT QUESTION INDEED ....
the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions
.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)
THE DELEGATION :
Saied Masoudian
Neringa Abrutyte
Rene Victor Valqui Vidal
Marina Testa Pedersen
Diallo Ibrahima Sory
Pero Pivas
Branka Pivas Onofri
Faranak Sohi
Marcelo Lerer
Maher Khatib
Shohreh Shahrzad
Antonieta Medeiros Urioste
Maia Hauser
Åsmund Boye Kverneland
Thomas Fleurquin
Victor Monchamp
Ada Ortega Camara
Tijana Miskovic
Ginka Rinkova
Thierry Geoffroy
Elizabeth Löwe Hunter
Maja Spangsberg Jakobsen
Juan Fernando Lope
thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy
www.johnsanidopoulos.com/2011/06/holy-monastery-of-saint-...
The Holy Monastery of Saint Nicholas of the Cats.
“It is wonderful to see them, for nearly all are maimed by the snakes: one has lost a nose, another an ear; the skin of one is torn, another is lame: one is blind of one eye, another of both. And it is a strange thing that at the hour for their food, at the sound of a bell, they collect at the monastery and when they have eaten enough, at the sound of that same bell, they all depart together to go fight the snakes.” - The Venetian Francesco Suriano (1484)
Spooky
April 28th, 2011
Oddity Central
The Monastery of Saint Nicholas of the Cats is regarded as a sacred cat haven in Cyprus, as it’s name has been linked to felines for almost 2,000 years.
The original monastery was built in 327 AD, by Kalokeros, the governor of Cyprus appointed by Constantine the Great, and patronised by Saint Helen, the mother of Constantine the Great. At that time, a terrible drought affected the whole of Cypus, and the entire island was overrun with poisonous snakes which made building the monastery a dangerous affair. Many of the inhabitants left their homes and moved off the island, for fear of the snakes, but Saint Helen came up with a solution to the plague – she ordered 1,000 cats to be shipped in from Egypt and Palestine to fight the reptiles.
In the following years, the cats did their duty, hunting and killing most of the snakes in the Akrotiri Peninsula, which soon came to be known as the “Cat Peninsula”. The monks would use a bell to call the cats to the monastery at meal time, and then the felines were dispatched to their snake-hunting duties. Pilgrims from all around Europe traveled to the Holy Monastery of Saint Nicholas to see its feline guardians, and the discovered documents of a Venetian monk describe them as scarred, missing various body parts, some completely blind as a result of their relentless battle against the snakes.
According to the writings of Father Stephen de Lusignan, in 1580, the Byzantine monks at the Monastery of Saint Nicholas were awarded the surrounding lands, on one condition – they had to take care of at least 100 cats and feed them at least twice a day. Legend has it, the cats were so well trained they knew that when the bell rang once they had to go hunting for snakes, and when it rang a second time, it was meal time at the monastery.
During the Turkish invasion, the Monastery of Saint Nicholas of the Cats was completely destroyed and its residing monks slaughtered or taken into captivity. Left without food and shelter, the cats left and wandered around the island, which explains the large number of cats currently living in Cyprus. Even now, locals appreciate their help in getting rid of the snakes centuries ago, and take good care of them, even if they’re strays.
After being rebuilt and abandoned several times, the modern history of the Monastery of Saint Nicholas of the Cats began in 1983, when it was assigned to a group of nuns. When they arrived there wasn’t a cat in sight, but the number of snakes was once again overwhelming, so they did exactly what Saint Helen did over 1,500 years ago – they brought in a couple of cats. Their numbers grew, over the years, and there are now six nuns at the monastery and over 70 felines. Many people bring abandoned cats to this place, and the nuns take them in.
The Monastery of Saint Nicholas of the Cats receives a small subsidy from the government, but that isn’t enough to take care of the entire feline population, so the nuns rely on donations made by locals or cat-loving tourists.
www.facebook.com/home.php#!/photo.php?fbid=458435039504&a...
www.vinisicilia.com/it/sicilia/strada_del_vino_doc_monrea...
