faizakhalida.blogspot.com.br/2008/09/denncia-annima-finan...

 

Na primeira reunião, no início de 2008, com os professores, a reunião de PLANEJAMENTO 2008, o professor Paulo me dava recados diretamente, fazia deboches, chacotas, risos, e repetidamente durante a reunião me perguntava se eu conhecia o funcionário de cor escura, negro, da Secretaria de Segurança de Belford Roxo porque ele era matador. O professor Paulo me dizia que à noite esse funcionário cantava com voz fina de TETÊ ESPÍNDOLA a música "VOCÊ PRA MIM FOI O SOL DE UMA NOITE SEM FIM". Dizia repetidamente para mim que ele era matador. Que ele fazia os serviços (assassinatos) na área do PANTANAL em Duque de Caxias, e, fora do trabalho ele matava pessoas. E insistentemente me perguntava novamente se eu conhecia esse matador. Eu já me encontrava muito abalada porque inclusive eu acreditava realmente que eu iria morrer depois que a orientadora pedagógica Maria da Conceição da Silva Pereira (Conceição) me chamou na sala dela na escola onde eu lecionava e me disse que eu ía tomar um tiro. Eu acreditava que estava marcada para ser assassinada.

  

FOTO: orientadora pedagógica Conceição

 

(Maria da Conceição da Silva Pereira)

  

Depois que a orientadora Conceição (Maria da Conceição da Silva Pereira) me ameaçou de morte na escola, eu passei a temer estar dentro da Escola Municipal Jorge Ayres de Lima. Tinha dias que eu não conseguia entrar na escola. Em um dia, a coordenadora da tarde da Escola Municipal Julio César de Andrade Gonçalves e que já tinha sido inspetora de alunos da tarde da escola municipal Jorge Ayres de Lima, a Joelma, me viu parada na frente da escola chorando não conseguindo entrar para trabalhar. Ela mesma me ajudou a entrar nesse dia na escola, me colocou na sala dos professores e ficou um tempo comigo lá antes de ir embora conversando com a coordenadora Cássia dizendo que eu não estava bem. Tinha dias também que eu não conseguia pegar o ônibus para ir trabalhar e tinha dias que não conseguia sair de casa. Sentia sempre o perigo e o pavor no meu percurso para trabalhar na escola. Percebia que poderia morrer a qualquer momento e que isso poderia ser ao virar de uma esquina.

  

DECLARAÇÃO MÉDICA

 

20/08/2007

 

A Sra. FAIZA KHÁLIDA FAGUNDES COUTINHO apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos, insônia, ansiedade, cefaleias frequentes e dificuldades para cumprir suas tarefas no trabalho.

 

20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

A primeira vez que eu fui ameaçada de morte no meu trabalho como professora efetiva da rede municipal de Belford Roxo foi em 2002, na SEMED, Secretaria Municipal de Educação, dentro de uma sala fechada, pela Subsecretária de Educação Rosângela Maria Gonçalves de Oliveira que me disse que se eu não fizesse tudo o que ela estava me mandando fazer que ela me matava e acabava com a minha vida.

  

FOTO: subsecretária de educação

 

Rosângela Maria Gonçalves de Oliveira

  

Em 2002 também um amigo professor de Geografia que tentou me defender desse assédio moral e homofobia da Subsecretária de Educação Rosângela Maria e da diretora municipal de Belford Roxo Vera Lúcia Castelar, na época gestora da Escola Municipal São Bento, foi assassinado, segundo informação, com diversos tiros no rosto. Então quando esses professores da Escola Municipal Jorge Ayres de Lima faziam essa pressão psicológica, inclusive me falando sobre matadores, mortes, se eu estava ciente disso, me perguntando o que ocorreria se eu fosse assassinada, se haveria alguma retaliação dos matadores de onde eu moro, todas essas conversas me abalavam ainda mais psicologicamente.

  

FOTO: diretora Vera Lúcia Castelar (mat. 53165)

  

Eu comecei a sentir DEPRESSÃO PROFUNDA por causa do trabalho mesmo em 2002, após a ameaça de morte da Subsecretária de Educação do Município Rosângela Maria Gonçalves de Oliveira. Ela me ordenou que eu ficasse quieta em casa e não tivesse contato com ninguém. Eu ficava em DEPRESSÃO PROFUNDA no meu quarto. Mas foi só no ano seguinte em 10 de julho de 2003 que eu consegui pedir ajuda MÉDICA quando estive na Emergência do Centro Psiquiátrico do Rio de Janeiro começando a fazer uso de medicação psicotrópica.

  

FORMULÁRIO DE EMERGÊNCIA DO CENTRO PSIQUIÁTRICO CONSTA DE DIVERSOS PROCESSOS ADMINISTRATIVOS DE 2003

 

O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Desde o ano de 2003 então eu passei a usar e a depender de medicação psicotrópica para conseguir trabalhar, eu trabalhava à base de remédios.

  

Medicamento / remédio psiquiátrico DIAZEPAM prescrito no Centro Psiquiatrico do Rio de Janeiro para a professora transexual Faiza Khálida em 10 de julho de 2003 após depressão profunda causada por discriminação no trabalho na educação de Belford Roxo de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

RECEITUÁRIO DE CONTROLE ESPECIAL CENTRO PSIQUIÁTRICO RIO DE JANEIRO PRESCRIÇÃO AMITRIPTILINA 10/07/03. OS PRIMEIROS TRATAMENTOS PSICOLÓGICOS APÓS VIVÊNCIAS TRAUMÁTICAS NO TRABALHO e INÍCIO DO USO DE MEDICAMENTOS PSICOTRÓPICOS PARA CONSEGUIR TRABALHAR. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

RECEITUÁRIO DE CONTROLE ESPECIAL PASSADO PELA MÉDICA PSIQUIATRA TÉCNICA DO CAPS DE DUQUE DE CAXIAS - MEDICAMENTO PARA DEPRESSÃO (17/07/2003) Professora transexual de Belford Roxo Faiza Khálida após relato de tratamento discriminatório no trabalho. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Nesse ano, em 2003, eu relatei para a Prefeitura Municipal de Belford Roxo, em processo que eu precisava de ajuda médica e psicológica e pedi , pelo amor de Deus, por Jesus Cristo, que a Prefeitura Municipal de Belford Roxo custeasse e promovesse um tratamento para mim.

  

PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Na Escola Municipal São Bento, as pessoas entravam dentro da escola, me jogavam coisas e me ofendiam enquanto eu estava dando aula para os alunos. As pessoas me jogavam coisas pelos buracos das paredes das salas de aula, xingavam, diziam e gritavam palavras homofóbicas para mim. Era chamada de viadinho e me colocavam apelido. A diretora Vera Lúcia Castelar não tomava providência, quando via, virava as costas para a situação e, quando eu pedia a ela providência e posicionamento, ela me dizia que aquilo acontecia porque eu tinha esse jeito de ser. Eu ouvia risos, chacotas, escárnios mesmo durante o meu deslocamento dentro da escola e até sobre o modo como eu andava.

  

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

  

A Subsecretária de Educação Rosângela Maria Gonçalves de Oliveira e a diretora Vera Lúcia Castelar não me aceitavam mais na Escola Municipal São Bento. Como a Subsecretária de Educação Rosângela Maria não conseguiu me demitir porque 8 supervisores Educacionais enviados por ela para a escola não permitiram, ela tentou que eu fosse trabalhar no lugar onde seria o fim do mundo para mim, ou seja, no lugar onde fosse mais longe, onde eu demorasse mais para chegar, tivesse o pior acesso e onde eu teria de pegar mais conduções que na opinião dela era Nova Aurora. Mas a Subsecretária de Educação Rosângela Maria também não conseguiu me mandar para lá também porque a professora que teria que sair de lá não quis. Assim, ela decidiu me mandar para a Escola Municipal Jorge Ayres de Lima porque tinha um professor chamado "André Aza" que era gay e penava perdendo o senso e o controle de si mesmo em diversas situações antes de ser assassinado.

  

Quando eu entrei na escola municipal Jorge Ayres de Lima, o futuro diretor José Carlos Neto Filho, que na época era um dos professores que eram sempre beneficiados com a distribuição e o recebimento do pagamento de dobras, aulas extras, já me tratava com discriminação. Não tinha educação nem ética profissional, fazia chacotas, deboches e brincadeiras homofóbicas. Não me respeitava nem na frente dos alunos.

  

PROCESSO 04/3977/06

 

"Esse diretor já me fez passar por inúmeros constrangimentos sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido".

 

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

  

Não era só comigo. Havia outro professor chamado Irani, de Educação Física, que ele falava muito mal por trás debochando, ridicularizando e menosprezando como se ele fosse homossexual e quando se tornou diretor, o mandou embora. Ele também debochava de aluno homossexual e passava a mão na perna de aluna da escola, mas os outros professores que também eram favorecidos com recebimento de salários de dobras como os professores Luis Pedreti (de matemática), Paulo e Fernando, participantes das situações de escárnios, ajudavam a enrolar a mãe da aluna abusada sexualmente abafando este e outros casos graves que ocorriam, como homofobia e racismo. Um protegia o outro das reclamações dos alunos e pais de maus-tratos, assédios, homofobia e racismo cometidos por eles na escola.

  

Existem

 

"Existem quem pouco se importa

 

com o sentimento das pessoas

 

Existem aqueles que não têm amor pelo ser humano

 

Existe a pobreza de espírito

 

Existe quem planta espinhos

 

Existe quem usa de violência pela violência"

  

Os professores Luis Pedreti e Fernando ficavam me falando que tem que ter um poder paralelo se não vira bagunça. Que isso é necessário na sociedade. Que tem que ter os marginais para botar ordem. O professor Luis Pedreti de matemática também me perguntava se haveria retaliação dos marginais da minha localidade caso eu fosse assassinada por alguém de lá, o que aconteceria depois se acontecesse isso comigo. Essas conversas me deixavam apavorada. Eu passei a relatar na internet coisas que eu sentia. Eu sentia e acreditava que iria morrer. O professor Luís Pedreti do grupo de professores beneficiado com dobras, aulas extras me dizia que ele era amigo de hacker e que ele poderia saber a senha do meu orkut e dos meus blogs onde eu escrevia.

  

2006

 

"Preciso ser respeitada em meus direitos como pessoa e funcionária pública"

 

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

  

Dentro da escola e na sala dos professores eu ficava com esses professores o tempo todo me fazendo pressão. Eles falavam alto, falavam o tempo todo chamando a atenção, falavam todos juntos quando era o caso, chegavam a gritar, para mim era muito perturbador. Quando eu chegava na sala dos professores e ela estava vazia, eu percebia que imediatamente eles largavam as turmas deles e íam ficar na sala dos professores me fazendo pressão emocional e psicológica.

  

"Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio".

 

Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Eu escutava que eu não deveria ser professora. Que eu deveria trabalhar fazendo shows em boates gays ao invés de dar aulas. Era realizado reuniões e abaixo-assinado para eu sair da escola. Relatório, reunião e ocorrência eram feitos para a promoção de inquérito e punição disciplinar. Escutava sobre o comportamento de mulheres lésbicas que não tinham vergonha de "agredir a sociedade" e beijar uma outra mulher em um ambiente público. Debochavam de personalidades LGBTs. Me traziam alunos homossexuais da escola municipal Jorge Ayres de Lima e humilhavam os alunos na minha frente, faziam coisas que me deixavam revoltada. Era proibida de dar aula para determinada turma da escola que me aceitava bem e testemunhava em meu favor no meu trabalho. Parecia que o que eles queriam era que eu me exaltasse, depois me indispusesse, ficasse nervosa, perdesse o controle e o estado emocional porque as conversas e situações íam sempre nesse objetivo.

  

IEDE

Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho".

 

Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Eu não conseguia ir a Belford Roxo, achava que todos estavam contra mim. Achava que todos estavam unidos para me prejudicar e me agredir. Que eu era perseguida por toda a organização da Prefeitura Municipal de Belford Roxo, os seus funcionários e que eu estava marcada para morrer. Meu estado de saúde mental evoluiu para um estado preocupante. Em maio de 2008, quando eu iniciei o tratamento com a médica psiquiátrica, eu me apresentava muito DEPRIMIDA e ANSIOSA e tinha MEDO de sofrer agressão. Além disso eu estava, NERVOSA, APÁTICA, DESMOTIVADA. Eu sentia que era PERSEGUIDA PELOS COLEGAS DE TRABALHO. A médica atestou que eu FALTAVA porque eu estava DOENTE e as faltas haviam ocorrido por essa JUSTIFICATIVA.

  

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

  

Bendito é o preciosíssimo sangue do Senhor Jesus

  

Jesus é o caminho

 

Louvado o Senhor Jesus Cristo para sempre.

  

1- Secretaria de Educação e Procuradoria Municipal de Belford Roxo me puniram por escrever nos diários de classe que tinha fortes dores de cabeça na escola e que a escola para mim era um lugar de traumas emocionais e profissionais.

  

2- Havia descaso com meu estado psicológico e mental.

  

3- Procuradores de Belford Roxo não levavam em conta meu estado mental.

  

4- A perturbação mental começou em 2002 quando fui ameaçada de ruína e morte pela subsecretária de educação de Belford Roxo após anos sofrendo homofobia em escola municipal.

  

5- Nova ameaça de morte em escola em 2007 piorou meu quadro psicológico e mental.

  

6- Roubo dos meus 2 aparelhos portáteis que eu utilizava para dar aulas contribuiu para meu estado de abatimento, desânimo, desmotivação e depressão.

  

7- Relatório técnico sobre meu desempenho em 2002 me trouxe danos profissionais e pessoais.

  

8- Primeira parte - sobre danos gerados pelo relatório técnico de 2002.

  

9- Segunda parte - sobre danos gerados por relatório técnico de 2002.

  

10- Procurador de Belford Roxo LORIVAL ALMEIDA DE OLIVEIRA mentiu dizendo que eu havia recebido cópia de processo para ter como me defender. Na ESCOLA MUNICIPAL JORGE AYRES DE LIMA não me deram cópia de nada e de nenhum processo. Não me deixaram ler o processo ou tirar cópia dele.

  

11- Orientadora se mobilizava para me tirar de escola municipal de Belford Roxo e me prejudicava, exclusão e isolamento.

  

12- Em 2009, o subsecretário municipal de Educação de Belford Roxo Miguel de Sousa Ramiro que prometeu mandar a minha frequência pelo período coberto pelo LAUDO MÉDICO PSIQUIÁTRICO, 2 semanas depois disse para mim que havia esquecido de tudo inclusive do MEU LAUDO MÉDICO mediante a pressão do supervisor educacional, consultor e assessor jurídico Jorge Silva (mat. 54368). OFÍCIOS REFERENTES A MIM FORAM EXTRAVIADOS NA SEMED (secretaria municipal de educação de Belford Roxo).

  

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

  

14- 2002 foi o ano em que pela primeira vez eu senti que havia ficado doente por causa do trabalho.

  

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

  

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

  

17- Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento.

  

Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

18- Em processo administrativo de 2003 arquivado pela PROCURADORIA eu pedi socorro e registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo sintomas psiquiátricos pedindo em nome do Senhor Jesus Cristo ajuda médica e psicológica ".

  

PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

19- O PROCESSO ADMINISTRATIVO DA PREFEITURA MUNICIPAL DE BELFORD ROXO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade.

  

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

  

FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

20- Processo Administrativo 04/001497/03 - Data 04/06/2003 - HOMOFOBIA - " Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professora não aguentei. Fui humilhada muitas vezes. Me disseram que eu teria de ser perfeita se quisesse continuar a ser professora ".

  

Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

21- A falta de aceitação social, intolerância, maldade e preconceito me causavam sofrimento.

  

REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

22- Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 - Esse diretor já me fez passar por inúmeros constrangimentos sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade que não diz respeito a ele. Esse diretor proibiu até onde pôde de assinar o meu nome Faiza Khálida no ponto da escola e inclusive me proibia de trabalhar usando saia ou vestido outra situação ridícula e fica debochando da foto em meus assentos funcionais que se encontra na SEMED.

  

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

  

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

  

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

  

Registro de ocorrência na Delegacia de Polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da prefeitura municipal. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Segunda parte do registro de ocorrência na delegacia de polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da Prefeitura Municipal de Duque de Caxias. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

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

  

20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

25- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transgêneros, travestis e transexuais.

  

Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

Procurador Municipal e Presidente da Comissão Permanente de Inquérito Administrativo José Domingos Lucena (mat 11/20.972) diz no processo 04/002743/03 em 24/10/2005 que a professora Leila Bonine deve ser convidada a ler a lei antidiscriminatória from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

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

  

Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA

  

27- Em 1/10/2005 o Jornal O DIA informava na sua reportagem que eu havia começado a tomar hormônios em 2002 e a fazer procedimentos como o laser, que eu enfrentava um processo transexualizador e que eu necessitava inclusive da adequação burocrática e administrativa. O jornal O DIA também informava que eu fazia acompanhamento com psicólogos e tomava remédios como calmantes e antidepressivos por determinação médica.

  

Por que me julgas se desconheces o que sofro?

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Walt Disney's 100 Years Of Magic DVD Boxset

001. Snow White amd the Seven Dwarfs

002. Pinocchio

003. Fantasia

004. Fantasia/2000

005. Dumbo

006. Bambi

007. BambiⅡ

008. Saludos Amigos

009. Fun and fancy free

010. Cinderella

011. CinderellaⅡDreams come true

012. CioderellaⅢA twist in time

013. The wild

014. Alice in Wonderland

015. Peter Pan

016. Lady and the Tramp

017. Lady and the TrampⅡ: Scamp's Adventure

018. Sleeping Beauty

019. One Hundred and One Dalmatians

020. 101 DalmatiansⅡ：Patch's london Adventure

021. The Sword in the Stone

022. The Aristocats

023. Bedknobs and Broomsticks

024. Robin Hood

025. The fox and the Hound

026. The little Mermaid

027. The little MermaidⅡ：Return to the Sea

028. Beauty and the Beast

029. Beauty and the Beast: The Enchanted Christmas

030. Aladdin

031. The Return of jafar

032. Aladdin and the King of thieves

033. The Nightmare Before Christmas

034. The lion King

035. The lion KingⅡ: Simba's Pride

036. The lion king 11/2

037. Pocahontas

038. Pocahonlas Ⅱ:Journey to a mew world

039. Toy Story

040. Toy story 2

041. James and the Giant Peach

042. The Hunchback of Notre Dame

043. the HUnCHback of notre dame Ⅱ

044. Hercules)

045. Mulan

046. Mulan Ⅱ

047. Tarzan

048. Tarzan Ⅱ

049. Valiant

050. Dinosaur

051. The emperor's New Groove

052. Kronk's new groove

053. recess:school's out

054. Atlantis:The Lost Empir

055. Atlantis:Milo's Return

056. lilo & stitch

057. Stitch 2: Stitch Has a Glitch

058. Treasure Planet

059. Brother Bear

060. Brother Bear 2

061. The Jungle Boek

062. The Jungle Book 2

063. Home on the Range

064. The Three Musketeers

065. Mickey's twice upon a Christmas

066. Chicken little

067. The wild swans

068. Felix the Cat Saves Christmas

069. Mickey's magical christmas:snowed in at the house of mouse

070. Mickey & minne

071. Donald duck and the gorilla etc

072. Casper

073. Three little pigs

074. daffy duck

075. The black cauldron

076. Return to never land

077. the tortoise and the hare

078. Everybody loves Donald

079. Everybody loves Goofy

080. Everybody loves Mickey

081. Sweetheart Stories

082. Gulliver's travels

083. Life with Mickey Town

084. Walt Disney treasures volume 1

085. Walt Disney treasures volume 2

086. Walt Disney treasures volume 3

087. Walt Disney treasures volume 4

088. Walt Disneys 100 years of Magic: Goofy sport

089. The three Caballeros

090. Who framed Roger Rabbit

091. Mary Poppins

092. The Rescuers

093. The Rescuers dowu Uuder

094. Monsters Inc.

095. Finding Nemo

096. The incredibles

097. Cars

098. Winnie the Pooh:Story Book

099. Winnie the Pooh:A very Merry Pooh Year

100. Winnie the Pooh:Heffalump Movie

101. Winnie the Pooh:Heffalump Halloween Movie

102. Winnie the Pooh:Springtime with Roo

103. Winnie the pooh:123

104. Winnie the Pooh:All for one,one for all

105. Winnie the pooh:the many adventures

106. Winnie the Pooh:the Search for Christopher Robin

107. Winnie the Pooh:franken Pooh

108. A Bug's life

109. Disney Heroes Volume One

110. An officer and a duck

111. Meet the Robinsons

112. Underdog

113. Ratatouille

114. The adventures of ichabod and Mr. Toad

115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie

116. The chronological donald:volume one

117. The chronological donald:volume two

118. Mickey mouse clubhouse mickey saves santa

119. Mickey's House of Villains

120. Mickey mouse clubhouse:great clubhouse hunt

121. Mickey princess enchanted tales:follow your dreams

122. The tigger movie

123. Tom and jerry volume 1

124. Tom and jerry volume 2

125. Tom and jerry volume 3

126. Tom and jerry volume 4

127. Tom and jerry volume 5

128. Tom and jerry volume 6

129. Tom and jerry volume 7

130. Tom and jerry volume 8

131. Tom and jerry volume 9

132. Tom and jerry volume 10

133. Tarzan Planet

134. Piglet's Big Movie

135. Make Mine Music

136. Melody Time

137. Homeward Bound: The Incredible Journey

138. Homeward BoundⅡ: Lost in San Frabcisco

139. A Goofy Movie

140. Belle's Magical World

141. Buzz Lightyear of Star Command: The adventure Begins

142. Iver & Company

143. Magic English 1

144. Magic English 2

145. Magic English 3

146. Magic English 4

147. Magic English 5

148. Magic English 6

149. Magic English 7

150. Magic English 8

151. Disney princess stories: A Gift From The Heart

152. Disney princess stories: Tale of Friendship

153. Kim Possible: So The Drama

154. The Fox And The Hound 2

155. Micky Mouse Clubhouse: Micky's Treat

156. Micky Mouse Clubhouse: Micky's Storybook Surprise

157. Walt Disney Treasures: The Complete Pluto vol. 1

158. Walt Disney Treasures: The Complete Pluto vol. 2

159. My Friends Tigger & Pooh's Friendly Tails

160. The Little Mermaid. Ariel's Beginning

161. My Friends Tigger and Pooh: Hundred Acre Wood Haunt

162. Tinker Bell

163. Wall. E

164. Jasmines Enchanted Tales

cartoon77

THE HOUSATONIC RAILROAD

 

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The Housatonic Railroad was opened in 1840 between Bridgeport and New Milford.

