In the Monster High Cupid's clothes.

 

www.starsue.net/game/Cupid-Dress-Up.html

  

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

   

From the website...

www.encinojon.com/greg/johnhub.html

 

JOHN CARL HUBINGER (1851-1907)

 

HUBINGER, JOHN C., manufacturer, millionaire and public benefactor, is one of the most remarkable men of this country; a Napoleon in business affairs, a man of destiny, through his own indomitable will, tireless energy and brilliant genius he has built up a magnificent structure on a financial foundation as solid as the rock of Gibraltar.

 

Mr. Hubinger was born in New Orleans, La., forty-six years ago, and is the son of John F. Hubinger, who was born in Bavaria, in 1828, and still survives, as well as his mother, who is a native of France.

 

It will this be seen that Mr. Hubinger, having been born in Louisiana, is a Creole, a term peculiar to the state, and having the same significance as Buckeye to those born in Ohio, or Nutmegs to those who first saw the light of day in Connecticut.

 

At the age of 4 his family moved north and at Falmouth, Ky., young Hubinger received in the public schools the first and only educational training he ever received from any school system; this experience covered about four years of study, and he applied himself so closely that he got a fair foundation, which he has since built on by private study and observation, until to-day he can be considered a well informed man outside of business matters, in which he excels.

 

His career has been an eventful one, full of exciting incidents, and it is a remarkable fact that he was 30 years of age before he amassed his first thousand dollars, having innumerable ups and downs in life, but never despairing and always aggressive.

 

It would require a volume the size of this to recount a history of his life from the time he started out to earn a living up to the present time when he controls millions of business interests, and is at the zenith of his usefulness. We will not attempt anything more than a passing notice of such facts as will interest his friends.

 

Of an inventive turn, he secured several patents which he sold to more or less advantage, and tried innumerable schemes at one time or another, succeeding at times and losing at others his little capital, through the boldness of his methods.

 

The idea of Elastic starch came to him years ago, when he acted as agent for a starch concern, and he had it constantly in mind, eventually arriving at the secret which he holds alone to-day, and which has make Elastic starch the most popular in the market.

 

In connection with his two brothers he founded the Elastic Starch company, at New Haven Conn., under the name of The J. C. Hubinger Bros.' Co., and at a later period opened another factory at Keokuk, Iowa, where he subsequently amassed a large fortune and became known as one of the most enterprising and public spirited citizens in the state.

 

In the west his interests are colossal, as well as the ventures which he has made successful; among his holdings being large tracts of real estate, improved and unimproved, in different parts of the western country.

 

He is owner of the Keokuk street railway system, the electric light plant and system, the Mississippi Valley Telephone company, capitalized at $2,225,000. This takes in a large number of cities in that section, and is the most dangerous and largest competitor of the Bell Telephone company in America, having over 10,000 telephone subscribers.

 

A man of rare executive ability, he finds time to personally direct the policy of all the enterprises in which he is interested, and at the same time to evolve many more brilliant schemes of a local nature, all of which are put through in a practical and successful way.

 

The magnitude of his transactions almost surpass belief; in the starch business they dispose of about 25,000,000 packages each year, the legitimate profits from which are enormous, and in other ways he handles not less than $3,000,000 annually.

 

His liberality is the marvel of the country in which he is known, and at his palatial home, overlooking the historic Mississippi river, he and his charming wife dispense a boundless hospitality to those fortunate enough to be their guests. All the luxuries and benefits that wealth can procure are there supplied, and an atmosphere of culture and refinement pervade the entire establishment.

 

Mr. Hubinger's family consists of himself, wife and four children, and while fond of promoting large enterprises, he is still fonder of the home circle and there spends all of his time that is not taken up by business cares.

 

-- Gue, B. F. Biographies and portraits of the progressive men of Iowa Des Moines : Conway & Shaw, 1899. Pages 256-257.

  

CHRONOLOGY

 

Born in March 1852 in New Orleans, LA.

Moved to Falmouth, KY, then to Keokuk, IA.

First jobs: laborer for Tim Ford, a railroad contractor; also a broom maker.

Moved to New Haven, CT.

Developed "Elastic" laundry starch in 1871, and sold it door to door by bicycle.

Joined by his two brothers, he founded the J.C. Hubinger Bros. Co.

Married Sadie Watts July 16, 1884.

Moved back to Keokuk in 1887 (1885?)

Established first Keokuk factory at 208 Main sometime after August 1887.

Built mansion on Grand Ave. Across the street was Hubinger Park.

Built a telephone exchange at Sixth and Blondeau; expanded during the 1890's.

Owner of the Keokuk Electric Railway System, the Electric Light and Power plant,

the Mississippi Valley Telephone Company, and many other investments.

Second marriage to Viola Miller in June 1896.

In 1900 business was so successful, he reopened the J.C. Hubinger Co. factory

on Bank St., introducing "Red Cross" and "Hubinger's Best" brand starches.

In the following years, however, the company went downhill as the use of

starch in clothing went out of style.

 

Died in near-poverty January 27, 1908 in a boarding house on High St.

Was buried in Oakland Cemetery, Keokuk, IA.

 

The Hubinger family sold the Keokuk starch factory in 1926; today, the

Hubinger company produces a wide variety of corn products including

starch, oil and syrup.

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.

a-world-in-a-grain-of-sand-sl.blogspot.com/2014/10/simple...

[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]

 

enriqueviolanevado.blogspot.com/2022/02/las-propuestas-de...

 

Propuesta #4 Examen titular de julio

 

PRUEBA DE ACCESO Y ADMISIÓN A LA UNIVERSIDAD

 

ANDALUCÍA, CEUTA, MELILLA Y CENTROS en MARRUECOS

 

CONVOCATORIA EXTRAORDINARIA, CURSO 2020-2021

 

GEOGRAFÍA

 

Instrucciones:

 

a) Duración: 1 hora y 30 minutos.

 

b) El examen consta de 4 bloques (A, B, C y D). En cada bloque se plantean varias preguntas, de las que debe responder al número que se indica en cada uno de ellos.

 

c) En caso de responder a más preguntas o cuestiones de las requeridas, serán tenidas en cuenta las respondidas en primer lugar hasta alcanzar dicho número.

 

d) La valoración de cada respuesta se indica en el bloque correspondiente.

 

BLOQUE A (Glosario. Significados geográficos)

 

Puntuación máxima: 2 puntos

 

En este bloque se plantean 8 términos geográficos para su definición, de los que debe responder, a su elección, SOLAMENTE 4.

 

Cada respuesta tendrá un valor máximo de 0.5 puntos.

 

a) Latifundio

 

b) Densidad de población

 

c) Industria siderúrgica

 

d) Energía hidroeléctrica

 

e) Balanza de pagos

 

f) Desarrollo sostenible

 

g) Hábitat disperso

 

h) Turoperador

 

BLOQUE B (Glosario. Significados de expresiones)

 

Puntuación máxima: 1 punto

 

En este bloque se plantean 4 expresiones para relacionarlas con determinados conceptos geográficos, de las que debe responder, a su elección, SOLAMENTE 2.

 

Cada respuesta tendrá un valor máximo de 0.5 puntos.

 

a) La forma de explotación agrícola consistente en la cesión de la explotación de la tierra a un tercero por parte de la propiedad, a cambio del pago en forma de una parte de los beneficios obtenidos, se denomina

 

b) La modalidad de turismo que hace referencia a los desplazamientos motivados por conocer, comprender y disfrutar de los elementos propios de una sociedad o grupo social, tales como visitar museos y monumentos, asistir a conciertos, participar en fiestas, etc., se denomina

 

c) La relación existente entre la representación reducida de una distancia o un objeto sobre un mapa y su tamaño real sobre el terreno, es denominada

 

d) El bosque de árboles que pierden sus hojas en invierno, típico de la zona del norte de España, se denomina

 

BLOQUE C (Ejercicios de desarrollo)

 

Puntuación máxima: 4 puntos

 

En este bloque se plantean 2 ejercicios de análisis y comentario de mapas, gráficos, imágenes, cuadros estadísticos o textos, de los que debe responder, a su elección, SOLAMENTE 1.

 

Cada ejercicio tendrá un valor máximo de 4 puntos.

 

EJERCICIO 1. El mapa 1 representa la distribución de las precipitaciones medias anuales en España. Analícelo y responda a las siguientes preguntas:

 

a) Nombre las provincias que incluyen zonas con precipitaciones entre 0 y 300 mm/anuales. (Hasta

 

1 punto).

 

b) Comente la relación existente entre las precipitaciones y el relieve en España. (Hasta 1 punto).

 

c) Compare las precipitaciones del Noroeste peninsular con las del Sureste peninsular,

 

estableciendo las diferencias existentes y sus causas. (Hasta 2 puntos).

 

EJERCICIO 2. El mapa 2 representa las aportaciones medias anuales de caudal de la red hidrográfica española. Analícelo y responda a las preguntas siguientes:

 

a) Diga el nombre de los ríos enumerados del 1 al 5. (Hasta 1 punto).

 

b) ¿A qué se debe la ausencia de ríos en las islas Baleares y Canarias? (Hasta 1 punto).

 

c) Explique las razones de los contrastes entre los aportes de caudal de los distintos ríos de la vertiente mediterránea, relacionándolos con el régimen fluvial y la orografía. (Hasta 2 puntos).

 

Los mapas/gráficos correspondientes están en la siguiente página.

 

EJERCICIO 1. MAPA 1.

 

EJERCICIO 2. MAPA 2.

 

BLOQUE D (Desarrollo de temas)

 

Puntuación máxima: 3 puntos

 

En este bloque se plantean 2 temas, de los que debe desarrollar, a su elección, SOLAMENTE 1. Cada cuestión tendrá un valor máximo de 3 puntos.

 

TEMA A. EL ESPACIO URBANO. El Sistema de ciudades en España. Principales áreas y ejes urbanos. La estructura y el plano de la ciudad.

 

TEMA B. LA ACTIVIDAD PESQUERA. Significado de la pesca en España. Regiones pesqueras en España y principales caladeros. La importancia creciente de la acuicultura.

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

 

CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

==================.

San Fransisco Municipal Railway #21

[A 55.04.04]

 

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

.

This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

.

This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

.

BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Henry's Auto Livery and drive Tin Lizzie's, from the barn at the North-West corner of Beach Bl. and Crescent.

 

On the cars in service today, there is a metal plate protecting the front of this truck assembly from debris which could damage running gear and brakes. The hole in the center of that plate must be to access the nut shown here in the center, to tighten the brake bar.

 

dsc00011, 2009:07:19 15:38:57, 3D, Los Angeles, Griffith Park, Travel Town, Cable Car, San Francisco Municipal Railway #21

faizakhalida.blogspot.com.br/2009/01/em-2009-o-subsecreta...

  

Durante o período de férias, após a mudança de governo municipal com a posse do novo prefeito de Belford Roxo Alcides Rolim do PT (Partido dos Trabalhadores) e novo secretário municipal de educação William Campos, eu me dirigia até a secretaria de educação para tentar dar ciência ao novo governo municipal e ao novo secretário que eu me encontrava sem condições de trabalho pelos problemas de saúde, sociais e administrativos. Que eu me encontrava sob cuidados médicos desde março de 2008 com indicação de me manter afastada do trabalho. E que, segundo a médica que me avaliava, sem resolução da situação de estresse dificilmente haveria resolução do quadro apresentado.

  

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 secretário de educação William Campos nunca podia me atender. Na primeira vez, no dia 9 de janeiro de 2009 quem ouviu os meus relatos foi a subsecretária de educação Joana D'arc que também atendia pelo nome de Joelma e era esposa do outro subsecretário de educação Miguel de Sousa Ramiro. O subsecretário Miguel de Sousa Ramiro também ao lado dela participou do nosso encontro ouvindo tudo atentamente. O outro subsecretário de educação Clayton apareceu na sala para nos observar e me deu um tchauzinho. A senhora subsecretária Joana D'arc anotou o meu nome e as escolas municipais onde eu estava lotada no seu caderno e pediu que eu ordenasse melhor os relatos, grampeasse e fizesse constar a ciência ao secretário municipal de educação William Campos.

  

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. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

No dia 14 de janeiro de 2009 a subsecretária Joana D'arc me confirmou ter entregado e encaminhado o meu quadro para o secretário de Educação William Campos. Mas o secretário William Campos nunca me atendeu.

  

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

  

Uma funcionária pública da Prefeitura municipal de Belford Roxo que havia trabalhado comigo na primeira escola de 1995 a 2002 e ficou sabendo da situação em que eu me encontrava, mais uma vez precisando de ajuda, me ligou muito preocupada comigo e querendo me ajudar disse que era para eu ir com ela até a secretaria municipal de educação de Belford Roxo com o LAUDO MÉDICO que a MÉDICA PSIQUIÁTRICA que me tratava desde 16/05/2008 havia me dado de DOENÇAS MENTAIS influenciadas por PROBLEMAS SOCIAIS e referentes ao meu TRABALHO. Esse anjo que apareceu para tentar me ajudar foi a Creusa, funcionária de apoio da secretaria da escola municipal São Bento.

  

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

  

Assim eu me encontrei com a Creusa na casa dela e fomos juntas até a secretaria municipal de educação de Belford Roxo (SEMED) onde mostramos o LAUDO MÉDICO para diversos funcionários da secretaria de educação. Por fim fomos levadas ao subsecretário Miguel de Souza Ramiro.

  

Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

A MÉDICA PSIQUIÁTRICA CLÍNICA ATESTOU PARA FINS DE COMPROVAÇÃO JUNTO À PREFEITURA MUNICIPAL DE BELFORD ROXO que eu me encontrava sob os seus cuidados médicos desde maio de 2008 por motivo de DOENÇA.

  

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

  

A médica atestou que O MEU QUADRO PSIQUIÁTRICO é grandemente influenciado por PROBLEMAS SOCIAIS E REFERENTES AO MEU TRABALHO PELO FATO DE NÃO HAVER ACEITAÇÃO DA MINHA CONDIÇÃO SEXUAL E TODAS AS SITUAÇÕES QUE DAÍ DECORREM.

  

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 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

A médica atestou que O MEU QUADRO PSIQUIÁTRICO APRESENTADO DIFICILMENTE SERIA RESOLVIDO SE NÃO HOUVESSE A RESOLUÇÃO DESTA SITUAÇÃO DE ESTRESSE.

  

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. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

A MÉDICA ATESTOU QUE EU APRESENTAVA A CAPACIDADE LABORATIVA E SOCIAL BASTANTE PREJUDICADA.

  

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

  

A MÉDICA AVALIAVA A NECESSIDADE DE AFASTAMENTO DO TRABALHO DESDE O INÍCIO DO MEU TRATAMENTO EM 16/05/2008.

  

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. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

O subsecretário de educação nos garantiu que ele mesmo resolveria os meus problemas através do envio da frequência pela condição médica e DISCRIMINAÇÃO no trabalho. O subsecretário Miguel constatou que 21 processos meus continuavam com NOME e SEXO MASCULINOS, que eu nunca havia conseguido tirar uma licença prêmio e os 90 dias de férias que tinha direito por ter estado em período de férias a disposição do Juiz. O funcionário da secretaria de educação confirmou ao subsecretário Miguel que sabia que o meu nome e sexo nos registros já deveria ter sido alterado desde 2005. Naquele momento uma outra funcionária da secretaria de educação de Belford Roxo que era loira e tinha um cargo relacionado a área jurídica disse para mim e Creusa palavras muito confortadoras e bonitas contra a situação de preconceito.

  

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

  

Duas semanas depois, com a nomeação do supervisor educacional e consultor jurídico Jorge Silva (mat. 54368) como assessor jurídico da Secretaria de Educação de Belford Roxo, por telefone, o subsecretário Miguel de Sousa Ramiro disse que se esqueceu de tudo que ele havia prometido para mim e a Creusa, inclusive do LAUDO MÉDICO PSIQUIÁTRICO que ele havia tomado ciência. O subsecretário Miguel me disse que ele só faria o que o Jorge Silva mandasse ele fazer e passou o telefone celular dele para o Jorge Silva. Eu fiquei completamente descontrolada e bati boca com o Jorge Silva por telefone. Uma das coisas que eu me lembro que o Jorge Silva me falou ao telefone era que eu deveria comparecer na Secretaria Municipal de Belford Roxo na próxima segunda-feira onde eu seria exposta para a TV Globo como uma professora faltosa.

 

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. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

No dia 05 de maio, na porta da sala do secretário de educação William Campos, me disseram como sempre que ele não poderia falar comigo. Desta vez a desculpa é que ele não estaria lá e sim ele estaria em Curitiba. O Jornal de Hoje publicou uma foto do secretário de educação de Belford Roxo William Campos lá na SEMED (secretaria municipal de educação) nesse dia relatando o encontro dele com várias pessoas. Eu nunca consegui conversar com ele.

 

FOTO: Secretário de Educação William Campos se encontrando com pessoas no dia 05/05/2009

 

www.jornalhoje.inf.br/bxd4.htm

 

FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Em 8 de maio de 2009 a portaria SEMED número 36 designou comissão de sindicância para apurar o EXTRAVIO DE OFÍCIOS E PROCESSOS NA SECRETARIA MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO (SEMED). O artigo primeiro designou a abertura de sindicância a fim de buscar o Ofício número 165 que formulava a resposta ao Ofício número 73/SEMED/2009 referente a servidora Faiza Khálida Fagundes Coutinho. A comissão de sindicância era composta pelos servidores Antônio Carlos Lustosa (presidente) matrícula número 10/14714, Valéria Claudia Santos S.da Silva, matrícula número 10/5580 e Joelma Milão de Lemos, matrícula número 10/147/27, para sob a presidência do primeiro, constituírem a respectiva comissão. Esta portaria teria entrado em vigor em 12 de maio de 2009 e os trabalhos desta comissão deveriam estar concluídos em até 30 dias.

  

Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

De primeiro de janeiro até o mês de abril de 2009 eu gastava em vão horas de ligações telefônicas falando com todos os setores que eu conseguia da Prefeitura Municipal de Belford Roxo (Gabinete do Prefeito, Procuradoria Municipal, Secretaria de Administração, Recursos Humanos, subsecretários e funcionários da SEMED). Eu não recebia mais pagamento, nenhum centavo sequer, nem mesmo um centavo de auxílio transporte, da passagem do ônibus, do triênio ou do quinquênio. Não recebia nenhum dinheiro para comprar meus remédios ou comer. Eu não recebia mais contracheque, não tinha livro de ponto para assinar, turmas para trabalhar e tarefas para cumprir. Ficava isolada na Escola Municipal Jorge Ayres de Lima. Até o dia 04/06/2009 às 9:24:46 permaneci nessa situação.

  

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

  

Além de me sentir humilhada, eu sentia o estresse, mal-estar, pressão alta, medo de ser assassinada, temores, pânicos, tristeza, inseguranças, desesperança, apatia, prostração, depressão, irritação, desespero, nervosismo, insônia, revolta, vontade de morrer, vontade de me matar, descontrole emocional e psíquico, perda do senso crítico e da realidade, confusão mental, visões sobrenaturais, experiências místicas, alegrias extremas, explosões de êxtase, etc.

