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twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.(Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine À Saint-Étienne comme ailleurs, les raisons de la réalisation de constructions si modernes durant les Trente Glorieuses relèvent en partie de la réponse donnée à la crise du logement et de la réorganisation industrielle du pays (fixation de la main-d’œuvre, industrialisation du BTP). Mais il faut aussi y voir la traduction physique d’un projet sociopolitique moderne porté par un État centralisateur et des pouvoirs publics puissants (Tomas et al. 2003 ; Dufaux et Fourcaut 2004 ; Veschambre 2011). Le pays est alors dans une période où les aspirations et idéologies portent vers la construction d’une nouvelle ère urbaine, avec ses ambitions (le bien-être, l’hygiène…), et en rupture avec les difficultés d’alors (le taudis, la maladie, l’individualisme…). www.metropolitiques.eu/Les-representations-complexes-des.... les textes de Rachid KADDOUR @ Le logement, jusqu’ici inconfortable et insuffisant, devient l’un des axes majeurs d’intervention : plus de huit millions d’unités sont construites durant la période. La forme de ces logements se doit d’être aussi moderne que le projet. De grands noms et une nouvelle génération d’architectes sont mobilisés. Ceux-ci dessinent des formes géométriques épurées et, dans les opérations importantes, les évolutions techniques leur permettent de multiplier les signaux que sont les longues barres ou hautes tours autour desquelles se structurent les autres immeubles. Comment la tour Plein-Ciel a-t-elle pu passer de symbole de modernité à « emblème d’un désastre urbain » condamné à la démolition ? Tout d’abord, une partie des équipements de la ZUP et la moitié seulement des logements sont réalisés, du fait de prévisions démographiques non atteintes (Vant 1981 ; Tomas et al. 2003). L’inachèvement accentue les désagréments de la situation à six kilomètres du centre, derrière des infrastructures lourdes. Ensuite, tout au long des années 1980 et 1990, la population de Montreynaud se paupérise (départ des plus aisés vers la propriété, montée du chômage) et « s’ethnicise », avec pour effet, suivant des mécanismes analysés ailleurs (Tissot 2003 ; Masclet 2005), que le regard porté sur elle change : dans les discours politiques et la presse, Montreynaud acquiert l’image d’un quartier dangereux. Dès lors, le quartier entre dans les réhabilitations puis la rénovation [6], mais sans effet important sur la vacance, la pauvreté, l’échec scolaire, la délinquance ou les discriminations. Pour de nombreux Stéphanois, il devient un « là‑haut » [7] relégué. La tour devient le symptôme visible de cette dégradation. Des rumeurs se diffusent dès les années 1970 sur sa stabilité et l’isolation du château d’eau [8]. Dix ans après sa livraison, seuls 50 des 90 appartements sont vendus. Cette vacance conduit à l’aménagement d’un « foyer de logements » pour personnes dépendantes psychiatriques qui accentue l’image d’un quartier de relégation. La gestion difficile du foyer et les problèmes financiers d’une partie des propriétaires amènent à classer la copropriété comme « fragile » en 2002. Une étude indique que la démolition « aurait un impact positif sur la requalification du parc de logements du quartier et permettrait également de promouvoir un changement d’image du site » [9]. Le dernier habitant est relogé fin 2008. Acte 3 : la tour Plein-Ciel, monument symbole de Saint-Étienne D’autres images du corpus indiquent toutefois que, à partir des années 2000, l’image stigmatisée de la tour Plein-Ciel comme emblème d’un grand ensemble en difficulté entre en tension avec une autre image plus valorisante d’édifice symbole de Saint-Étienne. En en faisant l’un des théâtres stéphanois de sa saga, Sabri Louatah reconnaît à la tour Plein-Ciel une place particulière dans la ville. Cette représentation se retrouve, de manière beaucoup plus consciente et militante, dans d’autres productions artistiques durant les années 2000. La tour est notamment représentée sur les affiches du festival Gaga Jazz. Si le festival se veut d’ampleur régionale, son nom montre un ancrage stéphanois – le « gaga » désigne le parler local. Le choix d’identité visuelle va dans le même sens : il s’agit « d’utiliser l’image d’un bâtiment symbole à Saint-Étienne » [10]. Pour les graphistes, la tour s’impose, parce qu’elle est « un monument connu de tous les Stéphanois ». Un monument qui a les honneurs d’une carte postale en 1987 [11], et qui, comme il se doit, est abondamment photographié. Jacques Prud’homme, par exemple, la montre sur plusieurs sténopés visibles sur son blog [12]. Pour lui aussi, la tour est l’un des « symboles de Saint-Étienne ». Saint-Étienne, ville industrielle durement frappée par la crise du logement, est exemplaire du mouvement. Les grands ensembles s’y multiplient. Implantés sur des sommets de collines aux entrées de la ville, ils doivent signifier le renouveau. Montreynaud, « nouvelle petite ville à part entière » [3], joue de ce point de vue un rôle clé. Sa tour, en sommet de colline et dont le château d’eau est illuminé la nuit, en est l’emblème, un « symbole de la modernité » [4]. La tour doit son nom au fait de proposer « des appartements en plein-ciel » [5], et l’on peut voir dans cette dénomination une valorisation de la verticalité, à la fois comme source d’oxygène et de lumière, mais aussi comme signal urbain.
Acte 2 : la tour Plein-Ciel, symbole d’un grand ensemble en difficulté Si l’on classe chronologiquement le corpus d’images identifiées, la tour Plein-Ciel ressurgit significativement dans les champs de la communication institutionnelle et des arts au tournant des années 2000‑2010. Dans la littérature, l’intrigue de la saga Les Sauvages de Sabri Louatah débute à Saint-Étienne, et la tour Plein-Ciel en est un cadre important :
Pourquoi la tour Plein-Ciel a-t-elle pu être ainsi considérée comme « un monument ancré dans le paysage stéphanois » [13] ? La combinaison peut-être unique en France d’une tour d’habitation à un château d’eau en fait un édifice singulier. Couplée avec son implantation en sommet de colline, cette singularité fait de la tour un point de repère important pour les Stéphanois, mais aussi pour les nombreux supporters de l’AS Saint-Étienne qui se rendent au stade, dont elle est voisine. D’ailleurs, la tour est utilisée comme édifice emblème de la ville sur au moins un autocollant et un tifo de supporters, aux côtés des symboles miniers (chevalement, « crassiers ») et du stade Geoffroy-Guichard. Cette représentation faisant de la tour un « monument » aurait pu sauver l’édifice, suivant un mécanisme, classique dans l’histoire du patrimoine, de défense devant une menace de démolition. De nombreux Stéphanois réagissent, et, pour l’association Gaga Jazz, « les affiches et flyers invitant les Stéphanois aux concerts de jazz font aussi office d’actes de revendication pour la conservation ». La nouvelle équipe municipale socialiste de Maurice Vincent, élue en 2008, reconnaît que la tour « représente un symbole » [14]. Elle soumet en 2010 au vote des habitants de Montreynaud deux possibilités : développer la valeur et la fonction de repère de la tour en la transformant en « symbole artistique de la ville de Saint-Étienne » [15] via l’intervention d’un plasticien, ou bien la démolir et aménager un parc : 71 % des votants se prononcent pour la démolition, soit 230 personnes sur les 318 votants. Les défenseurs de la conservation expriment un double regret : l’ouverture du vote aux seuls habitants de Montreynaud, et la très faible mobilisation de ces derniers. La démolition de la tour a lieu le 24 novembre 2011. Son foudroyage la met une dernière fois sous les projecteurs des nombreux appareils audiovisuels présents. Les images produites s’ajoutent à celles existantes, et constituent autant de traces d’un immeuble dont il n’en reste plus aucune sur le terrain. Cette fin dramatique donne à cette chronique des allures de représentation théâtrale, en trois actes : naissance puis mort de l’édifice, avec un ultime soubresaut sous la forme d’une tentative vaine de sauvetage au nom du patrimoine. C’est une troisième définition du terme de représentation qui est mobilisée dans cette conclusion. Ce sont en effet des représentations, en images et en mots, qui ont permis de constituer cette chronique de la tour. Cette dernière révèle que trois représentations mentales sont associées à l’édifice et à sa verticalité : pour la puissance publique ayant commandé sa réalisation et pour les premiers résidents, la tour est un symbole de modernité ; pour une partie des Stéphanois, mais aussi pour les acteurs ayant décidé sa démolition, elle est l’emblème d’un grand ensemble stigmatisé ; et enfin, pour d’autres Stéphanois, habitants de Montreynaud ou artistes entre autres, la tour est un objet phare et patrimonial dans le paysage de Saint-Étienne. Aux côtés, par exemple, de la Tour panoramique à la Duchère (à Lyon), qui a été profondément rénovée, cette mise en évidence de la trajectoire des perceptions de la tour Plein-Ciel permet d’expliciter que la verticalité dont nos villes ont hérité, tout du moins celle présente dans les grands ensembles, fait l’objet d’un système de représentations complexe et en tout cas plus varié que celui présenté dans les discours de légitimation de la rénovation urbaine.
Bibliographie Dufaux, F. et Fourcaut A. (dir.). 2004. Le Monde des grands ensembles, Paris : Créaphis.
Louatah, S. 2011. Les Sauvages, tome 1, Paris : Flammarion–Versilio. Masclet, O. 2005. « Du “bastion” au “ghetto”, le communisme municipal en butte à l’immigration », Actes de la recherche en sciences sociales, n° 159, p. 10‑25.
Tissot, S. 2003. « De l’emblème au “problème”, histoire des grands ensembles dans une ville communiste », Les Annales de la recherche urbaines, n° 93, p. 123‑129.
Tomas, F., Blanc, J.-N. et Bonilla, M. 2003. Les Grands Ensembles, une histoire qui continue, Saint-Étienne : Publications de l’université de Saint-Étienne.
Vant, A. 1981. Imagerie et urbanisation, recherches sur l’exemple stéphanois, Saint-Étienne : Centre d’études foréziennes. Veschambre, V. 2011. « La rénovation urbaine dans les grands ensembles : de la monumentalité à la banalité ? », in Iosa, I. et Gravari-Barbas, M. (dir.), Monumentalité(s) urbaine(s) aux XIXe et XXe siècles. Sens, formes et enjeux urbains, Paris : L’Harmattan, p. 193‑206.
Notes
[1] Extraits tirés du film Saint-Étienne, on en parle (Atlantic Film, 1970) associé à l’exposition.
[2] Dont Les grands travaux à Saint-Étienne, ville de Saint-Étienne, 1974.
[3] Brochure publicitaire Montreynaud, Saint-Étienne, résidence les Hellènes, non daté.
[4] Propos tenus par un habitant installé dès l’époque.
[5] Brochure publicitaire Des appartements en plein-ciel. La tour de Montreynaud, non daté.
[6] Avec, dans un premier temps, le grand projet de ville (GPV) en 2001, puis la convention avec l’Agence nationale pour la rénovation urbaine (ANRU) en 2005.
[7] Expression régulièrement entendue lors des entretiens.
[8] « Le château d’eau : mille m³ qui ne fuiront pas », La Tribune, 17 novembre 1978, p. 14.
[9] Lettre d’information aux habitants de Montreynaud, ville de Saint-Étienne, mai 2003.