 

An old copy of the Bridgeport Standard gives information on the first train that ran from Bridgeport to New Milford February 11, 1840. It states that the black ponies going tandem (meaning doubleheader to us) left Bridgeport at 9 o'olock in the morning taking with them some forty rods of cars. The train was decotated with flags, etc., and accompanied by the Bridgeport Band, it made a very imposing appearance. The first timetable stated that on and after Wednesday, February 19, 1840, the cars would leave New Milford every morning, Sunday excepted, at 6 o'clock a.m. and arrive in Bridgeport in time for passengers to take the steamboat for New York and leave Bridgeport on arrival of the steamboat from New York about 2 p.m

 

December 1, 1842, the Housatonic Railroad was completed to the Massachusetts-Connecticut state line. The Berkshire Railroad was opened up at this time between that point and West Stockbridge. The West Stockbridge Railroad was built from West Stockbridge to State Line Mass. and was opened April 10, 1844. Both of these roads became part of the Housatonic Railroad. 'The Stockbridge and Pittsfield Railroad was opened between Van Deusenville and Pittsfield on Dec. 24, 1849. The Housatonic operated this road under perpetual lease.

 

The New York Housatonic and Northern Railroad, Danbury to Brookfield Jct., conveyed to William H. Barnum, as Trustee for the Housatonic, May 6, 1881. This portion of the road is part of the route over which New York-Pittsfield express trains have been running for well over half a century.

 

The Danbury and Norwalk Railroad between Danbury and South Norwalk opened February 22, 1852 and was leased to the Housatonic Railroad July 21, 1887. This has been a busy piece of railroad. July 1882, this road was extended South Norwalk to Wilson Point.

 

The Ridgefield branch, Branchville to Ridgefield opened July 1, 1870.

 

The Hawleyville Branch, Bethel to Hawleyville, was opened July 1872 and was abandoned June 6, 1911 and with the exception of the portion of the Meriden, Waterbury & Connecticut River Railroad, between Westfield, Conn., and Cromwell, this was the first portion of railroad abandoned on Lines West.

 

The New Haven and Derby Railroad was opened New Haven to Ansonia (or, Derby Jct.,) August 5, 1871. The Railroad YMCA on South Orange Street, New Haven, was formerly the New Haven and Derby Depot. This building was later moved 50 feet to its present location.

 

The New Haven and Derby engine house was located at West Street, New Haven.

 

November 14, 1888, the New Haven and Derby opened an extension, Derby Jct. to a point in Huntington, 3.79 miles.

 

November 28, 1888 the Housatonic Railroad opened a branch from Botsford to connect with New Haven and Derby extension, 9.79 miles. Old timers used to refer to this portion of the road as the extension and at that time freight trains were run from New Haven to Wilson Point via Botsford, Hawleyville and Bethel.

 

The New Haven and Derby Railroad was leased to the Housatonic Railroad July 9, 1889 and the Housatonic Railroad was leased to the New York, New Haven and Hartford September 10, including the Danbury and Norwalk and the New Haven and Derby Railroads. Passenger trains of the former Housatonic Railroad, known for many years as the Berkshire Division, were run to the Union Station, New Haven.

 

Housatonic is an Indian name and many people and old records call it Ousatonic, claiming that when the English came they put an "H" at the beginning of the word. No doubt they are right as there are few Indian names that begin with an H.

 

Around 1913, the Berkshire was double-tracked from Berkshire Jct. to New Milford.

 

Mr. Mellen, who was President of the road, had plans to make many improvements north of New Milford; he also had a line surveyed from State Line, Mass., to a point on the Rutland, planning to install through service over this route to Montreal, but for some reason the plan was dropped, and a few years later the line from Berkshire Jct. to New Milford was restored to single track operation.

 

In an interesting newspaper account of Mr. Fred Tanners' (conductor) railroad career of 56 years, it states that a passenger train left State Line at 9:00 a.m. arriving at Bridgeport at 3:00 p.m. in the 1860's. A stop was made at Merwensville for dinner, the conductor was required to sit at the head of the table whether or not he ate. When he arose, it was a signal for passengers to get back on the train. The old hotel still stands beside the tracks of the railroad.

 

There was still standing, in West Stockbridge, as late as 1916, a building which served as the first roundhouse in Massachusetts. It was built when West Stockbridge was the eastern terminal of the Hudson and West Stockbridge Railroad.

 

The Berkshire is noted for its beautiful scenery, running in sight of the clean Housatonic River much of the way. Then there are many interesting things to see, among them Lover's Leap near where Still River empties into the Housatonic River about three miles south of New Milford. Still River is one of the few rivers that runs north. After passing through the fine towns of New Milford and Kent, you can see Kent Falls on the right. These falls are unusual in that they don't fall directly, but plunge down a perfect rock stairway. Then come the Cornwalls. Cornwall Bridge Station is one of the most picturesque country stations that can be found anywhere. It is located close to the river and at this point the valley is narrow and with the wide river and the mountains on both sides, making a beautiful picture. On Canaan station, there is a locomotive weather vane which has been there since the 70's. One day in the 1920's, two men were sent up from Danbury to take it down. Just as they had it down on the platform, Mr. Ed Finonery, the agent, happened to come along and saw it. He took off his hat, spit, put his hat on, spit again, and wanted to know who told the men to take it down. They told him they had orders to bring it to Danbury where it was to be cleaned up and placed in the Superintendent's office. Ed told them that the weather vane didn't belong to the railroad, it belonged to the town of Canaan and it would have to be put back. The men, however, took it to Danbury as ordered, but in three days they brought it back and put it in its former place and it is still there.

 

After leaving Canaan, we pass through the fine towns of Sheffield and Great Barrington; many of the railroad men on the Housatonic Railroad came from these towns, but West Stockbridge holds the record as the birthplace of railroad men. New Milford also furnished quite a few, and several of the men born in those towns, after giving many years of good service, were made members of the Royal Family.

 

After passing Housatonic, we soon come to the famous curve south of Glendale, then into Stockbridge; from here a fine view of the old man of the mountain may be had. Then past the marble quarries at Lee and on to Lenox, which was known as the summer home of millionaires. The New York-Pittsfield express, which ran Saturday afternoon only, was called the "Millionaire's Express." The morning express out of New York and the afternoon express out of Pittsfield in the early 1900's were known as the Lenox Express.

 

Soon after leaving Lenox, we arrive in the busy and attractive city of Pittsfield, the end of the line, being thoroughly rested after our ride through this beautiful country in streamlined, air-conditioned cars.

 

Besides the New York-Pittsfield express, another famous train was the Milk Train, locally known as the "Big Milk". This train ran from Pittsfield to Bridgeport, picking up and loading milk as far as Newtown, arriving in Bridgeport with from 25 to 30 carloads every day. From there, the train ran to New York. After the creameries at Hawleyville and Newtown closed, the milk train ran to New York via Danbury and South Norwalk.

 

The creameries up the Berkshire are now closed and the Big Milk is just a memory.

 

The Berkshire is about the only piece of railroad on the system that has passenger train competition. The Harlem Railroad, Chatham to New York, has many stations on its line only a few miles west of the stations on the Berkshire. At one time the Berkshire had a large percentage of the New York travel, but with automobiles coming into common use, many people from towns on the Berkshire drove over to nearby stations on the Harlem Railroad. This went on for some time and a good part of the New York travel went over to the Harlem. In 1935-6, the New Haven decided to promote business to and from Berkshire County and a concerted effort was made to recapture the traffic which had left the Berkshire and had gone to the Harlem Division of the New York Central from Hillsdale, N. Y. With the cooperation of the business interests, hotels and recreational centers, the Passenger Department's promotional program resulted in increasing the New York-Berkshire County traffic and recapturing the traffic which was moving on the Harlem Division.

 

We can't leave the Berkshires without saying a few words in memory of the famous pies and other good things we had to eat in the lunch room in Canaan station. They were remembered by people from all parts of, the country. It is said that once an, European Ambassador stopped there and ate some of the famous pies and when he returned to Europe, he wrote a poem about them. It gives us a feeling of sadness to learn that the famous lunch room is no more.

 

The large frog that has been sitting in a pond near Lenox since long before the railroad was built, is still on the job, as the story is told about an engineer who was running engine number 10. Quite often his train was late and it is said that when his train went by, the frog would croak "No. 10 late again."

 

For many years, the Housatonic R. R. shops were located in Falls Village, but soon after the Housatonic was leased to the New York, New Haven and Hartford, these shops were closed and the repair work transferred to New Haven Shops.

 

The Berkshire is now part of the New Haven Division, and with its connections with the Boston & Albany at Pittsfield and State Line, makes an important outlet to points west.

Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale

 

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more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

وینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

 

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

 

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

 

#art #artist #artistic #artists #arte #artwork

Thierry Geoffroy / Colonel

 

Q nf: ᴹQ elen (Ak elān • cf Sk रोक, स्वर्; G ἥλιος, ἀστήρ) + ᴹQ tári (Ak tarû • cf Ak Ištar, Sk जनि): a title of Varda as the maker of the stars.

 

Why not The Lady of the Rings instead of The Lord of the Rings? It would appear quite debatable whether or not these two titles would have achieved equal popularity, at least within Tolkien's socio-historical context. The virtual lack of any exquisitely negative anthropomorphic female main character — the only authentic malefemmine (female villains) being indeed arachnomorphic — in Tolkien's legendarium (as in the doctrinal corpus of the christian religion) has led to speculate on basically idealized moral human models in which most, though not all women — cfr the undescribed female southrons and orcresses — are willingly choosing to embrace good and reject evil, rather than lacking the sheer will or the mere ability of evil actions, words and thoughts, if not as an unconscious reflex of men's, as in a sexist/misogynistic perspective. Tolkien himself, anyway, expressly disclaimed¹ any responsibility arising from each/every arbitrary decontextualization, abusive extrapolation and non-literary (e.g. political-religious) interpretation of his literary works.

 

NOTES

 

1. J.R.R. Tolkien 1954: LOTR, pp. XVIII-XXI, 350-351.

 

REFERENCES

 

R. Minutolo 2024: Battle of Pelennor Fields.

M.F. Gervais 2024: Middle-earth legendarium family tree.

R. Lehoucq & al. 2021: Middle-earth science.

J.R.R. Tolkien 2021: Middle-earth nature.

W.S. Judd & G.A. Judd 2017: Middle-earth flora.

Reddit 2017: Eagles of Middle-earth in the War of the Ring.

G. de Turris & al. 2016: Dizionario dell'universo di J.R.R. Tolkien.

K. Larsen 2007: Influence of Tolkien on modern science.

B. Bates 2002: The real Middle-earth.

J.R.R. Tolkien 1977: The Silmarillion.

J.R.R. Tolkien 1937: The Hobbit.

 

Quenta Silmarillion Eldalambenen • Eagles in Middle-earth • WHL0137-LS • onomastics • nomix.it

"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

  

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

 

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

 

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

 

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

 

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

 

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

 

FASHION SHOW BY "LIVE FAST" NYC

 

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

 

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.

Almost as much fun as it was seeing them in 2004 :-)

 

More links about the show, mostly via the Frank Black Forum:

 

Vanity Fair - For the Pixies, Cashing in Is the Right Thing to Do.

 

It sounds damn good live too, thanks to an excellent sound setup and the songs themselves, which are as dynamic, colorful, and deliciously sinister as a David Lachapelle photograph. Having said all that, though, it’s hard to escape the conclusion that the Pixies, whose best-known members are rumored to not like each other very much, have been reunion-touring for the past five years for one overriding reason: to make money. Money that probably would have been beyond their wildest imaginings back in the late 80s and early 90s, when they were actually writing songs together and putting out albums.

Is that a bad thing?

It is if it means that audiences are spending top dollar to see a band go through the paces and cash a check. But that’s not what happened last night. The audience was in ecstacy, amazed at its luck to worship the Pixies in person. Countless hours spent listening intently to Doolittle, Surfer Rosa, and Come on, Pilgrim had led them to this moment, when they could share their obsession with thousands of like-minded souls. They knew every word to songs as foreign to the mainstream as “Hey,” “Monkey Gone to Heaven,” and even “Gouge Away.”

Not even screaming, weeping tweens possess this level of intimacy with their idols’ respective repertoires. It takes time to become this close to an album and, by extension, to an entire body of work. And if I’m right, then the young people I saw at last night’s concert won’t be the last generation to appreciate this music and hunger for a chance to see it performed for themselves.

  

The Boston Globe - Pixies return to their ‘Doolittle’ days.

 

Devoted fans of bands that have broken up are like casualties of divorce. They cherish the stories of the good times long after the fighting starts and the records stop.

An album like “Doolittle’’ is proof that the good times were indeed good - really good.

The Pixies recorded their second full-length album in 1989, and it is regarded as the Boston band’s crowning achievement, especially by zealous fans who still lurk on Pixies online forums and wear their “Come on Pilgrim’’ T-shirts long after they’ve faded to gray. A balancing act of melodic guitar and diabolical yelps, “Doolittle’’ solidified the place of the phrase “loud/quiet’’ in the rock ’n’ roll vernacular and exalted the Pixies as the godfathers of grunge. To commemorate the album’s 20th anniversary, the Pixies are touring again, playing all the songs from “Doolittle’’ and its B-sides in concert. The tour stops at the Wang tonight and tomorrow.

[...]

“Doolittle’’ epitomizes the polarities that the Pixies are remembered for. The album is gruesome. The opening track, “Debaser,’’ is about slicing eyeballs, and from there “Doolittle’’ only descends into apocalyptic lyricism, with songs about hell, blood, aliens, and AIDS.

[...]

One of the most widely revered songs from the Pixies catalog, the uncharacteristically straightforward and jaunty “Here Comes Your Man,’’ is evidence of the stronghold that pop had on the band. The song is the fifth track on “Doolittle,’’ though it was written years before. Steve Albini, the audio engineer who recorded the Pixies’ first album, “Surfer Rosa,’’ successfully argued for keeping “Here Comes Your Man’’ off that album. But engineer Gil Norton, who worked on “Doolittle,’’ saw the song’s potential.

“Here Comes Your Man’’ became one of the two singles that “Doolittle’’ produced. The other, “Monkey Gone to Heaven,’’ falls at the other end of the album’s spectrum, although the songs are separated by only one track. Full of demonic numerology and shrieking, “Monkey Gone to Heaven’’ encapsulates the dissonance and darkness of the Pixies, both musically and interpersonally.

  

The Boston Globe - The Pixies party like it’s 1989.

The full album concert concept that has become so popular in the past few years is on one level a gimmick to help juice catalog sales and draw out those less inclined to see a group they’ve already spent time and money on. But with a record as exhilarating and irresistible as “Doolittle,’’ it’s easy to understand the desire for both seminal alt-rockers the Pixies and their audience to want to party like it’s 1989.

It felt appropriate that the University of Massachusetts-spawned group was hitting the Hub around homecoming because the 94-minute show - the first of two sold-out gigs at Citi Wang Theatre - felt like a reunion with old friends. A big, loud, dry-ice-infused, sense memory-generating reunion of sticky melodies and squalling guitars. Sure, everybody’s gained a few pounds and lost a few hairs, but the spirit was there, from David Lovering’s first crisp downbeat and Frank Black’s throat-shredding scream.

Old-school fans and younger folks getting their first live taste of the group screamed right along to the outbursts from “Monkey Gone to Heaven’’ to “Dead.’’ The crowd bounced en masse to the rhythmic left turns of “Crackity Jones’’ and bopped to “Here Comes Your Man’’ with Black and bassist Kim Deal aptly replicating their metal and smoke harmonies. “Wave of Mutilation’’ got two spins, with the original coming in its spot and the whisper-smooth “UK Surf’’ flavor popping up in the encore.

Deal, a propulsion machine throughout, was also the evening’s appointed tour guide, giving in-progress announcements -- “we’re halfway through the first side’’ - accompanied by her goofy grin.

The band buttressed the 40-minute centerpiece with a quartet of b-sides from the album and encores chock full of assorted non-“Doolittle’’ favorites. Those included the juicy big beat drone of “Into the White,’’ complete with a cloud of hazy dry ice, the chilly coo and growl of “Where is My Mind,’’ and the clangorous and celebratory “Gigantic.’’

Buzzed-about indie rocker Jay Reatard handled the evening’s warm-up duties.

  

Chris Devers's Posterous linkblog thingy - The Pixies play the Wang Center, Boston.

news.bostonherald.com/entertainment/music/general/view/20...

The 90-minute show started with scenes from ‘‘Un chien andalou,’’ a surrealistic short film with the infamous sliced eyeball scene. It was the particular inspiration for ‘‘Debaser,’’ the kickoff to ‘‘Doolittle.’’

The Pixies played the album to perfection, which is to say most of the songs were nasty, brutish and short.

Songs rarely went over the three-minute mark. Santiago’s noisy guitar squalls were essential, but there were surging pop hooks in ‘‘Here Comes Your Man’’ and surf-guitar licks splashed throughout. Deal’s high harmonies lent a tad of sweetness to Francis’ screams.

After playing ‘‘Doolittle,’’ they encored with several more B-sides before nailing hits ‘‘Where Is My Mind?’’ and ‘‘Gigantic.’’ What accounts for the Pixies’ peculiar longevity? The band’s life after death, if you will?

Perhaps it’s because life may be even more conflicted and tumultuous than it was two decades ago. As such, the Pixies are, oddly enough, in step.

 

True/Slant - Pricey Pixies Tickets, or Can Critics Complain About Concert Costs?

It’s been well over a week since Jim DeRogatis reviewed the first night of The Pixies’ three-night Doolittle retrospective at Chicago’s Aragon Ballroom. DeRogatis caused quite a stir among Pixies fans with statements like:

 

…it’s hard to consider them anything but a cynical corporation cashing in on blatant nostalgia–a hipper version of Creedence Clearwater Revisited or Journey and whoever is singing with that group these days.

 

Pixies defending aside, DeRogatis has a right to his opinion. After all, that’s his job. As any critic who has ever encountered the briefest whiff of resistance from diehard fans over the years can tell you, not everyone’s going to agree with what you write. And of course, this came in droves for the eight paragraphs DeRogatis wrote about The Pixies set. There were comments from fans who couldn’t believe DeRogatis would compare their beloved Pixies to Journey of all bands – Journey?!?! There were comments from fans who said DeRogatis was elitist and assuming the worst before setting foot in the Aragon.

  

Flickr - The Pixies at the Wang Center in Boston, 27 November 2009.

Kelly Has Thoughts - Pixies Pics!

  

Flickr user sdowen: Pixies at the Wang Center in Boston - Nov. 27, 2009 -- a set of photos from the second row, unlike my pictures from the last row of the top balcony.

 

Biennalist

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

  

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

  

www.emergencyrooms.org/formats.html

  

www.colonel.dk/

  

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi

 

The Birds of Ireland: A Field Guide with Jim Wilson

Shorebirds of Ireland with Jim Wilson.

Freshwater Birds of Ireland with Jim Wilson

www.markcarmodyphotography.com

 

The Rock Pipit (Anthus petrosus) is a small species of passerine bird that breeds in western Europe on rocky coasts. It has streaked greyish-brown upperparts and buff underparts, and is similar in appearance to other European pipits. There are three subspecies, of which only the Fennoscandian form is migratory, wintering in shoreline habitats further south in Europe. The Eurasian rock pipit is territorial at least in the breeding season, and year-round where it is resident. Males will sometimes enter an adjacent territory to assist the resident in repelling an intruder.

 

Its population is large and stable, and it is therefore evaluated as a species of least concern by the International Union for Conservation of Nature (IUCN).