Strada del Vino DOC Monreale
Fra le tante definizioni che hanno avuto ad oggetto in questi anni l’universo siciliano - ricordiamo quelle di Jean Houel, Goethe, Monpassant - è rimasta nell’immaginario collettivo, molto forte, l’immagine data da Renè Bazin che a fine Ottocento descriveva così il paesaggio siculo: “vorrei tentare di darne qualche idea. Non hanno nomi negli atlanti né nelle guide, eppure sono così diversi, e se voi andate a nord, a sud oppure ad est, incontrerete quasi sempre uno di essi. In mancanza di meglio li chiamerò terra di agrumi e terra da grano. […] E’ un deserto di frumento. Il suolo ondeggia, senza un albero, senza una siepe, senza nulla che arresti la vista. Un tappeto di stoppie indefinito, senza solchi, interamente d’oro”.
In realtà la Sicilia è anche un’ “oceano verde” con variegati aspetti, ovvero un paesaggio e una qualità visiva che cambia da luogo a luogo.
Le Strade del Vino di Sicilia valorizzano queste varietà di luoghi e persone, interessando territori maggiormente toccati dal turismo o località meno battute.
La Strada del Vino Monreale Doc, nello specifico, promuove il territorio monrealese e in parte l’areale di Piana degli Albanesi interessato dalla Denominazione inaugurata con la vendemmia 2001, corrispondente a un vigneto compessivo di circa 12 mila ettari, con uve bianche e nere, autoctone e internazionali.
La posizione è felicissima non solo per la vicinanza alla città di Palermo in termini di ricchezza del paniere gastronomico che vede in trionfo il cannolo, gli arancini, le pappardelle alla monrealese, le panelle, gli sfincioni, la pasta finocchi e sarde, gli analetti, il caciocavallo, il torrone di mandorle in crosta di zucchero, i buccellati e i biscotti di San Martino.
Ma è felice anche la particolare georeferenzialità di questo percorso.
Siamo infatti alle spalle di Palermo, a soli 8 Km di distanza dal centro e a una manciata di minuti da Alcamo.
I comuni complessivamente interessati dal nuovo itinerario del vino sono Camporeale, San Giuseppe Jato, San Cipirello, Santa Cristina Gela, Corleone e Roccamena.
Ma il cuore ruota intorno alla cittadina di Monreale (Mons Regalis), che ha una peculiarità storica di grande importanza, ovvero quella di essere una città di 30.000 abitanti sorta intorno all’immensa e meravigliosa Cattedrale.
Questo Duomo arabo-normanno, un vero e proprio capolavoro architettonico, fu fatto edificare da Guglielmo II a partire dal 1174 su un ripiano naturale che ad est domina l’immenso agrumeto della Conca d’Oro dove i Re normanni avevano costruito le loro dimore.
La Cattedrale di Monreale rappresenta il massimo esempio di architettura Normanna in Sicilia. L’idea che guidò Guglielmo II nella sua decorazione fu quella di superare la bellezza e l’imponenza di analoghi monumenti quali la Cappella Palatina di Palermo e il Duomo di Cefalù.
Il sovrano impiegò quindi colossali ricchezze nelle decorazioni interne, fino alla conclusione della parte più impegnativa di lavori che avvenne intorno al 1186, anno in cui fu collocata la monumentale porta in bronzo, opera di Bonanno da Pisa.
Attorno a questo nucleo nacque, a successive ondate, la città.
Alla fine del XIII secolo un piccolo agglomerato era già chiamato Monte Reale e si articolava tra i due quartieri del Pozzillo. Tra il 1400 e il 1700 sono sorti i quartieri Carmine, San Castrenze, Santo Vito, Baviera e Carrubbella.
Tra il Cinquecento ed il Seicento vengono costruite alte mura e porte che cingono tutto il perimetro della città. Infine, con il Settecento, si conclude il periodo d’oro di Monreale.
Il monumentale complesso del Duomo con i suoi mosaici di tipo bizantino, l’ex convento dei Benedettini, il chiostro, il belvedere, il palazzo municipale ed il seminario dei chierici rappresentano insieme alle chiese settecentesche e le Fontane del Drago e del Tritone un misto di civiltà, arte, storia e culture diverse che non mancano di imprimersi nella memoria di chi visita.