[10] Entretien avec Damien et Sébastien Murat (DMS photo), graphistes.[14] Propos de l’adjoint à l’urbanisme, « Tour Plei
« La tour Plein-Ciel se dressait avec une majesté sinistre au sommet de la colline de Montreynaud […]. À l’aube du XXIe siècle, sa démolition avait été plébiscitée par les riverains […]. La célèbre tour au bol était visible depuis la gare en arrivant de Lyon, et beaucoup de Stéphanois la considéraient […] comme le point doublement culminant de la ville : du haut de ses soixante-quatre mètres qui dominaient les six autres collines mais aussi en tant qu’emblème, d’un désastre urbain éclatant et d’une ville résignée à la désindustrialisation » (Louatah 2011, p. 89).Cette description exprime bien la situation dans laquelle la tour se trouve à la rédaction du roman : en attente de démolition. En 2011, les photographies de Pierre Grasset (voir un exemple ci-dessous), missionné par la ville, montrent l’édifice moribond. L’image de la tour est en France encore fortement attachée à celle du logement populaire, du fait notamment de la présence de ce type d’édifice dans les grands ensembles. Or, si l’on parle des tours d’habitat populaire depuis 2003, c’est essentiellement à propos des démolitions : l’Agence nationale pour la rénovation urbaine (ANRU) incite les bailleurs à détruire prioritairement dans les zones urbaines sensibles les immeubles les plus imposants, dont les tours les plus hautes. Mais l’image négative du « problème des banlieues » et de ses dysfonctionnements est-elle la seule associée aux tours d’habitat populaire ? Ne tend-elle pas à laisser dans l’ombre d’autres représentations attachées à ces édifices ?Une réflexion sur la tour Plein-Ciel à Saint-Étienne est, sur ces points, riche d’enseignements. Tenant une place prépondérante dans le paysage stéphanois, emblématique de l’image des grands ensembles, cette tour édifiée en 1972 est démolie en 2011. La constitution et l’analyse d’un corpus d’une dizaine d’images promotionnelles et artistiques (films, photographies de communication) la mettant en scène permet d’en établir une chronique. Cette dernière met en évidence un système de représentations complexe : tout au long de ses quarante ans d’histoire, l’édifice est en effet perçu comme symbole de modernité, emblème de grand ensemble en difficulté et monument dans le paysage stéphanois. Ces deux dernières représentations, l’une stigmatisée, l’autre valorisée, coexistent même lors des dernières années de la vie de l’édifice. Dans toutes ces représentations différenciées et concurrentes, la verticalité de l’édifice tient un rôle essentiel.Acte 1 : la tour Plein-Ciel, symbole de modernité L’image la plus ancienne identifiée date de 1970. Il s’agit d’un cliché de la maquette de la zone à urbaniser en priorité (ZUP) de Montreynaud, pris sur le stand de l’exposition « Saint-Étienne demain » de la Foire économique. Cette exposition vante les grandes opérations d’urbanisme en cours dans la ville, et vise à montrer « les transformations de la cité et son nouveau visage », afin de rompre avec la « légende de ville noire, industrielle et fixée dans le XIXe siècle » [1]. L’exposition fait partie d’une communication orchestrée par le maire Michel Durafour (1964‑1977). À partir de 1973, les reportages photographiques ou les films [2] mettent à l’honneur Montreynaud (jusqu’à 4 400 logements prévus) et en particulier sa tour Plein-Ciel (par l’architecte Raymond Martin), avec sa verticalité (18 niveaux), le château d’eau qui la coiffe et sa situation en rupture avec la ville ancienne. -La Tour Réservoir Plein Ciel était un immeuble de logement situé à Saint-Étienne, dans le quartier de Montreynaud, classé en zone urbaine sensible. Elle culminait à 63 mètres de haut (92 avec l'antenne).
La tour avait été construite en 1972 par l'architecte Raymond Martin, l'antenne de 63 mètres de haut reste jusqu'en 1992 avant de retour en 1996 afin de répondre à la demande considérable en logements. Elle était considérée comme un symbole du quartier. Visible de loin, elle permettait de repérer le quartier dans la ville.Sa destruction a été effectuée le 24 novembre 2011 à 10 h 45 par foudroyage, après le vote majoritaire (73 %) en faveur. --------------------------------------- Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962 ..missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695... Mémoire2cité Mémoire2Ville Mémoire de l'Habitat,içi la page listant mes 43 albums photos disponibles, çe x 1000 pour chacuns d'entre eux ..Merci aux 5859 followers qui porte une attention particuliere à nos quartiers..la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Levittown: The Construction and Systematic Execution of Discrimination in Modern Suburbia (NHD 2018) www.youtube.com/watch?v=9_KrD6PkX0M … … 17000 maisons en 2 ans un record dans l histoire des annees 60 @ la grande Acceleration @ Un point de bascule avec le changement de regime d'existence les 30 glorieuses americaine @ la constructions de masse.., ici LEVITTOWN a LONGISLAND, 17000 pavillons en 2 ans un Record...Yes this is it my Our Home Town: Levittown, PA (1954) - www.youtube.com/watch?v=9_KrD6PkX0M les 30 glorieuses atomique @ le projet PLOWSHARE de 1957 LE FILM ICI www.youtube.com/watch?v=kpjFU_kBaBE … STRAUSS le promoteur du nucleaire Americain les 30 glorieuses Américaine @ quand celles çi ratent le coche sur le developpement solaire... les occasions manquées de soigner notre humanité..www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695.. A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.
Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.
La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.
- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.
- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)
Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.
- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.
Old Crow Tattoo and Gallery presents Stand Tall Pt.II: No Ceilings !
New Heights in Urban Contemporary Art
2 OPENING RECEPTIONS, 2 VENUES, 2 DAYS
Alot's happened since the last "Stand Tall" and as we move closer to 2012. We wanted to do it again, one last time....
Sooo here it is on March 4th and 5th, bigger and better with 60 of our favorite artists, covering a wide range of mediums and disciplines.
"Stand Tall" and in essence, is a conceptual installation show, where each artist has a 3ft x 9ft of wall space to exhibit whatever however they see fit. This show is meant to give each artist full liberty to create within a confined area. The concept allows for a visceral gallery presentation and also individual grace and focus from artist to artist.
Stand Tall Pt.II promises all the visual beauty of last years show but this time we'll be working with Photographer's, Skate Artists, Street Artists of all types, Visionary artists and of course Tattooists as well as accomplished fine artists to create a more dynamic event for everyone involved. We really cant say enough about the group of artists participating in this show. If you not familiar with any of they're work follow the links and get familiar.
JAPANTHER will be headlining the event and performing on Friday night @ Addis Habana. This will be a very special performance as they are also exhibiting in the show. This will be a rare time to see the artwork of JAPANTHER along with the music.
Mortar and Pestle will be playing @ Old Crow Tattoo and Gallery on Friday along with other surprises.
Daniel Yasmin w/ special guests will be playing live on Saturday evening.
Hosted by Philip Milic in the house he created.
We really hope you can attend this show, bring yourself and your friends both nights. This is a good one.
2 Venues, 2 Nights, Stand Tall Pt.II
Artist List
John Felix Arnold III / David Young V
felixthethirdrock.com/
ATWA
www.asiaartnow.com/EXHIBITIONS/2010-09-10/94.html
BDS (Terms, Deadeyes, Safety 1st, Ash Rose)
blackdiamondsshining.tumblr.com/
Lupo Avanti / Salem
Krescent Carasso
John Casey / Nathaniel Parsons / Obi Kaufmann / Dave Higgins
bunnywax.wordpress.com/
obikaufmann.wordpress.com/
dwhiggins.com/
nathanielparsons.com/
Chez
goldenwesttattoo.com/gallery/brush
Ken Davis
Deuce 7
www.flickr.com/groups/422469@N20/
Max Ehrman
maxehrman.carbonmade.com/
ESK
Oliver Fader / Ken Goto
1amsf.com/2010/02/24/the-city-artist-spotlight-oliver-fader/
Kristin Farr / Jeff Meadows
theclumsymonkey.com/
Gaia
gaiastreetart.com/
KenyG / AKO
akotheemptyobjects.blogspot.com/
Hyde
www.flickr.com/photos/hydester/
Ian and Matt from Japanther
japanther.com/
Jae54
Kathyrn Ka June
Junre / Abno / Dr.Sex
blog.ironlak.com/2011/01/video-jurne-dement-twigs-enron-m...
Koleo
Lango
Andre Malcolm
Jet Martinez / Kelly Ording
www.jetromartinez.com/index.htm
Philip Milic
Optimist
Ootheca / Marin Camille
www.thrivingink.com/blog/new-art-ootheca-shop
www.marincamille.com/statements.html
Parskid
Ian Ross
Satyr / Robert Bowen
Kola Shobo
kaysjay.zenfolio.com/
Siloette
Snowmonkey
www.flickr.com/photos/46463607@N04/4418735381/in/set-7215...
Swype
humblebeginningstattoo.com/artists.html
Smuggler
Smear
theartofsmear.com/home.html
Weirdo
Xavi
Kid Yellow / Henry Gunderson
kidyellow.com/
Vulcan
If you missed last year and wanna see what this year might be like check this link...
oaktownart.com/2010/04/12/the-stylistic-confides-of-lowbr...
Old Crow Tattoo and Gallery
362 Grand Ave.
Addis Habana
366 Grand Ave.
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
*** DIVISION III * BOYS 5K/3.1 MILES - TEAM RESULTS ***
Team Tie Breaker = 6
Results by PRO RACE GROUP of Fresno - www.proracegroup.com
www.andynoise.com/valleyxc08.html
TEAM TOTAL 5-MEMBER TEAM TIME
PLCE POINTS SCHOOL (Average Total)
====================================================================
Year Race Ovrll Finish
NAME CLASS NO. PLACE TIME
1. 50 MAD-S/Madera South ( 16:47 1:23:55)
====================================================================
1 3 Isaiah Lorenzo So 180 3 16:16
2 5 Chris Brown Sr 181 5 16:39
3 12 Alfonso Castillo Sr 182 12 16:56
4 13 Angel Flores So 183 13 16:57
5 17 Alex Guzman Sr 184 17 17:07
6 ( 19) Juan Navia Fr 186 19 17:11
7 ( 20) Seferino Hernandez Fr 185 20 17:12
3. 89 RIDG-B/Ridgeview - Bakersfield ( 17:06 1:25:27)
====================================================================
1 8 Robby Baker Jr 606 8 16:43
2 10 Brian Solis Jr 605 10 16:51
3 11 Jerrid Lewis Jr 607 11 16:54
4 15 Alex Garcia Jr 604 15 17:01
5 45 Miguel Munoz Jr 608 45 17:58
6 ( 52) Michael Anseno Sr 610 53 18:05
7 ( 55) Jaime Madrigal So 609 56 18:10
4. 128 WASC/Wasco High ( 17:26 1:27:07)
====================================================================
1 6 Asencion Mendoza Sr 108 6 16:39
2 21 Oscar Miranda Sr 109 21 17:13
3 28 Oswaldo DeJulian Sr 111 28 17:34
4 36 Eric Sanchez Jr 113 36 17:48
5 37 Juan Ayala Sr 110 37 17:53
6 ( 43) Eddie Ramirez Jr 112 43 17:56
7 ( 53) Gregorio Linares Fr 114 54 18:09
5. 159 SHAF/Shafter High ( 17:37 1:28:02)
====================================================================
1 14 Jesus Villapondo So 778 14 16:59
2 23 Christian Barrios Jr 774 23 17:26
3 30 Joshua Wittenberg Sr 775 30 17:36
4 34 Alex Moreno Jr 777 34 17:47
5 58 Hector Montoya Sr 779 59 18:14
6 ( 64) Jakob Velasquez Jr 780 65 18:22
7 ( 74) Christopher Handel Jr 776 76 18:36
6. 200 FT-B/Foothill - Bakersfield ( 17:39 1:28:14)
====================================================================
1 1 Chris Schwartz Sr 406 1 15:49
2 26 Jose Lopez Jr 407 26 17:30
3 32 Erick Bautista Jr 408 32 17:45
4 62 Genaro Quintanar Fr 409 63 18:20
5 79 Patrick Manrique Sr 411 81 18:50
6 ( 89) Justin Meyer Fr 410 92 19:03
7 ( 96) Daniel Rodriguez So 412 99 19:12
8. 251 FRON-B/Frontier - Bakersfield ( 18:04 1:30:16)
====================================================================
1 25 Richard Peralta Jr 420 25 17:28
2 48 Michael Golich Sr 419 49 17:59
3 54 Tanner Urmston So 423 55 18:10
4 57 Will Beechinor So 422 58 18:14
5 67 Dustin Scalani So 424 68 18:25
6 (128) Michael Sclafani Jr 421 133 20:07
7 (136) Ricky Gonzales So 425 142 20:50
13. 368 ARV/Arvin High ( 18:48 1:34:00)
====================================================================
1 29 Juan Calderon Jr 231 29 17:35
2 33 Ben Orozco Sr 230 33 17:46
3 70 Yessuri Villasenor Sr 232 72 18:31
4 99 Adrian Rodriguez Jr 234 103 19:17
5 137 Omar Tinoco Sr 233 143 20:51
6 (138) Christian Guerrero So 235 144 20:52
14. 398 TEHA/Tehachapi High ( 18:51 1:34:13)
====================================================================
1 44 Adam Moreno Sr 789 44 17:57
2 69 Keenan Cohditz Sr 791 70 18:30
3 81 Nathan Rowe Sr 790 84 18:54
4 83 Charles Hansen Fr 793 86 18:56
5 121 Jason Trost Jr 795 125 19:56
6 (135) Corey Bowman Sr 792 141 20:44
7 (148) Michael Shaw Sr 794 154 22:05
19. 473 GV-B/Golden Valley - Bakersfield ( 19:11 1:35:54)
====================================================================
1 16 Daymon Sandles So 592 16 17:04
2 106 Jose Salgado Sr 593 110 19:26
3 111 Daniel Perez Jr 596 115 19:39
4 113 David Gamino Jr 594 117 19:42
5 127 Francisco Rueda Jr 595 132 20:03
21. 529 SBAK/South Bakersfield ( 19:30 1:37:27)
====================================================================
1 92 Jose Valdez Sr 60 95 19:07
2 97 Jose Romero Sr 54 100 19:12
3 107 Alex Espinoza Sr 55 111 19:30
4 116 Rudy Castro Sr 59 120 19:46
5 117 Rodolfo Salgado Sr 57 121 19:52
6 (139) David Little Jr 56 145 21:02
7 (140) Ezekiel Gonzalez Jr 58 146 21:03
German sculptor Rudolf Schwarz was hired to do the "War" and "Peace" groupings, designed by Bruno Schmitz and modeled by Hermann Matzen. The West-side group represents "Peace" with the returning soldiers. In the center, Liberty holds the flag, at her feet a freed slave lifts up a broken chain. The angel of peace holds the wreath of Victory and the olive branch of Peace.