 

The Rock Pipit is closely related to the Water Pipit and the Meadow Pipit, and is rather similar in appearance. Compared to the meadow pipit, the rock pipit is darker, larger and longer-winged than its relative, and has dark, rather than pinkish-red, legs. The water pipit in winter plumage is also confusable with the rock pipit, but has a strong supercilium and greyer upperparts; it is also typically much warier. The rock pipit's dusky, rather than white, outer tail feathers are also a distinction from all its relatives. The habitats used by rock and water pipits are completely separate in the breeding season, and there is little overlap even when birds are not nesting. (wikipedia)

 

This very pale individual was feeding very well at the base of the East Pier in Dun Laoghaire, Dublin.

bcwap.org/bootcamp_scottsdale_arizona_2.html

 

Ultimate Body Boot camp has partnered with Boot Camp with a Purpose to help raise $1 Million for charities across the country. Ultimate Body Boot Camp, LLC is a results based fitness company that takes the workout outdoors. They are the home to our Scottsdale, AZ Boot Camps with a Purpose. This event raised money for Susan G. Komen for the Cure®. Richelle Medle and her team hosted a boot camp filled with cardio, muscle, building, and strength training!

 

About Ultimate Body Boot Camp, LLC:

Ultimate Body Boot Camp, LLC is a creative and unique fitness program designed to give you maximum results. UBBC combines cardiovascular exercise with resistance training for an entertaining, motivating, group, outdoor workout. Each hour of boot camp is different, so there is never a dull moment. Although it is group training, each individual is challenged and pushed to a higher level of their fitness potential.

 

About Susan G. Komen:

Susan G. Komen for the Cure® is the world’s largest grassroots network of breast cancer survivors and activists, we’re working together to save lives, empower people, ensure quality care for all and energize science to find the cures. Thanks to events like the Susan G. Komen Race for the Cure® and the Susan G. Komen 3-Day for the Cure®, and generous contributions from our partners, sponsors and fellow supporters, we have become the largest source of nonprofit funds dedicated to the fight against breast cancer in the world.

 

For more information on Boot Camps with a Purpose and how you can host one of your own, please visit: www.bcwap.org

 

acreb.blogspot.com/2009/12/um-mundo-assim.html

Película cristiana completa en español | "Donde está mi hogar" Dios me da una familia bendita

Los padres de Wenya se separaron cuando ella tenía dos años y después vivió con su padre y su madrastra. La madrastra no la soportaba y siempre discutía con el padre. Él tenía pocas opciones y tuvo que enviar a Wenya a casa de su madre, quien estaba totalmente centrada en dirigir su negocio y no tenía tiempo para ocuparse de Wenya, por lo que solía enviarla a casa de familiares y amigos para que la acogieran. Después de tantos años en acogida, la joven Wenya se sentía sola e indefensa y anhelaba el calor de un hogar. No volvió con su padre hasta que este y su madrastra no se divorciaron y, desde entonces, para bien o para mal, tuvo un hogar.

Cuando Wenya se hizo mayor era muy prudente y obediente y estudiaba mucho. Pero justo cuando se estaba esforzando mucho en preparar los exámenes de ingreso a la universidad, le sobrevino la desgracia: su madre tuvo una hemorragia cerebral y se quedó paralítica y postrada en cama. Su padrastro abandonó a la madre e incluso se hizo con el control de todos sus bienes, y luego su padre fue hospitalizado con un cáncer de hígado... Wenya no podía asumir las cargas de la casa, por lo que lo único que pudo hacer fue suplicarles a sus familiares y amigos, pero estos le dieron la espalda...

Justo cuando Wenya estaba sufriendo y sin recursos, dos hermanas de la Iglesia de Dios Todopoderoso les dieron testimonio a ella, a su madre y a su hermana sobre la obra de Dios Todopoderoso en los últimos días. Por medio de las palabras de Dios Todopoderoso llegaron a entender la raíz del dolor en la vida de la gente y entendieron que sólo si la gente se presenta ante Dios podrá ganarse Su protección y vivir feliz. Sólo a través del consuelo de las palabras de Dios pudieron la madre y las hijas salir del dolor y el desamparo. Wenya experimentó verdaderamente el amor y la misericordia de Dios; acabó sintiendo la calidez de un hogar y entró en uno de verdad...

 

Ver más： videos evangélicos

Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?

______________________

 

For information from Creative Commons on proper licensing for images believed to already be in the public domain please-- click here. By using this image from this site, you are acknowledging that you have read all the information in this description and accept responsibility for any use by you or your representatives. You are accepting responsibility for conducting any additional due diligence that may be necessary to ensure your proper use of this image.

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Public Domain. Suggested credit: Library of Congress via pingnews. Additional information from source:

 

TITLE: Photographs of President Ronald Reagan with Republican senatorial candidates at the White House, Washington, D.C.

  

CALL NUMBER: LOT 13557 (ONLINE) [P&P]

  

REPRODUCTION NUMBER: LC-DIG-pplot-13557 (digital files from original transparencies)

No known restrictions on publication.

  

SUMMARY: Images show U.S. President Ronald Reagan meeting individually with Republican candidates to support their 1986 election campaigns. They are usually posed shaking hands or talking in the Oval Office and within the west wing colonnade of the White House. Includes James Abdnor, Mark Andrews, James Broyhill, Linda Chavez, Alfonse D'Amato, Jeremiah Denton, Jake Garn, Slade Gorton, Paula Hawkins, Robert Kasten, John McCain, Frank Murkowski, Don Nickles, Dan Quayle, Warren Rudman, Arlen Specter, Steve Symms, and some unidentified people.

  

MEDIUM: 310 transparencies : color ; 35mm and 2 1/4 in.

  

CREATED/PUBLISHED: 1986.

  

CREATOR:

  

Highsmith, Carol M., 1946- photographer, donor.

  

NOTES:

 

Arrangement: Arranged by photographer-assigned transparency number. The corresponding digital id numbers used for reproduction requests range from LC-DIG-pplot-13557-00707 to -01045.

   

LOT title devised by Library staff.

 

Color transparencies filed in series LC-HS505 (2 1/4 in.) and LC-HS507 (35mm).

 

Item captions supplied by photographer.

 

Available for viewing as online digital files made by the photographer from the original transparencies.

 

Forms part of the Carol M. Highsmith Archive.

 

Gift; Carol M. Highsmith; 2002; (DLC/PP-2002:038).

  

SUBJECTS:

  

Reagan, Ronald.

Republican Party (U.S. : 1854- )--People.

Presidents & the Congress--Washington (D.C.)--1980-1990.

Political elections--United States--1980-1990.

  

FORMAT:

  

Transparencies Color 1980-1990.

  

PART OF: Highsmith, Carol M., 1946- Carol M. Highsmith Archive.

  

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C., 20540 USA

  

DIGITAL ID: (digital files from original transparencies) pplot 13557 hdl.loc.gov/loc.pnp/pplot.13557

  

CARD #: 2004665380

  

www.salkantay-trek.com

SALKANTAY TREK 5 DAYS AND 4 NIGHTS WITH CAMP AT LLACTAPATA - MACHU PICCHU TOUR PERU

This trek takes you around the stunning Mount Salkantay, which is the second largest mountain in Cusco region (6,277m / 20,577ft). On your first night, you will camp within the clear sight of the snowcapped peak of Salkantay Mountain. Second day will be the longest day of the trek, the most challenging, and you will climb a bit harder. However, the view at the top is stunning and unique.

The walk to the famous Apacheta pass which is at 4650m/15,088ft is not strenuous nor very steep. Afterward, it is mainly a descent into more tropical area passing Andenes and Chaullay. On your third night, you will camp at LLACTAPATA (2,700m/9,157ft) while enjoying the great views of Machu picchu,Wuayna Picchu mountains and the Inca citadel of Machu Picchu (Inca city). Ending at the most important mystic center of the world: Machu Picchu.

Program Itinerary

Day 1: Cusco - Mollepata - Marcco Ccasa - Soraypampa – Salkantaypampa

At 5:00am (Time in Peru), we pick you up from your hotel, then we drive in our private bus to Mollepata (2,850m/9,407ft) for 3 hours. Along the way there are spectacular views of villages such as: Iscuchaca and Limatambo, stunning valleys and snow-capped mountains such as: Salkantay, with a stop for breakfast at Mollepata. Then we continue by bus to Marcoccasa (3200m/10,557ft), where we meet our horsemen, horses and pack all our equipment onto the horses. Afterwards we start the gradual climb of 527 meters by walk through pristine Andean valley landscapes for about 3.5 hours before arriving to Soraypamapa (3850m/12,700ft) for lunch. After lunch, we continue gentle climb for 2 hours through more unspoiled Andean valley to our first campsite at Salkantay Pampa located at 4100m/13,527ft.

Meals: Breakfast, Lunch & Dinner

Accommodation: camping facilities.

Maximum Altitude: 4100m/13,527ft.

Minimum Altitude: 2850m/9,497ft.

Walking distance: 12km approx

Difficulty: Moderate.

Day 2: Salkantaypampa – Collpapampa

After an early delicious breakfast, we start trekking with a moderate climb for 3 hours to reach the Apacheta pass (4,650m/15,367ft). From here, we can enjoy the spectacular views of snowcapped mountains such as: Salkantay (6,277m/20,717ft), Humantay, Huayanay, white rivers, and small lakes.

At the Apacheta Pass, you can leave a piece of rock carried from the bottom as a present to the Apu Salkantay(Mountain god), During Inca times, the walkers used to leave their shoes, clothes, jewels or simply piece of rock as an offering. We continue walking for 2 hours downhill for lunch at Huayracmachay. Then depending on the group's trekking ability, weather and walking conditions, we will decide whether to walk for 2 to 3 hours downhill to reach to our second campsite at Colpapamapa (2,877m/9,497ft).

Meals: Breakfast, Lunch & Dinner

Accommodation: camping facilities

Maximum altitude: 4,650m/15,367ft.

Minimum altitude: 2,877m/9,497ft.

Walking distance: 19km approx

Difficulty: Challenge.

Day 3: Colpapampa - La Playa – LLACTAPATA

On this day we walk for 3 hours through the beginnings of the rainforest; enjoying a myriad of flora and fauna including orchids, birds, coffee, cacao and fruit plantations. We arrive at La Playa (2,060m/6,797ft) for lunch, with free time to rest before climbing uphill for 3 hours through the Andean cloud forest to the Puncuyoc pass and then onto LLACTAPATA which is located at 2,700m/8,907ft (an Inca site located straight in front of the citadel of Machu Picchu), which is our third evening´s campsite.

The panoramic view from our campsite is breathtaking; you can enjoy a different angles view of Machu Picchu, the Huanay Picchu Mountains, the citadel of Machu Picchu and the Aobamba canyon, where another Inca trail can be seen as well. We trek off the beaten track exploring places no one else does and we are the ONLY one camping at LLACTAPATA.

Meals: Breakfast, Lunch & Dinner

Accommodation: camping facilities

Maximum altitude: 2,850m/9,407ft.

Minimum altitude: 2,000m/6,600ft.

Difficulty: Moderate.

Day 4: LLAQTAPATA – Hidroelectrica - Aguas Calientes.

After a late breakfast enjoying the spectacular views of Huaynapicchu, Machu Picchu Mountains and the citadel of Machu Picchu, we start walking downhill for 2 hours to Hidroelectrica for lunch. After lunch we walk to Aguas Calientes town through the national park of Machu Picchu, enjoying the surroundings of the iconic Machu Picchu and the wall which surrounds the Inca Citadel.

Meals: Breakfast, Lunch, & Dinner

Accommodation: Private hostel.

Maximum Altitude: 2,700m/9,157ft.

Minimum Altitude: 1,870m/6,177ft.

Walking distance: 12km approx

Difficulty: Moderate.

Day 5: Aguas Calientes - Machu Picchu - Cusco

Rise early to take advantage of viewing Machu Picchu in the early morning light. This is the best time to view the 'Lost City of the Incas'. Join our local guide for a detailed interpretation of the site and Inca history without the pressure of other tour groups that arrive at midday with a lot of time for further exploring, photos and climb to Huanaypicchu or up to the Sun Gate. Then we head back to Aguas Calientes for buffet lunch. Later in the afternoon we return by train to Ollantaytambo or Poroy and will then be transferred by van to Cuzco, arriving in the evening.

Meals: Breakfast & Lunch

Maximum altitude: 2,440m/7,937ft.

Difficulty: Easy.

WHAT IS INCLUDED?

Pre-trek briefing with your tour guide.

Collection from your hotel in the morning of the trek departure.

Private transport from Cusco to Mollepata-Marcoccasa (starting point of the trek)

Entry fee to Machu Picchu

English speaking, experienced professional guide

Comfortable tents (sleeping 2 people in a 4 person tent)

Meals as indicated in the itinerary (optional vegetarian food with prior request)

All camping equipment such as: dining tent, table, chairs, kitchen tent and toilet tent

Bus ticket from Aguas Calientas to Machu Picchu and return

First Aid kit including emergency oxygen bottle

Train ticket from Aguas Calientes to Poroy - Cusco

Private transport from Ollantaytambo to your hotel in Cusco

Celebration dinner in Aguas Calientes (touristic restaurant )

Lunch in Aguas Calientes on the last day

Hostel in Aguas Calientes with private room and bathroom

Mules and horses (for equipment and personal items) including horsemen - 7 kilos of your personal items such as extra clothes, sleeping bag will be carried by our mules

Provision of a horse in case of emergency such as illness, to ensure trek can be completed by all participants

Basic foam sleeping mattress

Guided tour within Machu Picchu

Boiled water for drinking and washing purposes

WHAT IS NOT INCLUDED?

Walking sticks (rentable)

Sleeping bag adequate for temperature of minus 10°C (rentable for $20 for duration of the trek)

Dinner on the last day

Entry to Huanapicchu ($10)

Extra activities such as zip line and barbecues.

Additional horses for extra personal luggage above that of the personal item allowance.

Optional up - grades (train and hotel)

Tips for the cook, horsemen and guide (Every Salkantay Trek staff receive a fair and decent payment immediately after they end their trip. However tips are optional and a great gesture of appreciation for them)

WHAT YOU SHOULD BRING?

A lightweight, waterproof day pack with change of clothes for the whole period of the trek (must not exceed 7 kilos)

Sleeping bag adequate for temperature of minus 10°c (rentable for $20 for duration of the trek)

Sturdy hiking boots

Warm clothes and trekking pants (trousers)

Layers of clothes, include thermals, for variable temperatures especially at night

Head torch with spare batteries

Camera with extra film and batteries

Sun protection: sunscreen, sunhat, sunglasses

Woolen socks, gloves, scarf, woolen hat for cold nights

Insect repellent

Extra plastic bags, especially in the wet season

Waterproof clothing or a rain poncho

Water bottles and water purifying tablets - Optional

Personal medical kit with a simple whistle

Extra money for souvenirs, drinks, tips

Walking sticks (rentable)

Favorite snacks

Inflatable mattress

Toilet paper

Sandals or flip-flop

Swimming costume

Original passport and ISIC card if is applicable.

ITENERARY NOTED

The time stated within this program is approximate and walking time may differ dependent upon the group´s capability and progress and as such the guide may change the lunch spot and campsite if it is required. Each guide has his or her own preferred route and it may not follow exactly the schedule described here. However all items listed within the above schedule will be covered.

 

Trek conditions also vary according to the season. In the dry season ( May - September) the trail can be very dusty and hot in the day time, in the wet season (Octomber - March) it can be slippery and muddy and during the shoulder season the conditions can be variable. All year round in the mountains the stone sliding can happen at any time, particularly after heavy rains. Salkantay-Trek takes no responsibility for trail condition.

 

This Trek is adventurous and challenging experience, crossing several high passes and some rivers do not have a substantial bridge and can be dangerous to cross in periods of heavy rain. This region is not frequently visited by tourists, therefore tourist infrastructure is limited. Visitors should be aware that things change, or may not go to plan. This is all part of the adventure! We can change the date of your train ticket to the following day. Hotels costs and costs associated with returning to Machu Picchu the following day are additional to trek costs. Please also note that your entry ticket to Machu Picchu is valid for one day only, if you wish to visit the ruins on a second consecutive day you will need to purchase the ticket again. Please bring an open mind, flexibility and a good sense of humor.

   

Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)

In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .

He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "

www.emergencyrooms.org/biennalist.html .

at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum

www.emergencyrooms.org ( please ask permission for use of photos =1@colonel.dk )

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

 

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

 

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Encyclopedic Palace is curated by Massimiliano Gioni

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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?

 

PETER SLOTERDIJK Por ADOLFO VÁSQUEZ ROCCA

 

DR. ADOLFO VÁSQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

VÁSQUEZ ROCCA, Adolfo

 

Doctor en Filosofía

 

Domicilio

 

Valparaiso, Chile

 

Adscripción Académica

 

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Universidad Complutense de Madrid

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

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

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca

  

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

   

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1

 

Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,

 

- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

INVESTIGACIÓN:

2009 - 2010

 

Proyecto de Investigación N° DI-10-09/JM - UNAB

 

“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

 

Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB

  

2011 - 2012

 

- Proyecto de Investigación N° DI-08-11/JM - UNAB

 

- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.

 

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

 

Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello

  

Asistente de Investigación:

Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.

 

– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM

Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/

 

(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso

 

(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.

 

(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.

 

(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB

 

(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV

 

(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB

 

(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB

 

(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM

 

(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP

 

(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV

 

(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM

 

(2009-2010) Profesor visitante Florida Christian University USA

 

(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH

 

(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.

 

(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.

 

(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".

 

2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"

 

2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"

 

2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"

 

2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.

  

ENTREVISTA:

 

“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.

www.alcances.cl/ver-articulo.php?id=81

 

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.doaj.org/doaj?func=abstract&id=1160879&recNo=...

  

Vásquez Rocca, Adolfo, “El Género Bowie: Andrógino, New romantic y Glam-rock”, Sección Cultural 'Mujer', La Tercera, Periódico, Santiago, 2012.

mujer.latercera.cl/2012/02/26/01/contenido/19_3278_9.shtml

  

Vásquez Rocca, Adolfo, "Sloterdijk; secretos bizarros de Freud, discretas obsesiones telecomunicativas y primeras formaciones de psicología profunda europea", En Revista LA LÁMPARA DE DIÓGENES, Año 12, números 22 y 23, Volumen 12 ISSN: 1870-4662; BUAP – MEX – PHILOSOPHER'S INDEX – 2012

www.ldiogenes.buap.mx/revistas/22/165.pdf

  

Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.

www.tendencias21.net/La-modernidad-liquida-podria-licuar-...

  

Vásquez Rocca, Adolfo, "Ontología y Fenomenología del Cuerpo en Jean-Luc Nancy: los nuevos escenarios de la corporeidad y la apostasía de los órganos", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm

  

Vásquez Rocca, Adolfo, "Nicanor Parra: Antipoemas, parodias y lenguajes híbridos. De la Antipoesía al lenguaje del Artefacto", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)] pp. 213 - 231

www.ucm.es/info/nomadas/americalatina2012/adolfovasquezro...

  

Vásquez Rocca, Adolfo, "La crisis de la noción de sujeto y las psicopatologías del yo", En Revista ESPIRAL Nº 38 – 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, México.

www.revistaespiral.org/espiral_38/filosofia_adolfo.html

  

Adolfo Vásquez Rocca, "Jean-Luc Nancy: Téchne de los cuerpos y apostasía de los organos; El intruso, ajenidad y reconocimiento", En Revista Observaciones Filosóficas - Nº 11 – 2012 – ISSN 0718-3712 Filosofía Contemporánea – www.observacionesfilosoficas.net/ontologiayfenomenologia.htm

  

Vásquez Rocca, Adolfo, “La Modernidad Líquida podría 'licuar' las religiones”, por Leandro Sequeiros –Universidad de Sevilla– citando op. cit. “Modernidad líquida y fragilidad humana; de Zygmunt Bauman a Sloterdijk” Paper de Adolfo Vásquez Rocca en Margen Cero; En TENDENCIAS 21 Revista Asociada al Capítulo Español del Club de Roma, al Master en Bioinformática de la Universidad Complutense +Madrid y al Instituto de Ingeniería de España.

www.tendencias21.net/La-modernidad-liquida-podria-licuar-...

  

Vásquez Rocca, Adolfo, "Jean Baudrillard; de la metástasis de la imagen a la incautación de lo real", En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – www.arqchile.cl/baudrillard.htm

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk y Walter Benjamin; Air Conditioning en el Mundo interior del Capital", En EIKASIA, Revista de Filosofía, Nº 25 - ISSN 1885-5679 - SAF -Sociedad Asturiana de Filosofía, Oviedo, España, pp. 25-38. Archivo: Academia.edu paper: www.academia.edu/1614097/Peter_Sloterdijk_y_Walter_Benjam...

  

Vásquez Rocca, Adolfo, "El Valor Cognoscitivo de la Ficción o la Experiencia Estética como Simulación Gnoseológica: de Duchamp a Feyerabend", En ESPIRAL Nº 39, Revista de Pensamiento y Cultura Contemporánea, Tijuana, México

www.revistaespiral.org/espiral_39/filosofia_adolfo.html

  

Vásquez Rocca, Adolfo, "El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos", En Almiar, MARGEN CERO, Madrid, mayo, 2012, www.margencero.com/almiar/arte-galeria/

Versión ampliada, de la Publicación original: Vásquez Rocca, Adolfo, "El arte abandona la galería ¿Adónde va? En torno a Beuys y la reconstrucción del Museo como proyecto ilustrado", DEBAT'S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.

  

Vásquez Rocca, Adolfo, Artículo Conferencia: “Del 'Humanismo' de Sartre al 'Anti-humanismo' de Heidegger", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Paraninfo Facultad de Filosofía y filología, Universidad Complutense de Madrid, 2012. En Manuscritos Transversales ©, UCM, 2012.

www.slideshare.net/AdolfoVasquezRocca/del-humanismo-de-sa...