Venendo in questi luoghi si consiglia anche una visita al Lago di Scanzano, alla Riserva di Serre della Pizzuta dove sono stati rinvenuti resti fossili di 250 milioni di anni fa e agli scavi archeologici del Monte Jato che hanno rilevato testimonianze di insediamenti del primo millennio a.C.
44/100 Possibilities~ 100 Possibilities Project set
www.pbs.org/moyers/journal/01232009/transcript2.html
BILL MOYERS: Usually it's the bandits robbing the banks. But now it's getting hard to tell the bankers from the bandits. Where have they stashed the loot — that 350 billion dollars of our money that the Bush Administration lavished on them to jump-start our failing economy?
For a story in last Sunday's "New York Times", largely overlooked in all the pre-inaugural hoopla, reporter Mike Mcintire reviewed investor presentations and conference calls to see how bankers talk when they think the rest of us aren't listening.
This from Boston Private Wealth Management, a healthy bank that was handed $154 million: "With that capital in hand [...] we'll be in a position to take advantage of opportunities that present themselves once this recession is sorted out."
Once this recession is sorted out? Those funds are supposed to generate loans for people and small businesses in trouble — not to help banks ride out the recession on a cushion of cash.
Then there's this bit of Simon Legree mustache-twirling from the chairman of Whitney National Bank in New Orleans. They've received 300 million dollars in bailout boodle: ""Make more loans?" he asked. "We're not going to change our business model or our credit policies to accommodate the needs of the public sector as they see it to have us make more loans."
I'm not making this up — Flushing Financial crowed that it was newly flush enough to use the bailout bucks to raise the ante and buy new companies:
"We can get $70 million in capital," their CEO said. "So, I would say the price of poker, so to speak, has gone up." And, so to speak, he's playing with our chips!
www.pbs.org/moyers/journal/01232009/profile.html
www.nytimes.com/2009/01/18/business/18bank.html?emc=eta1
abcnews.go.com/Business/Economy/wireStory?id=6707450
John Thain resigned under pressure from Bank of America on Thursday after reports he rushed out billions of dollars in bonuses to Merrill Lynch employees in his final days as CEO there, while the brokerage was suffering huge losses and just before Bank of America took it over. The bonuses were paid before Bank of America's acquisition of Merrill became final on Jan. 1, and while Bank of America was privately telling the government that Merrill was losing so much money that the deal might fall through unless it could get more federal bailout money.
Bank of America later received an additional $20 billion from the government, in part to offset the unexpected Merrill losses. The brokerage lost $15 billion in the fourth quarter and more than $27 billion for the year. The bonuses, typically paid in January, were instead given in December and totaled $3 billion to $4 billion, the Financial Times reported Thursday. Bank of America would not confirm the size of the bonuses.
www.bloomberg.com/apps/news?pid=20601087&sid=aFcrG8er...
Jan. 23 (Bloomberg) -- John Thain, the former Merrill Lynch & Co. chief executive officer ousted yesterday, spent $1.2 million redecorating his downtown Manhattan office last year as the company was firing employees, a person familiar with the project said. . . . Thain, 53, oversaw the sale of Merrill Lynch to Bank of America Corp. last month, and took over the bank’s wealth management and corporate and investment banking divisions. Merrill’s $15.4 billion fourth-quarter loss forced Bank of America to seek additional aid from the U.S. government, which last week agreed to provide $20 billion in capital and $118 billion in asset guarantees.
. . . Wall Street executives may no longer be able to spend lavishly on perks, said James Post, professor of corporate governance and business ethics at Boston University School of Management. “That’s symbolic of a pattern that has developed on Wall Street over this past decade of more and more extravagant, more and more lavish, more and more one-upmanship in all of these visible symbols,” said Post. “This may be the last vestige of a culture that we’re not going to see for many years to come.”
Succeeding in Business
query.nytimes.com/gst/fullpage.html?res=9405E5DD1E31F934A...
As Joshua Green says in The Washington Monthly, in a must-read article written just before the administration suddenly became such an exponent of corporate ethics: ''The 'new tone' that George W. Bush brought to Washington isn't one of integrity, but of permissiveness. . . . In this administration, enriching oneself while one's business goes bust isn't necessarily frowned upon.''
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
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
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