The East-side group represents "War." It is represented by a battle scene showing cavalry, charging infantry, and artillery. In the center the goddess of war urges on the charge, while Columbia in the background holds high the Stars and Stripes.
Virtual Tour of Soldiers & Sailors Monument
The Indiana Soldiers and Sailors Monument is a 284 ft 6 in (86.72 m)-tall neoclassical monument located on Monument Circle in the center of Indianapolis. It was designed by German architect Bruno Schmitz and completed in 1901. Bruno Schmitz brought with him Rudolf Schwarz. Schwarz was sculptor for the statuary groups "War" and "Peace", "The Dying Soldier", "The Homefront" and the four statues at the corners of the Monument that represents the Infantry, Cavalry, Artillery, and Navy.
The Circle is the standard symbol of the city of Indianapolis, and the flag of Indianapolis is an iconic representation of Monument Circle.
The Monument was erected to honor Hoosiers who were veterans of the American Revolution, territorial conflicts that partially led up to the War of 1812, the Mexican-American War, the US Civil War, and the Spanish American War.
In addition to its external commemorative statuary and fountains (made primarily of oolitic limestone and bronze), the basement of the monument contains the Colonel Eli Lilly Civil War Museum, a museum of Indiana history during the American Civil War.
At the top of the Monument is an observation deck that can be reached by stairs at no cost or by elevator for a $2.00 charge (elevator brings you to the level just under the observation deck, with 30 additioonal steps). The staircase contains 331 steps, 330 of which are numbered.
In 1902 the cost to build this Monument was (US) $598,318. It has been estimated that building a similar structure today would cost over $500,000,000.
It is about 21 feet (6.4 m) shorter than the 305-foot (93 m) tall Statue of Liberty.
Indianapolis was founded in 1821, and the city's layout was platted by Alexander Ralston, whose design included a circle at the center of the city. The circle, a 3-acre (1.2 ha) plot surrounded by an 80-foot (24 m) wide street, was originally called the Governor's Circle because it was to serve as the site of the governor's residence. The Governor's Mansion was built there in 1827. However, due to the mansion's public location and poor construction, no governor ever lived there, and it was torn down in 1857.
As Indianapolis grew and developed after the Civil War, the area became a popular meeting place and was designated Circle Park. In 1884, a statue of Oliver P. Morton, governor during the Civil War, was dedicated at the center of the park.
Many times after the Civil War suggestions were made for a monument to be built to honor Indiana's veterans. Action was finally taken in 1887 when the Indiana General Assembly made a $200,000 grant and formed a Monument Commissionl Seventy designs were submitted in the international contest, of which two were chosen for further consideration. The commissioners then unanimously chose the design called Symbol of Indiana by the Prussian architect Bruno Schmitz, who was named supervising architect and paid a commission of 5% of the monument's total cost.
The cornerstone was laid on August 22, 1889. Inside it is a copper box containing a list of all Indiana soldiers as well as newspapers, the Constitution of Indiana, a national flag, and other related paraphernalia. Ceremonies included a speech by President Benjamin Harrison, the firing of artillery, and a parade. It was the first monument dedicated to the common soldier. The structure took twelve years to complete, and more funds were required. The legislature appropriated an additional $160,000 and raised over $123,000 with an additional property tax.
In 1893 the circle was renamed Monument Place. The Indiana State Soldiers and Sailors Monument was formally dedicated on May 15, 1902. After a parade of flags with veterans of the Mexican, Civil, and Spanish-American Wars, General Lew Wallace was the master of ceremonies. Poet James Whitcomb Riley read his poem "The Soldier". John Philip Sousa had composed a march for the occasion entitled "The Messiah of the Nations".
In 1918 a museum opened in the basement of the monument with equipment and artifacts from the Civil War. Flood lights were added to the surrounding candelabra in 1928.
Since 1945, the monument has been decorated for Christmas, and in 1962 it was first decorated as the "world's largest Christmas tree", with garlands and cables of lights stretching to the top.
A series of repairs to the Monument began in September 2009. Angled windows, which had allowed some rain to seep in, were replaced with vertical windows, and steel supports for the Victory statue were replaced.
faizakhalida.blogspot.com.br/2009/01/em-2009-o-subsecreta...
Durante o período de férias, após a mudança de governo municipal com a posse do novo prefeito de Belford Roxo Alcides Rolim do PT (Partido dos Trabalhadores) e novo secretário municipal de educação William Campos, eu me dirigia até a secretaria de educação para tentar dar ciência ao novo governo municipal e ao novo secretário que eu me encontrava sem condições de trabalho pelos problemas de saúde, sociais e administrativos. Que eu me encontrava sob cuidados médicos desde março de 2008 com indicação de me manter afastada do trabalho. E que, segundo a médica que me avaliava, sem resolução da situação de estresse dificilmente haveria resolução do quadro apresentado.
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O secretário de educação William Campos nunca podia me atender. Na primeira vez, no dia 9 de janeiro de 2009 quem ouviu os meus relatos foi a subsecretária de educação Joana D'arc que também atendia pelo nome de Joelma e era esposa do outro subsecretário de educação Miguel de Sousa Ramiro. O subsecretário Miguel de Sousa Ramiro também ao lado dela participou do nosso encontro ouvindo tudo atentamente. O outro subsecretário de educação Clayton apareceu na sala para nos observar e me deu um tchauzinho. A senhora subsecretária Joana D'arc anotou o meu nome e as escolas municipais onde eu estava lotada no seu caderno e pediu que eu ordenasse melhor os relatos, grampeasse e fizesse constar a ciência ao secretário municipal de educação William Campos.
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 14 de janeiro de 2009 a subsecretária Joana D'arc me confirmou ter entregado e encaminhado o meu quadro para o secretário de Educação William Campos. Mas o secretário William Campos nunca me atendeu.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma funcionária pública da Prefeitura municipal de Belford Roxo que havia trabalhado comigo na primeira escola de 1995 a 2002 e ficou sabendo da situação em que eu me encontrava, mais uma vez precisando de ajuda, me ligou muito preocupada comigo e querendo me ajudar disse que era para eu ir com ela até a secretaria municipal de educação de Belford Roxo com o LAUDO MÉDICO que a MÉDICA PSIQUIÁTRICA que me tratava desde 16/05/2008 havia me dado de DOENÇAS MENTAIS influenciadas por PROBLEMAS SOCIAIS e referentes ao meu TRABALHO. Esse anjo que apareceu para tentar me ajudar foi a Creusa, funcionária de apoio da secretaria da escola municipal São Bento.
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Assim eu me encontrei com a Creusa na casa dela e fomos juntas até a secretaria municipal de educação de Belford Roxo (SEMED) onde mostramos o LAUDO MÉDICO para diversos funcionários da secretaria de educação. Por fim fomos levadas ao subsecretário Miguel de Souza Ramiro.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA PSIQUIÁTRICA CLÍNICA ATESTOU PARA FINS DE COMPROVAÇÃO JUNTO À PREFEITURA MUNICIPAL DE BELFORD ROXO que eu me encontrava sob os seus cuidados médicos desde maio de 2008 por motivo de DOENÇA.
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO é grandemente influenciado por PROBLEMAS SOCIAIS E REFERENTES AO MEU TRABALHO PELO FATO DE NÃO HAVER ACEITAÇÃO DA MINHA CONDIÇÃO SEXUAL E TODAS AS SITUAÇÕES QUE DAÍ DECORREM.
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO APRESENTADO DIFICILMENTE SERIA RESOLVIDO SE NÃO HOUVESSE A RESOLUÇÃO DESTA SITUAÇÃO DE ESTRESSE.
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA ATESTOU QUE EU APRESENTAVA A CAPACIDADE LABORATIVA E SOCIAL BASTANTE PREJUDICADA.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA AVALIAVA A NECESSIDADE DE AFASTAMENTO DO TRABALHO DESDE O INÍCIO DO MEU TRATAMENTO EM 16/05/2008.
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O subsecretário de educação nos garantiu que ele mesmo resolveria os meus problemas através do envio da frequência pela condição médica e DISCRIMINAÇÃO no trabalho. O subsecretário Miguel constatou que 21 processos meus continuavam com NOME e SEXO MASCULINOS, que eu nunca havia conseguido tirar uma licença prêmio e os 90 dias de férias que tinha direito por ter estado em período de férias a disposição do Juiz. O funcionário da secretaria de educação confirmou ao subsecretário Miguel que sabia que o meu nome e sexo nos registros já deveria ter sido alterado desde 2005. Naquele momento uma outra funcionária da secretaria de educação de Belford Roxo que era loira e tinha um cargo relacionado a área jurídica disse para mim e Creusa palavras muito confortadoras e bonitas contra a situação de preconceito.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Duas semanas depois, com a nomeação do supervisor educacional e consultor jurídico Jorge Silva (mat. 54368) como assessor jurídico da Secretaria de Educação de Belford Roxo, por telefone, o subsecretário Miguel de Sousa Ramiro disse que se esqueceu de tudo que ele havia prometido para mim e a Creusa, inclusive do LAUDO MÉDICO PSIQUIÁTRICO que ele havia tomado ciência. O subsecretário Miguel me disse que ele só faria o que o Jorge Silva mandasse ele fazer e passou o telefone celular dele para o Jorge Silva. Eu fiquei completamente descontrolada e bati boca com o Jorge Silva por telefone. Uma das coisas que eu me lembro que o Jorge Silva me falou ao telefone era que eu deveria comparecer na Secretaria Municipal de Belford Roxo na próxima segunda-feira onde eu seria exposta para a TV Globo como uma professora faltosa.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 05 de maio, na porta da sala do secretário de educação William Campos, me disseram como sempre que ele não poderia falar comigo. Desta vez a desculpa é que ele não estaria lá e sim ele estaria em Curitiba. O Jornal de Hoje publicou uma foto do secretário de educação de Belford Roxo William Campos lá na SEMED (secretaria municipal de educação) nesse dia relatando o encontro dele com várias pessoas. Eu nunca consegui conversar com ele.
FOTO: Secretário de Educação William Campos se encontrando com pessoas no dia 05/05/2009
www.jornalhoje.inf.br/bxd4.htm
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 8 de maio de 2009 a portaria SEMED número 36 designou comissão de sindicância para apurar o EXTRAVIO DE OFÍCIOS E PROCESSOS NA SECRETARIA MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO (SEMED). O artigo primeiro designou a abertura de sindicância a fim de buscar o Ofício número 165 que formulava a resposta ao Ofício número 73/SEMED/2009 referente a servidora Faiza Khálida Fagundes Coutinho. A comissão de sindicância era composta pelos servidores Antônio Carlos Lustosa (presidente) matrícula número 10/14714, Valéria Claudia Santos S.da Silva, matrícula número 10/5580 e Joelma Milão de Lemos, matrícula número 10/147/27, para sob a presidência do primeiro, constituírem a respectiva comissão. Esta portaria teria entrado em vigor em 12 de maio de 2009 e os trabalhos desta comissão deveriam estar concluídos em até 30 dias.