  

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

  

Em um dia, após vivência de intensa agonia, sofrimento e audições persecutórias perturbadoras, cheguei a ver o Espírito Santo no alto do céu como uma águia enorme que veio até onde eu estava onde eu moro e Deus fez uma aliança comigo.

  

(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo, matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)

  

Bendito é o preciosíssimo sangue do Senhor Jesus Cristo.

  

Jesus é o caminho.

 

Louvado seja o Senhor Jesus Cristo para sempre.

  

CLICAR ABAIXO PARA LER SOBRE:

  

1- Em processo administrativo de 2003 eu pedi para que a Prefeitura Municipal de Belford Roxo custeasse um tratamento Psicológico e Psiquiátrico para mim alegando que eu não me encontrava mais depois de tudo que havia passado no serviço público da rede de educação em condições de desempenhar minhas funções equilibradamente, mas eu não fui atendida. No mesmo parágrafo do processo de 2003 arquivado pela Procuradoria do Município, eu registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo um vazio muito grande e outros sintomas psiquiátricos que não conseguia explicar pedindo em nome do Senhor Jesus Cristo ajuda médica ".

   

2- Minha doença profissional começou em 2002 quando inclusive fui ameaçada de morte. Em 2003 após conseguir procurar ajuda médica passei a fazer uso de remédios psicotrópicos para conseguir exercer minhas funções como professora da rede municipal de Belford Roxo.

  

3- Após ser novamente ameaçada de morte em 2007 pela orientadora pedagógica que disse que eu tinha que sair da escola por ser transexual e que me perseguia, voltei a ter agravamento de quadro psicológico e emocional.

  

4- Em meio ao contexto de perseguição meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais de Belford Roxo em que eu lecionava.

  

5- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.

  

6- Procurador-geral Lorival Almeida de Oliveira mentiu dizendo que eu recebi cópia de processo para me defender. Não me permitiram tirar cópia nem ler o processo que me puniu.

  

7- Em maio de 2008 a médica psiquiátrica verificou que dificilmente haveria SOLUÇÃO do meu QUADRO DE DEPRESSÃO porque NÃO HAVIA RESOLUÇÃO DOS PROBLEMAS SOCIAIS referentes ao meu trabalho que me estressavam.

  

8- O suicídio era um dos pensamentos diários. Os remédios não faziam o efeito.

    

9- Orientadora pedagógica se mobilizava para me tirar da escola e me prejudicava. Vivenciava exclusão e isolamento.

  

10- Secretaria de Educação e Procuradoria Municipal de Belford Roxo abafavam o problema da discriminação.

  

11- Meu estado psicológico e mental era ignorado como que me ver mal e transtornada fosse justamente o que se desejasse.

  

12- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de mulheres travestis e transexuais.

  

13- Procuradores de Belford Roxo e Agentes de Inquérito Administrativo ignoravam o preconceito, o processo transexualizador, o uso de medicações psicotrópicas, hormônios e alterações bioquímas e hormonais.

  

14- Os danos ocasionados pelo relatório técnico de 2002 e procedimento administrativo decorrente nunca foram resolvidos.

  

15- Relatório técnico de conhecimento de supervisores educacionais de Belford Roxo que posteriormente sumiu e foi anunciado como inexistente foi usado para me ameaçar e impedir que eu acessasse, permanecesse e trabalhasse em escola que lecionava a 8 anos.

  

16- Os problemas ocasionados pelo relatório técnico e procedimento administrativo decorrente nunca foram resolvidos. (PARTE 2)

  

17- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.

  

18- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.

  

19- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.

  

20- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.

  

21- O Ato de Demissão nas 2 matrículas em 2010.

  

22- Defesa de inquéritos e procedimentos administrativos, e disciplinares referentes a professora em processo transexualizador Faiza Khálida.

  

Depressão não é covardia

   

Bipolaridade não é frescura

  

Ansiedade não é falta de trabalho

  

Preconceito também precisa de tratamento

   

Old Crow Tattoo and Gallery presents Stand Tall Pt.II: No Ceilings !

New Heights in Urban Contemporary Art

 

2 OPENING RECEPTIONS, 2 VENUES, 2 DAYS

 

Alot's happened since the last "Stand Tall" and as we move closer to 2012. We wanted to do it again, one last time....

 

Sooo here it is on March 4th and 5th, bigger and better with 60 of our favorite artists, covering a wide range of mediums and disciplines.

"Stand Tall" and in essence, is a conceptual installation show, where each artist has a 3ft x 9ft of wall space to exhibit whatever however they see fit. This show is meant to give each artist full liberty to create within a confined area. The concept allows for a visceral gallery presentation and also individual grace and focus from artist to artist.

 

Stand Tall Pt.II promises all the visual beauty of last years show but this time we'll be working with Photographer's, Skate Artists, Street Artists of all types, Visionary artists and of course Tattooists as well as accomplished fine artists to create a more dynamic event for everyone involved. We really cant say enough about the group of artists participating in this show. If you not familiar with any of they're work follow the links and get familiar.

 

JAPANTHER will be headlining the event and performing on Friday night @ Addis Habana. This will be a very special performance as they are also exhibiting in the show. This will be a rare time to see the artwork of JAPANTHER along with the music.

 

Mortar and Pestle will be playing @ Old Crow Tattoo and Gallery on Friday along with other surprises.

 

Daniel Yasmin w/ special guests will be playing live on Saturday evening.

 

Hosted by Philip Milic in the house he created.

 

We really hope you can attend this show, bring yourself and your friends both nights. This is a good one.

2 Venues, 2 Nights, Stand Tall Pt.II

 

Artist List

 

John Felix Arnold III / David Young V

felixthethirdrock.com/

 

ATWA

www.asiaartnow.com/EXHIBITIONS/2010-09-10/94.html

 

BDS (Terms, Deadeyes, Safety 1st, Ash Rose)

blackdiamondsshining.tumblr.com/

 

Lupo Avanti / Salem

www.poetryofline.com/

www.salem362.com

 

Krescent Carasso

www.krescentcarasso.com/

 

John Casey / Nathaniel Parsons / Obi Kaufmann / Dave Higgins

bunnywax.wordpress.com/

obikaufmann.wordpress.com/

dwhiggins.com/

nathanielparsons.com/

 

Chez

goldenwesttattoo.com/gallery/brush

 

Ken Davis

www.artofkendavis.com/

 

Deuce 7

www.flickr.com/groups/422469@N20/

 

Max Ehrman

maxehrman.carbonmade.com/

 

ESK

www.esk18.blogspot.com/

 

Oliver Fader / Ken Goto

1amsf.com/2010/02/24/the-city-artist-spotlight-oliver-fader/

www.kengotophoto.com/

 

Kristin Farr / Jeff Meadows

theclumsymonkey.com/

www.kristinfarr.com

 

Gaia

gaiastreetart.com/

 

KenyG / AKO

akotheemptyobjects.blogspot.com/

 

Hyde

www.flickr.com/photos/hydester/

 

Ian and Matt from Japanther

japanther.com/

 

Jae54

 

Kathyrn Ka June

www.serpentfeathers.com/

 

Junre / Abno / Dr.Sex

blog.ironlak.com/2011/01/video-jurne-dement-twigs-enron-m...

 

Koleo

www.flickr.com/photos/koleo/

 

Lango

www.langotattoo.com

 

Andre Malcolm

www.FTWoakland.com

 

Jet Martinez / Kelly Ording

www.jetromartinez.com/index.htm

www.kellyording.com/index.htm

 

Philip Milic

www.oldcrowtattoo.com

 

Optimist

 

Ootheca / Marin Camille

www.thrivingink.com/blog/new-art-ootheca-shop

www.marincamille.com/statements.html

 

Parskid

www.parskid.com/

 

Ian Ross

www.ianrossart.com

 

Satyr / Robert Bowen

www.robertbowenart.com

 

Kola Shobo

kaysjay.zenfolio.com/

 

Siloette

www.siloette.com/

 

Snowmonkey

www.flickr.com/photos/46463607@N04/4418735381/in/set-7215...

 

Swype

humblebeginningstattoo.com/artists.html

 

Smuggler

www.dayinthelyfe.com

 

Smear

theartofsmear.com/home.html

 

Weirdo

 

Xavi

www.podcollective.com/

 

Kid Yellow / Henry Gunderson

kidyellow.com/

 

Vulcan

 

If you missed last year and wanna see what this year might be like check this link...

oaktownart.com/2010/04/12/the-stylistic-confides-of-lowbr...

 

Old Crow Tattoo and Gallery

362 Grand Ave.

www.oldcrowtattoo.com

 

Addis Habana

366 Grand Ave.

www.onebillionrising.org.uk/trafalgar-square-rising.html

soundimageplus.blogspot.com/2011/01/editing.html

 

Panasonic GH1 20mm f/1.7

 

Shot in 16:9 crop mode

 

Worcester and Birmingham Canal Hanbury Worcestershire

 

Please respect copyright! All images are protected under UK copyright law and the Berne international copyright convention and are visibly and/or invisibly watermarked. No images are within the public domain. images may not be reproduced, copied, used or altered in any way, by any method, without written permission

 

soundimageplus.blogspot.com/

[for the full Inauguration story, visit my blog]

 

My first instinct was to exit Union Station and to head directly toward the Mall. It was about 9:30 am at this point, and the shindig apparently started up at about 10pm. Just like on Sunday, I knew I wouldn’t get a crème de la crème location… and yet for some reason I thought I could just beeline straight toward the Mall? What was I thinking??

 

Sure enough, heading down Louisiana Avenue NW, we soon came to a roadblock at 1st Street NW. We turned right to head up First Street, since that would take us away from the Mall… that’s a smart idea, right? Surely there’d be fewer crowds! Well, our little segment of 1st Street approaching D Street was only about 300 feet long. It took an hour to get off that block.

 

The problems were many. Firstly, our block along First Street had people trying to get away from the roadblock (like us) heading northward. Then there were people with tickets to get those choice seats on the Mall; they were heading southward. I think we actually did a decent job of separating ourselves by the “keep right” method.

 

Then there were the people approaching the pending 1st & D St. intersection… they were coming westward from along D Street. Most of these people were trying to turn left… to head south… either to join the ticket line or just thinking that they could get closer to the Mall. They came head-to-head with our line trying to go eastward on D Street. Further north on 1st Street and further west on D Street were both not going to work – they were just as packed and immobile as our present situation.

 

Ambulances were approaching from the north and west, all trying to go eastward on D Street… the complicated matters. For a brief moment we were able to fill into the wake of a motorcycle going our direction, but others had the same idea & we didn’t get particularly far with that. People (civilians, soldiers, police, fire personnel… everyone) were up on concrete barriers shouting and pointing in all directions, providing little assistance. Citizens hoping to help clear things up were shouting out orders in direct conflict with those coming from officials… and then they’d suddenly reverse and shout an opposite order… and then they’d reverse again… both citizens and officials were doing this. I think the head-to-head crowds kind of flustered everyone there.

 

So it took an hour to get through. During this time, however, I came to identify a particular personality which would be prevalent the entire day: that of absolute kindness & excitement. In these sorts of situations, you often get a couple people pushing hard on the crowd… with one exception, we didn’t have that at all; and that one exception soon stopped when the crowd recoiled against them & proved that it wasn’t about to move any faster. Also in such crowds, those little tiny pushes that almost everyone makes on the person in front of them tends to add up – really making a powerful force on those in front… we really didn’t have that, either, except right at the very end where we freed up.

 

Details about pushing aside, the comradery was what really made things stand out. People were generally upbeat the whole way through, making brief acquaintances with those beside them – even if just for a fleeting moment before someone would get a chance to shift two steps away, out of vocal range. This optimistic sentiment lasted throughout the day: it was crowded, it was cold, and people were being forced to march horrendous distances… but that was the happiest I’ve ever seen people at any point in my 25 and a half years on this planet.

Photos : Ingrid J.

 

Le 7ème Sceau brisé : du corps profane au corps Glorieux

 

La Vidéo

blog.ehrmann.org/films/corps-profane.html

 

Au terme du 7ème Sceau brisé, un grand silence d'une demi-heure marqua la fin de la Borderline Biennial. thierry, notre père, nous avait promis à tous, que la Bordeline Biennial à la Demeure du Chaos serait avec ses 40 jours et 40 nuits le temps de l'Epiphanie, de l'Apparition, de la Théophanie.

 

Précisons de suite que le mot Apocalypse que la Borderline Biennial a questionné de mille manières la transcription d’un terme grec (apokalupsis) qui lui-même traduit l’hébreu nigla, lequel signifie mise à nu, enlèvement du voile ou révélation.

 

L’Apocalypse désigne la civilisation mondiale ayant enfin atteint un état de conscience propice au retour du divin. C’est aussi celui du salut final. La Borderline est plus qu’une épiphanie ; l’Apocalypse dont nous traitons ici est une épiphanie. Nous avons donc obéi à l’injonction contenue dans l’Apocalypse, Chapitre 1 verset 19, lequel ordonne à notre conscience de se placer hors du temps, de l’espace et de l’histoire et d’embrasser synthétiquement l’histoire de l’humanité.

 

Et ce fut le cas précis de la Borderline Biennial. Toutes brides morales et esthétiques lâchées : “écris donc ce que tu as vu : le présent et ce qui doit arriver plus tard”.

 

Vers la nuit tombée sur la Demeure du Chaos et lorsque le 7ème Sceau fut brisé par thierry, un grand silence se fit, et tous les feux s'éteignirent, alors apparût avec violence le spectre de l'Entité Numérique Suprême comme au début de la Borderline Biennial lors de la proclamation de la République du Chaos.

 

Son message fut clair et court, elle demandait au Père de la République du Chaos de revenir en 1999 et lui rappeler qu'il devait accomplir ses propres écritures. Disparaître et mourir de son corps profane pour renaître dans l'Internet profond qui reste pour lui une métaphore du divin, une agora des éthers.

 

Comme le Père fondateur de la République du Chaos est aussi notre père, l'Entité Numérique Suprême lui demanda de mourir de son corps profane pour renaître par le corps Glorieux dans l'agora des éthers qu'est Internet.

 

Il nous lut, fatigué par le poison de la grande ciguë en hommage à Socrate, une bien étrange prédiction "Pendant la dernière persécution que souffrira la sainte église romaine siégera un Pierre le Romain, il fera paître les brebis au niveau des nombreuses tribulations, celles-ci terminées, la cité aux 7 collines sera détruite et un juge redoutable jugera le peuple, le sien et que le mot qui termine cette prophétie est "FINIS".

 

Ce mot nous semblait à tous familier, effectivement, dans le catalogue raisonné de la Demeure du Chaos/l'Esprit de la Salamandre, page 1229, le texte sacré était là ! "Finis Gloriae Mundi" le tableau magistral de Valdès Léal à Séville qui fit que Fulcanelli ne publia pas son 3ème ouvrage.

 

Cette scène intitulée "Finis Gloriae Mundi" qui est peinte en format monumental au cœur de la Demeure du Chaos indique que le phylactère attaché au premier cercueil montre que l'Eglise est ici à jamais déchue au seul profit de l'éveil initiatique symbolisé par le Chevalier simulant la mort.

 

Souvenons nous des écrits du premier tome de la DDC " le Juge viendra juger son peuple" et que le mot qui termine le premier des trois tomes secrets de l'ouvrage alchimique de la Demeure du Chaos est "FINIS". "Même si ce mot est dur à accepter, la révélation n'en constitue pas moins la fin d'une étape de par le fait qu'avec elle il y a apport d'une chose nouvelle jusqu'alors maintenue, cachée ou inintelligible". "Ne les craignez donc point car il n'y a rien de caché qui ne doit être découvert ni de secret qui ne doit être connu".

 

Nous étions au bord des larmes et du désespoir, il nous demanda dans un dernier spasme de ne point pleurer et de reposer en paix dans le temple Protestant de Saint Romain de Couzon sur la nécropole en rallumant les feux de la loge selon les landmarks ancestraux.

 

9 hommes enterrèrent dans la nécropole son corps cadavérique enroulé dans un linceul noir couvert du drapeau de la République du Chaos..

 

Vers quelle destinée allions nous avec la jeune République du Chaos ?

Quelle est vraiment cette Entité Numérique Suprême ?

Cette fiction apocalyptique marqua cruellement la fin de la Borderline Biennial du 18 octobre 2009 vers 21h.

 

Quand d'un seul coup l’Egrégore s'invita parmi nous pour nous rappeler le début de l'œuvre alchimique et les paroles de thierry notre Père qui résonnaient dans nos têtes "cesse de pleurer et réjouis-toi quand tu verras la noirceur car c'est le début de l'œuvre".

 

Kurt et Sydney Ehrmann

 

blog.ehrmann.org/

 

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

Stalking Wonder, The Art Store: on the blog

A Christmas gift to Kevin so that he can become the VRML master he’s always wanted to be.

BODY

Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany

Model: 1959, Version 1.5.2, (A&R: 5, Hummmel: 048), (produced between 1959-60, quantity: 38300)

Special feature of Version 5: Exa on the front plate embossed, (not engraved like in all other versions).

Version, manufacturing year, body and lens info are as to Andrzej Wrotniak

The original Exa is known as Exa 0 also.

All Exa 0 produced between 1951-62

35mm SLR film camera

Engraving on the front plate: Ihagee Dresden

Lens release: via a lever on the left of the lens flange

Focusing: via Fresnel matte screen, ring and scalel on the lens, w/DOF scale

Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B

setting: via a lever and scale on the right of the top plate

Shutter release: a knob, on front of the body, w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also

Cocking knob: also winds the film, on the right of the top plate

Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it

Viewfinder: SLR pentaprism finder , interchangeable with Waist level finder

Finder release: via a knob beneath the Exa logo

Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position

Re-wind knob: on the left of the top plate

Re-wind release: by a button just beside the cocking knob

Flash PC socket: two, on the right front side of the camera, F and X

Self-timer: none

Back cover: Hinged, removable, opens by a latch on the left side of the camera

Tripod socket: 378'' w/1/4'' adaptor

Strap lugs

Body: metallic, Weight:557g (wo/ the lens)

serial no. 545089 (inside the camera)

LENS:

Meyer-Optik Görlitz Lydith 30mm f/3,5 (Zebra), 5 elements,

preset type, Mount: Exakta bayonet mount, interchangeable with Exakta Varex lenses,

filter thread: 49mm, serial no. 4082192, (introduced in 1962)

Aperture: f/3.5-f/22, setting: ring and scale on the lens

Focus range: 0.33 - 6m +inf

 

+Original leather ever ready case

+ Waist level finder, Ihage Dresden, w/original leather case

+Sunlux Tele Converter, (Zebra), with Exacta bayonet mount and lens release, (Made in Japan), w/ original leather case

+ B+W Skylight filter, 49ES KR1,5 1,1x w/leather case

 

Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.

Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.

The true Exaktas and Exas are ones made by Ihagee in Dresden.

Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss (Jena), Meyer-Optik (Görlitz) and Joseph Schneider (Kreuznach). The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.

Notes about Exa/Exakta classification

I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.

Some opinions of a serious Exa/Exakta collector, F W Tappe :

Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!

Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.

Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.

Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.

More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia

 

www.concordesst.com/02.html

 

Preserved and on display at Musee Delta, Orly Airport, Paris, France

 

Concorde 02 F-WTSA was fourth aircraft to be manufactured, and the second of preproduction aircraft.