  

Vásquez Rocca, Adolfo, “El Futuro de la Universidad Pública y la Crisis de la Educación en Chile”. En ARQCHILE.CL ©, Portal Latinoamericano de Arquitectura, ISSN 0718-431X, Concepción, ISSN 0718-431X Número 22, 2012 – Sección PEP Publicación Educación Pública.

www.arqchile.cl/publicacion_educacion_publica.htm

  

Vásquez Rocca, Adolfo, “Lógica Paraconsistentente, Mundos Posibles y Ficciones Narrativas. La Ficción como campo de proyección de la Experiencia”, Reedición Ampliada en Revista de la Sociedad de Estudios Filosóficos de Madrid, Post-scriptum de A Parte Rei, 2012.

serbal.pntic.mec.es/~cmunoz11/vasquez38.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo" En Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas Universidad Complutense de Madrid | 32 (2011.4) NÓMADAS. 32 - Julio-Diciembre. 2011 (II), pp. [102-125]

www.academia.edu/1614355/_Sloterdijk_y_Heidegger_Normas_p...

  

VV.AA., Vásquez Rocca, Adolfo, Del Arco Carabias, Javier PHD. - Université Paris X Nanterre, “Sloterdijk Espumas: De la masa líquida a la masa espumosa: el advenimiento del temor”; sobre textos de Sloterdijk y Bauman y reflexiones de Adolfo Vásquez Rocca, En TENDENCIAS 21 –Revista Asociada al Capítulo español del Club de Roma y al Master en Bioinformática de la Universidad Complutense de Madrid–; y al Instituto de Ingeniería de España, Sección: Filosofía de la Ciencia y Tecnología ISSN 2174-6850

www.tendencias21.net/biofilosofia/De-la-masa-liquida-a-la...

  

Vásquez Rocca, Adolfo, “Poética del Ajedrez; Composición y escritos tácticos”, En Revista Almiar, MARGEN CERO ©, Madrid 2012, Revista Fundadora de la Asociación de Revistas Culturales de España, www.margencero.com/articulos/articulos2/poetica_ajedrez.htm

  

Vásquez Rocca, Adolfo, 'LE NÉANT DANS LA PENSÉE CONTEMPORAINE', Livre, Bès Editions , París, © 2012

Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012, ISBN: 978-2-35424-151-3

Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: "Le Néant Dans la Pensée Contemporaine", Bès Editions © 2012

  

Vásquez Rocca, Adolfo, “La crisis de las Vanguardias Artísticas y el debate modernidad - postmodernidad”, En, NÓMADAS Nº Especial –Revista Crítica de Ciencias Sociales y Jurídicas | - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº Especial , pp. 259 – 272

pendientedemigracion.ucm.es/info/nomadas/12/avrocca2.pdf

  

Vásquez Rocca, Adolfo, “La Fotografía y las formas del olvido; del furor de la imagen al frenesí de lo real”, En Revista Almiar, MARGEN CERO © , Madrid 2012, Revista Fundadora de la Asociación de Revistas Digitales de España. www.margencero.com/articulos/articulos2/foto_olvido.htm

  

Vásquez Rocca, Adolfo, "Individualismo, modernidad líquida y terrorismo hipermoderno; de Bauman a Sloterdijk", En ERRANCIA, La Palabra Inconclusa– Revista de Psicoanálisis, Teoría Crítica y Cultura, Nº 3 © 2012, Universidad Nacional Autónoma de México UNAM

www.iztacala.unam.mx/errancia/v3/errancia_3.html

  

Vásquez Rocca, Adolfo, “Sloterdijk y Heidegger: las Repúblicas del saber, graneros y cultivos de la verdad; sobre la(s) historia(s) de la verdad o ‘economía política de la verdad’”, En Espiral Nº 41 - 2012, Revista de Cultura y Pensamiento Contemporáneo, Tijuana, BC. México.

www.revistaespiral.org/espiral_41/filosofia_adolfo.html

  

Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.

www.revistadefilosofia.com/44-04.pdf

  

Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.

dialnet.unirioja.es/descarga/articulo/4052835.pdf

  

Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32

www.revistadefilosofia.com/46-02r.pdf

  

Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.

www.revistadefilosofia.com/46-02.pdf

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.

www.doaj.org/doaj?func=fulltext&aId=1320292

  

2013

  

Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...

  

Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.

cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...

  

Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Madrid, 2013.

www.margencero.com/almiar/limites-medicina-concepto-muert...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712

www.observacionesfilosoficas.net/sloterdijkensayosdeintox...

  

Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.

rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...

 

Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.

rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:

www.observacionesfilosoficas.net/download/Peter-sloterdij...

 

DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL

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

  

ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN

 

www.danoex.net/adolfovasquezroccainvestigacion.html

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

 

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

  

ADOLFO VÁSQUEZ ROCCA

  

Pontificia Universidad Católica de Valparaíso

Universidad Complutense de Madrid

Universidad Andrés Bello UNAB

 

E-mail: adolfovrocca@gmail.com

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

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وینسVenetsiya

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· Canon EOS 5D Mark II + MC Rokkor-PF 55mm f/1.7

blog.

 

This is a drawing that I did, a couple of weeks ago, of the beautiful Miranda Kerr (hopefully you can see some resemblance?) :) it took me about 10-12 hours (I'm not entirely sure, I got so lost in concentration) and you should know that a good 4-5 hours of that was actually just drawing her hair... :| oh. my. goodness. it took me forever! haha But never mind, I think it was worth it in the end! It really is wonderful getting back into my arty-side and picking up a pencil/paintbrush and just going with the flow and creating whatever comes along with a burst of inspiration! I just thought it'd be nice to share this side of me with you all as well, so that I can add something different, some artistic variety, and not bore you with my photos all of the time... I hope you like it; I'm actually really proud of this, which is a pretty big thing for me! :D ♥

Well, I'll shut up now and let you get back to enjoying your day. I hope you're all having a nice day/evening and that you're having a lovely week so far, too ♥ love, Mari-ann xxx

Fonte dell'immagine: La Chiesa di Dio Onnipotente

 

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

  

Il vero amore per Dio è spontaneo

 

Tutte le persone sono state sottoposte al raffinamento tramite le parole di Dio. Se non fosse stato per il Dio incarnato, l’umanità non sarebbe affatto benedetta in tale sofferenza. Questo concetto può anche essere espresso come segue: coloro che sono in grado di accettare le prove delle parole di Dio sono persone benedette. Sulla base del calibro originale delle persone, del loro comportamento e dei loro atteggiamenti verso Dio, non sono degne di ricevere questo tipo di raffinamento. Hanno goduto di tale benedizione perché sono state innalzate da Dio. Dicevano che non erano degne di vedere il volto di Dio o di ascoltare le Sue parole. Oggi, è interamente grazie all’elevazione di Dio e alla Sua misericordia che le persone hanno ricevuto il raffinamento delle Sue parole. Questa è la benedizione di ogni singola persona che vive negli ultimi giorni, lo avete sperimentato personalmente? In quali aspetti gli individui debbano soffrire e avere delle battute d’arresto dipende da Dio, e non dalle esigenze delle persone. Questo è assolutamente vero. Ogni credente deve possedere la capacità di subire le prove delle parole di Dio e di soffrire nell’ambito delle Sue parole. Riuscite a capirlo con chiarezza? Pertanto, la sofferenza che hai subito è stata scambiata con le benedizioni odierne; se non soffri per Dio, non puoi ottenere la Sua lode. Forse ti sei lamentato in passato, ma per quanto tu ti sia lamentato, Dio non se ne ricorderà. Oggi è un altro giorno e non vi è motivo di soffermarsi sui problemi di ieri.

 

Alcune persone dichiarano che cercano di amare Dio ma non ci riescono, e quando sentono dire che Dio sta per allontanarsi, allora provano amore per Lui. In generale, alcune persone non mettono in pratica la verità, e quando sentono dire che Dio sta per allontanarsi adirato, si presentano al Suo cospetto e pregano: “Oh, Dio, Ti prego, non andarTene. Dammi una possibilità! Dio! Non Ti ho soddisfatto in passato; Sono stato Tuo debitore e Ti ho resistito. Oggi sono disposto a offrire pienamente il mio corpo e il mio cuore per poter finalmente soddisfarTi e amarTi. Non avrò più questa opportunità”. Hai mai pregato così? Quando qualcuno prega in questo modo è perché la sua coscienza è stata risvegliata dalle parole di Dio. Gli esseri umani sono tutti intorpiditi e annebbiati mentalmente. Sono soggetti al castigo e al raffinamento ma non sanno ciò che Dio sta realizzando. Se Dio non operasse così, le persone sarebbero ancora confuse e nessuno potrebbe ispirare sentimenti spirituali nei loro cuori. Solo le parole di Dio che esprimono giudizio e rivelano le persone possono portare tale frutto. Pertanto, tutto si ottiene e si adempie tramite le parole di Dio, ed è solo attraverso le Sue parole che è stato suscitato l’amore dell’umanità per Dio. Se le persone amassero Dio basandosi solo sulla propria coscienza, non vedrebbero alcun risultato. Non avveniva forse già in passato che le persone fondassero il loro amore per Dio sulla coscienza? È mai esistita una sola persona che abbia preso l’iniziativa di amare Dio? È solo attraverso l’incoraggiamento delle parole di Dio che Lo hanno amato. Alcune persone dicono: “Seguo Dio da tanti anni e ho ricevuto grandi manifestazioni della Sua grazia, e una moltitudine di benedizioni. Sono stato raffinato e giudicato dalle Sue parole. Tramite ciò sono riuscito a comprendere molte cose e ho visto l’amore di Dio. Devo ringraziarLo, devo ripagare la Sua grazia. Io soddisferò Dio con la morte e baserò il mio amore per Lui sulla mia coscienza”. Basandosi unicamente sui sentimenti della coscienza, le persone non riescono a sentire l’amabilità di Dio; basandosi unicamente sulla coscienza, l’amore per Dio sarà debole. Se parli solo di ripagare la grazia e l’amore di Dio, non avrai alcun impulso nell’amore per Lui; amarLo in base ai sentimenti della coscienza è un approccio passivo. Perché dico che è un approccio passivo? Si tratta di un problema pratico. Che tipo di amore è questo? Non è come cercare di ingannare Dio e agire solo meccanicamente per Lui? La maggior parte delle persone crede che non ci sia alcuna ricompensa per il fatto di amare Dio, e che saranno condannate ugualmente per il fatto di non amarLo, per cui basta semplicemente non peccare. Pertanto, amare Dio e ripagare il Suo amore sulla base dei sentimenti della propria coscienza è un approccio passivo, che non corrisponde all’amore per Dio che sgorga spontaneo dal cuore. L’amore per Dio dovrebbe essere un sentimento autentico che procede dal profondo del cuore di una persona. Alcuni dicono: “Sono disposto a perseguire Dio e a seguirLo. Ora Dio vuole abbandonarmi ma io desidero ancora seguirLo. Che Lui mi voglia o meno, io Lo amerò comunque e alla fine Lo conquisterò. Offro il mio cuore a Dio, e qualunque cosa Egli faccia, Lo seguirò per tutta la vita. Nonostante tutto, devo amare Dio e devo conquistarLo; non avrò pace finché non Lo avrò conquistato”. Possiedi tale volontà?

 

Il percorso della fede in Dio è il percorso dell’amore per Lui. Se credi in Lui devi amarlo; tuttavia, amare Lui non comporta solo ripagare il Suo amore o amarLo in base ai sentimenti della coscienza: si tratta di amore puro per Dio. A volte le persone si basano solo sulla coscienza e non riescono a sentire l’amore di Dio. Perché ho sempre detto: “Possa lo Spirito di Dio muovere il nostro spirito”? Perché non ho parlato di muovere le coscienze affinché amino Dio? Perché le coscienze delle persone non riescono a sentire la bellezza di Dio. Se non ti lasci convincere da queste parole, puoi usare la tua coscienza per sentire il Suo amore, e avrai un po’ di motivazione in quel momento ma poi essa scomparirà. Se usi la tua coscienza solo per percepire l’amabilità di Dio, hai una motivazione quando preghi, ma dopo essa sparisce, si dissolve. Come mai? Se usi soltanto la tua coscienza, dentro di te non sarai in grado di suscitare l’amore per Dio; quando percepisci davvero la Sua amabilità nel cuore, il tuo spirito sarà mosso da Lui, e solo in quel momento la tua coscienza potrà svolgere il suo ruolo originario. Ciò significa che quando le persone sono state mosse da Dio nel loro spirito e quando il loro cuore ha acquisito conoscenza e incoraggiamento, ossia dopo aver acquisito esperienza, solo allora saranno in grado di amare effettivamente Dio con la coscienza. Amare Dio con la coscienza non è sbagliato: si tratta del livello più basso di amore per Dio. Il modo di amare degli esseri umani, che rende a malapena giustizia alla grazia di Dio, non può assolutamente spingere il loro ingresso proattivo in essa. Quando le persone ottengono una parte dell’opera dello Spirito Santo, cioè quando vedono e gustano l’amore di Dio nella loro esperienza pratica, quando hanno qualche conoscenza di Dio e si accorgono veramente che Dio è autenticamente degno dell’amore dell’umanità e che Egli è infinitamente amabile, ebbene solo allora sono in grado di amare veramente Dio.

 

Quando le persone contattano Dio tramite i loro cuori ed essi sono in grado di volgersi completamente a Lui, compiono il primo passo dell’amore umano per Dio. Se vuoi amare Dio, devi prima essere in grado di volgere il tuo cuore a Lui. Che significa volgere il cuore a Dio? Significa che tutto ciò che persegui nel tuo cuore è volto all’amore e alla conquista di Dio, e ciò indica che hai rivolto completamente il tuo cuore a Dio. A parte Dio e le Sue parole, non esiste quasi nient’altro nel tuo cuore (famiglia, ricchezza, marito, moglie, figli o altre cose). Anche se esiste, tutto ciò non può occupare il tuo cuore, e non pensi alle tue prospettive future, ma ricerchi solo l’amore per Dio. Quando arriverai a fare ciò, avrai completamente rivolto il tuo cuore a Dio. Supponi che tu stia ancora facendo piani per te stesso nel tuo cuore e che stia continuando a perseguire il tuo vantaggio personale, pensando sempre: “Quando posso fare una piccola richiesta a Dio? La mia famiglia, quando diventerà benestante? Come posso procurarmi dei begli abiti? …” Se stai vivendo in tale stato, ciò prova che il tuo cuore non è pienamente rivolto a Dio. Se hai solo le parole di Dio nel tuo cuore e sei in grado di pregare Dio e di avvicinarti a Lui in ogni momento, come se Egli ti fosse molto vicino, come se fosse dentro di te e tu fossi in Lui, se sei in tale stato, significa che il tuo cuore è stato alla presenza di Dio. Se preghi Dio, nutrendoti ogni giorno delle Sue parole, pensando sempre all’opera della Chiesa, dimostrando considerazione per la volontà di Dio, usando il tuo cuore per amarLo veramente e soddisfare il Suo cuore, il tuo cuore apparterrà a Dio. Se il tuo cuore è occupato da tante altre cose, allora è ancora occupato da Satana e non è veramente rivolto a Dio. Quando il cuore di qualcuno è veramente rivolto a Dio, proverà amore genuino e spontaneo per Lui e potrà ponderare l’opera di Dio. Pur essendoci ancora degli stati di stoltezza e irragionevolezza, queste persone saranno comunque in grado di avere considerazione per gli interessi della casa di Dio, per il Suo lavoro, e per un loro cambiamento di indole. Il loro cuore sarà assolutamente nel giusto Alcune persone sventolano sempre la bandiera della Chiesa, qualunque cosa facciano; la verità è che lo fanno solo per il proprio vantaggio. Sono persone che non possiedono la giusta motivazione. Sono disoneste e ingannevoli, e la maggior parte delle cose che fanno è volta a ricercare il loro tornaconto personale. Questo tipo di persona non persegue l’amore di Dio; il suo cuore appartiene ancora a Satana e non può volgersi verso Dio. Dio non ha modo di ottenere questo tipo di persona.

 

Il primo passo per amare Dio veramente ed essere conquistati da Lui consiste nel volgere completamente il cuore a Dio. In ogni singola cosa che fai, esamina quello che hai dentro e chiediti: “Ciò che sto facendo scaturisce da un cuore pieno di amore per Dio oppure è mosso da qualche intenzione personale? Qual è il mio obiettivo reale?” Se vuoi consegnare il cuore a Dio, devi prima sottometterlo, rinunciando a tutte le tue intenzioni e raggiungendo il punto di esistere totalmente per Dio. Questa è la strada da seguire per dare il cuore a Dio. Che cosa vuol dire sottomettere il cuore? Significa prendere le distanze dai desideri smodati della propria carne, non desiderare le benedizioni di uno stato sociale o le comodità, fare ogni cosa per soddisfare Dio, e dedicare pienamente il cuore a Lui, e non a sé stessi. Ecco cos’è.

 

Il vero amore per Dio viene dalla profondità del cuore; è un amore che esiste solo sulla base della conoscenza di Dio da parte dell’umanità. Quando il cuore di qualcuno si rivolge completamente a Dio, nutre l’amore per Dio, ma questo amore non è necessariamente puro né necessariamente completo. Ciò avviene perché esiste una certa distanza tra il cuore di una persona che si rivolge completamente a Dio e la possibilità che essa consegua una vera comprensione e adorazione per Lui. Il modo in cui si può ottenere il vero amore di Dio e conoscere l’indole di Dio consiste nel volgere il proprio cuore a Lui. Dopo aver autenticamente consegnato il proprio cuore a Dio, si comincia a entrare nell’esperienza della vita, con conseguente cambiamento di indole, crescita graduale dell’amore per Dio e della conoscenza di Dio. Quindi, volgere il proprio cuore a Dio rappresenta il prerequisito per imboccare la retta via dell’esperienza di vita. Quando si volge il cuore al cospetto di Dio, esso è pieno di desiderio per Lui, ma non di amore per Lui, perché non si possiede la comprensione di Dio. Anche se in questa circostanza si prova un certo amore per Lui, esso non è né spontaneo né sincero. Ciò avviene perché tutto ciò che proviene dalla carne dell’uomo è un prodotto emotivo e non deriva da una comprensione autentica. Si tratta solo di un impulso momentaneo che non riesce a trasformarsi in adorazione a lungo termine. Quando le persone non hanno comprensione di Dio, possono amarlo solo in base alle proprie preferenze e alle loro nozioni individuali; questo tipo di amore non può essere definito né spontaneo né genuino. Quando il cuore di qualcuno si rivolge veramente verso Dio, è in grado di pensare agli interessi di Dio in tutto, ma se non si possiede alcuna comprensione di Dio non si potrà avere un amore veramente spontaneo. Tutto ciò che si potrà fare sarà compiere alcune funzioni per la Chiesa e svolgere qualche dovere, ma senza avere alcun fondamento. Questo tipo di individuo ha un’indole difficile da cambiare; sono tutte persone che non perseguono la verità o non la capiscono. Anche se una persona rivolge completamente il proprio cuore a Dio, non significa che il cuore pieno di amore per Dio sia completamente puro, perché coloro che hanno Dio nel cuore non necessariamente nutrono amore per Lui. Ciò riguarda la distinzione tra chi persegue e chi non persegue la comprensione di Dio. Se una persona ha comprensione di Lui, è chiaro che il suo cuore si è volto completamente a Dio, e che il suo amore sincero per Dio nel cuore è spontaneo. Solo questo tipo di persona ha Dio nel cuore. Rivolgere il proprio cuore verso Dio è un prerequisito per imboccare la strada giusta, per comprendere Dio e per raggiungere l’amore di Dio. Non rappresenta un indicatore di adempimento del dovere di amare Dio, né è un segno di vero amore per Lui. L’unico modo in cui si può ottenere l’amore genuino di Dio consiste nel rivolgere il cuore a Lui, e ciò dovrebbe anche essere la prima cosa che una delle Sue creature dovrebbe fare. Coloro che amano Dio sono tutte persone che cercano la vita, cioè persone che cercano la verità e vogliono veramente Dio; tutte hanno l’illuminazione dello Spirito Santo e sono state sollecitate da Lui. Sono tutte in grado di essere guidate da Dio.