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
De primeiro de janeiro até o mês de abril de 2009 eu gastava em vão horas de ligações telefônicas falando com todos os setores que eu conseguia da Prefeitura Municipal de Belford Roxo (Gabinete do Prefeito, Procuradoria Municipal, Secretaria de Administração, Recursos Humanos, subsecretários e funcionários da SEMED). Eu não recebia mais pagamento, nenhum centavo sequer, nem mesmo um centavo de auxílio transporte, da passagem do ônibus, do triênio ou do quinquênio. Não recebia nenhum dinheiro para comprar meus remédios ou comer. Eu não recebia mais contracheque, não tinha livro de ponto para assinar, turmas para trabalhar e tarefas para cumprir. Ficava isolada na Escola Municipal Jorge Ayres de Lima. Até o dia 04/06/2009 às 9:24:46 permaneci nessa situação.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Além de me sentir humilhada, eu sentia o estresse, mal-estar, pressão alta, medo de ser assassinada, temores, pânicos, tristeza, inseguranças, desesperança, apatia, prostração, depressão, irritação, desespero, nervosismo, insônia, revolta, vontade de morrer, vontade de me matar, descontrole emocional e psíquico, perda do senso crítico e da realidade, confusão mental, visões sobrenaturais, experiências místicas, alegrias extremas, explosões de êxtase, etc.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em um dia, após vivência de intensa agonia, sofrimento e audições persecutórias perturbadoras, cheguei a ver o Espírito Santo no alto do céu como uma águia enorme que veio até onde eu estava onde eu moro e Deus fez uma aliança comigo.
(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo, matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)
Bendito é o preciosíssimo sangue do Senhor Jesus Cristo.
Jesus é o caminho.
Louvado seja o Senhor Jesus Cristo para sempre.
CLICAR ABAIXO PARA LER SOBRE:
1- Em processo administrativo de 2003 eu pedi para que a Prefeitura Municipal de Belford Roxo custeasse um tratamento Psicológico e Psiquiátrico para mim alegando que eu não me encontrava mais depois de tudo que havia passado no serviço público da rede de educação em condições de desempenhar minhas funções equilibradamente, mas eu não fui atendida. No mesmo parágrafo do processo de 2003 arquivado pela Procuradoria do Município, eu registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo um vazio muito grande e outros sintomas psiquiátricos que não conseguia explicar pedindo em nome do Senhor Jesus Cristo ajuda médica ".
2- Minha doença profissional começou em 2002 quando inclusive fui ameaçada de morte. Em 2003 após conseguir procurar ajuda médica passei a fazer uso de remédios psicotrópicos para conseguir exercer minhas funções como professora da rede municipal de Belford Roxo.
3- Após ser novamente ameaçada de morte em 2007 pela orientadora pedagógica que disse que eu tinha que sair da escola por ser transexual e que me perseguia, voltei a ter agravamento de quadro psicológico e emocional.
4- Em meio ao contexto de perseguição meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais de Belford Roxo em que eu lecionava.
5- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.
6- Procurador-geral Lorival Almeida de Oliveira mentiu dizendo que eu recebi cópia de processo para me defender. Não me permitiram tirar cópia nem ler o processo que me puniu.
7- Em maio de 2008 a médica psiquiátrica verificou que dificilmente haveria SOLUÇÃO do meu QUADRO DE DEPRESSÃO porque NÃO HAVIA RESOLUÇÃO DOS PROBLEMAS SOCIAIS referentes ao meu trabalho que me estressavam.
8- O suicídio era um dos pensamentos diários. Os remédios não faziam o efeito.
9- Orientadora pedagógica se mobilizava para me tirar da escola e me prejudicava. Vivenciava exclusão e isolamento.
10- Secretaria de Educação e Procuradoria Municipal de Belford Roxo abafavam o problema da discriminação.
11- Meu estado psicológico e mental era ignorado como que me ver mal e transtornada fosse justamente o que se desejasse.
12- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de mulheres travestis e transexuais.
13- Procuradores de Belford Roxo e Agentes de Inquérito Administrativo ignoravam o preconceito, o processo transexualizador, o uso de medicações psicotrópicas, hormônios e alterações bioquímas e hormonais.
14- Os danos ocasionados pelo relatório técnico de 2002 e procedimento administrativo decorrente nunca foram resolvidos.
15- Relatório técnico de conhecimento de supervisores educacionais de Belford Roxo que posteriormente sumiu e foi anunciado como inexistente foi usado para me ameaçar e impedir que eu acessasse, permanecesse e trabalhasse em escola que lecionava a 8 anos.
16- Os problemas ocasionados pelo relatório técnico e procedimento administrativo decorrente nunca foram resolvidos. (PARTE 2)
17- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.
18- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.
19- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.
20- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.
21- O Ato de Demissão nas 2 matrículas em 2010.
22- Defesa de inquéritos e procedimentos administrativos, e disciplinares referentes a professora em processo transexualizador Faiza Khálida.
Depressão não é covardia
Bipolaridade não é frescura
Ansiedade não é falta de trabalho
Preconceito também precisa de tratamento
Emily Parman has dressed me many times.
In August of 2013 she put me in a peasant dress and cloth hat to bid d'Artagnan a mother's goodbye at the top of The Three Musketeers, and then wrap-up sandals and a toga - which she pinned onto me in the middle of the park - when I went back on as a distracting Dionysus at the King's garden party. Then there was the snappy double-breasted suit in Julius Caesar, and the crude burlap shift in King John, and last summer's corset, petticoats, bustle, dress, wig and bodacious hat - with bird and fruit - for my Lady Bracknell in The Importance of Being Earnest.
This time out, in the recent Hudson Warehouse production of Shakespeare's Henry 4.1, I get to join her on stage in the tavern in Eastcheap, where Prince Hal, Falstaff, Bardolph, Peto, and my character, Ned Poins, hang out between pranks and mischiefs.
Emily plays Mistress Quickly, the owner of the naughty establishment. In our scene, in which Falstaff regales us with the (completely false) details of a foiled bit of highway robbery, we collapse in gales of laughter and uncontrollable giggles while the storytelling is going on; eventually the sheriff shows up to ruin the fun, as sheriffs always do.
Throughout this gallery of cast portraits, you are looking at Emily's design and costuming work, as well as the actors dressed in it.
www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
over 1,000 pages, 160 biographies, 600 Quotations, ca 3,000 references
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
--------------------------------------------------------------------------------------------------------
EXTRACTS from the Anthology "Blouse Roumaine"
Princess Ileana of Romania on Ana Pauker:
“Last, but certainly not least was Ana Pauker. A big, stout woman, with short, untidy grey hair, fierce blue eyes, under lowering eyebrows, and a fascinating smile which was not spoiled by the fact that her upper lip hung over her lower one, she made one know that here was a real personality. I have always felt when I was with her that she was like a boa constrictor, which has just been fed, and therefore is not going to eat you – at the moment! Heavy and sluggish as she seemed, she had all that is repellent and yet horridly fascinating in a snake. I could well imagine, simply for watching her, that she had denounced her own husband, who in consequence was shot; and my further acquaintance with her showed me the cold and dehumanised brilliance by which she had reached the powerful position she occupied.”
(Princess Ileana de Romania, "I live Again")
Rabbi Alexander Safran on Ana Pauker:
“Ana Pauker, a rabbi’s daughter… when she was Minister of Foreign Affairs, she wanted everybody to know, especially when I was present, that she was not a Jew, she was a communist”...
“… when she saw me approaching the Prime Minister and the other Ministers she stepped out of the line and turned aside for a moment in order not to greet me. She thus thought to demonstrate that she, the communist, did not want anything to do with the Chief Rabbi and Jewry; that she had less in common with him than even the other members of Government...”
“…the expression of Ana Pauker’s face during her time of glory, had always been impertinent”.
(Alexander Safran, Great Rabbi of Switzerland ,
formerly Great Rabbi of Romania:
"Resisting the storm, Romania, 1940-1947",
op.cit 139, 161, 166)
Tesu Solomovici on Ana Pauker:
“The most shining star amongst the huge number of Moscow-trained spies and activists was, doubtless, the Jewish communist Ana Pauker. She personally knew Joseph Vissarionovitch Stalin and worked under the orders and direct command of the henchmen of the Soviet repressive services, Lavrentiy Pavlovich Beria, Victor Semyonovitch Abakumov, Piotr Vassilievitch Fedotov and Pavel Mihailovitch Fitin and furthermore she enjoyed the admiration of yet another dinosaur of Soviet power – Vyacheslav Molotov . Notwithstanding all that, Gheorghiu-Dej succeeded, with patient cunning to pluck out all her feathers.”
(Solomovitch: 54-55)
Click the link to watch a video and see how to quilt this cool quilting design any where on your quilts! freemotionquilting.blogspot.com/2010/01/day-113-redskin-f...
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
www.kingdomsalvation.org/ru/gospel/why-God-destroy-all-ev...
Ответ из Божьего слова:
Приближение конца всего сущего означает конец Божьего труда и конец развития человечества. Это означает, что человечество, будучи прельщенным сатаной, достигло конца своего развития и что потомки Адама и Евы размножились до соответствующих пределов, и это также означает, что развитие такого человечества, которое стало прельщенным сатаной, не может продолжаться... Когда Его труд завершится, те люди, которые останутся, будут очищены и насладятся более дивной второй человеческой жизнью на земле, поскольку войдут в человеческое царство высшего порядка; иными словами, они войдут в день покоя человечества и будут жить вместе с Богом. После того как те, которые не могут уцелеть, подвергнутся обличению и суду, их изначальные формы будут полностью изобличены; после этого они все будут уничтожены, и им, как и сатане, больше не будет предоставлена возможность выживания на земле. В человечестве будущего никаких подобных типов людей больше не будет; данные люди не годятся для того, чтобы вступить на землю окончательного покоя, не годятся они и для участия в дне покоя, который Бог разделит с человеком, ибо они являются целью для наказания, являются нечестивыми, и это люди неправедные… Его величайший труд по наказанию зла и вознаграждению добра совершается всецело для того, чтобы целиком и полностью очистить все человечество, дабы Он смог привести абсолютно святое человечество к вечному покою. Данный этап Его работы – это Его наиважнейший труд. Это завершающий этап всей Его работы управления. Если бы Бог не уничтожил нечестивцев, а позволил бы им уцелеть, в таком случае все человечество не смогло бы войти в покой, и Бог не смог бы привести человечество в лучший мир. И данная работа не была бы полностью завершена. Когда Он закончит Свою работу, все человечество будет святым целиком и полностью. Только в таком случае Бог может умиротворенно жить в покое.
из «Бог и человек вместе войдут в покой» в книге «Слово является во плоти»
Продолжить чтение:
Евангелие дня «Готовь для своего предназначения достаточное количество добрых дел» (Отрывок 2)
Image Source: Церковь Всемогущего Бога
Terms of Use: www.kingdomsalvation.org/ru/disclaimer.html
Hot
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Aigues-Mortes, Gard (France).
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La reflexión: www.santimb.com/2012/03/calor.html
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CASTELLANO
Aigues-Mortes (en occitano Aigas Mòrtas) es una municipalidad francesa y localidad del Distrito de Nîmes, en Gard, Languedoc-Rosellón, Francia.
Es conocida por ser el primer puerto francés del Mediterráneo y una importante bastida medieval.
La ciudad se encuentra totalmente amurallada, en una obra comenzada por el genovés Guglielmo Boccanegra, y que han llegado intactas hasta nuestros días.
Desde su fundación hasta el año 1481 fue el principal puerto francés del Mediterráneo, siendo primada por el rey Luis IX de Francia y sus sucesores. Por ello, fue el punto de partida de las cruzadas desde Francia, hasta la anexión de Marsella en 1481.
Más info: es.wikipedia.org/wiki/Aigues-Mortes
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ENGLISH
Aigues-Mortes (Occitan: Aigas Mòrtas, i.e. "dead waters") is a commune in the Gard department in southern France. The medieval city walls surrounding the city are well preserved.
The foundation of the city is attributed to Gaius Marius, around 102 BC, but the first document mentioning a place called "Ayga Mortas" (dead waters) dates from the 10th century AD.
Louis IX of France (Saint Louis) rebuilt the port in the 13th century as France's only Mediterranean port at that time. It was the embarkation point of the Seventh Crusade (1248) and the Eighth Crusade (1270).
The 1,650 meters of city walls were built in two phases: the first during the reign of Philippe III the Bold and the second during the reign of Philippe IV the Fair, who had the enclosure completed between 1289 and 1300. The Constance Tower, completed in 1248, is all that remains of the castle built in Louis IX's reign. It was designed to be impregnable with six-meter-thick walls. A spiral staircase leads to the different levels of the tower.
From 1575 to 1622, Aigues-Mortes was one of the eight safe havens granted to the Protestants. The revocation of the Edict of Nantes in 1685 caused severe repression of Protestantism, which was marked in Languedoc and the Cévennes in the early 18th century by the "Camisard War". Like other towers in the town, from 1686 onwards, the Constance Tower was used as a prison for the Huguenots who refused to convert to Roman Catholicism. In 1703, Abraham Mazel, leader of the Camisards, managed to escape with sixteen companions.