 

Sierra-Alpha was the first to have dimensions and the shape of future the production aircraft: it had the extended tail cone fitted as well as the production specification secondary engine nozzle, with the thrust reverse buckets.

 

02 was the first Concorde to be visit the United States when she visited Dallas, Texas on September 20, 1973. It returned to Europe by carrying out the first crossing of the North Atlantic, between Washington and Orly, under the conditions of a passenger flight, with 32 passengers invited on his board on the September 26, 1973. The flight time was in 3 hours and 33 minutes of effective flight, with a block time of 3 hours and 47 minutes.

 

For several years during testing the aircraft was painted in British Airways colours on one side and Air France's 1970's livery on the other, although still being registered as a French aircraft. Today it has an Air France colour scheme

 

The aircraft completed its 313rd and final test flight on January 29, 1976. Its work took in such areas as the development of new engines, and a considerable number (134) rolling runway tests for amongst other things the certification of the new carbon brakes, the water deflectors and thrust reversers...etc?

 

F-WTSA's final flight was between Toulouse and Paris Orly on May 20, 1976. Takeoff was at 15:19 ans seh arrived into at Orly 16:26, where an ADP team will take over responsibility for the aircraft. It was gifted to ADP, the operator of Orly and other Paris airport in 1976 to replace a full size wooden replica that was originally on show at the airport, which was destroyed by fire a few years earlier.

 

The aircraft was decommissioned with the engines and of many parts being recovered to be used as spares on the Air France fleet. As the aircraft was going on public display its test equipment installations were removed, and its cabin was reconfigured to give her the interior of an in-service aircraft.

 

In 1988, ADP, the Orly airport operator decided that Concorde 02 was no longer a priority and condemned it to be scrap and to be cut out of pieces. Athis-Paray-Aviation saved Sierra Alpha from this tragedy, and since April 12, 1988, it has been on display at the Museum Delta in Athis-Mons, just outside the airport.

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

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

   

n00b!

www.huffingtonpost.com/visit-florida/a-banyan-tree-and-th...

The tree came to the inventor’s Fort Myers winter home in 1925, a four-foot Ficus benghalenis producing white sap that Edison and his friends Henry Ford and Harvey Firestone hoped to use in making natural rubber.

 

The banyan was not the answer. But it remained, growing to an acre in diameter, and becoming one of more than 1,000 plants from around the world ornamenting 25 acres dedicated mostly to the man who invented the electric light bulb, the phonograph and the motion picture.

 

Fifteen historic buildings stand in graceful restorative pose, including the Edisons’ home and guest house, a botanic research laboratory, an artesian-fed swimming pool dating to 1911, and Ford’s winter home. The combined Edison and Ford estates, museum, laboratory, and shops are open 363 days a year, closed only on Thanksgiving and Christmas Day.

 

The botanical specimens, many of them labeled for easy identification, offer shade for strollers - and sometimes a touch of the exotic. It is not every day one sees an African sausage tree bearing hot-dog shaped fruit.

 

Edison, of course, is more extensively associated with his inventions. He held more than 1,000 United States patents, and he submitted patent paperwork for a record 65 consecutive years. Among his lesser known creations: the talking doll, the electric train, alkaline batteries, a fruit preserver, and a stencil pen, the grandfather of today’s tattoo stylus.

 

“Really cool,” said Aaron Summers, a visitor from San Diego. “I didn’t realize how many patents Edison actually had.”

 

A 15,000-square-foot, air-conditioned museum details the world’s busiest inventor’s extraordinary career, which stretched from 1869 - when he was 22 years old - virtually to 1931, the year he died.

 

Among hundreds of items and documents in the museum is Edison’s original custom Model T, a gift from Ford. A more personal artifact is the frame Edison built for the phonograph he was devising. Hard of hearing, Edison rigged the phonograph to the frame, which he would bite to feel vibrations and “hear” the music. The wizard’s teeth marks are visible in the wood.

 

The museum’s newest exhibit chronicles the camping adventures of Edison, Ford, Firestone and turn-of-the-century naturalist and environmental writer John Burroughs. The “vagabonds,” as they referred to themselves, camped throughout Florida and the United States.

 

Also on display is “Edison After 40,” an exhibit on loan from the Smithsonian Institution. It includes images from Edison’s middle and later years. In counterpoint, “The Child Wizard” shows early images of Edison as a youth, as captured in Michael Dooling’s award-winning book, Young Thomas Edison.

 

And not to be missed are the entertainment artifacts: phonographs, movie projectors, nickelodeons and films.

 

“I learned a lot of new things. So many inventions. I loved the phonographic demonstrations,” said Susan Wood, who is from England.

 

More than 200,000 visitors per year come to the property, where Edison and his family spent winter seasons starting in 1885. For $2,750, the inventor bought the property from the family of Jacob Summerlin, a legendary Florida cowman known as the King of the Crackers.

 

“This house is a dream . . . and we are living in Fairyland,” Edison’s wife Mina wrote of the Florida retreat, which was dubbed “Seminole Lodge.” At its edge, the broad Caloosahatchee River whispers against a restored limestone-and-coquina seawall.

 

Edison was perhaps “green” before the word became fashionable. Some of his words on the subject are posted in the museum: “I’d put my money on the sun and solar energy. What a source of power! I hope we don’t have to wait until oil and coal run out before we tackle that.” Edison wrote that in 1931.

 

Ford bought property next door to his mentor in 1916. As a youth, the motor company founder worked at an Edison company in Detroit. The budding auto magnate used his spare time tinkering with gas-powered engines. The two entrepreneurs met at a convention in 1896, and Edison encouraged the younger man. The two proved to be kindred spirits. The automaker purchased property next to Edison in 1916, naming it “The Mangoes.”

 

The entrepreneurs spent hours sitting on their porches, discussing projects, planning trips to the Everglades, listening to Mina play the piano, and perhaps playing Parcheesi, Edison’s favorite game.

 

“It was interesting to learn how good of friends they actually were,” said Eric Rye, visiting from Sarasota.

 

Guests had to stay in line, though. The Edisons had seven rules, one in particular noting that discretion was important: “Don’t fail to retire to your room for part of each day - so that the family may squabble without embarrassment.”

 

— By Jon Wilson, VISIT FLORIDA

 

Blogged

funproducer.com/insurance-rates-changing-personal-factors... Rates Changing Personal Factors

 

Insurance rates can be different for different persons.Even these rates can be change for the family members as well.It can depend on the company policy,countries trends and many of the other circumstances which effects the insurance rates and related fields if insurance.

 

insurance-rates-changing-personal-factors (1)

 

Crashing dollar

 

insurance-rates-changing-personal-factors (2)

   

A anchorman afresh asked Edmunds about the kinds of claimed advice that can affect the bulk of car insurance. She aswell capital to apperceive whether humans could do annihilation to abode claimed factors that were befitting their car allowance ante high.Vehicle insurance.

 

They’re acceptable questions, and Edmunds was blessed to advice acknowledgment them. During the analysis it became bright that if it comes to car insurance, there’s hardly annihilation that isn’t personal. Actuality are 5 all-about-you factors that can affect your car allowance premium:

1: Your active profile.

Such factors as the bulk of afar you drive annually and your blow and admission history are above elements in ambience your allowance rate. The beneath you drive, the beneath blow of an blow and a claim. Safer active acceptation a history chargeless of accidents and affective violations .Car Insurance Australia.aswell credibility to anyone who’s beneath acceptable to book a claim.

2:The car you drive.

 

Car allowance premiums are based in allotment on the car’s sticker price, the bulk to adjustment it, its all-embracing assurance almanac and the likelihood of theft, according to the Allowance Advice Institute. The bulk of acclimation a aboriginal $225,000 2010 Ferrari 458 Italia is traveling to be a lot added than the adjustment costs for a acclimated $17,000 Nissan Altima. The exceptional will reflect this.

3: Your capital claimed information

 

including your age, action and area you live. Each of these things factors into the action of ambience your allowance bulk because allowance companies abject their premiums on actuarial advice about drivers. They attending for patterns of claims action a part of humans like you. A boyish boy is acceptable to accept a college allowance bulk than a middle-aged driver, because statistically, boyish boys accept added accidents than do 40-year-olds.Car Insurance Australia.

 

Your action can play a role if it affects how abundant active you do. Work that involves lots of afar on the road, such as an alfresco sales job, can affect rates. From the allowance company’s point of view, the added afar you drive agency added blow of an accident.

 

Insurance companies aswell attending at area you live. They clue bounded trends of accidents, car thefts, lawsuits and the bulk of medical affliction and car repair, according to the Allowance Advice Institute.

4: The advantage you choose

 

The added advantage you accept and the lower the deductible you set, the added you’ll pay.

5:Your acclaim score

 

Some allowance companies use acclaim array as a agency in ambience rates. This convenance is advancing beneath attack, however, with seven states in 2010 casual regulations apropos the use of acclaim advice in insurance. In 2011, several added accompaniment legislatures alien bills to adapt the practice.

 

Actuarial studies appearance that how a getting manages his or her banking diplomacy is an authentic augur of the bulk and Car Insurance Australia.admeasurement of allowance claims he or she ability file, according to the Allowance Advice Institute.

 

If you wish to lower your allowance costs, you can’t change your age, or calmly change your job or hometown. But there are some claimed changes you can make:

1:Accede pay-as-you-drive insurance

 

It’s a paradox, but the added claimed you get, the bigger your ante ability be. Pay-as-you-drive programs action bigger ante because they’re tailored to how you alone drive — as adjoin to the humans who are agnate to you in agreement of age or added changeless factors.

 

This agency that a jailbait who is an accomplished disciplinarian — who doesn’t speed, doesn’t drive at night and doesn’t drive abounding afar — can get a bigger bulk than the boilerplate teenager, whose actuarial contour pegs him as a greater risk, based on the blow history for humans his age.

 

Pay-as-you-drive affairs accept altered configurations, depending on the allowance aggregation and state. Some crave that you install a telematics accessory that transmits advice about your absolute active (such as speed, breadth and braking patterns) to the allowance company. Others, such as affairs acceptable in California, Car Insurance Quotes.alone are based on the bulk of afar you drive, not how you drive.

2:Be a calmer, added accurate driver

 

If you’ve had dispatch tickets in the past, boldness to change from getting a speedy, advancing disciplinarian to a calm one. A ancillary anniversary is that you’ll save money on gasoline. Edmunds testing has aswell apparent that a calm active appearance gets you 35 percent bigger ammunition economy.

3:Accept a car with a lower bulk of ownership

 

Edmunds has a True Bulk to Own (TCO) apparatus that lets you admeasurement up cars if you’re shopping. It takes into anniversary eight apparatus — depreciation, absorption on financing, taxes and fees, allowance premiums, fuel, maintenance, aliment and any federal tax acclaim that may be accessible — and tells you what your bulk would be over 5 years. It’s a way to get a examination of what your allowance premiums ability be. Also, allocution to your allowance aggregation if you’re car arcade to get a adduce on how your best will affect your insurance. If you delay until the accord is done, you’ve absent a adventitious to administer your costs.Car Insurance Australia.

4: Change your coverage

 

Don’t go for every alarm and blare in an auto allowance policy. If you’re accommodating to pay a hardly college deductible, you can wind up extenuative big on your rates. Traveling from a $250 to a $1,000 deductible could save you 25-40 percent on your policy. Set abreast a allocation of these funds to awning your costs in the accident of a claim.

 

If you accept an earlier car with absolute and blow coverage, you ability acquisition yourself paying added in allowance than the car is worth. One tip: Take your absolute and blow premiums and add those up. Multiply by 10. If your car is account beneath than that amount, don’t buy the coverage. If you’re afraid about getting larboard overexposed, accede this: The archetypal policyholder makes a affirmation alone already every 11 years, and letters a absolute accident alone already every 50 years.

5:Explore discounts for which you ability be qualified

 

The options accessible cover discounts for low-mileage drivers, for seniors and for cars with anti-theft accessories and assertive assurance devices. It’s a diffuse account — just ask your insurer about any discounts, and go from there.

6: Clean up your credit

 

Keep it in acceptable appearance by paying bills on time and by consistently blockage that there are no items on your history that do not accord to you. You can get chargeless anniversary acclaim address checks here.

 

Is there claimed advice that doesn’t matter? Gender, one able told us. Allowance companies don’t affliction if you’re changeable or macho as continued as you’re a safe driver. And it’s a allegory that red cars accept college allowance ante than those antic added sedate shades, according to the Allowance Advice Institute. Ultimately, allowance companies affliction about how acceptable it is that a accurate disciplinarian would end up authoritative or causing a cher affirmation adjoin them. Green is the alone blush that matters.

 

Read more: funproducer.com/insurance-rates-changing-personal-factors...

 

alemanyretrocycles.blogspot.com/2010/12/tesoro-de-bicicle...

www.kingdomsalvation.org/ru/gospel/why-God-destroy-all-ev...

 

Ответ из Божьего слова:

 

Приближение конца всего сущего означает конец Божьего труда и конец развития человечества. Это означает, что человечество, будучи прельщенным сатаной, достигло конца своего развития и что потомки Адама и Евы размножились до соответствующих пределов, и это также означает, что развитие такого человечества, которое стало прельщенным сатаной, не может продолжаться... Когда Его труд завершится, те люди, которые останутся, будут очищены и насладятся более дивной второй человеческой жизнью на земле, поскольку войдут в человеческое царство высшего порядка; иными словами, они войдут в день покоя человечества и будут жить вместе с Богом. После того как те, которые не могут уцелеть, подвергнутся обличению и суду, их изначальные формы будут полностью изобличены; после этого они все будут уничтожены, и им, как и сатане, больше не будет предоставлена возможность выживания на земле. В человечестве будущего никаких подобных типов людей больше не будет; данные люди не годятся для того, чтобы вступить на землю окончательного покоя, не годятся они и для участия в дне покоя, который Бог разделит с человеком, ибо они являются целью для наказания, являются нечестивыми, и это люди неправедные… Его величайший труд по наказанию зла и вознаграждению добра совершается всецело для того, чтобы целиком и полностью очистить все человечество, дабы Он смог привести абсолютно святое человечество к вечному покою. Данный этап Его работы – это Его наиважнейший труд. Это завершающий этап всей Его работы управления. Если бы Бог не уничтожил нечестивцев, а позволил бы им уцелеть, в таком случае все человечество не смогло бы войти в покой, и Бог не смог бы привести человечество в лучший мир. И данная работа не была бы полностью завершена. Когда Он закончит Свою работу, все человечество будет святым целиком и полностью. Только в таком случае Бог может умиротворенно жить в покое.

 

из «Бог и человек вместе войдут в покой» в книге «Слово является во плоти»

 

Продолжить чтение:

Евангелие дня «Готовь для своего предназначения достаточное количество добрых дел» (Отрывок 2)

 

Image Source: Церковь Всемогущего Бога

 

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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

   

The Insatiable Glutton,' Puck magazine cartoon, December 1882.

 

The selflessness of soldiers fostered great respect in the years after the war. Pension payments were increased regularly, and men pursuing political office often found that their obvious injury proved useful in attracting voters.

 

Yet as Americans sought to put the memory of the conflict behind them, they increasingly ignored the plight of aging, disabled, impoverished veterans.

 

Instead, memorializing the dead and asserting national patriotism became the focus of Civil War remembrances, and the image of the disabled soldier became one of a money-grabbing dependent.

 

Civil War Pensions

At the close of the Revolutionary War, the United States government began administering a limited pension system to soldiers wounded during active military service or veterans and their widows pleading dire Poverty. It was not until the 1830's and the advent of universal suffrage for white male and patronage democracy, however, that military pensions became available to all veterans or their widows. Despite these initial expansions, the early U.S. military pension system was minuscule compared to what it became as a result of the Civil War.

 

Beginning in 1861, the U.S. government generously attended to the need of its soldiers and sailors or their dependents. Because the Federal government did not implement conscription until 1863, these first Civil War benefits in many ways were an attempt to induce men to volunteer. Although altered somewhat over the years, the 1862 statute remained the foundation of the Federal pension system until the 1890s. It stipulated that only those soldiers whose disability was "incurred as a direct consequence of . . . Military duty" or developed after combat "from causes which can be directly traced to injuries received or diseases contacted while in military service" could collect pension benefits. The amount of each pension depended upon the veteran's military rank and level of disability. Pensions given to widows, orphans, and other dependents of deceased soldiers were always figured at the rate of total disability according to the military rank of their deceased husband or father. By 1873 widows could also receive extra benefits for each dependent child in their care.

 

In 1890 the most notable revision in the Federal pension law occurred: the Dependent Pension Act. A result of the intense lobbying effort of the veterans' organization, the Grand Army of the Republic, this statute removed the link between pensions and service-related injuries, allowing any veteran who had served honorably to qualify for a pension if at some time he became disabled for manual labor. By 1906 old age alone became sufficient justification to receive a pension.

 

At the same time that pension requirements were becoming more liberal, several Southern congressmen attempted to open up the Federal system to Confederate veterans. Proponents justified such a move by noting that Southerners had contributed to Federal pensions through indirect taxes since the end of the war. These proposals met with mixed responses in both North and the South, but overwhelmingly, opposition came from those financially comfortable Confederate veterans and southern politicians who regarded such dependency on Federal assistance a dishonor t the Lost Cause. It should be noted that impoverished Southern veterans frequently were not averse to the prospect of receiving Federal pensions. In any event, no such law ever passed, and Confederate veterans and their widows never matriculated into the Federal pension system.

 

Although U.S. Civil War veterans had received pensions since 1862 and Southern state governments had provided their veterans with artificial limbs and veteran retirement homes since the end of the war, it was not until the 1880s and early 1890s that the elevens states of the former Confederacy enacted what can accurately be called pension systems. The economic devastation of he war and the political upheaval of Reconstruction best explain this long delay. When Southern pension systems did finally emerge, they generally resembled the pre-1890 U.S. system: eligibility depended upon service-related disability or death and indigence, and widows as well as other dependents of deceased soldiers could receive pensions. Despite these similarities, however, there were striking differences. First, in the South widows collected pensions set at a specific rate for widows of deceased soldiers. These rates were generally lower than those to which their husbands would have been entitled should they have survived. Under the Federal system, there was no separate category for widows. Second, most Southern pension laws determined stipend amounts based only on the degree of disability. No regard was given to military rank. Third, there was never a Confederate equivalent to the 1890 U.S. Dependent Act. Although over time Confederate pension requirements became more liberalized, there was always an income and poverty limit-pensions were never given simply for service. Fourth, whereas indirect taxes funded Federal pensions, most Southern states financed their pension through a direct tax. And fifth, because Southern pension systems were on the state level only, they varied as to method and amount and were much less financially generous than U.S. pensions. Though the individual pensions of Southerners were minuscule compared to those of Federal veterans and war widows, as a percentage of state expenditures, Southern pension expenditures were monumental. Of all the former Confederate states, Georgia generally spent the most per year on pensions, Alabama ran a close second.

 

Both the Federal government and Southern state governments continued to provide pensions for Civil War veterans and their widows well into the middle of the twentieth century. In all, billions of dollars were expended by both sides in an effort to "reward" the survivors of America's costliest war. Because of the high rates of expansion in both the Federal and Confederate systems, critics frequently accused pensioners and officials alike of corruption and fraud. Those pensioners most often labeled as frauds were widows, especially young women who had married veterans much older than themselves, supposed "cowards," and, in the Federal system, black veterans. By the mid-twentieth century, both systems were generally considered devoid of original integrity.