 

Quando qualcuno riesce a percepire di essere in debito verso Dio, ciò avviene perché è spinto dallo Spirito; in presenza di tale percezione, tenderà anche ad avere un cuore pieno di desiderio e riuscirà a perseguire l’ingresso nella vita. Se tuttavia ti fermi a un certo punto, non sarai in grado di andare più in profondità; correrai ancora il pericolo di restare intrappolato nella rete di Satana, e, raggiunto un certo punto, ne resterai imprigionato. L’illuminazione di Dio permette alle persone di conoscere sé stesse e, in seguito, di percepire il loro debito verso Dio così come la loro volontà di collaborare con Lui, abbandonando le cose che non Lo compiacciono. Questo è il principio dell’opera di Dio. Siete tutti disposti a perseguire la crescita nella vostra vita e ad amare Dio, e vi siete pertanto liberati della vostra superficialità? Se ti sei solo liberato da questo modo di agire e non causi alcun problema, evitando di metterti in mostra, ciò significa che stai davvero cercando di crescere nella tua vita? Se non mostri alcun comportamento superficiale, ma non entri nelle parole di Dio, significa che sei una persona priva di un progresso proattivo. Qual è l’origine dell’adozione di comportamenti superficiali? Agisci con lo scopo di crescere nella vita? Stai cercando di qualificarti per essere una delle persone scelte da Dio? Qualunque sia la cosa su cui ti concentri, essa corrisponde a ciò che vivi; se ti concentri sulla superficialità, il tuo cuore è focalizzato sulle cose esterne, e non riuscirai in alcun modo a perseguire la crescita nella vita. Dio richiede un cambiamento di indole, ma tu continui a perseguire le cose esterne; questo tipo di persona non avrà modo di cambiare la propria indole! Si comportano tutti in un certo modo prima di diventare maturi nella vita, ossia devono accettare il giudizio, il castigo e il perfezionamento delle parole di Dio. Se non hai le parole di Dio, ma ti basi meramente sulla tua fiducia e sulla tua volontà, tutto quello che fai si fonda semplicemente sullo zelo. In altri termini: se vuoi crescere nella vita, devi nutrirti, e comprendere maggiormente le parole di Dio. Tutti coloro che sono perfezionati dalle Sue parole sono in grado di metterle in pratica; coloro che non subiscono il perfezionamento e il giudizio delle Sue parole, non possono essere idonei a essere usati da Lui. Fino a che punto, quindi, vivete in base alle Sue parole? Solo nutrendovi delle parole di Dio e riuscendo a confrontarle con la vostra condizione di vita, trovando un percorso di pratica nella luce in relazione ai problemi che spiego, la vostra pratica sarà corretta e rispecchierà il cuore di Dio. Solo chi possiede questo tipo di questa pratica ha la volontà di amare Dio.

  

it.godfootsteps.org/genuine-love-for-god-is-spontaneous.html

Reference: Photo 24/(225)

 

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

 

Date: 4 Aug 1915

 

See also:

- View this at the British Library's site

 

- Browse this collection on Europeana

- and on Wikimedia Commons

 

Please consider donating to the British Library.

Shibu Onsen is a historic and attractive hot spring town in Yamanouchi, which has retained a traditional atmosphere. Nestled in a small valley, Shibu Onsen is spread out on a gentle slope beside the Yokoyugawa River, with Yudanaka Onsen located below and the Jigokudani Monkey Park above.

 

During its long history, the area has been visited for its hot spring water by a lot of people, including priests, samurai and poets. Some of the ryokan (Japanese style inns) that line Shibu's narrow streets, date back over 400 years, adding greatly to Shibu's atmosphere. Guests of the ryokan are encouraged to take a stroll around town in the traditional onsen clothing of yukata robes and geta sandals.

 

One incentive to walk around the town is to make use of the public bath houses, of which there are nine. The public baths are locked and, except for one, only accessible to locals and overnight guests, who are provided with a master key by their ryokan.

 

The bath houses are small buildings, divided into a women's side and a men's side, and the baths themselves are quite simple. The bath houses are numbered, but also have special names and cure different ailments. Source: www.japan-guide.com

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

 

www.andynoise.com/kernxcinvite08.html

 

Varsity Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

 

1. Foothill Chris Schwartz 14:59.76 1 1 1

2. McFarland Alfonso Cisneros 15:33.49 2 2 1

3. McFarland Francisco Nava 15:48.44 3 3 2

4. McFarland Marco Perez 15:48.85 4 4 3

5. Stockdale Curtis Kelly 15:50.33 5 5 1

6. Ridgeview Brian Solis 15:50.81 6 6 1

7. Wasco A. Mendoza 15:51.72 7 7 1

8. Ridgeview Alex Garcia 15:52.70 8 8 2

9. Shafter Chris Handel 15:53.96 9 9 1

10. McFarland Gerardo Alcala 15:54.28 10 10 4

11. Shafter Jesus Villalpondo 16:05.48 11 11 2

12. Highland Colin Lewis 16:06.79 12 12 1

13. Centennial Nathan Vincent 16:08.77 13 13 1

14. Ridgeview Robby Baker 16:13.01 14 14 3

15. McFarland Eduardo Bautista 16:18.69 15 15 5

16. BHS Andrew Ariey 16:21.59 16 16 1

17. Garces Connor O'Malley 16:23.32 17 17 1

18. Stockdale Blair Slaton 16:25.15 18 18 2

19. Ridgeview Jerrio Lewis 16:25.61 19 19 4

20. East Jose Ramirez 16:25.97 20 20 1

21. East Mose Valdez 16:26.30 21 21 2

22. Highland Thomas Turner 16:26.59 22 22 2

23. Golden Valley Daymon Sandles 16:26.91 23 23 1

24. Foothill Jose Lopez 16:27.22 24 24 2

25. Ridgeview Miguel Munoz 16:30.13 25 25 5

26. Wasco G. Linares 16:34.10 26 26 2

27. Shafter Josh Wittenberg 16:34.61 27 27 3

28. Highland Jake Van Zandt 16:36.62 28 28 3

29. East Charlie Zaragoza 16:39.22 29 29 3

30. BHS Andrew Edquist 16:41.12 30 30 2

31. Cesar Chavez Martin Rios 16:45.91 31 31 1

32. Highland Ivan Esquivias 16:47.91 32 32 4

33. BHS Zachary Holt 16:48.98 33 33 3

34. Stockdale Anthony Dao 16:49.30 34 34 3

35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2

36. Wasco O. Mirando 16:50.04 36 36 3

37. Shafter Alex Moreno 16:51.14 37 37 4

38. Wasco E. Sanchez 16:52.02 38 38 4

39. Wasco E. Ramirez 16:53.29 39 39 5

40. East Camilo Mosqueda 16:53.84 40 40 4

41. East Vincente Herrera 16:54.31 41 41 5

42. Foothill Erick Bautista 16:54.82 42 42 3

43. Arvin Ben Orozco 16:57.57 43 43 1

44. Shafter Hector Montoya 17:01.02 44 44 5

45. Garces Jesus Guzman 17:02.28 45 45 2

46. Garces Michael Bedard 17:02.88 46 46 3

47. Frontier Tanner Urmston 17:03.48 47 47 1

48. BHS John Purcell 17:04.08 48 48 4

49. Centennial Ty Heiter 17:04.73 49 49 2

50. Frontier Richard Peralta 17:05.73 50 50 2

51. Shafter Cristian Barrios 17:07.93 51 51 6

52. Centennial Gehrig Smith 17:08.86 52 52 3

53. BHS Christopher Anderson 17:09.32 53 53 5

54. Highland Justin Burnett 17:10.77 54 54 5

55. Wasco J. DeJulian 17:11.97 55 55 6

56. Stockdale Stephen Burke 17:16.30 56 56 4

57. Arvin Juan Calderon 17:16.89 57 57 2

58. Wasco Cesar Patino 17:19.39 58 58 7

59. Cesar Chavez Tim Yanez 17:21.10 59 59 3

60. Highland Ariel Hurtado 17:23.69 60 60 6

61. North Adam Ralls 17:24.02 61 x 1

62. Ridgeview Michael Anseno 17:24.53 62 61 6

63. Ridgeview Jaime Madrigal 17:31.18 63 62 7

64. Foothill Patrick Manrique 17:32.75 64 63 4

65. Frontier Will Beechinor 17:33.57 65 64 3

66. East Alex Estrada 17:38.64 66 65 6

67. Burroughs Jesse Wigfield 17:38.99 67 66 1

68. Centennial Eric Millan 17:39.50 68 67 4

69. Burroughs Daniel Lathrop 17:39.91 69 68 2

70. Shafter Jacob Vasquez 17:40.47 70 69 7

71. Garces David Freed 17:40.91 71 70 4

72. Centennial Jake Howry 17:42.54 72 71 5

73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3

74. Frontier D. Sclafani 17:47.26 74 73 4

75. Stockdale Max Morales 17:48.38 75 74 5

76. Burroughs Eduardo Carrillo 17:51.64 76 75 4

77. Burroughs Keith Christman 17:57.59 77 76 5

78. Golden Valley Jose Salgado 17:59.82 78 77 2

79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4

80. Centennial Brad Hinsley 18:04.58 80 79 6

81. Arvin Yessuri Villsenor 18:05.30 81 80 3

82. Burroughs Nathan Cheadle 18:10.33 82 81 6

83. Foothill Javier Garcia 18:11.22 83 82 5

84. Foothill Ernest Marquez 18:11.57 84 83 6

85. BC Kevin Yarian 18:27.47 85 84 1

86. North Chris Emmett 18:29.51 86 x 2

87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5

88. Tehachapi Corey Torres 18:32.16 88 86 1

89. Frontier Michael Sclafani 18:33.62 89 87 5

90. Garces Patrick Gomez 18:37.52 90 88 5

91. Highland Humberto Ramirez 18:37.98 91 89 7

92. Golden Valley David Gamino 18:40.22 92 90 3

93. Frontier Ricky Gonzales 19:03.13 93 91 6

94. Garces Chris Real 19:06.29 94 92 6

95. Stockdale D. Sherrill 19:08.29 95 93 6

96. Garces Dillon Lyles 19:16.75 96 94 7

97. Tehachapi Christian Torres 19:19.03 97 95 2

98. BC Mark McCutcheon 19:20:78 98 96 2

99. Golden Valley Nick Cruz 19:22.49 99 97 4

100. Golden Valley Daniel Perez 19:25.13 100 98 5

101. Foothill Christian Paredes 19:32.03 101 99 7

102. Arvin Adrian Rodriguez 19:32.67 102 100 4

103. BC Thomas Beard 19:59.04 103 101 3

104. West Michael Branquino 19:59.63 104 x 1

105. BHS Nick Flores 20:04.27 105 102 6

106. Tehachapi Logan Collier 20:07.47 106 103 3

107. Kern Valley C. Woodward 20:22.63 107 x 1

108. Arvin Christian Guerrero 20:31.41 108 104 5

109. Burroughs Daniel Meade 20:41.26 109 105 7

110. Golden Valley Ryan Davis 20:41.26 110 106 6

111. BHS Robby Harris 20:42.01 111 107 7

112. East Hector Fuentes 20:42.57 112 108 7

113. Frontier Alex Blanton 20:56.97 113 109 7

114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6

115. Tehachapi Trent Sherman 21:02.94 115 111 4

116. Tehachapi Shaddi Haddad 21:18.14 116 112 5

117. BC Austin Adee 21:25.45 117 113 4

118. BC Aaron Stephens 21:31.77 118 114 5

119. Kern Valley J. Pistocco 23:15.37 119 x 2

120. Tehachapi Corey Hebron 23:19.78 120 115 6

121. West Kevin Serrano 23:48.05 121 x 2

Reference: Photo 24/(81)

 

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

 

Date: 24 Jul 1915

 

See also:

- View this at the British Library's site

 

- Browse this collection on Europeana

- and on Wikimedia Commons

 

Please consider donating to the British Library.

The NFL.com redesign can be classified as a Web 1.5 site, illustrating that pro sports seem loath to fully embrace the spirit of Web 2.0. Read: NFL . com Redesign - Web 1.5.

Having just written an Ode to my Casios in Business 2.0, I had to try something new…. The prior three photos in my stream are freehand shots from this FX-7.

 

Since I try to never use the flash indoors, I was curious about the Optical Image Stabilization feature (Mega OIS) built into the Leica lens array, a unique feature for a pocket camera. I’m not sure if I have figured out the correct photo conditions to take advantage of this feature (I tried chasing a flying bug with it =) but the photo tests by dpreview were pretty impressive. I wonder if the Casio Z55 and Z3 do so relatively well in low light because they go to f2.6 vs. the standard f2.8 in pocket cameras.

 

Compared to the Casio Z55, the FX-7 has a slightly better macro zoom (5cm vs. 6cm) and it is smaller, lighter, and dare I say, more stylish. The OIS feature is the most important one, but I have not had enough experience to compare that yet.

 

Major drawbacks vs. Casio:

1) short battery life. The battery mAh is 42% lower, and the circuitry and/or screen are less power efficient (50% by my estimate). The camera heats up noticeably during use. I am looking for a better aftermarket battery.

2) No cradle. Pulling batteries out to recharge, and draining the battery during photo uploading compounds the pain of short battery life.

 

Points of parity: 5MP with 3x zoom seems to be the sweet spot for pocket cameras. Both have a great assortment of automation features to help the novice take better photos. Both have a 2.5” LCD, which is essential in a pocket camera, IMHO. The viewfinder is an anachronism in cameras this size, and the much smaller area 2” screen (e.g., Canon SD400) is a pain as a viewfinder. When the Canon gets a 2.5” screen, it will be enticing with a 3cm macro and 2x the video resolution.

Inca Trail Trek to Machu Picchu

The Inca Trail to Machu Picchu is beyond a doubt one of the most beautiful trails in America and an unforgettable experience not to be missed. The trail leads through the protected wild nature of the Peruvian jungle and forest steppe, passes several archeological Inca sights and offers impressive views. The Incas used this itinerary for theirpilgrimage to the sacred citadel Machu Picchu. inca trail to machu Picchu.

Package Name: Inca Trail Classic

Duration: 4 Days / 3 Nights

Type of Trek: Archaeological, Cultural, ecological and Adventure

Group Size: To suit group requirements

Difficulty degree of this hike: Moderate / Challenge

Departures Day:

- Our company organize daily departures

- All private service departure dates are adapted to your request.

- A minimum of 2 persons is needed for this trek

Activities: Trekking, Camping and Adventure

High Season: March - January

Route: Closed in February

Altitude: 2050 - 4200 m. / 6730 - 13780 f.

Inca Trail Trek Itinerary:

Day 1: Cusco - Km 82 – Wayllabamba - Yuncachimpa

we will leave Cusco (3350m/10990f) at 5:30 am by tourist bus to and head for the Sacred Valley of the Incas. Before we reach our starting point km 82, we make a short break in Ollantaytambo for having the option to get breakfast. The official beginning of the Inka Trail is called km 82. Here we will meet the rest of the group and take care of the registration facilities. After crossing the Rio Urubamba (2200m) we will start the legendary Inca Trail. The first day the trail is easy to walk and a good warm up for the fallowing days. In Miskay we’ll have lunch at a small river bank while getting some information about the archaeological complex of Llactapata. After that, we will continue our hike to Wayllabamba (3100m/10170f) and ascend to Yuncachimpa (3300m/10826f), the camping site we will spend the night in. From here, we have a great view of the mysterious Nevado de Verónica.

Level of difficulty: normal (easy)

Hiking time: 5-6 hours

Total distance: 11km approx.

Day 2: Yuncachimpa - Llulluchapampa – Warmihuañusca pass - Pacaymayu - Runkurakay pass - Chaquicocha

The second day is the ‘Free-Hike-Day’; that means, that everybody should walk in his/her own pace – of course you will meet during the small breaks or see each other while beating the stairs. Early in the morning the trails first leads through the Valley of Llulluchapampa (3850m/12631f). The first 3km are step - enjoy the humid woodland and the water sounds. From Llulluchapampa fallow the way for 2-3 hours until you crest the highest point of this section, the Warmihuañusca (Dead Woman Pass) (4200m/113780f). This climb is known as the most difficult part of the Inca Trail. After a short break at the summit, you continue your hike down with a long and steep descent to the river Pacamayo (Sunrise River) towards the Runkurakay pass (3050m/10007f) until you reach our camping site called Chaquicocha at (3650m/11975f). Here you can relax your body from the tough day while enjoying an amazing view over the mountains.

Level of difficulty: challenge

Hiking time: 7-8 hours

Total distance: 15 km approx. 

Day 3: Chaquicocha - Phuyupatamarca – Wiñayhuayna

The third day is the most beautiful one. You can notice a change in the eco-system while walking to the tropical forest of Wiñaywayna. We will pass two small lakes at the top of the second pass (3950m). It’s a gentle climb through beautiful cloud forest and a small Inca tunnel before the third pass (3700m) offers a grand view over the Rio Urubamba Valley. The nearest settlement is named Phuyupatamarca/"Town above the clouds" (3600m/11811f). A well preserved site with long chain Inca baths where one can enjoy impressive ancient engineering. We pass another Inca Tunnel before visiting the ruins of Wiñaywayna/"Forever young" (2650m/8694f). The Inca stairs change into a zigzag trail until you reach a red-roofed white building, our last camping site, and also a location with hot water (5S) and bottled drinks.

Level of difficulty: normal, unforgettable (easy)

Hiking time: 5-6 hours

Total distance: 10 km Approx.

 

Day 4: Wiñayhuayna - Machu Picchu - Cusco

After our breakfast at 4:30 am, we will head - equipped with our flashlights - to the Inti Punku (Sun Gate) to get the first glimpse of Machu Picchu and watch the sunrise over Machu Picchu and Wayna Picchu. The last triumphal descent will take you almost one hour before we visit the citadel of Machu Picchu (2400m//7874f) around 8.00am. You can enjoy its spiritual charm during a guided tour (about two hours) that helps you to understand the meaning and ancient use of the different buildings. After this tour you will have enough time to explore the archeological site on your own (f.ex. go to the Inca Bridge, explore the variety of buildings or climb Wayna Picchu for an amazing panorama picture). A bus takes you down to Aguas Calientes. Here you can soak away your aches and pain in the town’s hot springs (S10). We will leave Aguas Calientes in the afternoon.

Level of difficulty: normal, unique (easy)

Hiking time: 2-3 hours

Total distance: 7 km approx.

 

What is Included:

Transport

Private transfer from your hotel in Cusco to km 82

Tourist train from Aguas Calientes to Cusco (Poroy)/or Ollantaytambo and bus to Cusco

Transfer from the train station in Cusco to your hotel in Cusco

Entrance fees to the Inca trail and Machu Picchu

Professional bilingual guide (Spanish and English)

Camping equipment (professional two-persons tents: Doite, model Cima 4, extra light/4kg, Doite, model Kailas 3, extra light/4.5kg and Doite, model Himalaya, extra light/4.5kg; sleeping mats, dining tent equipped with a table and chairs, a sanitary tent)

Cook, cooking equipment, meals (3 breakfasts, 3 lunches and 3 dinners). Food includes pancakes, omelettes, soups, fresh fruit and spaghetti, chicken, fish, meat and rice, all rich in carbohydrates and very suitable for trekking, hot drinks including coca leafs tea which is excellent for the altitude

Tea and snack time everyday (tea, coffee, wantan, popcorn, cracker)

Porters to carry the main luggage (all the equipment and cooking stock)

First-aid kit, oxygen bottle and safety rope

 

What is not Included:

Sleeping bag rent: US$ 5 per day. Our sleeping bags are –8ºC-comfort (0ºF) and mummy form and include a sleeping liner.

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

Entrance to the Hot Springs in Aguas Calientes

Optional night in Aguas Calientes can be arranged easily.

Alcoholic drinks

 

Recomended Things To Take

Sleeping bag (you can rent at Cusco Expeditions office).

Bottle of mineral water.

Rain gear and/or plastic poncho (can be purchase in Cusco).

Hiking boots.

Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.

Flashlight.

Sun block.

Insect repellent.

Toilet paper and garbage bag.

Small towel and bathing suit (hot springs optional).

Camera, extra film and extra batteries.

Snacks, chocolates, energy bars.

Emergency money.

Walking stick (optional).

 

CALL US We are ready to take your call.

Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307

 

Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)

  

Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco

  

Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)

  

E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com

  

MSN: cuscoexpeditions@hotmail.com

  

Website: www.cuscoexpeditions.com/

  

Copyright © 2005-2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency

 

 

 

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Here's another article that just appeared (at about 4pm Eastern Time on Monday, May 31, 2010) on the NYT website:

www.nytimes.com/2010/06/01/world/middleeast/01flotilla.html

 

May 31, 2010

Deadly Israeli Raid on Aid Flotilla Draws Condemnation

By ISABEL KERSHNER

 

JERUSALEM — Israeli naval commandos conducted a deadly raid on a flotilla of aid ships bound for Gaza on Monday, prompting widespread condemnation and setting off a diplomatic crisis for the government of Prime Minister Benjamin Netanyahu.

 

Several European nations and Turkey summoned Israeli envoys for an explanation of the actions. At the request of Turkey, The United Nations Security Council met in emergency session on Monday over the attack, which occurred in international waters north of Gaza and killed at least nine people.

 

Mr. Netanyahu canceled his plans to meet with President Obama in Washington on Tuesday, an Israeli government official confirmed. Mr. Netanyahu, who is visiting Canada, planned to return home Monday to deal with fallout from the raid, the official said.

 

The White House, which had been at odds with the Israeli prime minister over settlements in East Jerusalem, released a statement saying that President Obama had spoken with Mr. Netanyahu and understood his need to return immediately to Israel. In addition to regrets about the loss of life, “the president also expressed the importance of learning all the facts and circumstances around this morning’s tragic events as soon as possible,” the statement said.

 

The criticism offered a propaganda coup to Israel’s foes, particularly Hamas, the militant group that holds sway in Gaza, and damaged Israel’s ties to Turkey, one of its most important Muslim partners and the unofficial sponsor of the convoy. As thousands of protesters took to the streets of Istanbul, Turkey canceled joint military exercises with Israel and recalled its ambassador, while Prime Minister Recep Tayyip Erdogan called the raid “state terrorism.”

 

Mr. Netanyahu defended the Israeli military’s actions, saying the commandos were set upon by passengers on the ship and fired only in self-defense. The military released a video of the early moments of the raid to support that claim.