In 1893, a conflict erupted between the French and the Italians who worked in the salt evaporation ponds of Peccais. The Massacre of Italians at Aigues-Mortes resulted in nine (maybe many more: 400 victims in Le migrazioni di ieri e di oggi by Giovanni Gozzini)[1] Italian deaths with hundreds injured in the ethnic violence.
More info: en.wikipedia.org/wiki/Aigues-Mortes
www.nytimes.com/2009/11/22/opinion/22rich.html?_r=1&a...
Sarah Palin's political appeal has never had anything to do with facts — or coherent policy positions. The more she is attacked for not being in possession of pointy-headed erudition, the more powerful she becomes as an avatar of the anti-elite cause. As Rich Lowry, the editor of National Review, has correctly observed, “She represents less a philosophical strain on the right than an affect and a demographic.”
That demographic is white and non-urban: Just look at the stops and the faces on her carefully calibrated book tour. The affect is emotional — the angry air of grievance that emerged first at her campaign rallies in 2008, with their shrieked threats to Obama, and that has since resurfaced in the Hitler-fixated “tea party” movement (which she endorses in her book).
It’s a politics of victimization and sloganeering with no policy solutions required beyond the conservative mantra of No Taxes. Its standard-bearer can make stuff up with impunity: “Thanks, but no thanks on that bridge to nowhere”; Obama’s palling around with terrorists”; health care “death panels.”
. . . But no matter how much Palin tries to pass for “center-right,” she’s unlikely to fool that vast pool of voters left, right and center who have already written her off as unqualified for the White House. The G.O.P. establishment knows this, and is frightened. The demographic that Palin attracts is in decline; there’s no way the math of her fan base adds up to an Electoral College victory.
Culture is politics. Palin is at the red-hot center of age-old American resentments that have boiled up both from the ascent of our first black president and from the intractability of the Great Recession for those Americans who haven’t benefited from bailouts. As Palin thrives on the ire of the left, so she does from the disdain of Republican leaders who, with a condescension rivaling the sexism they decry in liberals, belittle her as a lightweight or instruct her to eat think-tank spinach.
The only person who can derail Palin is Palin herself. Should she not self-destruct, she will doom G.O.P. hopes of a 2012 comeback.
But the rest of the country cannot rest easy. The rage out there is larger than Palin and defies partisan labeling. . . . If Obama can’t tamp down that rage across the political map, Palin will at the very least pave the way for a demagogue with less baggage to pick up her torch.
Column by Frank Rich
www.miamiherald.com/opinion/other-views/story/1344558.html by Cal Thomas
The Palin phenomenon offers an opportunity for conservatives to choose their path to the future. Will it be a path of the angry and disenfranchised outsider, or will it be something of substance that produces triumphs in both politics and policy?
The victim thing is getting old.
Conservatives have a significant presence in virtually every venue they like to denounce. That includes government and especially the media. Talk radio rules, and the rulers are conservatives. Fox News Channel dominates the ratings.
. . . Victimization plays well with the conservative base and that's a problem. If conservatives don't rise from the muck of feeling excluded, disrespected, ignored and mocked, they will continue to suffer all of these things. There is nothing like proving the worth of your ideas to put the mockers in their place. Victimization can raise money, sell books and get one face time on TV, but it doesn't advance the ball.
www.thenation.com/doc/20091130/blumenthal
www.theaustralian.com.au/news/opinion/saint-sarah-republi...
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
Chiesa di Comologno
-----------------------------
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SONY SISTEM PAL
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Vedi anche
www.fotocommunity.it/pc/account/myprofile/1028205
www.fotolog.com/ezio01021945/19767923
piodadicranaplusch.blogspot.com/
www.frasi.net/album/immagini.asp
www.frasi.net/diari/diario.asp?Nick=Ezio
www.frasi.net/video/default.asp?Nick=Ezio
video.google.it/videoplay?docid=8573925566193640685
www.photosig.com/go/photos/view?id=2080713&forward=vi...
www.twip.org/album:piodadicranach
en.sevenload.com/albums/3mM91JM
en.sevenload.com/albums/4tyCL1Z
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PARROCI DELLA PARROCCHIA DI COMOLOGNO CH, PAG. 1
____________________
Tratto dai Registri della
Parrocchia di
Comologno Onsernone CH
________
Era presente nel 1715
Bornaghi, Don Pietro Francesco
da Pura nel Malcantone CH
---------
Primo Parroco Presbitero di Comologno
_________
Era presente nel 1735
Ganzinotti, Don Tommaso
da Mosogno CH
----------
Parroco Presbitero di Comologno
__________
Era presente nel 1756
Remonda, Don Giacomo Antonio
da Vocaglia CH
---------
Parroco Presbitero di Comologno
---------
Sepolto nel Presbiterio
della Chiesa di Comologno Onsernone
_________
Era presente nel 1756
Broggini, Don Guglielmo Antonio
----------
Parroco Presbitero di Comologno
_________
Era presente dal 1756 al 1776
Albertolli , Don Giacomo da Bedano CH
-----------
Parroco Presbitero di Comologno
_________
Era presente dal 1776 al 1784
Zanda Don Giuseppe Antonio
delle Terre di Pedemonte CH
----------------
Parroco Presbitero di Comologno
_________
Era presente dal 1784 al 1786
Terribilini Don Pietro Giuseppe,
Protonotario Apostolico,
da Vergeletto CH
----------
Parroco Presbitero di Comologno
___________
Rilevato ultima presenza il: 10.01.1786
Terribilini Don Pietro Giuseppe,
Protonotario Apostolico,
da Vergeletto CH
----------
Parroco Presbitero di Comologno
_________
Era presente dal 1786 al 1789
Trombetta Don Carlo Antonio
-----------
Parroco Presbitero di Comologno
_________
Rilevato prima presenza il: 05.08.1786
Trombetta Don Carlo Antonio
-------------
Parroco Presbitero di Comologno
_________
Era presente dal 1789 al 1792
Rilevato Presenza
17.04.1791 - 28.05.1792
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
-------------
Parroco Presbitero di Comologno
________
Rilevato prima presenza il: 26.03.1789
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
-----------
Parroco Presbitero di Comologno
__________
Rilevato ultima presenza il: 14.07.1792
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
---------------
Parroco Presbitero di Comologno
__________
Era presente dal 1792 (verso fine anno) al 1815
Rilevato presenza il 19.10.1792 - 12.11.1813 - 03.07.1815
Cantin Don Francesco Giuseppe,
Protonotario Apostolico,
da Friborgo (CH)
---------------
Parroco Presbitero di Comologno.
Sepolto a Comologno
__________
Rilevato presenza il: 29.11.1792 - 03.03.1794 - 03.07.1815
Cantin Don Francesco Giuseppe,
Protonotario Apostolico,
da Friborgo (CH)
----------
Parroco Presbitero di Comologno.
Sepolto a Comologno
_________
Il 03.03.1794
Mons.
Giovanni Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
--------------
Diede la licenza a un Matrimonio a Comologno
__________
Il 03.03.1794 - 05.05.1794 - 25.06.1795 - 03.08.1795
09.09.1797 - 11.09.1797 - 08.01.1798
22.08.1798 - 14.01.1799 - 27.06.1799 - 06.02.1802
Mons.
Giovanni Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
-----------
Diede la licenza a un Matrimonio a Comologno
___________
Il 05.05.1794
Mons.
Giovanni Francesco
Marchione de Guerrieri
Delegato della Sede
Apostolica di Como (I)
e Nunzio Apostolico in Svizzera
---------
Diede la licenza
a Mons. Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
--------------
per un Matrimonio a Comologno
__________
Il 26.08.1796
Mella Don Pietro
--------
Sacerdote Presbitero che battezzò
Mordasini, Giovanni Antonio,
di Mordasini, Giovanni Domenico,
fu Mordasini, Giovanni da Corbella CH
e
di Mordasini - Cranini, Anna Maria,
di Cranini, Pietro da Crana CH,
residente a Corbella CH
_______
Il 29.05.1798
Remonda Don Carlo Maria
di Comologno,
Parroco Presbitero di Russo CH,
Vicario Foraneo Amministratore
--------
Battezzò a Comologno
Cavallini, Maria Caterina Rosa da Crana CH,
residente a Vocaglia CH
_________
Il 20.10.1798
Remonda Don Carlo Maria di Comologno,
Parroco Presbitero di Russo CH,
Vicario Foraneo Amministratore
----------
Battezzò a Comologno
Candolfi, Carlo Maria da Spruga CH
__________
Il 21.04.1799
Mons. Carlo Rovelli
Delegato della
Commissione Apostolica
di Como (I)
----------
Diede la licenza a un Matrimonio a Comologno
__________
Il 06.02.1802
Mons.
Giulio Geronimo Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
di Como (I)
----------
diede la licenza a un Matrimonio a Comologno
___________
Il 21.04.1804
Carmine Don Cesare,
Parroco Presbitero di Locarno CH
-------------
Celebrò un battesimo a Comologno
Il 16.06.1803
Celebrò un funerale a Comologno
_________
Il 12.11.1804 - 29.11.1806 - 06.02.1807 - 24.10.1808
24.03.1809 - 14.11.1809 - 20.11.1810 - 04.02.1811
04.04.1811
Mons. Giulio Cesare Caglioni
Arciprete Vicario
Foraneo d’Ascona
e Delegato della Commissione
Apostolica di Como (I)
-------------
Diede la licenza a un Matrimonio a Comologno
___________
Il 24.12.1804
Carmine Don Cesare,
Parroco Presbitero di Locarno CH
--------
celebrò un battesimo a Comologno
__________
Il 12.05.1805
Carmine Don Cesare
Parroco Presbitero di Locarno CH
----------
celebrò un battesimo a Comologno
__________
Il 20.10.1805
Carmine Don Cesare
Parroco Presbitero di Locarno CH
------------
celebrò un battesimo a Comologno
_________
Il 26.01.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
-----------
celebrò un battesimo a Comologno
_______
Il 02.04.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
--------
era padrino a un battesimo a Comologno
_________
L'11.05.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
-----------
celebrò un battesimo a Comologno
________
Il 14.05.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
--------
celebrò un battesimo a Comologno
_________
Il 09.11.1806
Vacci Don Filippo
Parroco Presbitero di Crana CH
----------
celebrò un battesimo a Comologno
_________
Il 17.03.1807
Carmine Don Cesare
Parroco Presbitero di Locarno C H
--------
celebrò un battesimo a Comologno
________
Il 27.04.1808
Carmine Don Cesare
Parroco Presbitero di Locarno
----------
celebrò un battesimo a Comologno
__________
Il 24.03.1809
Don Domenico
Lafranchini,
Parroco Presbitero
della Parrocchia di Crana
-------------
Diede la licenza a un matrimonio a Comologno
__________
Il 23.05.1809
Lafranchini Don Giovan Domenico
da Bironico
Parroco Presbitero di Crana
-----------
celebrò un battesimo a Comologno
__________
Il 10.10.1809
Lafranchini Don Giovan Domenico
da Bironico
Parroco Presbitero di Crana
-------------
celebrò un battesimo a Comologno
___________
28.07.1810
Righetti Don Remigio
Parroco Presbitero
di Grugliasco [Grugiascha]
nel Regno Italico
-----------
celebrò un battesimo a Comologno
_____________
Il 21.10.1810
Don .......