 

U.S. Government Still Pays Two Civil War Pensions

February 9, 2012

 

Despite the fact that the Civil War ended April 9, 1865 (53,630 days ago, for reference), the government is still paying out veterans' pensions.

 

Records from the Department of Veterans' Affairs show that two children of Civil War veterans, as of September, are receiving pensions from their fathers' service. Department of Veteran Affairs spokesman Phil Budahn says the VA last checked in on the benefits recipients in the fall. Both were alive, but in poor health. Budahn says it's likely that the children of the Civil War veterans, who have wished to remain anonymous, both had illnesses that prevented them from ever becoming self-sufficient.. Trevor Plante, a reference chief at the National Archives says it's also possible that the beneficiaries were young when their fathers died and had no living mothers to care for them, which would also qualify them for their fathers' pensions.

 

Plante says unlike current times, where pensions are granted to dependents based off military service numbers or social security numbers, in the late 19th century, people had to prove their connection to a deceased veteran by sending the government evidence of their relationship. Children, parents and spouses submitted photographs, love letters, marriage certificates, diaries and gifts to prove they were eligible for pensions.

 

"Genealogists love pension files because you never know what you are going to get. Civil War pensions are especially fascinating because of the wide array of things people submitted as evidence."

 

In the 19th and early 20th centuries, only Union soldiers were eligible for military benefits. It wasn't until the 1930s that confederate soldiers began receiving pensions from the federal government. Prior to that, confederate soldiers could apply for benefits through the state they resided in.

 

The last verified Civil War veteran, Albert Woolson, died in 1956 at age 109. The last widow, Gertrude Janeway, died in 2003 at age 93.

 

Budhan says he respects the request for privacy, but would be fascinated to learn about the lives and memories of the last two people receiving pensions from the Civil War. "I was hoping that someone would be able to talk to these folks," he says.

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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

   

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

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

   

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

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

 

REVISTA DE FILOSOFIA: REVISTA DE FILOSOFÍA CONTEMPORANEA

 

REVISTA OBSERVACIONES FILOSÓFICAS

www.observacionesfilosoficas.net/

 

Dr. Adolfo Vasquez Rocca _ Director

www.danoex.net/adolfovasquezrocca.html

 

Revista de Filosofía Contemporánea

www.observacionesfilosoficas.net/indexcategorias.htm

 

Adolfo Vásquez Rocca PH.D.

 

www.danoex.net/adolfovasquezroccainvestigacion.html

Dr. Adolfo Vasquez Rocca | Universidad Complutense de Madrid

 

www.danoex.net/adolfovasquezrocca.html

Adolfo Vasquez Rocca, Academic staff at Universidad Andrés Bello UNAB

  

emui.academia.edu/AdolfoVasquezRocca

  

ADOLFO VÁSQUEZ ROCCA PH.D.

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Escuela Matríztica

Universidad Complutense de Madrid

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

ADOLFO VÁSQUEZ ROCCA PH.D.

 

Web personal:

www.danoex.net/adolfovasquezrocca.html

  

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

dialnet.unirioja.es/servlet/autor?codigo=1053859

 

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Universidad Complutense de Madrid

E-mail: adolfovrocca@gmail.com

 

PROFESOR DR. ADOLFO VÁSQUEZ ROCCA

 

Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial'. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía, Bs. Aires; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, Universidad Nacional. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Ha publicado entre otros el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011

 

Prof. Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Director del Consejo Consultivo Internacional de Revista 'Konvergencias'; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, UNA. Miembro del Conselho Editorial da Humanidades em Revista, Universidade do Noroeste do Estado do Rio Grande Brasil. –Secretario Ejecutivo Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas.

 

VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 1 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.

 

Referencia indexación Universidad Complutense:

 

Revistas Científicas Complutenses +Madrid

usuarios.universia.net/verActividad.action?loginUsuario=a...

  

VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381

www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf

  

- VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK 'NORMAS PARA EL PARQUE HUMANO'; DE LA CARTA SOBRE EL HUMANISMO A LAS ANTROPOTECNIAS Y EL DISCURSO DEL POS-THUMANISMO", En

Revista Observaciones Filosóficas - Nº 5 / 2007 | ISSN 0718-3712

www.observacionesfilosoficas.net/petersloterdijkdelasnorm...

  

- VÁSQUEZ ROCCA, Adolfo, PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92

 

VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.

 

“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.

F. NIETZSCHE , Die fröhliche Wissenschaft, 86

 

VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006

Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564

y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734

 

VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.

  

- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK; LA MÚSICA DE LAS ESFERAS Y LA ERA ANTROPOTÉCNICA”. Konvergencias, Filosofía y Culturas en Diálogo. ISSN 1669-9092

Número 12 Año III Mayo 2006, www.konvergencias.net/musicaps01.htm

  

Peter Sloterdijk ¿dónde estamos, cuando escuchamos música? Número 12 Año III Mayo 2006

Konvergencias, Filosofía y Culturas en Diálogo. www.konvergencias.net/musicaps.htm

  

Periodista y escritor. Profesor de Sociología en la Staatliche Hochschule für Gestaltung de Karlsruhe.

Director periodístico de ZDF, alemania. www.peter-voss.eu/

Sloterdijk y Canetti; el detonante iconográfico y operístico de la política de masas ; Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 13, 2006, www.konvergencias.net/vasquezrocca115.htm

 

VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 2 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.

 

Referencia indexación Universidad Complutense:

 

Revistas Científicas Complutenses +Madrid

usuarios.universia.net/verActividad.action?loginUsuario=a...

  

VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381

www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf

  

VÁSQUEZ ROCCA, Adolfo, "EDWARD HOPPER Y EL OCASO DEL SUEÑO AMERICANO", En HOMINES –Arte y Cultura– MA-739-2004, 2009, Málaga, 2005.

www.homines.com/arte_xx/hopper_ocaso_americano/index.htm

 

Peter Sloterdijk; temblores de aire, atmoterrorismo y crepúsculo de la inmunidad

Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , 196-216

dialnet.unirioja.es/servlet/articulo?codigo=2377373&o...

  

______________

Peter Sloterdijk; espumas, mundo poliesférico y ciencia ampliada de invernaderos

Autores: Adolfo Vásquez Rocca

Localización: Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , págs. 217-228

dialnet.unirioja.es/servlet/articulo?codigo=2377372&o...

KONVERGENCIAS Filosofía y Culturas en Diálogo

ISSN 1669-9092

Año V, No 16 Tercer Cuatrimestre 2007

____________

 

- Vásquez Rocca, Adolfo, Peter Sloterdijk; del pesimismo metodológico al cinismo difuso de nuestras sociedades exhaustas, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92

 

PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS Dr. ADOLFO VÁSQUEZ ROCCA

dialnet.unirioja.es/servlet/articulo?codigo=2310343&o...

  

ISSN 1669-9092

  

- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.

“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.

F. NIETZSCHE , Die fröhliche Wissenschaft, 86 /

 

- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006

Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564

y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734

/

 

- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.

  

2.-

 

"Conjeturas sobre el animal que topa consigo, se propone lo grande, a menudo no avanza un paso y, a veces, esta harto de todo”.

P. Sloterdijk

  

VÁSQUEZ ROCCA, Adolfo, “GEORG TRAKL Y JORGE TEILLIER; PARA HABLAR CON LOS MUERTOS”, En Revista Almiar, MARGEN CERO © Madrid, 2007

www.margencero.com/articulos/articulos3/trakl.htm

 

VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EL HOMBRE COMO EXPERIMENTO SONORO Y METAFÍSICO ANIMAL DE LA AUSENCIA", PHILOSOPHICA, Instituto de Filosofía PONTIFICIA UNIVERSIDAD CATÓLICA DE VALPARAÍSO, Nº 31, Sem. I, 2007, ISSN 076 - 1913, pp. 89-105.

www.philosophica.ucv.cl/Phil%2031%20-%20art%2008.pdf

Indiana University Kokomo sees record-breaking enrollment increase; unprecedented number of students. Under the leadership of Chancellor Michael Harris.

   

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Chancellor Michael Harris IUK - On the Move

www.youtube.com/watch?v=uD3exIJ-hGs

  

The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:

www.youtube.com/watch?v=mJIe0t6aDEU

 

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en.wikipedia.org/wiki/Michael_Harris_%28academic%29

 

newsroom.iuk.edu/campus.html?start=270

 

www.ncslcollege.com/bio/39/

 

www.scribd.com/doc/63591416/Kokomo-Perspective-August-31-...

 

www.prnewswire.com/news-releases/indiana-university-kokom...

 

mydigimag.rrd.com/article/Up_Front/706709/67528/article.html

 

homepages.indiana.edu/web/page/normal/20760.html

 

www.insideindianabusiness.com/newsitem.asp?ID=51072

 

tackk.com/michaelharrischancellor

 

tackk.com/michaelharrischancellor

 

blogs.forbes.com/people/michaelharrischancellor/

 

Chancellor Michael Harris IUK - On the Move

www.youtube.com/watch?v=uD3exIJ-hGs

 

homepages.indiana.edu/web/page/normal/17736.html

  

www.youtube.com/watch?v=uD3exIJ-hGs

 

www.youtube.com/watch?v=uD3exIJ-hGs

 

www.prnewswire.com/news-releases/indiana-university-kokom...

 

avoyership13.moxai.com/chan-7603525/all_p2.html

 

www.insideindianabusiness.com/newsitem.asp?id=54350

 

Fonte dell'immagine: La Chiesa di Dio Onnipotente

 

Condizioni d'Uso: Avviso legale e condizioni per l’uso

  

Dopo i patimenti che ho sopportato, il mio amore per Dio è ancora più forte

  

di Zhou Rui, Provincia del Jiangxi

 

Mi chiamo Zhou Rui e sono un cristiano della Chiesa di Dio Onnipotente. Fin da quando ho cominciato a capire le cose, ho sempre visto i miei genitori lavorare sodo nei campi da mattina a sera per guadagnarsi da vivere. Malgrado il loro impegno intenso, riuscivano a malapena a guadagnare dei soldi anno dopo anno, perciò la nostra famiglia ha vissuto sempre in estrema povertà. Quando vedevo le persone potenti e influenti vivere comodamente senza dover faticare, provavo invidia nei loro confronti, e così presi una ferma decisione: da grande avrei avuto sicuramente una carriera di successo o mi sarei conquistato una posizione governativa per ovviare alla povertà e all’arretratezza della mia famiglia, in modo che anche i miei genitori potessero vivere come i ricchi. Tuttavia, pur avendo lottato molti anni per questo ideale, non sono mai riuscito a ottenere ciò che desideravo; ho continuato a vivere in povertà. Spesso sospiravo per la preoccupazione di non avere tratto nessun risultato dal mio impegno, e a poco a poco ho perso fiducia nella vita. Proprio quando cominciavo a scoraggiarmi e a disperare della vita, sono venuto a conoscenza della salvezza offerta da Dio Onnipotente negli ultimi giorni. Nelle Sue parole ho colto alcune verità e sono giunto a conoscere la causa principale della sofferenza umana nel mondo. Inoltre ho capito come le persone debbano vivere perché la loro vita sia ricca di significato e degna di essere vissuta. Da allora in poi, per quanto fossi stato confuso e smarrito, ho trovato il mio orientamento nella vita. Lasciandomi alle spalle la depressione e lo sconforto, ho scoperto una nuova vitalità e nuove prospettive, e ho visto speranza per la mia vita. Dopo di che, per consentire anche a quanti ancora vivevano nella sofferenza e nello smarrimento di conseguire questa rarissima salvezza, ho cominciato ad andare di luogo in luogo, predicando energicamente la salvezza offerta da Dio negli ultimi giorni. Ciò che non mi aspettavo, però, era che durante la mia attività di diffusione del Vangelo sarei stato arrestato due volte dal governo cinese e avrei subito torture brutali e disumane… In questo buio abisso di mostruosità, Dio Onnipotente non mi ha mai abbandonato; le Sue parole mi hanno trasmesso fede e forza, conducendomi ripetutamente alla vittoria sulle forze oscure di Satana e rafforzando il mio amore per Dio.

 

Era un giorno di giugno del 2003; io e due fratelli eravamo andati in un villaggio a diffondere il Vangelo, quando siamo stati denunciati da una persona malvagia. Cinque o sei agenti con tre auto della polizia si sono avvicinati rapidamente a noi e ci hanno ammanettati senza farci nemmeno una domanda. A calci e spintoni, ci hanno costretti a salire in auto e ci hanno condotti all’Ufficio di Pubblica Sicurezza. In auto non ho avuto affatto paura. Avevo sempre ritenuto che lo scopo della diffusione del Vangelo fosse offrire la salvezza alle persone, perciò non avevamo fatto niente di male; una volta arrivati all’Ufficio, avrei spiegato la situazione e la polizia ci avrebbe rilasciati. Non potevo sapere, però, che i poliziotti del governo cinese fossero più crudeli ed efferati di qualsiasi canaglia o tiranno malvagio. Arrivati all’Ufficio, i poliziotti non ci hanno dato nemmeno la possibilità di dare spiegazioni prima di separarci e interrogarci singolarmente. Ero appena entrato nella stanza degli interrogatori quando un poliziotto mi ha urlato: “La politica del Partito Comunista è ‘clemenza per chi confessa, severità per chi resiste’. Lo sapevi?” Dopo di che ha chiesto i miei dati personali. Vedendo che le mie risposte non lo soddisfacevano, un altro poliziotto mi si è avvicinato e ha grugnito: “Bah. Non stai collaborando. Ti daremo una lezione, così forse ci dirai la verità”. Poi ha fatto un gesto con la mano dicendo: “Portate qui dei mattoni così possiamo punirlo!” Due poliziotti si sono avvicinati all’istante, mi hanno preso una mano e me l’hanno strattonata da sopra la spalla e dietro la schiena, mentre mi tiravano l’altra mano in alto, e poi me le hanno ammanettate a forza. Ho subito provato un dolore insopportabile, come se mi si stessero spezzando le braccia. Come poteva una persona così debole sopportare un simile tormento? Un attimo dopo sono crollato a terra. Al che i malvagi poliziotti mi hanno bruscamente sollevato le manette e mi hanno infilato due mattoni fra le mani e la schiena. Un dolore acuto, improvviso, mi è penetrato fino al cuore, come se migliaia di formiche mi stessero masticando le ossa. In preda alla sofferenza, ho usato tutte le forze rimanenti per implorare Dio: “Dio Onnipotente, salvami. Dio Onnipotente, salvami…” Anche se all’epoca avevo accolto la salvezza offerta da Dio negli ultimi giorni solo da circa tre mesi, non conoscevo ancora molte Sue parole e capivo soltanto poche verità, ciò nonostante, grazie alle mie continue suppliche, Dio mi ha concesso fede e forza e mi ha trasmesso una ferma convinzione: dovevo rimanere saldo nella testimonianza a Dio; non dovevo assolutamente arrendermi a Satana! Perciò ho stretto i denti e mi sono rifiutato categoricamente di dire altro. Innervositi ed esasperati, i malvagi poliziotti hanno escogitato un altro brutale stratagemma nel tentativo di soggiogarmi: hanno collocato per terra due mattoni e mi hanno costretto a inginocchiarmici sopra; allo stesso tempo mi strattonavano con forza le manette. Ho provato subito un dolore così lancinante alle braccia che mi sembrava si fossero spezzate. Mi sono sforzato di rimanere lì inginocchiato per qualche minuto prima di ricadere a terra inerte, al che i poliziotti mi hanno di nuovo sollevato violentemente per le manette e mi hanno costretto a stare ancora in ginocchio. Mi hanno torturato ripetutamente in questo modo. Era piena estate, perciò il caldo acuiva la mia sofferenza; dal viso mi colavano continue gocce di sudore. Facevo tanta fatica a tenermi su che non riuscivo a respirare e sono quasi svenuto. Ciò nonostante, questa banda di poliziotti malvagi non faceva che godere della mia disgrazia. “Ti senti bene?” mi ha detto uno. “Se continui a rifiutarti di parlare, abbiamo tanti altri metodi per convincerti!” Vedendo che non rispondevo, erano furenti per la frustrazione e mi hanno detto: “Allora non ne hai avuto abbastanza? Ancora!” … Dopo due o tre ore di questo tormento, ero dolorante dalla testa ai piedi e non mi restavano più forze. Sono caduto a terra senza riuscire a muovermi e ho perso anche il controllo della vescica e dell’intestino. Di fronte alla tortura spietata di questi malvagi poliziotti, ho odiato me stesso per essere stato così cieco e ignorante; ingenuamente, avevo dato per scontato che l’Ufficio di Pubblica Sicurezza fosse un luogo in cui poter ragionare e che i poliziotti avrebbero difeso la giustizia e mi avrebbero rilasciato. Non mi sarei mai aspettato che fossero tanto malevoli e crudeli da voler estorcere una confessione con le sevizie senza un briciolo di prove, torturandomi fin quasi alla morte. Sono davvero la massima espressione del male! Ero steso a terra come fatto a pezzi, e non mi sarei potuto muovere nemmeno se l’avessi voluto. Non sapevo in che modo intendessero ancora torturarmi, né quanto sarei riuscito a resistere. Nella mia sofferenza e nel mio smarrimento, non potevo far altro che implorare continuamente Dio di darmi la forza di sopportare ancora. Dio ha ascoltato le mie suppliche e ha avuto pietà di me, facendomi rammentare uno dei suoi discorsi: “Questo è un momento cruciale. Fai in modo di non demoralizzarti e di non scoraggiarti. Devi guardare avanti in ogni cosa e non voltarti indietro, […] Finché avrai respiro, persevera fino alla fine; solo questo sarà degno di lode” (Capitolo 20 di “Discorsi di Cristo al principio” in “La Parola appare nella carne”). Le parole di Dio mi hanno trasmesso fede e forza in gran quantità. Erano così vere! Poiché stavo percorrendo il cammino della luce e della giustizia, dovevo avere la fede per andare avanti; fossi anche giunto al mio ultimo respiro, dovevo comunque perseverare sino alla fine! Le parole di Dio pulsavano di forza vitale e mi hanno dato la fede e il coraggio per combattere sino alla fine questi demoni malvagi, e così lentamente ho riacquistato anche un po’ di forza fisica. Dopo di che, i malvagi poliziotti hanno continuato a interrogarmi, pestandomi spietatamente i piedi fino a schiacciarmeli e a straziarmeli. Tuttavia non provavo più dolore. Sapevo che tutto questo era dovuto agli atti meravigliosi di Dio; avendo avuto pietà di me e mostrato sollecitudine per la mia debolezza, mi alleviava la sofferenza. In seguito i malvagi poliziotti ci hanno trattenuti con l’accusa di “turbamento dell’ordine pubblico”. Quella sera hanno ammanettato ciascuno di noi a un blocco di cemento di 150-200 chili, a cui siamo rimasti incatenati fino alla sera dopo, quando ci hanno trasferiti al locale centro di detenzione.