 

The Israeli Defense Forces said the naval personnel boarding the largest of the six ships in the aid convoy met with “live fire and light weaponry including knives and clubs.” The naval forces then “employed riot dispersal means, including live fire,” the military said in a statement.

 

Greta Berlin, a leader of the pro-Palestinian Free Gaza Movement, speaking by telephone from Cyprus, rejected the military’s version.

 

“That is a lie,” she said, adding that it was inconceivable that the civilian passengers on board would have been “waiting up to fire on the Israeli military, with all its might.”

 

“We never thought there would be any violence,” she said.

 

At least four Israeli soldiers were wounded in the operation, some from gunfire, according to the military. Television footage from the flotilla before communications were cut showed what appeared to be commandos sliding down ropes from helicopters onto one of the vessels in the flotilla, while Israeli high-speed naval vessels surrounded the convoy.

 

A military statement said two activists were later found with pistols they had taken from Israeli commandos. The activists, the military said, had apparently opened fire “as evident by the empty pistol magazines.”

 

The warships first intercepted the convoy of cargo and passenger boats shortly before midnight on Sunday, according to activists on one vessel. Israel had vowed not to let the flotilla reach the shores of Gaza.

 

Named the Freedom Flotilla and led by the Free Gaza Movement and a Turkish organization, Insani Yardim Vakfi, the convoy was the most ambitious attempt yet to break Israel’s three-year blockade of Gaza.

 

About 600 passengers were said to be aboard the vessels, including the 1976 Nobel Peace Prize laureate, Mairead Corrigan-Maguire of Northern Ireland.

 

“What we have seen this morning is a war crime,” said Saeb Erakat, the chief Palestinian negotiator for the government in the West Bank. “These were civilian ships carrying civilians and civilian goods — medicine, wheelchairs, food, construction materials.”

 

“What Israel does in Gaza is appalling,” he added. “No informed and decent human can say otherwise.”

 

At a news conference on Monday in Jerusalem, Israeli deputy foreign minister, Danny Ayalon, said the flotilla’s intent was “not to transfer humanitarian things to Gaza” but to break the Israeli blockade.

 

“This blockade is legal,” he said, “and aimed at preventing the infiltration of terror and terrorists into Gaza.”

 

Ms. Berlin, of the Free Gaza Movement, said, “They attacked us this morning in international waters. According to the coordinates, we were 70 miles off the Israeli coast.”

 

Within hours, diplomatic repercussions began to spread from the Mediterranean to Europe, where Catherine Ashton, the European Union’s high representative for foreign affairs, called for a full inquiry into the incident and the immediate lifting of the Israeli blockade.

 

A joint statement from Robert Serry and Filippo Grandi, two senior United Nations officials involved in the Middle East peace process and humanitarian aid to Gaza, condemned the raid, which they said was “apparently in international waters.”

 

“We wish to make clear that such tragedies are entirely avoidable if Israel heeds the repeated calls of the international community to end its counterproductive and unacceptable blockade of Gaza,” the officials said.

 

President Nicolas Sarkozy of France called Israel’s use of force “disproportionate,” while William Hague, the British foreign secretary, said he deplored the loss of life. Tony Blair, the representative of the so-called quartet of powers seeking a Middle East settlement, said in a statement that he expressed “deep regret and shock at the tragic loss of life.”

 

“We need a different and better way of helping the people of Gaza and avoiding the hardship and tragedy that is inherent in the current situation,” the statement said. The quartet includes the United States, the United Nations, the European Union and Russia. In London, hundreds of pro-Palestinian protesters blocked Whitehall, the broad avenue running past the prime minister’s residence and office at 10 Downing Street.

 

Turkey strongly condemned the Israeli military action.

 

“Regardless of any reasoning, such actions against civilians engaged in only peaceful activities are unacceptable,” said a statement on the Foreign Ministry’s Web site on Monday. “Israel will be required to face the consequences of this act that involves violation of the international law.”

 

Murat Mercan, the head of the Turkish Grand National Asembly’s foreign affairs commission, said on television, “Israel launched this operation in international waters and to a ship flagged white, which is unacceptable under any clause of the international law.”

 

He added, “We are going to see in the following days whether Israel has done it as a display of decisiveness or to commit political suicide.”

 

Thousands of protesters gathered in Istanbul’s Taksim Square, chanting anti-Israeli slogans and repeating Islamic verses while government officials called for calm and urged demonstrators to avoid retaliation against Israeli nationals. Protesters met in front of the Israeli Consulate earlier and marched toward the square carrying a banner that read, “Zionist Embassy should close down,” and chanting slogans including “Damn Israel” and “Long live global intifada.”

 

Crowds also gathered outside the Ankara residence of Gabi Levi, the Israeli ambassador, who was summoned to the Foreign Ministry. Protests broke out in Iraq as well.

 

Ban Ki-moon, the United Nations Secretary General, said he was “shocked” by the attack. “I condemn this violence,” Mr. Ban told news conference in Kampala, Uganda. “It is vital that there is a full investigation to determine exactly how this bloodshed took place. I believe Israel must urgently provide a full explanation.”

 

News reports said the authorities in Egypt and Jordan, two Arab neighbors which have peace treaties with Israel, had summoned Israeli envoys to protest the action.

 

The outcry from Muslim leaders was strong and immediate. Mahmoud Abbas, the Palestinian president, called the incident “a massacre,” according to the official Wafa news agency. Mr. Abbas is to meet with President Obama in Washington next week.

 

Riyad Mansour, the Palestinian envoy to the United Nations, called for “the strongest reaction possible” from the Security Council, saying it cannot let Israel get away “for the thousandth time” with ignoring international law. “It cannot act like it is a country above international law,” Mr. Mansour told reporters.

 

Saad Hariri, the Lebanese prime minister, denounced the raid as “a dangerous and crazy step that will exacerbate tensions in the region,” while the president of Iran, Mahmoud Ahmadinejad, said it was “inhuman.”

 

Channel 10, a private television station in Israel, quoted the Israeli trade minister, Binyamin Ben-Eliezer, as saying 14 to 16 people had been killed. He said on Israeli Army Radio that commandos boarded the ships by sliding down on ropes from a hovering helicopter and were then struck by passengers with “batons and tools.”

 

“The moment someone tries to snatch your weapon, to steal your weapons, that’s where you begin to lose control,” Mr. Ben-Eliezer said, according to Reuters.

 

Jamal el-Shayyal, a reporter from the television broadcaster Al Jazeera, was on board the Mavi Marmara, the largest of the six ships, during the assault. He said in a video report that dozens of civilians had been injured in the fighting.

 

The I.D.F. said the ships from the convoy would be taken to the Israeli port of Ashdod, north of Gaza, where “naval forces will perform security checks in order to identify the people on board the ships and their equipment.”

 

On Sunday, three Israeli Navy missile boats had left the Haifa naval base in northern Israel a few minutes after 9 p.m. local time, planning to intercept the flotilla. After asking the captains of the boats to identify themselves, the navy told them they were approaching a blockaded area and asked them either to proceed to Ashdod or return to their countries of origin.

 

The activists responded that they would continue toward their destination, Gaza.

 

Speaking by satellite phone from the Challenger 1 boat, which has foreign legislators and other high-profile figures on board, a Free Gaza Movement leader, Huwaida Arraf, said: “We communicated to them clearly that we are unarmed civilians. We asked them not to use violence.”

 

Earlier Sunday, Ms. Arraf said the boats would keep trying to move forward “until they either disable our boats or jump on board.”

 

Reporting contributed by Sebnem Arsu in Istanbul, Alan Cowell in London, Steven Erlanger in Paris and Neil MacFarquhar .

 

VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST

www.emergencyrooms.org/biennalist.html

 

Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

www.colonel.dk

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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile

www.emergencyrooms.org/biennalist.html

 

Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the

ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013

thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...

www.emergencyrooms.org

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

 

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

 

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

Encyclopedic Palace is curated by Massimiliano Gioni

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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

 

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

   

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

 

www.andynoise.com/kernxcinvite08.html

 

JV Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

 

1. Ridgeview Tino Romero 11:17.25 1 1 1

2. Wasco Oscar Gomez 11:26.11 2 2 1

3. East Marc Sotello 11:26.90 3 x 1

4. Shafter Matthew Yanez 11:34.14 4 x 1

5. McFarland Grenardo Garcia 11:34.63 5 x 1

6. Highland Juan Delgado 11:37.47 6 3 1

7. Centennial Brandon Ballard 11:38.17 7 4 1

8. Ridgeview Ernesto Castillo 11:38.94 8 5 2

9. Shafter Elias Picazo 11:40.09 9 x 2

10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3

11. Wasco M. Vasquez 11:49.94 11 7 2

12. East Felix Trevino 11:51.62 12 x 2

13. Ridgeview Tree Hoisson 11:52.34 13 8 4

14. Stockdale Raymon Griggs 11:52.62 14 9 1

15. Highland Rafael Alcaraz 11:53.30 15 10 2

16. East Esteban Vargas 11:54.83 16 x 3

17. McFarland Adam Marquez 11:56.93 17 x 2

18. Frontier Corry Harris 12:02.24 18 11 1

19. Highland M. Shaffer 12:04.99 19 12 3

20. Highland Jo Dixon 12:05.53 20 13 4

21. Centennial Nick Trieberg 12:06.03 21 14 2

22. Highland Daniel Espinosa 12:07.15 22 15 5

23. Foothill Cesar Espinosa 12:10.84 23 16 1

24. Highland Ernan Lopez 12:18.78 24 17 6

25. Stockdale P. Bowen 12:25.59 25 18 2

26. Stockdale Andrew Worth 12:26.63 26 19 3

27. Foothill Jovani Pineda 12:32.47 27 20 2

28. Centennial Jake Smoot 12:33.35 28 21 3

29. Foothill Robert Guillen 12:36.97 29 22 3

30. Garces Jose Lopez 12:37.53 30 23 1

31. Highland Pablo Santiago 12:38.23 31 24 7

32. Ridgeview Ian Dowot 12:38.71 32 25 5

33. Frontier Ramon Sanchez 12:42.97 33 26 2

34. Foothill Peter Reyna 12:45.32 34 27 4

35. Ridgeview Hector Garay 12:45.76 35 28 6

36. Frontier Brian Cisneros 12:46.11 36 29 3

37. Stockdale Cornelius Sockey 12:49.24 37 30 4

38. Stockdale Nick Haley 12:49.57 38 31 5

39. Frontier Christopher Bedke 12:51.77 39 32 4

40. Frontier Chris Corral 12:52.80 40 33 5

41. Centennial CJ Carr 12:55.06 41 34 4

42. Ridgeview Arty Sanchez 12:55.60 42 35 7

43. Garces Dominic Gallegos 12:56.21 43 36 2

44. Foothill Oscar Rivera 12:57.02 44 37 5

45. Shafter Jonatan Lopez 12:59.96 45 x 3

46. Stockdale Evan Szablowsk 13:01.10 46 38 6

47. BHS Hector Sanchez 13:02.38 47 39 1

48. Foothill Guillermo Cisneros 13:05.95 48 40 6

49. Stockdale Jit Malay 13:06.90 49 41 7

50. Highland Nick Lopez 13:07.10 50 42 8

51. Centennial Craig Varner 13:15.59 51 43 5

52. Highland Tyler Dunlap 13:20.14 52 44 9

53. Stockdale Davis McLeod 13:20.73 53 45 8

54. Foothill Luis Garcia 13:22.06 54 46 7

55. Shafter Miguel Sanchez 13:23.34 55 x 4

56. Independence Curtis Valencia 13:25.34 56 47 1

57. Wasco Kyle Bearley 13:26.41 57 48 3

58. Ridgeview Martin Oropeza 13:27.08 58 49 8

59. Frontier Chris Mount 13:28.88 59 50 6

60. Wasco Anthony Ramirez 13:29.86 60 51 4

61. Frontier Jairo Garcia 13:34.10 61 52 7

62. Stockdale Kevin Chun 13:37.01 62 53 9

63. Foothill Marcos Sandoval 13:38.55 63 54 8

64. Arvin Jose Rodriguez 13:39.04 64 x 1

65. Frontier Steven Saenz 13:39.36 65 55 8

66. Stockdale John Bracamant 13:40.57 66 56 10

67. Wasco Kr. Brown 13:43.42 67 57 5

68. Stockdale Adrian Esquivas 13:45.00 68 58 11

69. Stockdale Joshua St. Clair 13:46.57 69 59 12

70. BHS Josh Harbin 13:49.65 70 60 2

71. Mira Monte Hislon Belo 13:53.35 71 x 1

72. Stockdale Eric Jorgensen 13:56.96 72 61 13

73. Garces Anthony Martinez 14:05.99 73 62 3

74. Arvin Rodger Tabada 14:15.08 74 x 2

75. Stockdale Phillip Radon 14:16.70 75 63 14

76. Stockdale Landon Medina 14:18.10 76 64 15

77. East Donald Sanchez 14:18.32 77 x 4

78. Frontier Spencer Cordova 14:25.94 78 65 9

79. Frontier Matt Walker 14:32.16 79 66 10

80. Wasco Arturo Miranda 14:32.82 80 67 6

81. Highland Luis Lopez 14:36.85 81 68 10

82. Independence Devin Lane 14:43.22 82 69 2

83. Garces Sterling Garza 14:43.64 83 70 4

84. Mira Monte Michael Pineda 14:45.10 84 x 2

85. Stockdale Joshua Le 14:45.99 85 71 16

86. Independence Michael Gallarza 14:46.50 86 72 3

87. Foothill William Saavedra 14:48.22 87 73 9

88. BHS Trevor Dalke 14:48.96 88 74 3

89. Independence Andrew Cruz 14:57.45 89 75 4

90. Highland Alex Harrell 15:01.62 90 76 11

91. BHS Wesley Elrich 15:02.07 91 77 4

92. Frontier Jason Phillips 15:02.54 92 78 11

93. Foothill Mason De La Cruz 15:03.92 93 79 10

94. Highland Estevan Espinoza 15:06.66 94 80 12

95. Mira Monte Rick Mendoza 15:08.42 95 x 3

96. Foothill AJ Lara 15:09.07 96 81 11

97. Centennial Jarod Kashwer 15:13.28 97 82 9

98. Highland Ryan Gonzalez 15:28.65 98 83 13

99. BHS Andres Eagleson 15:35.28 99 84 5

100. Frontier Kevin Sanchez 15:41.75 100 85 12

101. Centennial Brent Williams 15:46.70 101 86 10

102. Ridgeview Eric Jacques 15:46.93 102 87 9

103. Garces P. Newman 15:55.87 103 88 5

104. Foothill Jose Mejia 16:22.51 104 89 12

105. Independence Sky Payne 16:38.36 105 90 5

106. Foothill Logan Power 20:16.50 106 91 13

107. Arvin Oswaldo Leyva 24:45.86 107 x 3

108. North Sonny Medina 25:53.00 108 x 1

Học phí không thay đổi toàn năm học 2013 www.korigami.vn

Học phí không thay đổi áp dụng cho cả niên học 2013: www.korigami.vn/p/ao-tao-va-day-nghe.html ( tư vấn chương trình học phù hợp với nguyện vọng và các chế độ khuyến mãi ... liên hệ trực tiếp tại hộp thư www.facebook.com/messages/kuansaigon )

#KORIGAMI ĐƯỢC CÁC BẠN YÊU NGHỀ TÓC TOÀN QUỐC BÌNH CHỌN LÀ BỘ GIÁO TRÌNH THÔNG MINH DỄ HỌC DỄ HIỂU DỄ ỨNG DỤNG NHẤT TRÊN THỰC TẾ ... HỌC VIÊN CHĂM CHỈ HỌC SAU NÀY CÓ THỂ ĐÀO TẠO BÀI BẢN CHO NHÂN VIÊN CỦA MÌNH KHI TỐT NGHIỆP KINH DOANH RIÊNG

#CAM KẾT HỌC CHUYÊN CẦN RA NGHỀ ĐẠT TRÌNH ĐỘ CHUYÊN MÔN ĐÚNG HOẶC SỚM HƠN KỲ HẠN MONG MUỐN ...

#ĐĂNG KÝ THỦ TỤC + KÝ HỢP ĐỒNG MẪU TẠI TRUNG TÂM LÀ NHẬP HỌC NGAY KHÔNG CẦN CHỜ ĐỢI ...

#KIỂM TRA TAY NGHỀ - CẤP CHỨNG CHỈ NGHỀ MANG THƯƠNG HIỆU KORIGAMI ...

#CÓ CHỖ ĂN Ở NỘI TRÚ DÀNH CHO HỌC VIÊN Ở XA VỚI CHI PHÍ HỢP LÝ ( học viên nội trú nộp 01 bản sao CMND công chứng + 01 bản sao HỘ KHẨU công chứng ... Ưu tiên miễn phí các chi phí này dành cho học viên đăng ký vừa học vừa làm tại trung tâm) ...

#CAM KẾT HỖ TRỢ VIỆC LÀM SAU KHI TỐT NGHIỆP LOẠI KHÁ TRỞ LÊN + HẠNH KIỂM TỐT ...

#TƯ VẤN HỖ TRỢ THIẾT KẾ LẮP ĐẶT TOÀN BỘ NỘI THẤT + SẢN PHẨM + TRANG THIẾT BỊ DỤNG CỤ NGHỀ TÓC + SPA KHI HỌC VIÊN TỐT NGHIỆP MỞ TIỆM ... THẢO LUẬN PHƯƠNG PHÁP KINH DOANH BỀN VỮNG THU HỒI VỐN NHANH ... LÀM GIÀU BẰNG CHÍNH THỰC LỰC ...

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

KHÓA ĐƠN

@Khóa A cơ bản cắt ép uốn nhuộm gội sấy nam nữ (15tr / 4 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-day-cat-toc-nam-nu-ep-uon-nhuom.html

@Khoá B nâng cao dành cho thợ đã biết nghề (20tr / 2 tháng ... tặng một số dụng cụ học tập cần thiết). www.korigami.vn/p/khoa-b-day-cat-toc-nam-nu-ep-uon-nhuom....

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

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@Khoá học liên thông khóa AB cơ bản nâng cao (25tr / 6 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-ab-day-cat-toc-nam-nu-ep-uon-nhuom...

@Khoá học liên thông siêu tốc BC cơ bản nâng cao (30 tr / tầm 3-4 tháng ra nghề ... tặng đầy đủ dụng cụ học tập). www.korigami.vn/p/khoa-ab-day-cat-toc-nam-nu-ep-uon-nhuom...

@Khóa học liên kết trang điểm + bới tóc chuyên nghiệp D+E ( 20 triệu / 3 tháng ra nghề ... tặng bộ dụng cụ trang điểm chuyên nghiệp ... phụ liệu tóc sẽ do học viên tự trang bị )

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

HÓT NHẤT 2013:

@Khoá học AZ tổng quát tất cả các khoá học hiện có tại Korigami (45 tr / 7-8 tháng ra nghề ... tặng đầy đủ dụng vụ học tập). www.korigami.vn/p/khoa-en-z-tong-hop-cat-toc-nam-nu-trang...

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

KHÓA HỌC RIÊNG BIỆT TỪNG CHUYÊN NGÀNH www.korigami.vn/p/khoa-f1-f2-f3-f4-cat-toc-nam-nu-co-ban....

@ Khóa cắt tóc nam cơ bản F1 ( 8 triệu / 1 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt )

@ Khóa cắt tóc nam nâng cao + hóa chất tóc nam F2 ( 11 triệu / 2 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt + tài trợ hóa chất làm tóc )

@ Khóa cắt tóc nữ cơ bản F3 ( 11 triệu / 1,5 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt )

@ Khóa cắt sấy tạo kiểu tóc nữ chuyên sâu F4 ( 14 triệu / 1,5 tháng ra nghề ... tặng kéo + lược + manocanh + kẹp + bình xịt )

@ Khóa cắt sấy tạo kiểu tóc nữ chuyên sâu + hóa chất toàn diện tóc nữ F5 ( 23 triệu / 2,5 đến 3 tháng ... tặng đầy đủ dụng cụ học nghề tóc nữ )

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

KHÓA HỌC CHUYÊN NGÀNH HÓA CHẤT LÀM TÓC

@ KHÓA [G] NHUỘM TÓC CHUYÊN NGHIỆP : học phí 6 triệu / 7 buổi học ~ 1 tuần / hỗ trợ miễn phí hóa chất khi thực hành trên mẫu tóc thật.

@ KHÓA [H] ÉP DUỖI PHỒNG VOLUME + UỐN MÁY SETTING + LÀM XÙ TỔNG HỢP : học phí 8 triệu / 15 buổi học ~ 02 hoặc 03 tuần / hỗ trợ miễn phí hóa chất khi thực hành trên mẫu tóc thật.

@ KHÓA [ I ] CHUYÊN NGÀNH UỐN XOĂN MÁY NÓNG SETTING KỸ THUẬT SỐ : học phí 6 triệu / 7 buổi học / hỗ trợ miễn phí hóa chất khi thực hành trên mẫu tóc thật.