Simoni Conti,
Parroco Presbitero di Crana
----------
Diede la licenza per un Matrimonio a Comologno
__________
Il 14.11.1809 - 21.10.1810 - 04.02.1811 - 04.04.1811
22.02.1824 - 09.10.1832
Mons. Giulio Cesare Caglioni,
Arciprete Vicario
Foraneo d’Ascona
e Delegato della
Commissione Apostolica di Como (I)
-----------
Diede la licenza a un Matrimonio a Comologno
_________
Il 17.09.1810 - 21.10.1810 - 31.10.1811
Don Simoni Conti Parroco Presbitero di Crana
-------------
celebrò un battesimo a Comologno
_________
Il 04.08.1812
Righetti Don Remigio
Parroco Presbitero
di Grugliasco [Grugiascha]
nel Regno Italico
--------------
celebrò un battesimo a Comologno
__________
Il 05.08.1813
Serodino Don Domenico Giuseppe
da Russo
Amministratore Cappellano
Presbitero di Spruga
-------------
celebrò un battesimo a Comologno
______________
Il 06.11.1813
Serodino Don Domenico Giuseppe
da Russo
Amministratore Cappellano
Presbitero di Spruga
--------------
Celebrò un battesimo a Comologno
_________
Il 29.12.1813 - 03.04.1814 - 05.04.1814 - 05.05.1814
09.10.1814 - 04.06.1815
Don Domenico Giuseppe Serodino
da Russo
Amministratore Cappellano
Presbitero di Spruga
-----------
Celebrò un battesimo a Comologno
______
Rilevato presenza il 29.12.1813
Lafranchini Don Domenico
Protonotario Apostolico Luganese
Vicario Foraneo
Parroco Presbitero di Russo
Il 26.12.1813 - 11.01.1814 - 21.01.1814 - 03.02.1814
07.02.1814 - 08.02.1814 - 10.02.1814 - 11.02.1814 - 21.02.1814
22.02.1814
Celebrò un funerale a Comologno
Il 13.01.1814
Celebrò a Comologno il funerale di Don Francesco Giuseppe Cantin, da Friborgo, Parroco Presbitero di Comologno
_____________
L'11.01.1814
Autorizzò un battesimo a Comologno,
celebrato dal
Cappellano Presbitero di Spruga
Don Domenico Giuseppe Serodino da Russo
______________
Il 27.02.1814 - 15.03.1814 - 17.03.1814 - 27.03.1814
06.04.1814 - 13.04.1814 - 20.04.1814 - 21.04.1814
Don Giuseppe Antonio Serodino
da Russo
----------
Celebrò un funerale a Comologno
Il 21.03.1817
Celebrò un Battesimo a Comologno
_____________
Il 24.04.1814
Don Pietro Giovanni Ganzinotti
da Mosogno
---------
Parroco Presbitero di Crana
Celebrò un battesimo a Comologno
________
Il 12.05.1814 - 18.01.1822 - 02.02.1822 - 25.03.1822
30.05.1822 - 02.12.1822 - 10.12.1822 - 11.01.1825
21.02.1825
Don Domenico Ghezzi
Parroco Presbitero di Crana
--------
Celebrò un Funerale a Comologno
Il 15.07.1816 - 24.08.1816 - 13.09.1816 - 12.10.1816
08.12.1817 - 27.01.1819 - 19.10.1821
Celebrò un Battesimo a Comologno
___________
Rilevato Presenza il 29.05.1814 - 30.05.1814
Don Paolo Orelli
Parroco Presbitero
di Locarno
-------
Celebrò un battesimo a Comologno
________
Rilevato Ultima Presenza: il 03.07.1815
Don Francesco Giuseppe Cantin
del Canton Friborgo
Parroco Presbitero di Comologno
______________
Era presente dal 06.05.1814 al 1816
Rilevato Presenza il
13.05.1815 - 29.05.1814 - 15.12.1815 - 15.02.1816 - 27.03.1816
24.05.1816 - 21.06.1816
Don Pietro Gaia
d’Ascona
Parroco Presbitero di Comologno
_____________
Era presente dal 1816 al 1817
Rilevato Presenza il
09.11.1816 - 13.01.1817 - 19.04.1817 - 14.06.1817
Don Giuseppe Navone
di Villanova d’Asti
nel Regno di Sardegna
in Piemonte (Italia)
Parroco Presbitero
di Comologno
-------
In questo periodo ci fu a Comologno la visita del
Monsignor Vescovo
di Como (Italia)
________
Il 10.11.1816
Don Cesare Carmine
Cappellano Presbitero
di Vergeletto
-------
Celebrò un Funerale a Comologno
Celebrò un Battesimo a Comologno il 04.08.1816
l’Arciprete d’Ascona,
Don Giulio Cesare Caglioni
diede la licenza per
questo battesimo
________
Era presente il
18.12.1817 - 10.01.1818
Don Felice d’Alberti
Parroco Presbitero
di Comologno
________
Era presente: il 31.07.1818 - 02.09.1818 - 19.09.1818
10.12.1818 19.12.1818
Don Giorgio Giacometti Moghini
dei Borghesi da Locarno
Parroco Presbitero di Comologno
_______
Rilevato Presenza il 03.01.1819
Don Giovanni
Giacomo Manfrina
da Borgnone
Parroco Presbitero
di Comologno
_______
Era presente il
02.04.1819 - 04.04.1819 - 29.09.1819 - 26.10.1819
Don Pietro Gerolamo [Geronimo] Brentini
Parroco Presbitero di Comologno
__________
Era presente dal 1819 al 1821
Rilevato Presenza il
28.11.1819 - 23.05.1820 - 06.11.1820
02.02.1821 - 05.10.1821
Don Domenico Lafranchini,
Protonotario Apostolico Luganese
Parroco Presbitero di Comologno
__________
Era presente dal 1822 al 1824
Rilevato presenza il
06.07.1822 - 24.07.1822 - 04.10.1822 - 22.02.1824
Don Giuseppe Uccelli
da Berzona
Parroco Presbitero
di Comologno
------------------
Il 05.02.1822 - 15.04.1822 - 27.04.1822
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
Il 13.08.1817 - 18.08.1817 - 16.10.1817 - 20.01.1818
24.02.1818 - 04.05.1818 - 18.01.1822 - 02.02.1822
25.03.1822 - 27.04.1822 - 30.05.1822 - 01.6.1822
28.10.1822 - 29.11.1822 - 02.12.1822 - 10.12.1822
22.01.1823 - 24.12.1823 - 11.01.1825 - 06.02.1825
05.03.1825 - 06.05.1825 - 19.06.1825 - 30.01.1825
03.06.1826 - 21.05.1827 - 28.09.1827
Celebrò un Funerale a Comologno il
11.01.1825 - 21.02.1825
-------------
Il 25.01.1818
Registrò un Battesimo
effettuato a Comologno
dall’Ostetrica per
pericolo imminente di morte
-------
Il 31.05.1818 - 29.06.1818 - 03.07.1818
Celebrò un Battesimo a Comologno
-------------------
L'01.6.1822
Don Domenico Andrea
Giovanni Ghezzi,
di Ghezzi Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato Presenza: 24.07.1822 - 28.07.1822 - 04.10.1822
07.01.1823 - 15.09.1824 -16.11.1824
Don Giuseppe Uccelli
di Uccelli Francesco
da Berzona, Parroco Presbitero
di Comologno
-------------
Il 29.11.1822
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
---------
Il 22.01.1823
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------------
Il 24.12.1823
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato ultima presenza il 16.11.1824
Don Giuseppe Uccelli
di Uccelli, Francesco da Berzona
Parroco Presbitero di Comologno
---------------
L'11.01.1825 - il 30.01.1825 - 06.02.1825 - 05.03.1825 - 06.05.1825
19.06.1825 - 03.06.1826 - 21.05.1827 - 28.09.1827
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-------------
Era presente dal 1825 al 1829
Rilevato il
22.01.1825 - 19.07.1825 - 09.10.1825 - 19.06.1828
Don Giacomo Antonio Grassi [Grazzi]
di Grassi [Grazzi], Giacomo da Loco
Parroco Presbitero di Comologno
----------
Il 09.04.1828
Don Agostino Guitti
Padre Presbitero,
delegato a Comologno
-------------
Rilevato ultima presenza l'08.03.1829
Don Giacomo Antonio Grassi [Grazzi]
di Grassi [Grazzi], Giacomo da Loco
Parroco Presbitero di Comologno
..........
Rilevato presenza il 15.04.1829 - l'01.08.1829 - 31.12.1830
27.09.1831
Don Paolo Zanetti
da Camignolo
Parroco Presbitero di Comologno
----------
Rilevato presenza il 15.04.1829 - l'01.08.1829 - il 04.09.1829
18.09.1829 - 20.09.1829 - l'01.10.1829 - 20.06.1832
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Il 09.07.1831
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di
Don Paolo Zanetti da Camignolo,
Parroco Presbitero di Comologno
------------
Rilevato ultima presenza il 27.11.1831
Don Paolo Zanetti
da Camignolo
Parroco Presbitero di Comologno
---------
Dal 1832 al 1839 era presente
Rilevato presenza il
31.05.1832 - 12.01.1833 - 20.04.1839
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
---------------
Il 06.03.1832 - 16.05.1832 - 30.05.1832 - l'11.06.1832
il 27.07.1832 - 09.08.1832
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato prima presenza il 09.07.1832
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
-------
Il 09.10.1832 - 13.02.1833
Mons. Filippo de Angeli
Nunzio Apostolico in Svizzera
diede la licenza a
Mons. Giulio Cesare Caglioni per
un Matrimonio a Comologno
---------
Il 17.06.1833 - l'01.03.1835
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di
Don Antonio Bernasconi da Vacallo,
Parroco Presbitero di Comologno
--------
Il 22.08.1833
Don Francesco Bernasconi
Vice Parroco Presbitero di Loco,
celebrò un Battesimo a Comologno
------
Nel 1833
Don Giovanni Ganzinotti da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di Don Antonio Bernasconi
da Vacallo,
Parroco Presbitero di Comologno
---------
Il 14.10.1836
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
------
Il 06.03.1839 e il 07.03.1839
Don Angelo Madonna
Parroco Presbitero di Russo,
Celebrò un battesimo a Comologno
-------
Il 09.03.1839
Celebrò un funerale a Comologno
-------------
Rilevato Presenza il 20.04.1839 - 02.09.1839
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
-----
Il 10.09.1839
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Il 23.10.1839 - 20.11.1839 - 09.01.1840 - 24.01.1840
08.04.1840 - 01.05.1840 - 21.05.1840 - 19.12.1840
Celebrò un funerale a Comologno
--------
Il 27.09.1839
Don Paolo Francesco Zenna
fu Zenna, Giovanni Battista da Locarno
Amministratore Cappellano Presbitero di Spruga,
Celebrò un battesimo a Comologno
--------
Il 19.10.1839 - 23.01.1840
Celebrò un Funerale a Comologno con licenza di Don Domenico Ghezzi, Parroco Presbitero di Crana
------------
Il 24.08.1840 - 25.08.1840 - 05.09.1840 - 11.10.1840
13.10.1840 - 02.12.1840 - 31.12.1840
Diede i Sacramenti e
l’Estrema Unzione a un malato
-------------
Il 16.10.1839 - 25.10.1839 - 13.12.1839 - 16.12.1839
10.02.1840 - 13.02.1840 - 26.02.1840 - 06.05.1840 - 28.05.1840
22.07.1840
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Il 23.10.1839 - 20.11.1839 -09.01.1840 - 19.12.1840
24.01.1840 - 08.04.1840 - 01.05.1840 - 21.05.1840
Celebrò un funerale a Comologno
--------
Era presente dal 1840 al 1846
Don Giovanni Pedretti
da Sigirino
Parroco Presbitero di Comologno
Rilevato presenza il 08.07.1840 - 06.08.1840 - 25.08.1846
-----------
Il 05.08.1840 e il 07.10.1840
Don Paolo Francesco Zenna
fu Zenna, Giovanni Battista da Locarno
Amministratore Cappellano Presbitero di Spruga,
celebrò un battesimo a Comologno
--------
Il 23.01.1840
Celebrò un Funerale a Comologno con licenza di Don Domenico, Parroco Presbitero di Crana
---------
Il 24.08.1840 - 25.08.1840 - 05.09.1840 - 11.10.1840 - 13.10.1840
02.12.1840 -31.12.1840
Diede i Sacramenti e l’Estrema Unzione a un malato
---------
Il 29.08.1844
Don Giuseppe Pedretti
Parroco Presbitero di Verdasio,
celebrò un Battesimo a Comologno
--------
Rilevato presenza il 25.08.1846 - 09.09.1846-
Don Giovanni Pedretti
da Sigirino
Parroco Presbitero di Comologno
----------
Rilevato Presenza il 24.09.1846 - 02.01.1847
Don Carlo Giuseppe Antonietti
fu Antonietti, Serafino da Sigirino
Parroco Presbitero,
Economo Spirituale di Comologno
-----------
Il 24.09.1846 - 28.09.1846 - 02.12.1846 - 19.12.1846 - 18.01.1847
23.01.1847 - 01.02.1847 - 22.04.1847
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Il 04.01.1847 - 21.04.1847
Celebrò un funerale a Comologno
___________
Il 19.04.1848
Don Giacomo Schira