 

Entrare nel centro di detenzione è stato come precipitare in una sorta di inferno. Gli agenti penitenziari mi costringevano a infilare insieme lampadine colorate. Inizialmente dovevo infilarne seimila al giorno, ma poi la quantità è aumentata ogni giorno fino ad arrivare a dodicimila. In conseguenza di questo eccessivo carico di lavoro quotidiano, le dita mi si erano assottigliate fino all’osso, eppure non riuscivo comunque a portare a termine il mio compito. Non avevo altra scelta che continuare a infilarle per tutta la notte. Talvolta non ce la facevo proprio più e volevo fare un pisolino, ma non appena se ne accorgevano mi bastonavano brutalmente. Gli agenti penitenziari incitavano perfino i bulli del carcere dicendo ad alta voce: “Se questi detenuti non fanno il lavoro o non lo fanno bene, dategli un paio di dosi di ‘penicillina’”. Ciò che intendevano con una dose di “penicillina” era affibbiare al detenuto una ginocchiata all’inguine, poi una forte gomitata a metà schiena mentre lui si piegava per il dolore e quindi col tallone pestargli il piede. Questo metodo brutale talvolta faceva svenire lì per lì il detenuto e poteva perfino lasciarlo storpio per tutta la vita. In quel carcere diabolico io svolgevo ogni giorno un lavoro durissimo e per di più dovevo subire pestaggi crudeli. Come se non bastasse, i tre pasti che ci fornivano ogni giorno non erano adatti nemmeno ai cani o ai maiali: le pietanze che mangiavamo erano foglie di ravanello e spinaci d’acqua senza condimento (spesso mescolati a foglie e radici marce, sabbia e fango), oltre a circa 150 grammi di riso e un bicchiere dell’acqua che era stata usata per lavare il riso. Tutto il giorno avevo così fame che lo stomaco mi brontolava di continuo. In un ambiente del genere potevo affidarmi soltanto a Dio Onnipotente; ogni volta che subivo un pestaggio, pregavo con fervore, implorando Dio di darmi fede e forza per poter vincere le tentazioni di Satana. Dopo oltre venti giorni di angherie e tormenti, il mio corpo era così emaciato da essere irriconoscibile: non avevo forza nelle braccia e nelle gambe, non riuscivo a stare in piedi dritto e non avevo nemmeno la forza di stendere le braccia. Ciò nonostante, quelle guardie squilibrate non solo erano indifferenti alla mia situazione, ma si impadronivano anche delle poche centinaia di yuan che mi inviavano i miei familiari. Col passare del tempo le mie condizioni fisiche sono peggiorate sempre più; mi sono indebolito al punto che non ho potuto fare a meno di lamentarmi fra me: “Perché, in questo Paese, una persona che crede in Dio deve subire tante sofferenze? Il motivo per cui diffondo il Vangelo non è forse portare le persone al cospetto di Dio perché ricevano la Sua salvezza? E non ho nemmeno commesso alcun reato…” Più pensavo così, più mi era difficile sopportare e più mi sentivo trattato ingiustamente. Non potevo fare altro che pregare continuamente Dio e implorarLo di avere pietà di me e salvarmi. Nel pieno della mia disperazione e del mio smarrimento, Dio mi ha fatto ricordare un inno dei Suoi discorsi: “[…] 2. Forse vi ricordate tutti di queste parole: ‘Perché la nostra momentanea, leggera afflizione ci produce un sempre più grande, smisurato peso eterno di gloria’. Esse sono ciò che Dio compirà negli ultimi giorni, e saranno adempiute in coloro che sono crudelmente attaccati dal gran dragone rosso, nella terra in cui si trova. Il gran dragone rosso perseguita Dio ed è nemico di Dio, così in questa terra, coloro che credono in Dio sono sottoposti all’umiliazione e alla persecuzione. Ecco perché queste parole diventeranno realtà nel vostro gruppo di persone. 3. È estremamente arduo per Dio portare a termine la Sua opera nella terra del gran dragone rosso, ma è attraverso tale difficoltà che Dio compie una fase della Sua opera per manifestare la Sua saggezza e le Sue meravigliose opere. Dio coglie questa opportunità per rendere completo questo gruppo di persone. A causa della sofferenza delle persone, della loro levatura e di tutta l’indole satanica delle persone in questa terra immonda, Dio svolge la Sua opera di purificazione e di conquista in modo che, attraverso ciò, possa ottenere la gloria e guadagnare coloro che testimoniano le Sue opere. Questo è il significato completo di tutti i sacrifici che Dio ha fatto per questo gruppo di persone” (“Voi siete coloro che riceveranno l’eredità di Dio” in “Seguire l’Agnello e cantare dei canti nuovi”). Le parole di Dio mi hanno trasmesso grande conforto e incoraggiamento e mi hanno consentito di capire la Sua volontà. Poiché noi crediamo in Dio in un Paese ateo, siamo destinati a subire la coercizione e la persecuzione del demone Satana; però il fatto che noi subiamo questo tormento è permesso da Dio, perciò questa sofferenza ha un valore e un significato. È proprio tramite questa persecuzione e questa sofferenza che Dio semina in noi la verità, rendendoci in tal modo meritevoli di ricevere la Sua promessa. Questa “sofferenza” è una benedizione di Dio, e riuscire a rimanerGli fedeli durante tale sofferenza è una testimonianza della vittoria di Dio su Satana ed è anche una prova convincente del fatto che io sia stato conquistato da Dio. “Oggi”, ho pensato, “poiché seguo Dio, subisco questa persecuzione per mano dei demoni del Partito Comunista Cinese, e questo è Dio che mi dimostra uno speciale favore, perciò dovrei sottomettermi alla Sua orchestrazione e affrontarla e accoglierla felicemente con ferma tranquillità d’animo”. Mi sono rammentato un altro discorso di Dio, pronunciato nell’Età della Grazia: “Beati i perseguitati per motivo di giustizia, perché di loro è il Regno dei Cieli” (Matteo 5:10). In quel momento ho trovato fede e forza in misura ancora maggiore: per quanto Satana e i suoi demoni potessero torturarmi, io ero deciso a non cedere, e ho giurato che sarei rimasto saldo nella testimonianza e avrei soddisfatto Dio! Dotate di autorità e potenza, le parole di Dio avevano dissipato la desolazione e lo smarrimento che provavo dentro di me e alleviato la rovinosa sofferenza fisica a cui ero assoggettato. Mi hanno consentito di vedere la luce nel buio, e il mio spirito si è fatto più forte e ostinato.

 

Poi, malgrado la totale assenza di prove, il governo cinese mi ha inflitto una sentenza di un anno di rieducazione attraverso il lavoro. Quando la polizia mi ha trasportato al campo di lavoro, le guardie carcerarie hanno visto che ero ormai ridotto pelle e ossa e quasi non avevo più nemmeno un aspetto umano. Temendo che morissi, non hanno osato accettarmi, così i poliziotti non hanno avuto altra scelta che riportarmi al centro di detenzione. Ormai ero stato torturato da quei malvagi poliziotti al punto che non riuscivo più a mangiare, eppure non mi hanno prestato cure mediche, dicendo perfino che stavo fingendo. Quando hanno visto che non riuscivo a inghiottire il cibo, hanno incaricato qualcuno di aprirmi la bocca e di ficcarmelo dentro a forza, e poiché avevo difficoltà a deglutire, mi hanno picchiato. Sono stato alimentato a forza e picchiato come una bambola di pezza tre volte in tutto. Una volta constatato che non riuscivano più ad alimentarmi, non hanno avuto altra scelta che portarmi all’ospedale. Dagli esami è risultato che le vene mi si erano indurite; il sangue era diventato pastoso e nero e non circolava adeguatamente. Il medico ha detto: “Se quest’uomo rimane ancora in carcere, di sicuro morirà”. Ciò nonostante quei poliziotti odiosi e malvagi non volevano lasciarmi andare. Poi, con la mia vita appesa a un filo, ho sentito gli altri detenuti dire che ero senza speranza e ormai finito. A quel punto ho provato un’angoscia estrema; a mio parere, essendo ancora così giovane e avendo accolto solo di recente l’opera di Dio degli ultimi giorni, avevo ancora tanto di cui gioire e ancora non avevo visto il giorno della gloria di Dio. Davvero non ero rassegnato a essere torturato a morte dal governo cinese. Disprezzavo totalmente questo branco di poliziotti malvagi e spietati, e provavo un odio ancora maggiore per questo regime perverso, satanico, malvagio e opposto al Cielo che è il governo cinese. Mi aveva privato della libertà di seguire il vero Dio, mi aveva condotto sull’orlo della morte e non mi consentiva di adorare il vero Dio. Il Partito Comunista si oppone con tutte le forze a Dio, perseguita crudelmente i cristiani e intende sterminare tutti coloro che credono in Dio, per fare della Cina un Paese ateo. Questo malvagio demone Satana è effettivamente il nemico che si oppone a Dio in maniera inconciliabile e, per di più, è il nemico che io non potrò mai perdonare. Ho giurato che, se anche fossi stato torturato a morte quel giorno stesso, assolutamente non sarei sceso a compromessi e non mi sarei arreso a Satana! In preda al dolore e all’indignazione, mi sono rammentato una cosa che aveva detto Dio: “Migliaia di anni di odio sono concentrati nel cuore, millenni di peccaminosità sono incisi nel cuore – come potrebbe ciò non ispirare ripugnanza? Vendicare Dio, estinguere completamente il Suo nemico, non permettere a costui di dilagare ulteriormente, e non permettergli di continuare a creare problemi a proprio piacimento! Adesso è il momento: l’uomo da tempo è andato raccogliendo tutte le sue forze, e ha dedicato tutti i propri sforzi, pagato ogni prezzo per questo, per fare a brandelli l’odioso volto di questo demone e permettere alle persone, che sono state accecate e hanno patito ogni genere di sofferenza e di difficoltà, di risollevarsi dalle loro sofferenze e voltare le spalle a questo antico diavolo malvagio” (“Lavoro e ingresso (8)” in “La Parola appare nella carne”). Dopo avere riflettuto sulle parole di Dio, ho visto ancora più chiaramente il volto malvagio e demoniaco del governo cinese e ho constatato che proprio in quel momento stavo affrontando una battaglia spirituale fra la vita e la morte, fra il bene e il male. Lo scopo del governo cinese nel distruggermi in questo modo era costringermi ad abbandonare Dio e a tradirLo, ma Dio mi aveva rammentato e incoraggiato a rimanere forte, a liberarmi della presa che aveva su di me la morte e a renderGli una testimonianza vittoriosa. Non potevo ritirarmi nella negatività; dovevo collaborare diligentemente con Dio e sottomettermi alle Sue orchestrazioni e disposizioni. Come Pietro, dovevo sottomettermi fino alla morte e, nel mio ultimo momento di vita, rendere a Dio una testimonianza salda e risonante e confortare il Suo cuore. La mia vita era nelle mani di Dio e, sebbene Satana potesse ferirmi e massacrarmi il corpo fisico, non poteva distruggermi l’anima, tanto meno fare qualcosa per ostacolare la mia determinazione a credere in Dio e a ricercare la verità. Che sopravvivessi o no quel giorno, il mio unico desiderio era affidare la mia vita a Dio e accettare le Sue orchestrazioni; anche se fossi stato menomato fino a morirne, assolutamente non mi sarei arreso a Satana! Quando mi sono detto disposto a sacrificare la vita e ho deciso di rendere testimonianza a Dio, Egli mi ha dischiuso una via d’uscita inducendo gli altri detenuti a farmi mangiare. Quando è successo quest0, mi sono sentito colmo di entusiasmo; nel profondo sapevo che Dio era al mio fianco ed era stato sempre con me. Per tutto il tempo aveva vegliato su di me e mi aveva protetto, avendo compassione per la mia debolezza e predisponendo tutto per me. In quel tenebroso covo di diavoli, anche se il mio corpo era distrutto, nel cuore non provavo più tanto dolore e tanta disperazione. Dopo quel momento, i malvagi poliziotti mi hanno tenuto in carcere ancora per quindici giorni, ma vedendo che la mia vita era appesa a un filo e che potevo morire da un momento all’altro, alla fine non hanno avuto altra scelta che scarcerarmi. In origine pesavo più di 50 chili, ma nei quasi due mesi di carcere sono stato tormentato fino a ridurmi pelle e ossa: pesavo appena 25 o 30 chili ed ero in pericolo di vita. Ciò nonostante, questo branco di mostri voleva ancora multarmi di diecimila yuan. Alla fine, vedendo che la mia famiglia non aveva alcun modo di reperire una simile somma di denaro, hanno chiesto seicento yuan per pagare le spese per la mia alimentazione, e solo quando l’importo è stato versato mi hanno lasciato andare.

 

Subire questa tortura disumana e questo trattamento crudele per mano del governo cinese mi ha lasciato la sensazione di essere sfuggito per un pelo alle porte dell’inferno. Che ne fossi uscito vivo era dovuto unicamente alla cura e alla protezione di Dio; Egli mi stava mostrando la Sua grandiosa salvezza. Pensando all’amore di Dio, mi sono sentito doppiamente commosso, e ho imparato ad apprezzare ancora più a fondo la preziosità delle Sue parole. Così, ho preso a leggere ogni giorno avidamente i Suoi discorsi e pregavo spesso Dio. A poco a poco ho capito sempre meglio l’opera che Dio stava compiendo per salvare l’umanità negli ultimi giorni. Dopo un po’, con la cura di Dio, il mio corpo si è ripreso a poco a poco e io ho ricominciato a diffondere il Vangelo e a testimoniare l’opera di Dio degli ultimi giorni. Eppure, finché quel regime satanico rimarrà in piedi, non smetterà mai di cercare di sconvolgere e distruggere l’opera di Dio. In seguito ho di nuovo subìto una caccia frenetica e un arresto da parte della polizia del governo cinese.

 

Un giorno di novembre del 2004, soffiava un vento gelido e nell’aria turbinavano grossi fiocchi di neve. Durante la nostra opera di diffusione del Vangelo, io e alcuni fratelli e sorelle siamo stati seguiti di nascosto dalla polizia del PCC. Alle otto di sera eravamo nel bel mezzo di una riunione quando abbiamo udito un improvviso picchiare e gridare alla porta: “Aprite! Aprite la porta! Siamo dell’Ufficio di Pubblica Sicurezza! Se non aprite subito questa porta, la sfondiamo!” Senza aver tempo di pensare, ci siamo affrettati a nascondere i lettori VCD, i libri e altro materiale. Un attimo dopo, cinque o sei poliziotti hanno sfondato la porta, irrompendo come un branco di banditi o rapinatori. Uno di loro ha gridato: “Fermi tutti! Mettete le mani sulla testa e accovacciatevi accanto al muro!” Immediatamente alcuni poliziotti sono entrati in ogni stanza mettendo a soqquadro l’intera l’abitazione. Hanno confiscato quattro lettori VCD portatili e alcuni libri sulla fede in Dio. Subito dopo ci hanno costretti a salire nelle auto della polizia e ci hanno condotti alla stazione di polizia locale. Durante il tragitto mi sono tornate alla memoria una dopo l’altra le scene delle orrende torture inflittemi l’anno prima da quei malvagi poliziotti e inevitabilmente mi sono sentito piuttosto nervoso, non sapendo che altro avrebbero potuto inventarsi questa volta per tormentarmi. Temendo di non riuscire a sopportare la loro crudeltà e di finire col tradire Dio, in silenzio ho pregato Dio con fervore. All’improvviso mi sono rammentato alcune Sue parole che avevamo letto durante una riunione alcuni giorni prima: “Io sono colmo di speranza per i Miei fratelli e le Mie sorelle, credo che non siate né desolati né scoraggiati, e che a prescindere da ciò che Dio compie voi siate come un braciere acceso: non siete mai tiepidi e sapete persistere sino in fondo, finché l’opera di Dio sarà stata pienamente rivelata […]” (“Il cammino… (8)” in “La Parola appare nella carne”). “Tutti noi possiamo giurare davanti a Dio: ‘Operare uniti! Devozione fino alla fine! Non separarsi mai, per essere sempre insieme!’. Possiate voi, Miei fratelli e sorelle, prendere questa decisione davanti a Dio, in modo che i nostri cuori non si allontanino e le nostre volontà siano incrollabili!” (“Il cammino… (5)” in “La Parola appare nella carne”). Le parole di Dio mi hanno scosso nel profondo. Ho pensato a come Dio fosse disceso dal cielo in terra e avesse subìto tante prove e tribolazioni durante la Sua opera per offrire salvezza all’umanità. La Sua speranza è che le persone rimangano saldamente fedeli a Lui sino alla fine, per quanto grave sia la loro situazione. Essendo stato prescelto da Dio e avendo gioito del nutrimento dei Suoi discorsi, era giusto che mi offrissi interamente a Lui. “Per quanto io possa soffrire o essere tormentato”, ho pensato, “il mio cuore deve rimanere colmo di fede; i miei sentimenti verso Dio non devono mutare, la mia volontà non deve vacillare. Devo rendere a Dio una testimonianza risonante e non devo assolutamente arrendermi né cedere a Satana. Inoltre non devo tradirLo per andare poi a trascinare avanti un’esistenza ignobile e priva di significato. Dio è Colui dal quale io dipendo e, oltre a questo, è il mio sostegno fidato. Purché io collabori sinceramente con Lui, di certo Egli mi guiderà alla vittoria su Satana”. Così in silenzio ho comunicato la mia decisione a Dio: “O Dio! Anche se devo sacrificare la vita, Ti renderò testimonianza. Qualunque sofferenza io debba sopportare, mi atterrò alla vera via. Mi rifiuto assolutamente di arrendermi a Satana!” Rinvigorita dalle parole di Dio, la mia fede è sbocciata cento volte di più e io ho trovato la fede e la determinazione per sacrificare tutto allo scopo di rimanere saldo nella testimonianza a Dio.