@ KHÓA GHÉP [G + H] : học phí 12 triệu / 20 buổi học ~ 3 đến 4 tuần : nội dung học kết hợp 2 khóa [G] và [H]

@ KHÓA GHÉP [G + I] : học phí 10 triệu / 20 buổi học ~ 3 đến 4 tuần : nội dung học kết hợp 2 khóa [G] và [ I ]

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

KHÓA VỪA HỌC VỪA LÀM --- HƯỞNG RẤT NHIỀU ƯU ĐÃI DO KORIGAMI TÀI TRỢ

@Khoá J vừa học vừa làm - trình độ tương đương khoá A (15 tr / 9 tháng ... không tặng dụng cụ học tập ... miễn phí ăn ở nội trú trong suốt quá trình học đến ra nghề ... sau 4 tháng học xét cấp học bổng và ký hợp đồng làm việc lâu dài tại trung tâm Korigami ...)

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

Bạn nên truy cập link dưới đây để tham khảo thật cẩn thận từng chi tiết về hồ sơ thủ tục đăng ký + chế độ chương trình học cuát tất cả các khóa học tạo mẫu tóc - trang điểm - bới tóc cô dâu - vẽ móng nghệ thuật ... trình độ cơ bản đến nâng cao - thời gian ra nghề thông thường hoặc siêu tốc - những chế độ ưu đãi dành cho học viên vừa học vừa làm tại www.korigami.vn/p/ao-tao-va-day-nghe.html

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

Liên hệ trực tiếp : KORIGAMI 7 TRẦN TẾ XƯƠNG ven hồ Trúc Bạch _ quận Ba Đình _ Hà Nội ( dễ tìm nhất là đi từ 122 Trấn Vũ vào ngã tư đầu tiên rẽ trái là đến nơi _ Xem bản đồ tại đây maps.google.com/maps/ms?msa=0&msid=213092627580361168... )

Ngoài ra... Korigami nhận thực hiện tạo kiểu tóc + trang điểm bới tóc dạ hội theo yêu cầu khi quí khách đặt lịch hẹn trong vòng 1 tiếng trước khi đến ... Hãy gọi hoặc nhắn tin theo số 0915804875 - 0919386104 ( xem giá cả chi tiết các dịch vụ tại đây www.korigami.vn/p/bang-gia-dich-vu-tu-van-cat-toc-tao.html )

  

DR. ADOLFO VÁSQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

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

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca

  

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

   

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1

 

Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,

 

- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

INVESTIGACIÓN:

2009 - 2010

 

Proyecto de Investigación N° DI-10-09/JM - UNAB

 

“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

 

Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB

  

2011 - 2012

 

- Proyecto de Investigación N° DI-08-11/JM - UNAB

 

- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.

 

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

 

Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello

  

Asistente de Investigación:

Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.

 

– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM

Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/

 

(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso

 

(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.

 

(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.

 

(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB

 

(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV

 

(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB

 

(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB

 

(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM

 

(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP

 

(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV

 

(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM

 

(2009-2010) Profesor visitante Florida Christian University USA

 

(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH

 

(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.

 

(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.

 

(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".

 

2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"

 

2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"

 

2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"

 

2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.

  

ENTREVISTA:

 

“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.

www.alcances.cl/ver-articulo.php?id=81

  

Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.

www.revistadefilosofia.com/44-04.pdf

  

Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.

dialnet.unirioja.es/descarga/articulo/4052835.pdf

  

Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32

www.revistadefilosofia.com/46-02r.pdf

  

Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.

www.revistadefilosofia.com/46-02.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490 pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca_...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.

www.doaj.org/doaj?func=fulltext&aId=1320292

  

2013

  

Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...

  

Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.

cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...

  

Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 68 / marzo - abril 2013, Madrid.

www.margencero.com/almiar/limites-medicina-concepto-muert...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712

www.observacionesfilosoficas.net/sloterdijkensayosdeintox...

  

Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.

rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...

  

Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.

rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:

www.observacionesfilosoficas.net/download/Peter-sloterdij...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Psicopolítica, Globalización y Mundo interior del Capital", En Escáner Cultural - Revista de Arte Contemporáneo y Nuevas Tendencias, Santiago- [Re-Edición 2013], Paper y Conferencia en el IV Congreso Internacional y VII Nacional de Filosofía del Derecho, Ética y Política, Organizado por la Facultad de Filosofía, de Derecho y la Oficina de Relaciones Interinstitucionales (ORI) de la Universidad Libre en Colombia, y la Facultad de Derecho del Centro Universitário Newton Paiva en Bello Horizonte – Brasil, 22, 23 y 24 de abril de 2013, Programa del Congreso

revista.escaner.cl/node/1987

  

Vásquez Rocca, Adolfo, "Sartre; teoría fenomenológica de las emociones, existencialismo y conciencia posicional del mundo", Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 69 / mayo-junio 2013, Madrid.

www.margencero.com/almiar/sartre-existencialismo-y-concie...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490

www.theoria.eu/nomadas/35/adolfovrocca_2.pdf

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio – julio-diciembre 2012-2013, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

   

Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo", En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – mayo, 2013

rinabrundu.com/2013/05/05/sloterdijk-y-heidegger-normas-p...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

www.theoria.eu/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo. Ensayos de intoxicación voluntaria y constitución psicoinmunitaria de la naturaleza humana”, En ARTEFACTO -Pensamientos sobre la Técnica- UBA, abril, 2013

www.revista-artefacto.com.ar/pdf_textos/84.pdf

 

DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL

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

  

ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN

 

www.danoex.net/adolfovasquezroccainvestigacion.html

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

 

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

  

ADOLFO VÁSQUEZ ROCCA

 

emui.academia.edu/AdolfoVasquezRocca

  

Pontificia Universidad Católica de Valparaíso

Universidad Complutense de Madrid

Universidad Andrés Bello UNAB

 

E-mail: adolfovrocca@gmail.com

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"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

  

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

 

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

 

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

 

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

 

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

 

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

 

FASHION SHOW BY "LIVE FAST" NYC

 

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

 

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.

DR. ADOLFO VÁSQUEZ ROCCA

 

www.danoex.net/adolfovasquezrocca.html

 

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

TRAYECTORIA ACADÉMICA

  

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, mención Filosofía Contemporánea y Estética. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo, Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Santiago. Profesor PEL Programa Especial de Licenciatura en Diseño, UNAB – DUOC UC – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. –Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Consejo Editorial Internacional de Revista Praxis –Facultad de Filosofía y Letras, Universidad Nacional UNA, Costa Rica. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. –Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Cataluña / Gijón, Asturias, España. –Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM. –Editor Asociado de Societarts, Revista de artes y humanidades, adscrita a la Universidad Autónoma de Baja California. –Miembro del Comité Editorial de International Journal of Safety and Security in Tourism and Hospitality, publicación científica de la Universidad de Palermo. –Miembro Titular del Consejo Editorial Internacional de Errancia, Revista de Psicoanálisis, Teoría Crítica y Cultura –UNAM– Universidad Nacional Autónoma de México. –Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica. Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria – Proyecto europeo de Investigaciones de Postgrado –UCM. Eastern Mediterranean University - Academia.edu. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. –Investigador Asociado y Profesor adjunto de la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana. Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)– Artista conceptual. Crítico de Arte. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011. Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

PUBLICACIONES

 

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

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

  

Publications Scientific

 

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

  

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

 

www.statsbiblioteket.dk/

  

BIBLIOTECA UNI>ERSIA – Unesco - CSIC

 

biblioteca.universia.net/search.do?q=Adolfo+V%C3%A1squez+...

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

emui.academia.edu/AdolfoVasquezRocca

  

Biblioteca Universidad Complutense de Madrid

Revistas Científicas Complutenses

  

Directorio de recursos digitales - Ministerio de Cultura, España

  

Biblioteca Asociación Filosófica UI

 

www.uruguaypiensa.org.uy/categoria_144_1_1.html

  

Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

  

Publicaciones Indexadas en la Revista Complutense - Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas UCM+Madrid - Dr. Adolfo Vásquez Rocca

  

Philosophy & Art: Pinterests Design

 

pinterest.com/adolfovrocca/

  

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

 

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

   

LIBROS

 

VÁSQUEZ ROCCA, Adolfo

 

Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1

 

Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (H & M), México, 2009, 450 páginas I.S.B.N.: 978-3-7800-520-1

 

'LE NÉANT DANS LA PENSÉE CONTEMPORAINE' ,

Publications du Centre Français d'Iconologie Comparée CFIC , , ISBN: 978-2-35424-151-3 , Bès Editions , París, © 2012 ,

 

- VV.AA., VÁSQUEZ ROCCA, Adolfo, Antologado y Traducido al Francés - Publicado en la sección Architecture de la Anthologie: Le Néant Dans la Pensée Contemporaine . Publications du Centre Français d'Iconologie Comparée CFIC, Bès Editions , París, © 2012

  

INVESTIGACIÓN:

2009 - 2010

 

Proyecto de Investigación N° DI-10-09/JM - UNAB

 

“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

 

Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB

  

2011 - 2012

 

- Proyecto de Investigación N° DI-08-11/JM - UNAB

 

- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.

 

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

 

Fondo Jorge Millas 2011 - 2012, Facultad de Humanidades y Educación. Universidad Andrés Bello

  

Asistente de Investigación:

Mag. Susanna Bozzetto: Universitat de Barcelona - Màster en Pensament Contemporani - Máster en Edición de Textos

  

ADOLFO VAŚQUEZ ROCCA PH.D. TRAYECTORÍA ACADÉMICA

  

TRAYECTORÍA ACADÉMICA

 

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.

 

– PROFESOR DE POSTGRADO DEL INSTITUTO DE FILOSOFÍA DE LA PUCV – PROFESOR ASOCIADO AL GRUPO THEORIA PROYECTO EUROPEO DE INVESTIGACIONES DE POSTGRADO UCM

Philosophie und Sozialwissenschaften - Philosophy and Social Sciences - Philosophie des Sciences Sociales. GRUPO DE INVESTIGACIÓN - UNIVERSIDAD COMPLUTENSE | Madri+d UCM 1391 - COMUNIDAD AUTÓNOMA DE MADRID. www.ucm.es/info/eurotheo/

 

(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso

 

(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.

 

(2005-2010) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.

 

(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Estética, Facultad de Arquitectura, Universidad Andrés Bello UNAB

 

(2006 - 2007) - Profesor del MAGISTER EN ETNOPSICOLOGÍA y DIPLOMADO EN PSICOLOGÍA CLÍNICA "PSICOPATOLOGÍA, SUBJETIVIDAD Y CULTURA". ESCUELA DE PSICOLOGÍA PUCV

 

(2006 - 2012) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB

 

(2006-2012) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB

 

(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB

 

(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM

 

(2007- 2012) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP

 

(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV

 

(2005-2012) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM

 

(2009-2010) Profesor visitante Florida Christian University USA

 

(2010- 2011) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH

 

(2012) Investigador Asociado a la Escuela Matríztica de Santiago –dirigida por el Dr. Humberto Maturana.

 

(2009-2012) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.

 

(2012) Consultor Experto del Consejo Nacional de Innovación para la Competitividad (CNIC)

  

SEMINARIOS

 

Asignaturas de Postgrado impartidos:

  

2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".

 

2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"

 

2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"

 

2007 1º Seminario Sloterdijk - Nietzsche

 

2007 2º Seminario: Sloterdijk un pensador estético

 

2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"

 

2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"

 

2011 2º Seminario "DERRIDA Y SLOTERDIJK; DE LOS ESPECTROS DE MARX A LOS ESTADOS GENERALES DEL PSICOANÁLISIS", Postgrado en Psicoanálisis, Universidad Ándres Bello UNAB, Escuela de Psicología.

  

ENTREVISTA:

 

“La Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca PhD". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – REVISTA DE FILOSOFÍA – de la Facultad de Filosofía y Humanidades de la UNIVERSIDAD DE CHILE.

www.alcances.cl/ver-articulo.php?id=81

  

Vásquez Rocca, Adolfo, “Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos", En EIKASIA, Revista de Filosofía, Nº 44 - Mayo 2012- ISSN 1885-5679 - Oviedo, España, pp. 59-84.

www.revistadefilosofia.com/44-04.pdf

  

Vásquez Rocca, Adolfo, “Nietzsche: de la voluntad de poder a la voluntad de ficción como postulado epistemológico”, En Revista NÓMADAS Nº 37 – 2012, pp. 41 – 53, Instituto de Estudios Sociales Contemporáneos, Facultad de Ciencias Sociales, Humanidades y Arte –Universidad Central, Colombia.

dialnet.unirioja.es/descarga/articulo/4052835.pdf

  

Vásquez Rocca, Adolfo, "Facebook; del desprecio de las masas a la «sabiduría de las multitudes»", En Revista Almiar – Nº 66 – 2012 – MARGEN CERO, Madrid, www.margencero.com/almiar/facebook-desprecio-masas/

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio 2012 – julio-diciembre 2012, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

  

Vásquez Rocca, Adolfo, "Peter Sloterdijk: Has de cambiar tu vida; prácticas antropotécnicas y constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 31 - 32

www.revistadefilosofia.com/46-02r.pdf

  

Vásquez Rocca, Adolfo, "Nietzsche: de la voluntad de ficción al pathos de la verdad; aproximación estético‐epistemológica a la concepción biológica de lo literario", En EIKASIA, Revista de la Sociedad Asturiana de Filosofía SAF, Nº 46 - Noviembre 2012 - ISSN 1885-5679 - Oviedo, España, pp. 33 – 44.

www.revistadefilosofia.com/46-02.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490 pendientedemigracion.ucm.es/info/nomadas/35/adolfovrocca_...

  

Vásquez Rocca, Adolfo, Resumen/Abstract: "Sobre el concepto de antropotécnica en Peter Sloterdijk y la constitución inmunitaria de la naturaleza humana", En Revista Observaciones Filosóficas - Nº 13 – 2012 – ISSN 0718-3712 – www.observacionesfilosoficas.net/sloterdijk-hasdecambiart...

  

Vásquez Rocca, Adolfo, “Foucault: 'Los Anormales'; una Genealogía de los Monstruoso. Apuntes para una Historiagrafía de la Locura", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 403 - 420

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, "Ontología del Cuerpo y estética de la enfermedad en Jean-Luc Nancy: De la téchne de los cuerpos a la apostasía de los órganos", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nº 34 – 2012 (2), pp. 421-445

pendientedemigracion.ucm.es/info/nomadas/34/adolfovrocca_...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo; Ensayos de intoxicación voluntaria e inmunología especulativa”, En Revista Observaciones Filosóficas ISSN 0718-3712 –ROF– 2012, y Directorio DOAJ – Directory of Open Access Journals – Lund University, Suecia.

www.doaj.org/doaj?func=fulltext&aId=1320292

  

2013

  

Vásquez Rocca, Adolfo, “Facebook; del desprecio de las masas a ‘la sabiduría de las multitudes’”, En HOMINES, Portal de Arte y Cultura, Málaga, 2013. www.homines.com/palabras/facebook_desprecio_masas/index.h...

  

Vásquez Rocca, Adolfo, "El Cine de Raúl Ruiz: Políticas Estéticas, Ontología de lo Fantástico y Polisemia Visual", Re-edición en CINEMATOGRAFÍA, Estudios sobre Cine, Dossier, 2013.

cinemagrafia.wordpress.com/articulos/el-cine-de-raul-ruiz...

  

Vásquez Rocca, Adolfo, “Los límites de la Medicina crítica, encarnizamiento terapéutico y concepto de muerte clínica”, en Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 68 / marzo - abril 2013, Madrid.

www.margencero.com/almiar/limites-medicina-concepto-muert...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Ensayos de intoxicación voluntaria e inmunología especulativa", En Revista Observaciones Filosóficas - Nº 14 – 2013 – ISSN 0718-3712

www.observacionesfilosoficas.net/sloterdijkensayosdeintox...

  

Vásquez Rocca, Adolfo, "Individualismo, Modernidad Líquida y Desilusión Hipermoderna: De Bauman a Sloterdijk”, En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – marzo, 2013.

rinabrundu.com/2013/03/23/filosofia-individualismo-y-mode...

  

Vásquez Rocca, Adolfo, "La Posmodernidad. Nuevo régimen de verdad, violencia metafísica y fin de los metarrelatos", Reedición en ROSEBUD – Redazione –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari, Italia, abril, 2013.

rinabrundu.com/2013/03/31/filosofia-la-posmodernidad-nuev...

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana”, Artículo –paper– Proyecto de Investigación –CNIC– Consejo Nacional de Ciencia – THEORIA – UCM+Madrid. En Revista Observaciones Filosóficas, ISSN 0718-3712, Sección Documentos: 2013 Url:

www.observacionesfilosoficas.net/download/Peter-sloterdij...

  

Vásquez Rocca, Adolfo, "Sloterdijk; Psicopolítica, Globalización y Mundo interior del Capital", En Escáner Cultural - Revista de Arte Contemporáneo y Nuevas Tendencias, Santiago- [Re-Edición 2013], Paper y Conferencia en el IV Congreso Internacional y VII Nacional de Filosofía del Derecho, Ética y Política, Organizado por la Facultad de Filosofía, de Derecho y la Oficina de Relaciones Interinstitucionales (ORI) de la Universidad Libre en Colombia, y la Facultad de Derecho del Centro Universitário Newton Paiva en Bello Horizonte – Brasil, 22, 23 y 24 de abril de 2013, Programa del Congreso

revista.escaner.cl/node/1987

  

Vásquez Rocca, Adolfo, "Sartre; teoría fenomenológica de las emociones, existencialismo y conciencia posicional del mundo", Revista Almiar, MARGEN CERO, Revista bimestral - III Época Nº 69 / mayo-junio 2013, Madrid.

www.margencero.com/almiar/sartre-existencialismo-y-concie...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Experimentos con uno mismo, ensayos de intoxicación voluntaria y constitución psico-inmunitaria de la naturaleza humana", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 459 - 490

www.theoria.eu/nomadas/35/adolfovrocca_2.pdf

  

Vásquez Rocca, Adolfo, “En torno al diseño de lo humano en Sloterdijk: De la ontotecnología a las fuentes filosóficas del posthumanismo”, En La lámpara de Diógenes, Revista de Filosofía, BUAP, Año 13, Números 24 y 25, Vol. 13 – enero-junio – julio-diciembre 2012-2013, pp. 127 – 140

www.ldiogenes.buap.mx/revistas/24/127.pdf

   

Vásquez Rocca, Adolfo, "Sloterdijk y Heidegger: Normas para el Parque Zoológico-Temático Humano, Culturas Post-Humanísticas y Capitalismo Cárnico Contemporáneo", En “Redazione Rosebud” –Critica, Scrittura, Giornalismo– Facoltà di Lettere e Filosofia, Cagliari – mayo, 2013

rinabrundu.com/2013/05/05/sloterdijk-y-heidegger-normas-p...

  

Vásquez Rocca, Adolfo, "Sloterdijk: Neuroglobalización, estresores y prácticas psico-inmunológicas", En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 35 | Julio-Diciembre.2012 - 2013 (I), pp. 427 - 457

www.theoria.eu/nomadas/35/adolfovrocca.pdf

  

Vásquez Rocca, Adolfo, “Peter Sloterdijk: Experimentos con uno mismo. Ensayos de intoxicación voluntaria y constitución psicoinmunitaria de la naturaleza humana”, En ARTEFACTO -Pensamientos sobre la Técnica- UBA, abril, 2013

www.revista-artefacto.com.ar/pdf_textos/84.pdf

 

DR. ADOLFO VÁSQUEZ ROCCA: PUBLICACIONES EN REVISTAS ACADÉMICAS INDEXADAS CON COMITÉ EDITORIAL

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

  

ADOLFO VÁSQUEZ ROCCA PH.D. - INVESTIGACIÓN

 

www.danoex.net/adolfovasquezroccainvestigacion.html

  

Dr. Adolfo Vásquez Rocca - Eastern Mediterranean University - Academia.edu

 

emui.academia.edu/AdolfoVasquezRocca

 

ADOLFO VÁSQUEZ ROCCA PH.D. - CURRICULUM ACADÉMICO ABREVIADO

www.linkedin.com/pub/adolfo-vasquez-rocca/25/502/21a

  

ADOLFO VÁSQUEZ ROCCA

 

emui.academia.edu/AdolfoVasquezRocca

  

Pontificia Universidad Católica de Valparaíso

Universidad Complutense de Madrid

Universidad Andrés Bello UNAB

 

E-mail: adolfovrocca@gmail.com

SHIBUYA SKY拍攝地點

 

FaceBook｜Blogger ｜Instagram ｜500PX

 

You can licence images through My Getty image

 

All of My Reviews｜心得文：

 

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

Panasonic LEICA DG 8-18mm f/2.8-4 Review

A Five-Year Photographic Journey with the M4/3 Series.