Cappellano di Spruga
--------
Celebrò un funerale a Comologno
________
Il 29.07.1850 - 05.05.1851 - 22.05.1851 - 01.11.1851
09.12.1851 - 18.04.1852 - 27.05.1852 - 12.11.1853
24.04.1854 - 12.07.1854 - 05.03.1855
Don Giuseppe Tomamichel
da Bosco Gurin [Vallemaggia]
Amministratore Cappellano Presbitero di Spruga,
fu Padrino a un battesimo a Comologno
-------
Il 23.08.1855
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Rilevamento ultima presenza il 21.06.1855
Don Carlo Giuseppe Antonietti
fu Antonietti, Serafino da Sigirino
Parroco Presbitero,
Economo Spirituale di Comologno
-------
Dal 1855 al 1861 incluso, era presente
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
--------
Rilevato presenza il 05.10.1855
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
------
Rilevato presenza il
05.10.1855 - 10.10.1855 - 22.11.1855 - 09.12.1855 - 24.12.1855
01.01.1856 - 17.01.1856 - 29.01.1856 - l'08.03.1856 - 23.05.1856
Don Paolo Zanetti
Presbitero
Amministratore di Comologno
-----------
Il 16.06.1856 - 09.07.1856 - 27.07.1856 - 27.03.1857 - 07.04.1857
19.05.1857 - 16.06.1857 - 23.07.1857 - 25.07.1857 - 27.07.1857 - 29.07.1857
30.07.1857 - 31.07.1857 - 10.08.1857 - 27.08.1857
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Rilevato Presenza il 31.08.1857 - 23.04.1861
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
--------
Il 10.10.1860 - 16.05.1861 - 22.05.1861 - 27.05.1861 - 15.05.1863
Don Pietro Ceretti
Parroco Presbitero di Russo,
celebrò un battesimo a Comologno
---------
Rilevato Presenza il 17.06.1861 - 26.09.1861
Don Leonardo Terribilini
da Vergeletto
Della Società della Carità
Parroco Presbitero di Comologno
----------------
Dal 1861 al 1864 era presente:
Rilevato Presenza il 13.10.1861 - 19.06.1864
Don Paolo Allegranza
Parroco Presbitero di Comologno
---------
Il 24.02.1863 - 17.07.1864 - 06.08.1864 - 16.08.1864
01.09.1864 - 18.09.1864 - 25.10.1864 - 05.12.1864
09.12.1864 - 10.12.1864 - 25.01.1865 - l'01.02.1865 - 09.02.1865
16.03.1865 - 15.04.1865 - 19.04.1865 -14.05.1865
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Dal 1865 era presente
Rilevato Presenza il 19.06.1865 - 26.08.1866
Don Antonio Drouyen
Parroco Presbitero di Comologno
---------
Dal 1866 - al 1869 era presente
Rilevato Presenza l'01.09.1866 - il 04.03.1869
Don Giuseppe Caroni
da Rancate
Parroco Presbitero di Comologno
-------
Il 10.07.1868 -10.01.1869 - 09.05.1869 - 09.06.1869
17.06.1869 - 03.10.1869 - 03.11.1869 - 05.11.1869 - 07.12.1869
24.12.1869 - 31.12.1869
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno;
causa sede vacante
-----------
Dal 1870 al 1871 era presente
Rilevato Presenza il 09.06.1870 - 22.07.1870 - 22.09.1871
Don Luigi Mondini [Mondino]
di Venaria - Caluso / Torino [Italia]
Della Compagnia di Gesù
Economo Spirituale,
Parroco Presbitero di Comologno
----------
Il 02.01.1870 - 10.04.1870 - 28.04.1870 - l'01.05.1870 -18.05.1870
l'08.06.1870 - 09.06.1870 - 23.06.1870 - 18.07.1870
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Dal 1871 al 1873 era presente
Rilevato presenza il 25.08.1871 - 22.09.1871 - 10.12.1872
Don Vincenzo Coletti
Parroco Presbitero di Comologno
--------------
Il 15.10.1871 - 21.09.1872 - 28.09.1872 - 29.09.1872
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Dal 1873 al 1875 era presente
Don Calllisto Bava
di Luino [Italia]
Parroco Presbitero di Comologno
--------
Dal 1878 al 1888 era presente
Don Carlo Antonietti
Parroco Presbitero di Comologno,
dietro suo ordine
si fece il Coro
----------
Dal 1889 al 1891 era presente
Don Carlo Soldati
da Sonvico
Parroco Presbitero di Comologno
------------
Diede indicazioni sull'impedimento al Matrimonio
---------
Dal 1892 al 1893 era presente
Don Michele Cattomio
Parroco Presbitero di Comologno
---------
Dal 1893 al 1899 era presente
Don Giuseppe Arnaboldi
di Lugano
Parroco Presbitero di Comologno
-----
Dal 1902 al 1905 era presente
Don Pietro Ferrari
di Ludiano
Parroco Presbitero di Comologno
--------
Dall'01.01.1909 al 10.06.1916 era presente
Don Francesco Gianella
da Dalpe
Parroco Presbitero di Comologno
--------
Dal 1916 al 1921 era presente
Don Augusto Pellanda
da Intragna
Parroco Presbitero di Comologno
----------
Dal 1921 al 1924 era presente
Don Gualtiero Borella
Parroco Presbitero di Comologno
---------
Dal 04.09.1924 al 31.01.1927 era presente
Don Mario Marconi
da Comologno / Spruga
Parroco Presbitero di Comologno
-----------
Dal 10.09.1927 al 1932 era presente
Don Giuseppe Martinoli
da Marolta nella Valle di Blenio
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
--------------------
Dal 1945 al 1956 era presente
Don Giuseppe Bonanomi
di Chiasso, da Comologno
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
---------
Dal 1956 al 1961 era presente
Don Domenico Galli
da Bruzella
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 5 Saturday 28 September All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/09/watch-californi...
ncaafootball2013live.blogspot.com/2013/09/watch-californi...
Saturday September 28th 2013-(EST)
All Live Game Schedule
Illinois Fighting Illini V Miami (OH) RedHawks-From:-12:00pm
Purdue Boilermakers V Northern Illinois Huskies-From:-12:00pm
Miami (FL) Hurricanes V South Florida Bulls-From:-12:00pm>>
TCU Horned Frogs V SMU Mustangs -From:-12:00pm
South Carolina Gamecocks V UCF Knights-From:-12:00pm>>
Oklahoma State Cowboys V West Virginia Mountaineers-From:-12:00pm>>
Tennessee Volunteers V South Alabama Jaguars-From:-12:21pm
North Carolina Tar Heels V East Carolina Pirates-From:-12:30pm>>
Pittsburgh Panthers V Virginia Cavaliers-From:-12:30pm
Western Kentucky Hilltoppers V Navy Midshipmen-From:-02:00pm
Bowling Green Falcons V Akron Zips -From:-02:30pm
Ball State Cardinals V Toledo Rockets-From:-03:00pm
Duke Blue Devils V Troy Trojans-From:-03:00pm
Oregon State Beavers V Colorado Buffaloes-From:-03:00pm
Florida State Seminoles V Boston College Eagles-From:-03:30pm>>
Buffalo Bulls V Connecticut Huskies-From:-03:30pm
Clemson Tigers V Wake Forest Demon Deacons-From:-03:30pm>>
Colorado State Rams V UTEP Miners-From:-03:30pm
Georgia Bulldogs V LSU Tigers-From:-03:30pm>>
Minnesota Golden Gophers V Iowa Hawkeyes-From:-03:30pm
North Carolina State Wolfpack V Central Michigan Chippewas-From:-03:30pm
Notre Dame Fighting Irish V Oklahoma Sooners-From:-03:30pm>>
Louisiana Tech Bulldogs V Army Black Knights-From:-04:00pm
UTSA Roadrunners V Houston Cougars-From:-04:00pm
Idaho Vandals V Temple Owls-From:-05:00pm
Alabama Crimson Tide V Ole Miss Rebels-From:-06:30pm>>
Texas A&M Aggies V Arkansas Razorbacks-From:-07:00pm>>
Florida Gators V Kentucky Wildcats-From:-07:00pm>>
Louisiana-Monroe Warhawks V Tulane Green Wave-From:-07:00pm
Rice Owls V Florida Atlantic Owls-From:-07:00pm
Texas State Bobcats V Wyoming Cowboys-From:-07:00pm
Washington Huskies V Arizona Wildcats-From:-07:00pm>>
Western Michigan Broncos V Kent State Golden Flashes-From:-07:00pm
Missouri Tigers V Arkansas State Red Wolves-From:-07:30pm
Vanderbilt Commodores V UAB Blazers-From:-07:30pm
New Mexico Lobos V UNLV Rebels-From:-08:00pm
New Mexico State Aggies V San Diego State Aztecs-From:-08:00pm
Ohio State Buckeyes V Wisconsin Badgers-From:-08:00pm>>
Nevada Wolf Pack V Air Force Falcons-From:-08:05pm
Stanford Cardinal V Washington State Cougars-From:-10:00pm>>
Boise State Broncos V Southern Miss Golden Eagles-From:-10:00pm
Arizona State Sun Devils V USC Trojans -From:-10:30pm
Oregon Ducks V California Golden Bears-From:-10:30pm>>
Fresno State Bulldogs V Hawaii Rainbow Warriors -From:-12:00am>>
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Support
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Support
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 5 Saturday 28 September All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/09/watch-californi...
ncaafootball2013live.blogspot.com/2013/09/watch-californi...
Saturday September 28th 2013-(EST)
All Live Game Schedule
Illinois Fighting Illini V Miami (OH) RedHawks-From:-12:00pm
Purdue Boilermakers V Northern Illinois Huskies-From:-12:00pm
Miami (FL) Hurricanes V South Florida Bulls-From:-12:00pm>>
TCU Horned Frogs V SMU Mustangs -From:-12:00pm
South Carolina Gamecocks V UCF Knights-From:-12:00pm>>
Oklahoma State Cowboys V West Virginia Mountaineers-From:-12:00pm>>
Tennessee Volunteers V South Alabama Jaguars-From:-12:21pm
North Carolina Tar Heels V East Carolina Pirates-From:-12:30pm>>
Pittsburgh Panthers V Virginia Cavaliers-From:-12:30pm
Western Kentucky Hilltoppers V Navy Midshipmen-From:-02:00pm
Bowling Green Falcons V Akron Zips -From:-02:30pm
Ball State Cardinals V Toledo Rockets-From:-03:00pm
Duke Blue Devils V Troy Trojans-From:-03:00pm
Oregon State Beavers V Colorado Buffaloes-From:-03:00pm
Florida State Seminoles V Boston College Eagles-From:-03:30pm>>
Buffalo Bulls V Connecticut Huskies-From:-03:30pm
Clemson Tigers V Wake Forest Demon Deacons-From:-03:30pm>>
Colorado State Rams V UTEP Miners-From:-03:30pm
Georgia Bulldogs V LSU Tigers-From:-03:30pm>>
Minnesota Golden Gophers V Iowa Hawkeyes-From:-03:30pm
North Carolina State Wolfpack V Central Michigan Chippewas-From:-03:30pm
Notre Dame Fighting Irish V Oklahoma Sooners-From:-03:30pm>>
Louisiana Tech Bulldogs V Army Black Knights-From:-04:00pm
UTSA Roadrunners V Houston Cougars-From:-04:00pm
Idaho Vandals V Temple Owls-From:-05:00pm
Alabama Crimson Tide V Ole Miss Rebels-From:-06:30pm>>
Texas A&M Aggies V Arkansas Razorbacks-From:-07:00pm>>
Florida Gators V Kentucky Wildcats-From:-07:00pm>>
Louisiana-Monroe Warhawks V Tulane Green Wave-From:-07:00pm
Rice Owls V Florida Atlantic Owls-From:-07:00pm
Texas State Bobcats V Wyoming Cowboys-From:-07:00pm
Washington Huskies V Arizona Wildcats-From:-07:00pm>>
Western Michigan Broncos V Kent State Golden Flashes-From:-07:00pm
Missouri Tigers V Arkansas State Red Wolves-From:-07:30pm
Vanderbilt Commodores V UAB Blazers-From:-07:30pm
New Mexico Lobos V UNLV Rebels-From:-08:00pm
New Mexico State Aggies V San Diego State Aztecs-From:-08:00pm
Ohio State Buckeyes V Wisconsin Badgers-From:-08:00pm>>
Nevada Wolf Pack V Air Force Falcons-From:-08:05pm
Stanford Cardinal V Washington State Cougars-From:-10:00pm>>
Boise State Broncos V Southern Miss Golden Eagles-From:-10:00pm
Arizona State Sun Devils V USC Trojans -From:-10:30pm
Oregon Ducks V California Golden Bears-From:-10:30pm>>
Fresno State Bulldogs V Hawaii Rainbow Warriors -From:-12:00am>>
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Support
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Support
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 5 Saturday 28 September All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/09/watch-californi...
ncaafootball2013live.blogspot.com/2013/09/watch-californi...