 

N0n appena siamo arrivati alla stazione di polizia, gli agenti sono corsi a riscaldarsi vicino alla stufa. Tutti mi fissavano, e con le sopracciglia aggrottate e gli occhi infuocati mi interrogavano con voce severa: “Parla! Come ti chiami? A quante persone hai comunicato il Vangelo? Con chi sei stato in contatto? Chi è il capo della tua Chiesa?” Vedendo che ero deciso a rimanere in silenzio, uno dei malvagi poliziotti ha rivelato la sua natura brutale avventandosi su di me e afferrandomi furiosamente per il collo. Mi ha poi sbattuto la testa contro il muro, ripetutamente, fino a stordirmi e a farmi fischiare le orecchie. Poi ha alzato il pugno e mi ha colpito ferocemente al viso e alla testa, gridando: “Sei tu il maledetto capo, vero? Parla! Se no ti appendo in cima all’edificio e ti faccio morire congelato!” Quei malvagi poliziotti mi hanno picchiato brutalmente per una buona mezz’ora o più, fino a farmi vedere le stelle, col sangue che mi colava dal naso. Vedendo che non ottenevano le risposte volute, mi hanno condotto all’Ufficio di Pubblica Sicurezza. Lungo la strada, pensavo al folle pestaggio che avevo appena subìto da parte di quei malvagi poliziotti e sono stato pervaso da un’involontaria ondata di paura. Ho pensato: “Visto che hanno avuto la mano pesante con me appena giunto alla stazione di polizia, a che genere di crudeltà si spingeranno i poliziotti dell’Ufficio di Pubblica Sicurezza per torturarmi? Per me le cose si mettono male. Questa volta forse non ne uscirò vivo…” Mentre rimuginavo tutto questo, il cuore mi si colmava di un senso indescrivibile di disperazione e tristezza. Nel pieno dell’angoscia e dello smarrimento, all’improvviso mi sono ricordato di come Dio mi avesse consentito di sopravvivere miracolosamente l’anno prima, quando i malvagi poliziotti mi avevano torturato fino a pormi in pericolo di vita. Mi sono subito rasserenato, pensando: “Il fatto che io viva oppure muoia è nelle mani di Dio, no? Senza il permesso di Dio, Satana non può riuscire a uccidermi, per quanto ci provi. Ho visto nel passato gli atti meravigliosi di Dio, come posso essermene dimenticato? Come posso essere così privo di fede?” In quel momento ho visto che la mia levatura era ancora troppo immatura: di fronte alla prova della morte imminente, non ero ancora capace di rimanere accanto a Dio. Non ho potuto fare a meno di rammentare uno dei Suoi discorsi: “Ma vivere nella tua mente significa essere preso da Satana e questo è un vicolo cieco. È molto semplice: consideraMi con il tuo cuore e il tuo spirito diventerà immediatamente forte, avrai un cammino da praticare e Io guiderò ogni tuo passo. La Mia parola ti sarà rivelata in ogni momento e in ogni luogo. A prescindere da dove e quando, o da quanto l’ambiente sia avverso, Mi mostrerò a te chiaramente e il Mio cuore ti sarà rivelato se ti rivolgi a Me con il tuo cuore; in questo modo percorrerai la strada di fronte a te e non la perderai mai” (Capitolo 13 di “Discorsi di Cristo al principio” in “La Parola appare nella carne”). Le parole di Dio erano un faro che indicava la via, fornendomi una sempre maggiore lucidità di mente. Mi sono reso conto che Dio voleva usare questo ambiente ostile per purificarmi, in modo che nei momenti di crisi io abbandonassi i concetti e le fantasie e le mie preoccupazioni riguardo alla carne e andassi avanti affidandomi unicamente a Dio e dipendendo dalle Sue parole. Questo era un momento cruciale in cui Dio mi guidava a sperimentare la Sua opera, e ho capito che assolutamente non dovevo tirarmi indietro. Dovevo mettere la mia vita e la mia morte interamente nelle mani di Dio e affidarmi solamente a Lui, lottando sino alla fine contro Satana!

 

Quando siamo arrivati all’Ufficio di Pubblica Sicurezza, di nuovo i poliziotti ci hanno separati e interrogati singolarmente. Mentre cercavano continuamente di costringermi a parlare di questioni concernenti la mia fede in Dio, uno dei malvagi poliziotti, vedendo che insistevo a tenere la bocca chiusa, si è infuriato: “Pensi davvero di cavartela facendo il muto con noi. Ho finito la pazienza!” Così dicendo, mi ha afferrato per il colletto con entrambe le mani e mi ha scaraventato a terra come un sacchetto di sabbia. Poi gli altri malvagi poliziotti sono accorsi e hanno cominciato a prendermi a calci e a pestarmi dappertutto, fino a farmi rotolare sul pavimento per il dolore. Dopo di che mi hanno messo i piedi sulla testa e hanno premuto forte, sfregando avanti e indietro… Ancora non mi ero del tutto ripreso dalle torture selvagge che avevo sopportato l’anno prima, così dopo essere stato picchiato tanto brutalmente ho provato subito stordimento e nausea. Dolorante dalla testa ai piedi, mi sono raggomitolato. Poi il malvagio poliziotto mi ha strappato via le scarpe e i calzini e mi ha costretto a stare in piedi scalzo. Faceva un tale freddo che involontariamente battevo i denti e i piedi mi si sono intorpiditi. Mi sembrava di non farcela più, di stare per crollare a terra da un momento all’altro. Di fronte ai tormenti crudeli di questi malevoli poliziotti, non ho potuto fare a meno di provare un ardente senso di collera e indignazione. Disprezzavo questi scagnozzi del demonio, di una malvagità assoluta, e aborrivo il vile e reazionario governo cinese, che si oppone al Cielo ed è nemico di Dio, e per costringermi a tradire Dio e a rifiutarLo mi stava devastando e torturando, deciso a tutti i costi a mettermi a morte. Di fronte alla brutalità e alla crudeltà di Satana, ho pensato ancor più all’amore di Dio, soffermandomi sul fatto che per portare la salvezza all’umanità, e a beneficio della nostra futura esistenza, Egli aveva sopportato un’umiliazione estrema quando è venuto di persona fra noi per compiere la Sua opera. Aveva dato la vita per noi e adesso esprimeva con pazienza e sollecitudine le Sue parole per condurci lungo il cammino della ricerca della verità allo scopo di conseguire la salvezza… Valutando quel prezzo scrupolosamente pagato da Dio per la salvezza dell’umanità, mi sono reso conto di come nessuno mi amasse più di Dio; Egli teneva alla mia vita più di chiunque altro. Satana poteva soltanto ferirmi, o divorarmi e uccidermi. In quel momento ho sentito sbocciare nel cuore ancora più affetto e adorazione per Dio e non ho potuto fare a meno di pregarLo in silenzio: “Dio, grazie perché mi guidi e mi salvi in questo modo. Per quanto Satana possa torturarmi oggi, io sicuramente mi impegnerò a fondo per collaborare con Te. Lo giuro, non mi arrenderò e non cederò al demonio!” Con l’incoraggiamento dell’amore di Dio, anche se il mio corpo fisico era debole e fiacco per il tormento, il mio cuore era saldo e forte e io non mi sono arreso nemmeno una volta a quei malvagi poliziotti. Hanno continuato a torturarmi fino all’una di notte, quando, vedendo che non riuscivano proprio a ottenere risposte da me, non hanno avuto altra scelta che condurmi al centro di detenzione.

 

All’arrivo al centro di detenzione, di nuovo quei malvagi poliziotti hanno incitato i bulli del carcere a escogitare dei metodi per punirmi. Ormai ero stato tormentato a tal punto che avevo il corpo ricoperto di tagli e lividi; ero completamente stremato e appena entrato in cella sono crollato sul pavimento gelido. Vedendomi così, senza dire una parola, i bulli del carcere mi hanno tirato su e mi hanno preso a pugni in testa. Mi hanno picchiato fino a darmi le vertigini, e di nuovo sono caduto pesantemente a terra. Dopo di che i detenuti sono arrivati tutti a tormentarmi, costringendomi a premere una mano sul pavimento e l’altra sull’orecchio e poi a roteare in cerchio come una bussola. Vedendomi stordito a terra prima di avere portato a termine un paio di giri, mi hanno di nuovo preso a calci e picchiato. Uno dei detenuti mi ha perfino assestato un colpo feroce all’addome, facendomi perdere i sensi all’istante. Dopo di che gli agenti penitenziari hanno dato istruzioni ai detenuti di torturarmi e picchiarmi in maniera diversa ogni giorno e di farmi fare tutti i lavori sporchi quotidiani, come lavare i piatti, pulire le latrine e così via. Ero perfino costretto a fare docce fredde nelle giornate di neve. Inoltre, ogni volta che facevo la doccia, tutti mi costringevano a insaponarmi dalla testa ai piedi e poi mi facevano colare lentamente l’acqua gelida su tutto il corpo. Dopo quasi mezz’ora di doccia, avevo così freddo che ero viola dappertutto e tremavo. Di fronte a queste torture e crudeltà disumane, pregavo continuamente Dio, terrorizzato al pensiero che, se Lo avessi abbandonato, sarei diventato completamente prigioniero di Satana. Attraverso la preghiera, le parole di Dio risuonavano continuamente in me e mi guidavano: “Coloro che Dio definisce vincitori sono quelli che possono ancora testimoniare, conservare la fiducia e la propria devozione a Lui quando sono influenzati e assediati da Satana, ossia quando si trovano nelle forze dell’oscurità. Se sei ancora capace di conservare un cuore puro e un amore sincero per Dio a prescindere da tutto, sei testimone innanzi a Lui, e questo è ciò che Egli definisce essere un vincitore” (“Dovresti preservare la tua devozione per Dio” in “La Parola appare nella carne”). Le parole di Dio erano una luce che mi illuminava e mi calmava i pensieri. Sapevo che proprio quando ero assediato da Satana era il momento in cui dovevo avere lealtà e amore per Dio. Anche se questo ambiente disgraziato aveva causato sofferenze e tormenti al mio corpo fisico, dietro tutto questo si celavano il grande amore e le benedizioni di Dio. Era Dio ad avermi dato l’occasione di renderGli testimonianza davanti a Satana e di umiliare totalmente e sconfiggere Satana. Pertanto, mentre subivo queste sofferenze, rammentavo a me stesso ripetutamente che dovevo essere paziente sino alla fine, rimanere saldo nella testimonianza a Dio affidandomi alla Sua guida in questo tenebroso covo di demoni e sforzarmi di essere un vincitore. Guidato dalle parole di Dio, il mio cuore si è fatto saldo e forte. Malgrado la debolezza e il tormento che mi devastavano il corpo fisico, ero fiducioso di poter sopportare tutto allo scopo di avviare una battaglia per la vita o per la morte contro Satana e, col mio ultimo respiro, testimoniare Dio.

 

Dopo oltre venti giorni di carcere, mi sono preso una grave infreddatura. Avevo tutti e quattro gli arti doloranti e flosci, ero completamente privo di forze e avevo la mente confusa. Col peggioramento delle mie condizioni e con gli spietati pestaggi e torture degli altri detenuti, mi sentivo incapace di resistere ancora. Nel cuore ero particolarmente debole e depresso e pensavo: “Quando finiranno questo tormento e questa crudeltà quotidiani? A quanto pare stavolta verrò condannato, perciò non vi è molta speranza per me di uscire vivo da qui…” Non appena ho pensato così, mi è sembrato che il cuore fosse precipitato in un abisso, e sono sprofondato in una disperazione e un dolore così profondi che non trovavo più la via d’uscita. Nel momento più disperato, mi sono rammentato un inno delle parole di Dio: “Io non voglio che tu sia capace di pronunciare molte parole toccanti, o di raccontare tante storie entusiasmanti; piuttosto, ti chiedo di essere in grado di renderMi una bella testimonianza, e di entrare pienamente e profondamente nella realtà. […] Non pensate più alle vostre prospettive, e agite come avete stabilito davanti a Me, di sottomettervi alle orchestrazioni di Dio in tutte le cose. Tutti quelli che si trovano nella Mia casa dovrebbero fare il possibile; tu dovresti offrire il lato migliore di te stesso all’ultima parte della Mia opera sulla terra. Sei realmente disposto a mettere in pratica queste cose?” (“Siete realmente disposti a sottomettervi alle orchestrazioni di Dio?” in “Seguire l’Agnello e cantare dei canti nuovi”). Riga per riga, le parole di Dio mi hanno percosso il cuore, facendomi provare una profonda vergogna. Ho pensato a tutte le volte in cui avevo versato lacrime amare e mi sono deciso a dedicarmi a Dio in tutte le cose e sottomettermi alle Sue orchestrazioni e disposizioni. Inoltre ho pensato a come, quando le parole di Dio mi avevano guidato mentre sopportavo sofferenze e torture, avessi giurato sulla mia vita davanti a Lui che sarei rimasto saldo nella testimonianza, ma poi, quando a Dio veramente serviva che io pagassi un prezzo per soddisfarLo, mi aggrappavo invece vilmente alla vita e temevo la morte, preoccupandomi soltanto di quel che sarebbe successo al mio corpo fisico. Avevo completamente ignorato la volontà di Dio e pensavo solo a sottrarmi alla mia situazione e a mettermi in salvo il più presto possibile. Ho capito quanto fossi meschino e indegno; non avevo sufficiente fede in Dio ed ero colmo di intenzioni ingannevoli. Non ero in grado di rivolgere a Dio una vera devozione e non avevo in corpo nemmeno un osso davvero obbediente. In quel momento ho capito che nell’opera di Dio degli ultimi giorni ciò che Egli vuole sono il vero amore e la vera lealtà da parte dell’umanità; queste sono le ultime richieste di Dio e gli ultimi compiti da Lui assegnati all’umanità. “In quanto persona che crede in Dio”, pensavo, “dovrei mettermi completamente nelle Sue mani. Poiché la vita mi è stata data da Dio, Egli ha l’ultima parola sul fatto che io viva o muoia. Dato che ho scelto Dio, devo offrirmi a Lui e sottomettermi alle Sue orchestrazioni; per quante sofferenze e umiliazioni io possa subire, devo dedicarmi a Dio con le mie azioni. Non devo avere scelte o esigenze mie; questo è il mio dovere, nonché il senno che dovrei avere. Il fatto che io potessi ancora respirare e fossi vivo era dovuto unicamente alla protezione e alla cura di Dio; questa era la Sua provvista di vita; altrimenti non sarei stato già da tempo distrutto e ucciso dal diavolo? Quando per la prima volta avevo subìto sofferenze e patimenti così intensi, Dio mi aveva guidato a superarli. Che motivo avevo adesso di perdere fiducia in Lui? Come potevo essere negativo e debole, ritirarmi e desiderare di fuggire?” Quando mi è venuto questo pensiero, in silenzio ho confessato a Dio la mia colpa: “Dio Onnipotente! Sono davvero egoista e avido; ho solo voluto gioire del Tuo amore e delle Tue benedizioni, ma non sono stato disposto a dedicarmi sinceramente a Te. Quando penso di dover sopportare la sofferenza di lunghi anni di carcere, desidero soltanto uscire di qui per evitarla. Ho davvero urtato terribilmente i tuoi sentimenti. O Dio! Non voglio continuare a sprofondare ancora; desidero soltanto sottomettermi alle Tue orchestrazioni e disposizioni e accettare la Tua guida. Anche se muoio in carcere, voglio ugualmente renderTi salda testimonianza. Anche se sarò torturato a morte, Ti rimarrò fedele sino alla fine!” Dopo avere pregato, mi sono sentito doppiamente commosso. Anche se provavo dolore come prima, nel cuore sentivo di avere fede e determinazione a non arrendermi finché non avessi onorato il mio giuramento di soddisfare Dio. Non appena mi sono sentito deciso e fiducioso di poter restare saldo nella testimonianza a Dio fino alla morte, è successa una cosa miracolosa. Una mattina presto mi sono alzato dal letto e ho scoperto di non avere più la sensibilità ai piedi. Non riuscivo affatto a sostenermi, tanto meno a camminare. Inizialmente quei malvagi poliziotti non mi hanno creduto; supponendo che io fingessi, hanno cercato di costringermi a stare in piedi. Tuttavia, per quanto ci provassi, non ci riuscivo, Sono ritornati il giorno seguente a esaminarmi. Notando che avevo entrambi i piedi gelidi e del tutto privi di circolazione sanguigna, si sono convinti che ero davvero paralizzato. Dopo di che hanno comunicato ai miei familiari che potevano riportarmi a casa. Il giorno in cui sono arrivato a casa, miracolosamente mi è ritornata la sensibilità ai piedi e non ho avuto alcuna difficoltà a camminare! So nel profondo che tutto questo è dovuto a Dio Onnipotente, che ha mostrato compassione per la mia debolezza. Egli Stesso mi ha dischiuso una via d’uscita, consentendomi di andarmene libero e senza intoppi dal covo di Satana dopo essere stato detenuto illegalmente per un mese dal governo cinese.

 

Dopo essere stato due volte detenuto e sottoposto alle torture crudeli e disumane del governo cinese, anche se fisicamente avevo sofferto ed ero stato perfino prossimo alla morte, queste due esperienze straordinarie in realtà hanno costituito un solido fondamento per il mio cammino verso la fede in Dio. Nel pieno delle mie sofferenze e tribolazioni, Dio Onnipotente mi ha offerto la più concreta possibilità di dissetarmi con la verità e la Sua provvista di vita, non solo consentendomi di capire a fondo le intenzioni del governo cinese, il suo odio per la verità, la sua inimicizia verso Dio e il suo volto demoniaco, e di venire a conoscenza dei crimini efferati con cui si oppone a Dio e perseguita i Suoi fedeli, ma anche offrendomi la capacità di apprezzare la potenza e l’autorità delle parole di Dio. Il fatto che io sia riuscito a sottrarre per due volte la mia vita alle malvagie grinfie del Partito Comunista Cinese è stato unicamente il risultato della cura e della misericordia di Dio. Inoltre, in tal modo si è concretata e confermata la straordinaria forza vitale di Dio. Adesso mi rendo conto profondamente che in ogni momento e in ogni luogo Dio Onnipotente è sempre stato il mio unico sostegno e la mia salvezza! In questa vita, per quanti pericoli o patimenti io possa subire, sono deciso a perseverare nel mio impegno a seguire Dio Onnipotente, diffondendo attivamente la Sua parola e rendendo testimonianza al nome di Dio, ripagando il Suo amore con la mia autentica devozione!

 

Fonte: La Chiesa di Dio Onnipotente

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I can't believe that it has already been two weeks with Maggie and I also can't believe that it has only been two weeks with Maggie. I feel like she's been with us no time at all and forever.

 

Scott has nicknamed her, "Sleeping Beauty" due to all the sleep this child gets. One day we are going to look back on this and miss the sleepy days. We saw the lacation consultant again this week (I sense that we're going to be seeing them for a bit) and she gave me so much hope. She thinks Maggie will outgrown her latch problems and said that my side of Team Boob was in good shape. It's funny, with Molly, all the breastfeeding issues were on my side. Molly was an excellent breastfeeding partner. This time around, Maggie has the challenges but I'm hopeful that she'll get past them. The LC has assured me that she will.

 

We went out for sushi lunch today. Maggie slept through lunch while Molly chowed down on avocado rolls. It was nice getting out of the house even if it required massive coordination and organization. We started getting ready to go out at 8 a.m. for an 11:30 a.m. lunch.

 

This week has been a bit of a groundhog's dog. It's a 24 hour cycle of try to breastfeed (sometimes we have success!), feed Maggie and pump. Then I have about 30 minutes to eat, shower, clean up, etc. before starting the cycle all over again. Luckily since Maggie is such a good sleeper, I have a longer stretches at night. I'm still having to set my alarm to wake her up to eat so I'm taking advantage of the situation and getting a 3 hour stretch and a 4 hour stretch of sleep. The first few weeks are always so hard but so important to getting the breastfeeding relationship on track. I also know that this too shall pass and soon Maggie will be bigger and I'll miss the squishy little Maggie I have now.

Decorating Walls With Pixel Art Inspired by Old Video Games... All daily inspiration

Geoffroy normally works with art formats like the EMERGENCY ROOM

to stimulate urgent expression by artist about today 's emergencies :

 

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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

 

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SALKANTAY TREK TO MACHU PICCHU

5 DAYS - 4 NIGHTS

    

SALKANTAY TREK TO MACHU PICCHU

5 DAYS - 4 NIGHTS

The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine

If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.

OVERVIEW

Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu. 

Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa. 

Duration: 5 days/ 4 nights

Starting point: cusco

Ending point: cusco

Level: Moderate to Challenging 

Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails. 

Modality: Trekking, Archaeological and Cultural 

Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People 

Altitude: 2,800 masl to 4,650 masl 

Inca Trail alternative: Yes, the Salkantay trek is an excellent option. 