 

From our balcony in Ano Korakiana

democracystreet.blogspot.com/2011/07/above-city-centre.html

 

Email from me - Feb 14, 2009 4:48 AM - to C in America: Dear C. So glad to hear from you…We live amid a crisis none of us has encountered before. Life seems fine for us but all around storm clouds seem to be gathering and many more are clearly caught up in the effects of this historic economic hurricane – one that I realise has been brewing a long time. Kindest regards, Simon

 

Reply from C: Dear Simon, Same here; we are feeling nothing yet except for a freezing in University contributions to our retirement funds. Otherwise, we are waiting to find out the impact of lending restrictions on our enrolments and in the meantime...firing some of our adjuncts. The times lend themselves to philosophical reflection. All this unreality that we have been living in - here in America at least - has hit bottom. A good thing but not one that rewards prudent people. Enjoy Corfu. Greece, no matter what, is a beautiful place to wake up in the morning...My very best to you, C

 

The sun waits to rise into a cloudless sky. C remarks from far away on the Pacific coast. “Enjoy Corfu. Greece, no matter what, is a beautiful place to wake up in the morning" but I’m as superstitious as any atheist about reflections on the rewards of fortunae. The names of people who rejoice in their luck are selected by a divine factotum and placed face-down on a gilded dish that passes around the table on timeless Olympus. Amid merriment, each God selects the human whose fate it is to be their post-prandial plaything. Here a brilliant climber says “There’s a window for the summit at dawn”; there a mother says “Our child is so perfect”; and over there a father says “There are police officers, a man and a woman, at the door. Must be about those parking fines”; and here a wife who says “no need to hold the ladder darling. Go and make us a cup of tea”; and there, in the deep ocean, an exhausted sailor says “We’re through the worst” but see this one, here’s a gem “The war will be over by Christmas”, but what about that popinjay Confederate General who said “They couldn’t hit an elephant at this dist…” Far below a fisherman on the Peneios and a woman waiting for a train at Litokhoro know they hear, not the rumble of endless thunder reverberating among the peaks of Olympus, but laughter.'

democracystreet.blogspot.com/

 

"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

  

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

 

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

 

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

 

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

 

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

 

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

 

FASHION SHOW BY "LIVE FAST" NYC

 

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

 

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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

links about Biennalist :

 

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

 

en.wikipedia.org/wiki/Emergency_Room_(art)

 

www.emergencyrooms.org/formats.html

 

www.colonel.dk/

 

—--Biennale from wikipedia —--

 

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

 

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

 

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

 

—---Venice Biennale from wikipedia —

 

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

  

International Kids' Carnival

2009

Annually (during Carnevale)

  

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

 

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

OUT NOW!!!! The Birds of Ireland: A Field Guide with Jim Wilson

Shorebirds of Ireland with Jim Wilson.

Freshwater Birds of Ireland with Jim Wilson

www.markcarmodyphotography.com

 

Anna's Hummingbird (Calypte anna) is a medium-sized stocky hummingbird native to the west coast of North America. This bird was named after Anna Masséna, Duchess of Rivoli. In the early 20th century, Anna's Hummingbird bred only in northern Baja California and southern California. The transplanting of exotic ornamental plants in residential areas throughout the Pacific coast and inland deserts provided expanded nectar and nesting sites, and the species was able to expand its breeding range greatly. Anna's hummingbirds are now found along the western coast of North America, from southern Canada to northern Baja California, and inland to southern and central Arizona, extreme southern Nevada and southeastern Utah and western Texas. They tend to be permanent residents within their range, and are very territorial. However, birds have been spotted far outside their range in such places as southern Alaska, Saskatchewan, New York, Florida, Louisiana and Newfoundland.

 

Anna's Hummingbird is 3.9 to 4.3 in (9.9 to 10.9 cm) long. It has an iridescent bronze-green back, a pale grey chest and belly, and green flanks. Its bill is long, straight and slender. The adult male has an iridescent crimson-red to reddish-pink crown and gorget, which can look dull brown or gray without direct sunlight, and a dark, slightly forked tail. Female Anna's Hummingbirds also have iridescent red gorgets, though they are usually smaller and less brilliant than the males'. Anna's is the only North American hummingbird species with a red crown. Females and juvenile males have a dull green crown, a grey throat with or without some red iridescence, a grey chest and belly, and a dark, rounded tail with white tips on the outer feathers.

 

These birds feed on nectar from flowers using a long extendable tongue. They also consume small insects and other arthropods caught in flight or glean from vegetation. A PBS documentary shows how Anna's hummingbirds eat flying insects. They aim for the flying insect, then open their beaks very wide. That technique has a greater success rate than trying to aim the end of a long beak at the insect. On rare occasions, bees and wasps may become impaled on the bill of an Anna's Hummingbird, causing the bird to starve to death. (wikipedia)

 

This was taken in the Botanical Gardens of Balboa Park in San Diego, California. I was over on business for the week and managed a few hours in this fantastic setting. This was also my first time seeing Hummingbirds and I was just blown away. To try and photograph them in flight was a great challenge.

a-world-in-a-grain-of-sand-sl.blogspot.com/2014/06/lean-o...

  

(Vielen Dank, liebe FDP (man muss die Dinge ja doch mal beim Namen nennen). Sind denn unter 2% noch nicht wenig genug? Abgesehen davon, bin ich eigentlich der einzige Bundesbuerger, der es wirklich problematisch findet, wenn eine Partei, deren Akzeptanz in der Bevoelkerung quasi nicht mehr vorhanden ist, mit am Regierungstisch sitzt und wichtige, unter Umstaenden zukunftsweisende Entscheidungen mit trifft?

Aber das ist eine andere Baustelle. Meine ist ja bekanntlich mein mehr schlecht als recht funktionierendes Internet - und da kommt Freude auf, wenn man dann liest, dass die oben genannte Partei auf eine "Marktloesung" setzt.

Liebe Sch******** (ich sagte es bereits, Namen nennen... deutlich werden), wie stellt ihr euch denn eine Marktloesung fuer Gebiete vor, in denen sich die Investition fuer keinen der Provider lohnt, und in denen die Gemeinden pleite sind und - vorausdenken und Investitionen in die Zukunft sind ja auch auf lokaler Ebene eher out, und ich war am Wochenende in der Stadt bei einer Veranstaltung, die demographische Entwicklung spricht ebenfalls nicht dafuer - fuer Breitband-Internet wortwoertlich keinen Cent spendieren werden? Ja, da versagt der Markt naemlich auf ganzer Linie, da wo nicht wirklich dicke Gewinne zu holen sind. Wo soll denn da der "freie Wettbewerb" herkommen??? Da ich immer wieder Nachrichten der Art "Warum kuendigst du da nicht und wechselst den Provider" bekomme, moechte ich meine Situation nochmal verdeutlichen:

 

- Es gibt hier kein DSL - nicht einmal DSL light. DSL 1000 endet schon ein ganzes Stueck entfernt, hier kommt also so gut wie nichts mehr an. Die Alternative waere ISDN, Kriechinternet zu Spitzenpreisen, und das im Jahr 2011 (ein Provider verspricht hier DSL 16000, natuerlich ohne Erklaerung, wie das gehen soll, wenn die letzte Meile noch fest in der Hand der T-Com ist, und die nach mehrfachem Durchmessen keine Moeglichkeit sehen - der Nachbar hat diesen Anschluss, aber der ist technisch nicht so versiert, dass ich ihn mal mit einer Geschwindigkeitsmessung beauftragen koennte. Es ist mit Sicherheit jedoch kein DSL 16000).

 

- Internet ueber Kabel ist hier auch nicht moeglich, da kein Kabel bis zum Haus fuehrt. Warum das nie verlegt wurde, das weiss ich nicht, aber es wird auch in absehbarer Zeit nicht verlegt werden.

 

- Die einzige Loesung ist Internet ueber Funk (ja, genau, im Prinzip wie surfen uebers Handy, nichts anderes haben wir hier). Von den 4 Providern, die hier ein Netz haben, sieht es so aus, dass zwar alle 4 das GSM-Netz (2G) ausgebaut haben - eben das ganz normale Handynetz - aber nur 2 davon laut meinen Messungen ueberhaupt schnelleres mobiles Internet (UMTS/HSDPA) anbieten. Davon der eine (theoretische) 1,8 Mbit, beim anderen weiss ich es nicht genau. Beim dritten erhalte ich ein sehr sehr schwaches 3G-Netz (also UMTS/HSDPA), das nicht sehr stabil zu sein scheint und oft gar nicht da ist.

 

- Der Netzausbau ist das eine, die Konditionen das andere. ALLE mobilen Flatrates sind (dem Namen zum Trotz) volumenbeschraenkt, das heisst dass die tolle UMTS/HSDPA-Geschwindigkeit nach dem Verbrauch von zwischen 3 und 5 GB auf GSM-Geschwindigkeit gedrosselt wird (das ist ungefaehr so schnell wie anno dazumal ISDN). Bis vor kurzem hatten alle noch die Einschraenkung, dass auch Instant Messaging (ICQ, AIM, Yahoo Messenger etc. etc.), P2P und Voice over IP-Telefonie NICHT erlaubt waren. Zumindest was IM angeht, wurden da die Zuegel etwas gelockert, aber trotzdem.

 

- Das alles natuerlich zu einem Preis, der hoeher ist als ein durchschnittlicher DSL 6000-Anschluss voelllig ohne irgendeine Einschraenkung.

 

- Mein Provider ist nun (logischerweise) der, der hier wenigstens 1,8 Mbit (theoretisch) mit 5 GB Volumenbeschraenkung anbietet. Genau genommen sind es inzwischen 10, aber das wurde auch nur "defensiv beworben" sprich: man sagt dem Kunden lieber gar nicht, dass es so etwas gibt, sonst koennte der das ja auch nutzen wollen. Dort ist meines Wissens inzwischen auch IM offiziell erlaubt. Es moege nun jeder selbst sein Surfverhalten beobachten und sehen, wie weit diese 5 GB pro Monat reichen, vor allem wenn man z.B. einen Radiostream anhoert oder ab und an mal ein Video auf youtube ansehen moechte. Sind die 5 GB verbraucht, gehts froehlich mit GSM-Geschwindigkeit weiter, dann gibts sowieso kein youtube und keine Radiostreams mehr.

 

- Als ob das alles nicht schon Einschraenkung genug waere, funktioniert aber eben dieses 1,8 Mbit UMTS-Netz seit mehr als 2 Monaten nicht mehr. Von einem Tag auf den anderen war (fluessiges) surfen nicht mehr moeglich, vom Bilder-Hochladen und aehnlichem rede ich lieber gar nicht. Mein Provider behauptet, dass auf seiner Seite alles in Ordnung waere, und man bei UMTS eben mit Netzueberlastungen zu rechnen haette (mein Netz funktioniert rund um die Uhr gleich schlecht). Das ist uebrigens ganz normal, wenns nicht mehr geht, weil zuviele es nutzen, wird nicht etwa schleunigst ausgebaut, dann hat der Kunde erst mal Pech gehabt, denn im Vertrag steht ja so schoen "bis zu x Mbit". Es wird auch gern behauptet, dass mein Empfang so schlecht waere, dass rein technisch UMTS nicht mehr moeglich ist (bei einer Signalstaerke von ueber 90% und einer mittelpraechtigen Daempfung). Warum es vorher ueber Monate funktioniert hat, obwohl der Empfang ja angeblich so schlecht ist, darueber huellt man sich in Schweigen.

 

- Bei der Versteigerung der terrestrischen TV-Frequenzen, die ja frei geworden sind, nachdem wir uns nun alle mit DVB-T und Konsorten herumaergern duerfen, wurden die Provider verpflichtet, dass sie zuallererst einen bestimmten Prozentsatz an Gebieten mit LTE (4G) versorgen muessen, wo es bis jetzt noch kein 'schnelles' (damit ist 1 Mbit gemeint :D) Internet gibt. Dann erst duerfen sie in den lukrativeren Ballungszentren ausbauen. Ich schoepfte also wieder Hoffnung - aber ich haette es wissen muessen: neulich wurde vollmundig verkuendet, dass fuer NRW das Soll nun erfuellt ist, und es mit dem Ausbau der lukrativen Gebiete losgehen kann. Bei mir ist LTE natuerlich noch nicht angekommen.

 

Vielleicht verstehe ich es einfach nicht, aber wo soll er nun herkommen, der Wettbewerb? Nicht mal unter verschaerften Bedingungen (LTE) baut hier jemand aus, zumindest ist bis jetzt nichts geplant oder ersichtlich (ich habe mich bei jedem Provider als potentieller LTE-Kunde registrieren lassen, aber bis jetzt kam von niemandem eine positive Nachricht). So aehnlich wuerde es wohl auch mit Strom, Wasser und Telefon aussehen, gaebe es nicht die Universaldienstverpflichtung (waren die damals doof, die haetten doch auch nur auf die "Marktloesung" setzen muessen - stattdessen hat der Staat mit unser aller Steuern die Infrastruktur 'spendiert', auch dort, wo es sich eben nach rein marktwirtschaftlichen Aspekten nicht lohnt). Lieber Herr Ralf Kleint, vielleicht koennen Sie mir ja weiterhelfen? Wo ist der regionale Anbieter, den man ja nicht ausbooten sollte? Wenn das alles ohne staatlichen Eingriff so viel besser funktioniert, dann kann ich ja heute noch bei meinem unfaehigen Provider kuendigen (nein, die haben das immer noch nicht hinbekommen, dass mein UMTS wieder funktioniert wie vorher). Morgen sehe ich mich dann nach einem neuen Anbieter um, bei den vielen Mitbewerbern, die im freien Markt in Konkurrenz zu meinem Anbieter stehen, sollte das ja alles kein Problem sein.

 

Und liebe FDP, habt ihr euch schon die neuesten Umfragewerte zur Piratenpartei angesehen? Klingelts da? Ursache, Wirkung? Die sind ja aber auch doof und haben bestimmt noch nicht kapiert, dass man nur die Kraefte des Marktes walten lassen muss. Deshalb sind bei der letzten Wirtschaftskrise auch reihenweise Banken und Automobilhersteller ueber den Jordan gegangen - denn staatliche Eingriffe, das ist doch der reinste Kommunismus, und den wollen wir hier doch wirklich nicht. Und vom Aufschwung und den vielen neuen (Mini-)Jobs profitieren ja auch fast alle Mitbuerger. "Ich mach mir die Welt, wie sie mir gefaellt." :D).

 

Dies ist eine Zusammenfassung, deshalb habe ich mich in einigen Punkten, ueber die ich bereits geschrieben hatte, wiederholt.

Inca Trail Trek to Machu Picchu

The Inca Trail to Machu Picchu is beyond a doubt one of the most beautiful trails in America and an unforgettable experience not to be missed. The trail leads through the protected wild nature of the Peruvian jungle and forest steppe, passes several archeological Inca sights and offers impressive views. The Incas used this itinerary for theirpilgrimage to the sacred citadel Machu Picchu. inca trail to machu Picchu.

Package Name: Inca Trail Classic

Duration: 4 Days / 3 Nights

Type of Trek: Archaeological, Cultural, ecological and Adventure

Group Size: To suit group requirements

Difficulty degree of this hike: Moderate / Challenge

Departures Day:

- Our company organize daily departures

- All private service departure dates are adapted to your request.

- A minimum of 2 persons is needed for this trek

Activities: Trekking, Camping and Adventure

High Season: March - January

Route: Closed in February

Altitude: 2050 - 4200 m. / 6730 - 13780 f.

Inca Trail Trek Itinerary:

Day 1: Cusco - Km 82 – Wayllabamba - Yuncachimpa

we will leave Cusco (3350m/10990f) at 5:30 am by tourist bus to and head for the Sacred Valley of the Incas. Before we reach our starting point km 82, we make a short break in Ollantaytambo for having the option to get breakfast. The official beginning of the Inka Trail is called km 82. Here we will meet the rest of the group and take care of the registration facilities. After crossing the Rio Urubamba (2200m) we will start the legendary Inca Trail. The first day the trail is easy to walk and a good warm up for the fallowing days. In Miskay we’ll have lunch at a small river bank while getting some information about the archaeological complex of Llactapata. After that, we will continue our hike to Wayllabamba (3100m/10170f) and ascend to Yuncachimpa (3300m/10826f), the camping site we will spend the night in. From here, we have a great view of the mysterious Nevado de Verónica.

Level of difficulty: normal (easy)

Hiking time: 5-6 hours

Total distance: 11km approx.

Day 2: Yuncachimpa - Llulluchapampa – Warmihuañusca pass - Pacaymayu - Runkurakay pass - Chaquicocha

The second day is the ‘Free-Hike-Day’; that means, that everybody should walk in his/her own pace – of course you will meet during the small breaks or see each other while beating the stairs. Early in the morning the trails first leads through the Valley of Llulluchapampa (3850m/12631f). The first 3km are step - enjoy the humid woodland and the water sounds. From Llulluchapampa fallow the way for 2-3 hours until you crest the highest point of this section, the Warmihuañusca (Dead Woman Pass) (4200m/113780f). This climb is known as the most difficult part of the Inca Trail. After a short break at the summit, you continue your hike down with a long and steep descent to the river Pacamayo (Sunrise River) towards the Runkurakay pass (3050m/10007f) until you reach our camping site called Chaquicocha at (3650m/11975f). Here you can relax your body from the tough day while enjoying an amazing view over the mountains.

Level of difficulty: challenge

Hiking time: 7-8 hours

Total distance: 15 km approx. 

Day 3: Chaquicocha - Phuyupatamarca – Wiñayhuayna

The third day is the most beautiful one. You can notice a change in the eco-system while walking to the tropical forest of Wiñaywayna. We will pass two small lakes at the top of the second pass (3950m). It’s a gentle climb through beautiful cloud forest and a small Inca tunnel before the third pass (3700m) offers a grand view over the Rio Urubamba Valley. The nearest settlement is named Phuyupatamarca/"Town above the clouds" (3600m/11811f). A well preserved site with long chain Inca baths where one can enjoy impressive ancient engineering. We pass another Inca Tunnel before visiting the ruins of Wiñaywayna/"Forever young" (2650m/8694f). The Inca stairs change into a zigzag trail until you reach a red-roofed white building, our last camping site, and also a location with hot water (5S) and bottled drinks.

Level of difficulty: normal, unforgettable (easy)

Hiking time: 5-6 hours

Total distance: 10 km Approx.

 

Day 4: Wiñayhuayna - Machu Picchu - Cusco

After our breakfast at 4:30 am, we will head - equipped with our flashlights - to the Inti Punku (Sun Gate) to get the first glimpse of Machu Picchu and watch the sunrise over Machu Picchu and Wayna Picchu. The last triumphal descent will take you almost one hour before we visit the citadel of Machu Picchu (2400m//7874f) around 8.00am. You can enjoy its spiritual charm during a guided tour (about two hours) that helps you to understand the meaning and ancient use of the different buildings. After this tour you will have enough time to explore the archeological site on your own (f.ex. go to the Inca Bridge, explore the variety of buildings or climb Wayna Picchu for an amazing panorama picture). A bus takes you down to Aguas Calientes. Here you can soak away your aches and pain in the town’s hot springs (S10). We will leave Aguas Calientes in the afternoon.

Level of difficulty: normal, unique (easy)

Hiking time: 2-3 hours

Total distance: 7 km approx.

 

What is Included:

Transport

Private transfer from your hotel in Cusco to km 82

Tourist train from Aguas Calientes to Cusco (Poroy)/or Ollantaytambo and bus to Cusco

Transfer from the train station in Cusco to your hotel in Cusco

Entrance fees to the Inca trail and Machu Picchu

Professional bilingual guide (Spanish and English)

Camping equipment (professional two-persons tents: Doite, model Cima 4, extra light/4kg, Doite, model Kailas 3, extra light/4.5kg and Doite, model Himalaya, extra light/4.5kg; sleeping mats, dining tent equipped with a table and chairs, a sanitary tent)

Cook, cooking equipment, meals (3 breakfasts, 3 lunches and 3 dinners). Food includes pancakes, omelettes, soups, fresh fruit and spaghetti, chicken, fish, meat and rice, all rich in carbohydrates and very suitable for trekking, hot drinks including coca leafs tea which is excellent for the altitude

Tea and snack time everyday (tea, coffee, wantan, popcorn, cracker)

Porters to carry the main luggage (all the equipment and cooking stock)

First-aid kit, oxygen bottle and safety rope

 

What is not Included:

Sleeping bag rent: US$ 5 per day. Our sleeping bags are –8ºC-comfort (0ºF) and mummy form and include a sleeping liner.

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

Entrance to the Hot Springs in Aguas Calientes

Optional night in Aguas Calientes can be arranged easily.

Alcoholic drinks

 

Recomended Things To Take

Sleeping bag (you can rent at Cusco Expeditions office).

Bottle of mineral water.

Rain gear and/or plastic poncho (can be purchase in Cusco).

Hiking boots.

Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.

Flashlight.

Sun block.

Insect repellent.

Toilet paper and garbage bag.

Small towel and bathing suit (hot springs optional).

Camera, extra film and extra batteries.

Snacks, chocolates, energy bars.

Emergency money.

Walking stick (optional).

 

CALL US We are ready to take your call.

Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307

 

Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)

  

Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco

  

Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)

  

E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com

  

MSN: cuscoexpeditions@hotmail.com

  

Website: www.cuscoexpeditions.com/

  

Copyright © 2005-2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency

 

 

 

嘜可奈因 麥可奈因 www.smmgl.com/mm5/2751.html

五步倒透皮迷藥 www.smmgl.com/mm5/2745.html

動情素催情水 www.smmgl.com/mm5/2752.html

精品迷藥噴霧(暈倒型) www.smmgl.com/mm5/321.html

 

CIF CENTRAL SECTION CHAMPIONSHIP

 

Liberty High School - Wednesday, May 14, 2008

www.andynoise.com/valley08.html

 

Central Section Grand Masters

 

At Liberty

 

Team standings--unavailable.

 

400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.

 

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

 

Girls track

 

Central Section Grand Masters

 

At Liberty

 

Team standings--unavailable.

 

400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.

 

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

 

"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

 

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

  

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

 

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

 

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

 

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

 

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

 

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

 

FASHION SHOW BY "LIVE FAST" NYC

 

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

 

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

 

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

 

Biography

 

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.