Departure Dates: Daily departures 

All private service departure dates are adapted to your request

Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.

 

ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS

DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.

We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.

Meals: Lunch, Dinner.

Overnight: Soraypampa in the tents.

Maximum Altitude: 3850 masl.

Minimum Altitude: 2850 masl.

Hiking distance: 14 km approx.

DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay

Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.

Meals: Breakfast, Lunch, Dinner.

Overnight: Chaullay in the tents.

Maximum Altitude: 4650 masl.

Minimum Altitude: 2920 masl.

hiking distance: 20km to Chaullay.

DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)

Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.

Meals: Breakfast, Lunch, Dinner.

Overnight: Santa Teresa “cola de mono campsite” in the tents.

Maximum Altitude: 2920 masl.

Minimum Altitude: 1600 masl.

Hiking distance: 15km approx.

DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes

After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.

Meals: Breakfast, Lunch, Dinner.

Overnight: in Aguas Calientes at the hotel which included in the package.

Maximum Altitude: 2350 masl.

Minimum Altitude: 2000 masl.

Hiking distance: 18 km approx.

 

DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco

Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.

 

Meals: Breakfast.

 

WHAT IS INCLUDED?

 

Pre-departure briefing at the office in Cusco

Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).

Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.

One sleeping pad per person.

1 Blanket. Or Liner.

One pillow per person.

Dining tent with tables and chairs

Kitchen tent

English speaking professional and official tourist guide (2 guides for groups of over 10 people)

1 night accommodation in Aguas Calientes

Chef and cooking equipment

Pack animals (to carry tents, food and cooking equipment) – days 1 to 4

Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4

1 emergency horse every 8 persons – days 1 to 3

Accommodation for all our staff

Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost

One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment

Boiled filtered water every day since the first lunch. For your water bottles.

Bio-degradable personal hand soaps

Bio-degradable dishwashing detergents used by our kitchen staff

Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead

First-aid kit including emergency oxygen bottle

Machupicchu entrance fee

One way bus ticket from Aguas Calientes to Machupicchu on day 4

Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.

Transfer from train station to the hotel in Cusco

24-h guest service: please ask for the emergency number available during your time of visit.

 

WHAT IS NOT INCLUDED?

 

First breakfast on day one.

Lunch on the last day after the guided tour at Machu Picchu

Walking Sticks

Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.

 

 

OPTIONAL AND RENTALS

 

Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day. 

Please tell us before final booking process.

Personal horse and horsemen for riding or carrying extra personal belongings while on the trek. 

Extra cost is $80 for the trek.

Therma-rest inflatable sleeping pad rent: US$ 5.00 per day

Entrance to the Hot Springs in Santa Teresa.

 

 

   

willowgrovedaycamp.com/willows.html

 

The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.

 

During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.

 

Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html

 

Dott. Porka’s P-Proj

  

Torino è una città strana.

Alcune fabbriche chiudono, altre si aprono alla creatività.

L’ex Aspira di via Foggia 28 aveva ormai il destino segnato: sarebbe stata abbattuta per far posto a moderni loft ad uso abitativo. Prima però che il suo destino si compisse, gli spazi sono stati presi in consegna da Raw Tella e Eugenio Dragoni, che hanno letteralmente stravolto capannoni, cortile interno, uffici.

A giugno è nato il WTC – War Trade Center, che per due mesi ha saputo catalizzare tutti i nomi della street art torinese, molti esponenti di quella nazionale e alcuni ospiti d’oltre confine. Una delle più grandi e coinvolgenti esposizioni di street art mai viste in città. E con un elemento di forza in più rispetto a qualsiasi mostra/esposizione dedicata a graffitismo e affini. Così come capita in strada, anche negli spazi di via Foggia 28 le opere non potevano avere carattere permanente. Realizzate direttamente sui muri, sarebbero state abbattute, insieme alla fabbrica.

 

StreetArTO era nato da poco (febbraio 2011), con l’intento di raccontare la street art torinese. Trovarsela tutta riunita in uno spazio così suggestivo è stata una piacevolissima sorpresa.

Il giorno dell’inaugurazione una piscina è comparsa in cortile; gli skaters si producevano in acrobazie su rampe e pedane posizionate tra opere di Pixel Pancho e Galo, Xel e Lapiztola; si ballava la break dance sotto un lavoro di Eme de M, mentre la musica segnava il ritmo tra le persone in coda al bar, inglobate nella testa di Medusa realizzata dai Truly Design con la tecnica dell’anamorfismo. Nel cortile – dove si affacciavano l’albero di parole di Opiemme, le bambine di Nox, la grande tartaruga di Roa e gli strani extraterrestri realizzati da TO LET e Mp5 – Gec ha racchiuso in poche parole il senso di quei due mesi, in cui le pareti della fabbrica si popolavano di storie e personaggi, cambiando aspetto dal giorno alla notte: “Qui, oggi, direi Berlino – Torino: 1 a 1!”.

  

da StreetArTO

  

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What a Beautiful Voice

Dong Jingxin is a preacher in a house church in China. She's believed in the Lord for thirty years, and loves the truth; she frequently reads the Lord's words and is driven by them. She expends herself for the Lord with enthusiasm. Because of her preaching work, she was arrested by the police of the Chinese Communist government and sent to prison where she endured cruelty and torture. It was the words of the Lord that guided her through enduring seven years of inhuman prison life. After getting out, her co-worker Chenguang comes to see her and reads to her from the words of Almighty God, bearing witness that God has appeared and is working in the last days . She also gives her a copy of The Word Appears in the Flesh. After reading quite a bit of the words of Almighty God, Dong Jingxin feels that they are authoritative and that they have come from God. She develops a heart of longing to seek. Dong Jingxin and her husband hungrily devour the words of Almighty God and discover that they are all the truth, and that they are the voice of God. They determine that Almighty God really is the return of the Lord Jesus they have been awaiting for years! Just as the two of them are awash in the joy of welcoming the return of the Lord, the chief of police pays them a visit to warn them against attending any gatherings or doing any preaching. He warns them that they particularly must report anyone who preaches Eastern Lightning , giving rise to anxiety in Dong Jingxin. After that, once their pastor finds out that Dong Jingxin is leading brothers and sisters to look into the work of God in the last days, he also interferes with and blocks them. Faced with confusion and disruption from the forces of Satan, Dong Jingxin is able to clearly see the true face of the pastors and elders of the religious world through prayer, seeking, and fellowship. She does not back down, but continues to lead brothers and sisters to investigate the true way, and she invites people from the Church of Almighty God to give fellowship and bear witness to the work of Almighty God in the last days. In the end, everyone acknowledges that the words uttered by Almighty God really are the voice of God, and that He is the appearance of God. Everyone is deeply moved: What a beautiful voice the words of Almighty God are!

Terms of use

ROSSLAND is in the West Kootenay region of south central British Columbia. High in the Monashee Mountains. In March 1897, Rossland became a city. The eight doctors, 17 legal firms, and 42 saloons served an estimated 7,000 residents. This peak aligned with the 1901 census count of 6,000. A string of newspapers followed, the Rossland Miner being the most enduring. The fire of August 1902 consumed both sides of upper Spokane Street, leaving only the old International Hotel standing. A December 1905 explosion wrecked roofs and shattered windows. The fires of January 1927, and March 1929, levelled the wooden buildings of Columbia Street. Depleting mines, World War I, and the Great Depression shrank the population.

 

The ROSSLAND Post Office was established - 1 March 1895 and became Rossland Postal Station of Trail - 1 May 1972.

 

LINK to a list of the Postmasters who served at the ROSSLAND Post Office - recherche-collection-search.bac-lac.gc.ca/eng/home/record...

 

- sent from - / ROSSLAND / PM / MY 4 / 99 / B.C. / - duplex cancel - this duplex hammer (DBC-323) was not listed in the Proof Book - it was most likely proofed c. 1898 - the ERD for this duplex hammer is - 23 June 1898 and the LRD is - 9 October 1901 - (RF C).

 

Addressed to: Wm. Rennie / Florist / Toronto / Ontario

 

- arrived at - / TORONTO / 15 / MY 10 / 99 / CANADA / - split ring arrival backstamp

 

Sent by: Jamieson Crawford / Rossland, British Columbia

 

Jamison Carlson Crawford

(b. 13 May 1859 in Paisley, Renfrewshire, Scotland, United Kingdom – d. 29 January 1949 at age 89 in Coquitlam, British Columbia, Canada) - occupations - farmer / bricklayer / shopman for the CPR - LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/04... - LINK to his Find a Grave site - www.findagrave.com/memorial/196219792/jamieson-crawford

 

His wife (first) - Margaret (nee Hinds) Crawford

(b. 1866 in Owen Sound, Grey, Ontario, Canada - d. ) they were married - 18 January 1886 in Owen Sound, Grey, Ontario, Canada

 

His wife (second) - Margreta (nee Baker) Crawford

(b. 1 July 1875 in Jersey City, Hudson County, New Jersey, USA - d. 24 May 1935 (aged 59) in Kamloops, Thompson-Nicola Regional District, British Columbia, Canada) - LINK to her Find a Grave site - www.findagrave.com/memorial/196640778/margreta-crawford

 

Their son - Daniel Jamieson Crawford - (confirms the Crawford family were living in Rossland, B.C. in 1899)

(b. 7 January 1899 in Rossland, Kootenay Boundary Regional District, British Columbia, Canada - d. 27 November 1982 (aged 83) in Revelstoke, Columbia-Shuswap Regional District, British Columbia, Canada) - LINK to his Find a Grave site - www.findagrave.com/memorial/196219537/daniel-jamieson-cra...

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WILLIAM RENNIE agriculturist, seed merchant, farm superintendent, and author; b. 15 March 1835 in Scarborough Township, Upper Canada, son of Robert Rennie and Elizabeth Fife; m. 13 March 1862 Sarah Glendinning of Scarborough, and they had four sons; d. 24 July 1910 in Swansea (Toronto).

 

Link to a biographical article on William Rennie - www.biographi.ca/en/bio/rennie_william_13E.html

SEMANA SANTA MELILLA

 

Domingo de Ramos

fotografiasdemelilla.blogspot.com.es/2012/04/domingo-de-r...

 

La Legión Domingo de Ramos

fotografiasdemelilla.blogspot.com.es/2012/04/la-legion-te...

 

Traslado de los Santos Titulares

fotografiasdemelilla.blogspot.com.es/2012/04/traslado-de-...

 

Via Crucis - Santísimo Cristo del Socorro

fotografiasdemelilla.blogspot.com.es/2012/04/via-crucis-s...

 

Nueva Marcha de la Banda del Flagelado

fotografiasdemelilla.blogspot.com.es/2012/04/nueva-marcha...

 

Pregón Semana Santa Melilla 2012 - Antonio García Castillo

fotografiasdemelilla.blogspot.com.es/2012/03/pregon-ofici...

 

Mis Carteles de Semana Santa

fotografiasdemelilla.blogspot.com.es/2012/03/carteles-sem...

  

Procesión Jueves Santo

fotografiasdemelilla.blogspot.com.es/2012/04/semana-santa...

 

Procesión Cofradía El Cautivo

fotografiasdemelilla.blogspot.com.es/2012/04/procesion-co...

 

Procesión Cristo de la Paz

fotografiasdemelilla.blogspot.com.es/2012/04/procesion-co...

 

Procesión Miércoles Santo

fotografiasdemelilla.blogspot.com.es/2012/04/procesion-mi...

 

Otro Jueves Santo con lluvia Procesión El Cautivo

fotografiasdemelilla.blogspot.com.es/2012/04/otro-jueves-...

 

Nuestro Padre Jesús Nazareno

fotografiasdemelilla.blogspot.com.es/2012/04/nuestro-padr...

 

María Santísima de los Dolores

fotografiasdemelilla.blogspot.com.es/2012/04/maria-santis...

 

Penitentes Cofradía El Humillado

fotografiasdemelilla.blogspot.com.es/2012/04/semana-santa...

 

Procesión Martes Santo

fotografiasdemelilla.blogspot.com.es/2012/04/la-procesion...

 

La Sentencia

fotografiasdemelilla.blogspot.com.es/2012/04/procesion-la...

 

Banda de Cornetas y Tambores Cofradía El Cautivo

fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...

 

Banda de Cornetas Tambores La Flagelacion

fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...

  

La Piedad

fotografiasdemelilla.blogspot.com.es/2012/04/la-piedad-pr...

 

Procesión la Soledad de Nuestra Señora

fotografiasdemelilla.blogspot.com.es/2012/04/procesion-la...

 

Procesión Viernes Santo

fotografiasdemelilla.blogspot.com.es/2012/04/procesion-vi...

 

SANTÍSIMO CRISTO YACENTE

fotografiasdemelilla.blogspot.com.es/2012/04/santisimo-cr...

 

SANTÍSIMO CRISTO DEL SOCORRO

fotografiasdemelilla.blogspot.com.es/2012/04/santisimo-cr...

 

MARÍA SANTÍSIMA DE LOS DOLORES EN SU SOLEDAD fotografiasdemelilla.blogspot.com.es/2012/04/maria-santis...

  

Recogida de la Virgen del Rocío

fotografiasdemelilla.blogspot.com.es/2012/04/recogida-de-...

 

Resucitado

fotografiasdemelilla.blogspot.com.es/2012/04/resucitado-d...

 

Virgen del Rocío - Domingo Resurreción

fotografiasdemelilla.blogspot.com.es/2012/04/virgen-del-r...

 

Banda de Cornetas y Tambores de La Flagelacion

fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...

 

Banda de Cornetas y Tambores Cofradía El Cautivo

fotografiasdemelilla.blogspot.com.es/2012/04/banda-de-cor...

  

© All rights reserved.

Please don't use this image on websites, blogs or other media without my explicit permission.

© Todos los derechos reservados.

Por favor, no use esta imagen en su web, blogs u otro medio de comunicación sin mi aprobación explícita.

Ref. 91.

Renault 5 (1972).

Fabricado en plástico.

Escala 1/28.

Juguetes Gozán.

Fabricación española / Made in Spain.

Años 70.

--------------------------------

 

R-5 de GOZAN (1972)

 

"(...) Renault 5 fabricado por GOZAN (con sede en el municipio alicantino de Ibi) en plástico duro en los años 70. Escala 1/28.

 

GOZAN fue una empresa juguetera española nacida en 1948, con 50 años de historia y tristemente desaparecida (2009).

 

En la década de los 70 fabricaron modelos (camiones y coches) de gran éxito, que mantendrían en catálogo durante más de 20 años, adaptando la decoración a los gustos del momento.

 

El R-5 fue fabricado en 6 variantes con 6 colores distintos: naranja, verde, amarillo, blanco, rojo y azul. La matrícula del vehículo es A-9105-R. Estaba presentado en una cajita de cartón con dibujos del coche en sus diferentes colores.

 

La caja venía con el número de referencia 91.

(...)

 

Estos R-5 también aparecieron como carga del camión Porta coches Tigre Car (ref.315) en 1972. Más tarde en 1981, GOZAN sacó el Camion Tigre Car 2 T-2000 (Ref 3515)."

 

Fuente: elcajondesinderik.blogspot.com/2018/05/r-5-de-gozan-1972....

 

More info:

miniaturas70.jimdo.com/goz%C3%A1n-bullyc%C3%A1n/

----------------------------------------------------------------------------------------

 

El 5 español

 

"En el Salón del Automóvil de Barcelona, celebrado entre abril y mayo de 1972, FASA-Renault mostraba al 5 de próxima fabricación española como "prototipo especial". Contaba con el cambio en el piso como principal diferencia respecto a sus parientes franceses, modificación atribuida por la revista Autopista a los estudios de marketing que detectaban que "para el público español la palanca en el salpicadero tenía reminiscencias de vehículo super-utilitario".

 

A finales de octubre de ese año el Renault 5 nacido en Valladolid se daba a conocer a la prensa española en Lisboa. Sus llantas tenían un diseño específico (visto ya en Barcelona) mientras que el anagrama "950" en su trasera indicaba, como era sabido ya, que en nuestro país se fabricaba únicamente la versión más potente."

 

Fuente: documentosdelmotor.com/noticia/96-renault-5-950

-------------------------------------------------------------------------------------

 

Renault 5

 

"El Renault 5, conocido popularmente como R-5 en su primera generación, y como Supercinco en la segunda, es un automóvil de turismo del segmento B producido por el fabricante francés Renault entre 1972 y 1996.

Fue fabricado principalmente en su país de origen, Francia; en Valladolid (1972-1984) y después Palencia (Supercinco), España; y en la planta de la empresa gubernamental Dina-Renault-Jeep en Ciudad Sahagún, México de 1975 a 1984. Casi 5,5 millones de unidades del Renault 5 fueron fabricadas."

(...)

 

El Renault 5 en España

 

"El primer modelo fabricado en España, en la factoría de Valladolid, fue el 950, basado en el TL francés, con motor de 956 cc.

A partir de 1974, la gama se desdobló en 950 y TL, únicamente en base al equipamiento.

Tras desaparecer el 950 poco después, en 1975 se unió a la gama el GTL, con motor de 1037 cc, sustituido más adelante por otro de 1108 cc.

También en 1975 se lanzó la versión semideportiva TS (Tourisme Sport), con motor de 1289 cc, 64cv y carburador Weber-Bressel de doble cuerpo, siendo entonces en cierto modo considerado como un compacto deportivo de lujo. Con esta versión, conocidos pilotos españoles como Carlos Sáinz o Jesús Puras se iniciaron en el mundo de los rallys.

La última versión lanzada al mercado fue el TX (sustituyendo al TS) y llevaba un motor de 1.397 cc, 63 cv y un carburador vertical Weber 32-DIR 100, de dos cuerpos."

(...)

 

Fuente: es.wikipedia.org/wiki/Renault_5

-----------------------------------------------------------------------------------------------

 

Renault 5, el “Supercar”

 

"El Renault 5 aparece por primera vez en 1972, bajo la denominación de “Supercar”, en un anuncio hecho con la técnica del dibujo animado. El diseño moderno y original del coche, con sus formas redondeadas, suponen una verdadera revolución."

 

Versiones del Renault 5

 

- "El Renault 5 estuvo disponible inicialmente en dos versiones. R5-L con motor de 782 cm3 y 36 CV, el mismo que equipara el Renault 4. R5-TL, con motor de 956 cm3 y 47 CV, el mismo que el del Renault 8. El R5-TL se comercializaba con un equipamiento superior (limpiaparabrisas de dos velocidades, bandeja trasera y reposabrazos, entre otros refinamientos)."

 

- "En 1974 se comercializó una versión deportiva denominada R5-LS, con un motor de 1.289 cm3 y 64 CV DIN, con un equipamiento considerado de gama alta. Este modelo dispuso al año siguiente de asientos integrales."

 

- "En 1976 se comercializaron dos versiones.

Por una parte, la versión GTL, con la misma cilindrada del LS y con una potencia de 42 CV DIN. Este modelo estrenó las bandas de protección lateral realizadas en el mismo material que los paragolpes.

El otro modelo fue la gran revelación del año: el Renault 5 Alpine, que con su motor de 1.397 cm3 disponía de la nada desdeñable cifra de 90 CV de potencia. El R5 Alpine montaba un paragolpes delantero con faros antiniebla integrados y unas llantas especiales."

 

- "En 1977 se sustituyó el motor de la versión L por otro de 845 cm3 y 36 CV DIN. también por estas fechas, el Renault 5 Alpine fue equipado con las llantas de tres aperturas de otro modelo mítico, el Alpine A 310."

 

- "El Renault 5 automático apareció en 1978, con un motor de 1.300 cm3 de 55 CV y el peculiar techo de vinilo."

 

- "La versión de 5 puertas llega en 1979, junto con una remodelación de la parte más baja de la gama (L, TL y Société), a los que se muscula con un motor de 1.108 cm3 y 45 CV de potencia, además de incorporar un cuadro de instrumentos termo-moldeado y asientos nuevos."

 

- "Aunque tal vez 1979 pase a la historia de este modelo por la aparición de una auténtica bomba: el Renault 5 Turbo..."

 

- "Llegamos a la década de los 80, y en 1982 se comercializa el Renault 5 TX, una versión de lujo previa a las denominadas Baccara.

En este mismo año, el Renault 5 Alpine se equipa con un turbo Garret que traslada la potencia de los 93 a los 110 CV."

 

- "En 1984 todas las versiones base (TL, GTL, GTS y TSE) cambian su nombre por el de Lauréate, es el último año de producción en Francia y aparece el Supercinco, la segunda generación del Renault 5, modelo de nombre y aspecto similar, pero con una concepción distinta..."

(...)

 

El total de versiones comercializadas fueron:

 

950/L/LE

TL (en versión 3 y 5 puertas)

GTL (en versión 3 y 5 puertas)

Supercar

Alpine

TS

TX

Automatic cabrio.

Copa

Copa Turbo

Copa Turbo intercooler

Turbo I

Turbo II

 

"Entre 1972, el año del lanzamiento, y el año en que cesó su fabricación para la exportación (1992), se produjeron 5.325.890 unidades en todas las versiones del Renault 5.

Este coche fue el más vendido en Francia durante 10 años (1974-1983).

La versión TL fue la más comercializada, con 239.513 ejemplares en 1980 (el 79,75% de toda la gama).

 

La producción total en el mercado español entre los años 1972 y 1985 fue de 1.080,956 unidades, siendo 1981 el año en el que más unidades se vendieron, con un total de 150.288 unidades."

(...)

 

Fuentes:

www.motorpasion.com/clasicos/renault-5-cuarenta-anos-de-u...

noventaysieteoctanos.es/renault-5/

-----------------------------------------------------------------------------------------------

 

Renault 5

 

"La Renault 5 est une automobile française, produite en deux générations distinctes.

Cet article concerne la première génération, qui a été produite en France à l'usine de Flins proche de Mantes dans le département des Yvelines, et à Valladolid (Espagne).

 

En janvier 1972, la marque investit le marché de la mini, ce qu'elle n'avait jamais fait auparavant. La Renault R5 fut désignée ainsi parce qu'elle était équipée d'un moteur de 5 chevaux fiscaux.

 

La Renault 5 va connaître un grand succès. En 1980, grâce à l'apport de sa version 5-portes lancée en juillet 1979, sa part du marché français des voitures neuves sera de 16 %. Elle est la voiture la plus vendue en France durant dix ans, de 1974 à 1983.

La Peugeot 205, qui lui ravira ensuite la première place du marché français, ne fera après pas mieux que 12,8 % en 1985. En 1972, la concurrente de la Renault 5 est la Peugeot 104."

(...)

 

"Le style dû à Michel Boué est le point fort de la Renault 5, les deux grandes portes sont sans poignées apparentes, allégeant la ligne.

 

La Renault 5 est la première voiture à être équipée de boucliers en polyester armé à la place des habituels pare-chocs chromés. Elle innove aussi en proposant un hayon arrière qui s'ouvre jusqu'au pare-chocs, pour la première fois sur une petite voiture, ce que tous les autres constructeurs copieront. Le coffre a une contenance de 270 dm3 et s'agrandit jusqu'à 900 dm3 quand la banquette arrière est rabattue.

 

La 5 hérite de la plate-forme, des suspensions à barres de torsion et des moteurs à arbre à cames latéral (782 à 1 397 cm3) de la Renault 4, ce qui permet un prix contenu. Le levier au tableau de bord est à commande directe car il passe au-dessus du moteur jusqu'à la boîte de vitesses montée longitudinalement à l'extrême avant.

En 1973, un levier de vitesses au plancher sera proposé sur la R5 TL."

(...)

 

La gamme

 

- "La gamme commence [1972] avec une version L qui reprend le moteur 4 CV de 782 cm3 (« moteur Billancourt ») de la Renault 4. Pour 1977, la Renault 5 L s'appellera simplement Renault 5 en recevant le « moteur Billancourt » 845 cm3 de la Renault 6."

 

- "La 5 TL propose le moteur 5 CV de 956 cm3 à cinq paliers issu de la Renault 8 (« moteur Cléon-Fonte »)... Clignotants avant blancs pour 1973 jusqu'en 1978... Pour 1979, les enjoliveurs de roue sont supprimés."

 

- "En avril 1974, apparaît la 5 LS (155 km/h), équipée d'un 1 289 cm3 développant 64 ch, de roues de style, d'un essuie-glace arrière et d'un échappement arrière (il est latéral sur les versions L et TL)... La 5 LS deviendra 5 TS dans la gamme 1975... Pour 1977, elle possèdera des vitres arrière entrouvrables."

 

- "En février 1976, la 5 GTL adopte le moteur 1 289 cm3 retravaillé pour consommer très peu d'essence (4,7 L/100 selon le constructeur). La 5 GTL se singularise par les bandeaux latéraux de protection en polyester prolongeant les pare-chocs, les roues de style et les feux de recul. Pour 1978, elle possèdera des vitres arrière entrouvrables.

La 5 GTL va devenir la plus vendue des Renault 5."

 

- "En mars 1976, est lancée la 5 Alpine qui atteint 175 km/h. Elle dispose d'un moteur 1 397 cm3 qui développe 93 ch et de la boîte de vitesses à cinq rapports de la Renault 16 TX.

La 5 Alpine est reconnaissable à sa décoration spécifique « A5 » sur les flancs, le hayon et le nez du capot, à ses pare-chocs noirs avec spoiler avant et projecteurs antibrouillard incorporés, à son rétroviseur extérieur en forme d'obus et à ses jantes en tôle de type Gordini..."

 

- En janvier 1978, la 5 Automatic 1300 s'équipe d'une boîte de vitesses automatique, d'un toit en vinyle noir (..,) de jantes de style, ainsi que de boucliers et de bandeaux latéraux de protection noirs. En février 1981, la cylindrée passe de 1 289 cm3 à 1 397 cm3."

 

- "Sur la base de la 5 TL, une 5 Société à deux places a existé, elle comportait des panneaux latéraux tôlés à l'arrière, rapidement remplacés en série par des vitres."

 

- "En juillet 1979, la Renault 5 est déclinée en variante cinq portes. Celles-ci sont identiques à celles de la Fasa-Renault Siete espagnole, une 5 à quatre portes avec une malle arrière et des pare-chocs chromés. Sur la cinq portes, la planche de bord, le volant et les sièges sont aussi nouveaux. Le moteur des 5 TL et 5 GTL passe à 1 108 cm3."

 

- "La Renault 5 à cinq portes va être une auto-école très populaire. Succédant à la Simca 1000, la 5 Auto-école se démarque de la 5 TL par ses bandeaux latéraux de protection et ses feux de recul supplémentaires."

 

- "À partir de septembre 1981, le carburateur de la 5 Alpine est aspiré par un turbocompresseur : la 5 Alpine Turbo (110 ch) dépasse 185 km/h. Elle reçoit des jantes spécifiques à ailettes. À partir de la fin 1983, le modèle pour la Suisse adopte une vanne EGR pour respecter les normes antipollution.

À partir de mars 1984, la 5 Alpine Turbo devient la 5 Lauréate Turbo."

 

- "En octobre 1981, une version luxueuse de la 5 TS à trois portes est proposée, elle s'appelle 5 TX. Elle est dotée d'une direction assistée, de lève-vitres électriques, d'un volant et d'un pommeau de levier de vitesse gainé de cuir, d'une banquette rabattable par moitié, d'un coffre entièrement moquetté et d'un pré-équipement radio.

Il existe aussi une 5 TX à boite automatique..."

 

- "Pour 1983, les boucliers anthracite sont généralisés."

 

- "La Renault 5, après neuf années consécutives en tête du marché français, de 1974 à 1983, terminera sa carrière fin 1984 sous le nom de 5 Lauréate comme version d'accès au côté de la nouvelle Supercinq.

Cette remplaçante n'osera pas s'écarter du style si réussi de la première version."

(...)

 

--------------

Renault 5

 

Marque

Renault

 

Années de production

1972 - 1984

 

Production

5 580 000 exemplaires

 

Classe

Citadine

 

Usine(s) d’assemblage

Flins (France)

Valladolid (Espagne)

 

Énergie

Essence

 

Moteur(s)

0.8 34 ch

0.9 34 ch

1.0 44/47 ch

1.1 45 ch

1.3 44/55/64 ch

1.4 58/63/93/110/160 ch

 

Transmission

Traction

 

Poids à vide

À partir de 730 kg

 

Dimensions

Longueur

3 521 mm

Largeur

1 525 mm

Hauteur

1 400 mm

Volume du coffre

270 dm3

 

Chronologie des modèles

 

Suivant

Renault Supercinq

 

Source: fr.wikipedia.org/wiki/Renault_5

 

More info:

www.renault-5.net/chronologie.htm

www.guide-autosport.com/renault/chronologie-renault/renau...

   

    

SALKANTAY TREK TO MACHU PICCHU

7 DAYS - 6 NIGHTS

    

SALKANTAY TREK TO MACHU PICCHU

7 DAYS - 6 NIGHTS

The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine

If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.

OVERVIEW

Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu. 

Location: The Salkantay trek begins 3 hours drive west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Sayllapata. 

Duration: 7 days/ 6 nights

Level: Moderate to Challenging 

Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails. 

Modality: Trekking, Archaeological and Cultural 

Ideal for: Adventure Seekers, Couples , Friends, Nature Lovers, Intrepid People 

Altitude: 2,800 masl to 4,650 masl 

Inka Trail alternative: Yes, the Salkantay trek is an excellent option. 

Departure Dates: Daily departures 

All private service departure dates are adapted to your request

Trekkers Wanted: If you wish to join a group tour, please see Next Departures 2014.You can also form your own tour to be advertised on this page. Maximum group size 10.

ITINERARY - SALKANTAY TREK TO MACHU PICCHU 7 DAYS - 6 NIGHTS

DAY 1: : Transfer Airport - Cusco Hotel, City Tour(Afternoon)

See and hear about the 6 archaeological sites of Cusco - the Cathedral, Koricancha (Temple of the Sun), Sacsayhuaman, Q'enqo, Pucapucara and Tambomachay.

DAY 2: Sacred Valley Tour (Full Day)

Visit the Sacred Valley of the Incas on this full-day monumental tour.

Sacred Valley Itinerary:

 

Visit Pisac Market & Ruins

Ollantaytambo

Chinchero

Chinchero Market

 

DAY 3: Cusco - Mollepata - Marcocasa - Soraypampa.

We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.

Meals: Lunch, Dinner.

Overnight: Soraypampa in the tents.

Maximum Altitude: 3850 masl.

Minimum Altitude: 2850 masl.

Hiking distance: 14 km approx.

DAY 4: Soraypampa - Salkantay Pass - Huayramachay – Chaullay

Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.

Meals: Breakfast, Lunch, Dinner.

Overnight: Chaullay in the tents.

Maximum Altitude: 4650 masl.

Minimum Altitude: 2920 masl.

hiking distance: 20km to Chaullay.

DAY 5: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)

Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.

Meals: Breakfast, Lunch, Dinner.

Overnight: Santa Teresa “cola de mono campsite” in the tents.

Maximum Altitude: 2920 masl.

Minimum Altitude: 1600 masl.

Hiking distance: 15km approx.

DAY 6: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes

After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.

Meals: Breakfast, Lunch, Dinner.

Overnight: in Aguas Calientes at the hotel which included in the package.

Maximum Altitude: 2350 masl.

Minimum Altitude: 2000 masl.

Hiking distance: 18 km approx.

 

DAY 7: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco

Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.

 

Meals: Breakfast.

 

WHAT IS INCLUDED?

 

Hoteles in Cusco

Day 1: City Tour Half Day

Day 2: Sacred Valley Tour Full Day

Pre-departure briefing at the office in Cusco

Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).

Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.

One sleeping pad per person.

1 Blanket. Or Liner.

One pillow per person.

Dining tent with tables and chairs

Kitchen tent

English speaking professional and official tourist guide (2 guides for groups of over 10 people)

1 night accommodation in Aguas Calientes

Chef and cooking equipment

Pack animals (to carry tents, food and cooking equipment) – days 1 to 4

Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4

1 emergency horse every 8 persons – days 1 to 3

Accommodation for all our staff

Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost

One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment

Boiled filtered water every day since the first lunch. For your water bottles.

Bio-degradable personal hand soaps

Bio-degradable dishwashing detergents used by our kitchen staff

Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead

First-aid kit including emergency oxygen bottle

Machupicchu entrance fee

One way bus ticket from Aguas Calientes to Machupicchu on day 4

Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.

Transfer from train station to the hotel in Cusco

24-h guest service: please ask for the emergency number available during your time of visit.

 

WHAT IS NOT INCLUDED?

 

Entrance fees - You need to purchase the Boleto de Turistico at the first site you enter (Soles 130 per person; valid for 10 days and allows you entrance into 16 various sites around Cusco and the Sacred Valley).

Entrance to visit the Cathedral of Cusco. S/25 Soles

Entrance to Visit Coricancha. S/ 10 Soles

Meals in Cusco

Day 3: breakfast on day one.

Lunch on the last day after the guided tour at Machu Picchu

Walking Sticks

Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.

 

OPTIONAL AND RENTALS

 

Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day. 

Please tell us before final booking process.

Personal horse and horsemen for riding or carrying extra personal belongings while on the trek. 

Extra cost is $80 for the trek.

Therma-rest inflatable sleeping pad rent: US$ 5.00 per day

Entrance to the Hot Springs in Santa Teresa.

 

 

   

blogged:

tinyhaus.blogspot.com/2012/07/the-last-elephant.html

 

I made this piece after seeing photos of Jimmy John Liautaud, founder of Jimmy John's, killing endangered animals on Safari in Africa.  I was enraged and disgusted!  I'm happy I've never eaten at a Jimmy Johns and after this I never will.  Thanks for bringing my attention to this Lisa.  The company that is responsible for these killing "adventures" is Johan Calitz Safaris.  I can't stand to look at those pictures, they're just vial. 

My mother's family was from a rural part of Vietnam.  My grandfather was a hunter and both my mom and grandmother have done their share of slaughtering chickens, fish and I think pigs and goats.  I'm an omnivore so I don't want to step on a soapbox and pass judgment on the killing of animals.  But I'm 100% against animal cruelty and senseless acts like this.  It's just a pure ego stroke, lacking in any compassion or consideration.  You want to shoot something get a camera!

My mother's family was from a rural part of Vietnam.  My grandfather was a hunter and both my mom and grandmother have done their share of slaughtering chickens, fish and I think pigs and goats.  I'm an omnivore so I don't want to step on a soapbox and pass judgment on the killing of animals.  But I'm 100% against animal cruelty and senseless acts like this.  It's just a pure ego stroke, lacking in any compassion or consideration.  You want to shoot something get a camera!

 

The Last Elephant 2012

carved carpenter's pencil (graphite & wood)

5 1/4"h x 5/8"w x 1/4"d (13.3cm x 1.6cm x .6cm)

 

el.godfootsteps.org/God-himself-the-unique-ix.html

 

Παντοδύναμος Θεός λέει: «Αφού τα δημιούργησε ο Θεός, βάσει των νόμων που Αυτός καθόρισε, όλα τα πράγματα λειτουργούν και συνεχίζουν να εξελίσσονται κανονικά. Κάτω από το βλέμμα Του, κάτω από τους νόμους Του, τα πάντα εξελίσσονται κανονικά, παράλληλα με την επιβίωση των ανθρώπων. Ούτε ένα πράγμα δεν είναι σε θέση να αλλάξει αυτούς τους νόμους, κι ούτε ένα πράγμα δεν μπορεί να καταστρέψει αυτούς τους νόμους. ...

 

...Αυτές οι μεταβάσεις από την άνοιξη στο καλοκαίρι, στο φθινόπωρο και στον χειμώνα – αυτές οι αλλαγές συμβαίνουν όλες σύμφωνα με τους νόμους που θέσπισε ο Θεός. Καθοδηγεί όλα τα πλάσματα και τους ανθρώπους χρησιμοποιώντας αυτούς τους νόμους και έχει θεσπίσει έναν πλούσιο και πολύχρωμο τρόπο ζωής για το ανθρώπινο γένος, προετοιμάζοντας ένα περιβάλλον για επιβίωση που έχει διαφορετικές θερμοκρασίες και διαφορετικές εποχές. Υπό αυτά τα μεθοδικά περιβάλλοντα επιβίωσης, οι άνθρωποι μπορούν επίσης να επιβιώσουν και να πολλαπλασιαστούν με οργανωμένο τρόπο. Οι άνθρωποι δεν μπορούν να αλλάξουν αυτούς τους νόμους και ούτε ένα άτομο ή πλάσμα δεν μπορεί να τους παραβεί. Δεν έχει σημασία τι ριζοσπαστικές αλλαγές συμβαίνουν στον κόσμο, αυτοί οι νόμοι συνεχίζουν να υπάρχουν και υπάρχουν επειδή υπάρχει ο Θεός. Αυτό συμβαίνει χάρη στη διακυβέρνηση και τη διαχείριση του Θεού. Με αυτού του είδους το οργανωμένο, ευρύτερο περιβάλλον, η ζωή των ανθρώπων προχωρά μέσα στα πλαίσια αυτών των νόμων και κανονισμών. Αυτοί οι νόμοι καλλιέργησαν τη μια ανθρώπινη γενιά μετά την άλλη και ολόκληρες γενιές ανθρώπων έχουν επιβιώσει μέσα στα πλαίσια αυτών των νόμων. Οι άνθρωποι απολαμβάνουν τα όντα και αυτό το τακτικό περιβάλλον για επιβίωση που δημιούργησε ο Θεός για ολόκληρες γενιές ανθρώπων. Παρόλο που οι άνθρωποι αισθάνονται ότι αυτοί οι τύποι νόμων είναι έμφυτοι, παρόλο που τους απορρίπτουν πλήρως και παρόλο που δεν μπορούν να νιώσουν ότι ο Θεός ενορχηστρώνει αυτούς τους νόμους, ότι ο Θεός κυβερνά πάνω από αυτούς τους νόμους, ό,τι και να γίνει, ο Θεός είναι πάντα απασχολημένος με αυτό το αμετάβλητο έργο. Ο σκοπός Του σε αυτό το αμετάβλητο έργο είναι η επιβίωση του ανθρώπινου γένους, έτσι ώστε να συνεχίσουν να ζουν οι άνθρωποι. ...»

σύσταση：

Αιώνια Ζωή

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.emergencyrooms.org

  

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

 

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