Saturday September 28th 2013-(EST)
All Live Game Schedule
Illinois Fighting Illini V Miami (OH) RedHawks-From:-12:00pm
Purdue Boilermakers V Northern Illinois Huskies-From:-12:00pm
Miami (FL) Hurricanes V South Florida Bulls-From:-12:00pm>>
TCU Horned Frogs V SMU Mustangs -From:-12:00pm
South Carolina Gamecocks V UCF Knights-From:-12:00pm>>
Oklahoma State Cowboys V West Virginia Mountaineers-From:-12:00pm>>
Tennessee Volunteers V South Alabama Jaguars-From:-12:21pm
North Carolina Tar Heels V East Carolina Pirates-From:-12:30pm>>
Pittsburgh Panthers V Virginia Cavaliers-From:-12:30pm
Western Kentucky Hilltoppers V Navy Midshipmen-From:-02:00pm
Bowling Green Falcons V Akron Zips -From:-02:30pm
Ball State Cardinals V Toledo Rockets-From:-03:00pm
Duke Blue Devils V Troy Trojans-From:-03:00pm
Oregon State Beavers V Colorado Buffaloes-From:-03:00pm
Florida State Seminoles V Boston College Eagles-From:-03:30pm>>
Buffalo Bulls V Connecticut Huskies-From:-03:30pm
Clemson Tigers V Wake Forest Demon Deacons-From:-03:30pm>>
Colorado State Rams V UTEP Miners-From:-03:30pm
Georgia Bulldogs V LSU Tigers-From:-03:30pm>>
Minnesota Golden Gophers V Iowa Hawkeyes-From:-03:30pm
North Carolina State Wolfpack V Central Michigan Chippewas-From:-03:30pm
Notre Dame Fighting Irish V Oklahoma Sooners-From:-03:30pm>>
Louisiana Tech Bulldogs V Army Black Knights-From:-04:00pm
UTSA Roadrunners V Houston Cougars-From:-04:00pm
Idaho Vandals V Temple Owls-From:-05:00pm
Alabama Crimson Tide V Ole Miss Rebels-From:-06:30pm>>
Texas A&M Aggies V Arkansas Razorbacks-From:-07:00pm>>
Florida Gators V Kentucky Wildcats-From:-07:00pm>>
Louisiana-Monroe Warhawks V Tulane Green Wave-From:-07:00pm
Rice Owls V Florida Atlantic Owls-From:-07:00pm
Texas State Bobcats V Wyoming Cowboys-From:-07:00pm
Washington Huskies V Arizona Wildcats-From:-07:00pm>>
Western Michigan Broncos V Kent State Golden Flashes-From:-07:00pm
Missouri Tigers V Arkansas State Red Wolves-From:-07:30pm
Vanderbilt Commodores V UAB Blazers-From:-07:30pm
New Mexico Lobos V UNLV Rebels-From:-08:00pm
New Mexico State Aggies V San Diego State Aztecs-From:-08:00pm
Ohio State Buckeyes V Wisconsin Badgers-From:-08:00pm>>
Nevada Wolf Pack V Air Force Falcons-From:-08:05pm
Stanford Cardinal V Washington State Cougars-From:-10:00pm>>
Boise State Broncos V Southern Miss Golden Eagles-From:-10:00pm
Arizona State Sun Devils V USC Trojans -From:-10:30pm
Oregon Ducks V California Golden Bears-From:-10:30pm>>
Fresno State Bulldogs V Hawaii Rainbow Warriors -From:-12:00am>>
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Support
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Support
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
funproducer.com/insurance-rates-changing-personal-factors... Rates Changing Personal Factors
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Read more: funproducer.com/insurance-rates-changing-personal-factors...
DECONSTRUCTING ROY LICHTENSTEIN
BEFORE AND AFTER
GIL ELVGREN
circa 1940's
ROY LICHTENSTEIN
Drawing For Girl In Mirror
It would seem that Lichtenstein was even less original than many of his existing detractors had thought.
Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 - four months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey).
www.warholstars.org/warhol1/11roylichtenstein.html
GIL ELVGREN
Gil Elvgren (March 15, 1914 – February 29, 1980), born Gillette Elvgren, was an American painter of pin-up girls, advertising and illustration. Elvgren was one of the most important pin-up and glamour artists of the twentieth century. Today he is best known for his pin-up paintings for Brown & Bigelow. Elvgren studied at the American Academy of Art.
Gillette A. Elvgren attended University High School. After graduation he began studying art at the Minneapolis Institute of Arts. He subsequently moved to Chicago to study at the American Academy of Art. He graduated from the Academy during the depression at the age of twenty-two. Elvgren joined the stable of artists at Stevens and Gross, Chicago's most prestigious advertising agency. He became a protégé of the talented artist, Haddon Sundblom.
Elvgren was a classical American illustrator. He was a master of portraying the all-American feminine ideal, but wasn't limited to the calendar pin-up industry. He was strongly influenced by the early "pretty girl" illustrators, such as Charles Dana Gibson, Andrew Loomis, and Howard Chandler Christy. Other influences included the Brandywine School founded by Howard Pyle.
In 1937, Gil began painting calendar pin-ups for Louis F. Dow, one of America's leading publishing companies, during which time he created about 60 works. Around 1944, Gil was approached by Brown and Bigelow, a firm that still dominates the field in producing calendars and advertising specialties. He was associated with Brown and Bigelow from 1945 to 1972.
Elvgren was a commercial success. Elvgren lived in various locations, and was active from the 1930s to 1970s. His clients ranged from Brown and Bigelow and Coca-Cola to General Electric and Sealy Mattress Company. In addition, during the 1940s and 1950s he illustrated stories for a host of magazines, such as The Saturday Evening Post and Good Housekeeping.
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
REVISTA DE FILOSOFIA: REVISTA DE FILOSOFÍA CONTEMPORANEA
REVISTA OBSERVACIONES FILOSÓFICAS
www.observacionesfilosoficas.net/
Dr. Adolfo Vasquez Rocca _ Director
www.danoex.net/adolfovasquezrocca.html
Revista de Filosofía Contemporánea
www.observacionesfilosoficas.net/indexcategorias.htm
Adolfo Vásquez Rocca PH.D.
www.danoex.net/adolfovasquezroccainvestigacion.html
Dr. Adolfo Vasquez Rocca | Universidad Complutense de Madrid
www.danoex.net/adolfovasquezrocca.html
Adolfo Vasquez Rocca, Academic staff at Universidad Andrés Bello UNAB
emui.academia.edu/AdolfoVasquezRocca
ADOLFO VÁSQUEZ ROCCA PH.D.
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Escuela Matríztica
Universidad Complutense de Madrid
Eastern Mediterranean University - Academia.edu
E-mail: adolfovrocca@gmail.com
ADOLFO VÁSQUEZ ROCCA PH.D.
Web personal:
www.danoex.net/adolfovasquezrocca.html
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
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Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
E-mail: adolfovrocca@gmail.com
PROFESOR DR. ADOLFO VÁSQUEZ ROCCA
Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial'. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía, Bs. Aires; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, Universidad Nacional. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Ha publicado entre otros el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011
Prof. Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Director del Consejo Consultivo Internacional de Revista 'Konvergencias'; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, UNA. Miembro del Conselho Editorial da Humanidades em Revista, Universidade do Noroeste do Estado do Rio Grande Brasil. –Secretario Ejecutivo Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas.
VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 1 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.
Referencia indexación Universidad Complutense:
Revistas Científicas Complutenses +Madrid
usuarios.universia.net/verActividad.action?loginUsuario=a...
VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381
www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf
- VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK 'NORMAS PARA EL PARQUE HUMANO'; DE LA CARTA SOBRE EL HUMANISMO A LAS ANTROPOTECNIAS Y EL DISCURSO DEL POS-THUMANISMO", En
Revista Observaciones Filosóficas - Nº 5 / 2007 | ISSN 0718-3712
www.observacionesfilosoficas.net/petersloterdijkdelasnorm...
- VÁSQUEZ ROCCA, Adolfo, PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92
VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.
“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.
F. NIETZSCHE , Die fröhliche Wissenschaft, 86
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006
Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564
y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.
- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK; LA MÚSICA DE LAS ESFERAS Y LA ERA ANTROPOTÉCNICA”. Konvergencias, Filosofía y Culturas en Diálogo. ISSN 1669-9092
Número 12 Año III Mayo 2006, www.konvergencias.net/musicaps01.htm
Peter Sloterdijk ¿dónde estamos, cuando escuchamos música? Número 12 Año III Mayo 2006
Konvergencias, Filosofía y Culturas en Diálogo. www.konvergencias.net/musicaps.htm
Periodista y escritor. Profesor de Sociología en la Staatliche Hochschule für Gestaltung de Karlsruhe.
Director periodístico de ZDF, alemania. www.peter-voss.eu/
Sloterdijk y Canetti; el detonante iconográfico y operístico de la política de masas ; Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 13, 2006, www.konvergencias.net/vasquezrocca115.htm
VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 2 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.
Referencia indexación Universidad Complutense:
Revistas Científicas Complutenses +Madrid
usuarios.universia.net/verActividad.action?loginUsuario=a...
VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381
www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf
VÁSQUEZ ROCCA, Adolfo, "EDWARD HOPPER Y EL OCASO DEL SUEÑO AMERICANO", En HOMINES –Arte y Cultura– MA-739-2004, 2009, Málaga, 2005.
www.homines.com/arte_xx/hopper_ocaso_americano/index.htm
Peter Sloterdijk; temblores de aire, atmoterrorismo y crepúsculo de la inmunidad
Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , 196-216
dialnet.unirioja.es/servlet/articulo?codigo=2377373&o...
______________
Peter Sloterdijk; espumas, mundo poliesférico y ciencia ampliada de invernaderos
Autores: Adolfo Vásquez Rocca
Localización: Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , págs. 217-228
dialnet.unirioja.es/servlet/articulo?codigo=2377372&o...
KONVERGENCIAS Filosofía y Culturas en Diálogo
ISSN 1669-9092
Año V, No 16 Tercer Cuatrimestre 2007
____________
- Vásquez Rocca, Adolfo, Peter Sloterdijk; del pesimismo metodológico al cinismo difuso de nuestras sociedades exhaustas, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92
PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS Dr. ADOLFO VÁSQUEZ ROCCA
dialnet.unirioja.es/servlet/articulo?codigo=2310343&o...
ISSN 1669-9092
- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.
“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.
F. NIETZSCHE , Die fröhliche Wissenschaft, 86 /
- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006
Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564
y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734
/
- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.
2.-
"Conjeturas sobre el animal que topa consigo, se propone lo grande, a menudo no avanza un paso y, a veces, esta harto de todo”.
P. Sloterdijk
VÁSQUEZ ROCCA, Adolfo, “GEORG TRAKL Y JORGE TEILLIER; PARA HABLAR CON LOS MUERTOS”, En Revista Almiar, MARGEN CERO © Madrid, 2007
www.margencero.com/articulos/articulos3/trakl.htm
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EL HOMBRE COMO EXPERIMENTO SONORO Y METAFÍSICO ANIMAL DE LA AUSENCIA", PHILOSOPHICA, Instituto de Filosofía PONTIFICIA UNIVERSIDAD CATÓLICA DE VALPARAÍSO, Nº 31, Sem. I, 2007, ISSN 076 - 1913, pp. 89-105.
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Dopo i patimenti che ho sopportato, il mio amore per Dio è ancora più forte
di Zhou Rui, Provincia del Jiangxi
Mi chiamo Zhou Rui e sono un cristiano della Chiesa di Dio Onnipotente. Fin da quando ho cominciato a capire le cose, ho sempre visto i miei genitori lavorare sodo nei campi da mattina a sera per guadagnarsi da vivere. Malgrado il loro impegno intenso, riuscivano a malapena a guadagnare dei soldi anno dopo anno, perciò la nostra famiglia ha vissuto sempre in estrema povertà. Quando vedevo le persone potenti e influenti vivere comodamente senza dover faticare, provavo invidia nei loro confronti, e così presi una ferma decisione: da grande avrei avuto sicuramente una carriera di successo o mi sarei conquistato una posizione governativa per ovviare alla povertà e all’arretratezza della mia famiglia, in modo che anche i miei genitori potessero vivere come i ricchi. Tuttavia, pur avendo lottato molti anni per questo ideale, non sono mai riuscito a ottenere ciò che desideravo; ho continuato a vivere in povertà. Spesso sospiravo per la preoccupazione di non avere tratto nessun risultato dal mio impegno, e a poco a poco ho perso fiducia nella vita. Proprio quando cominciavo a scoraggiarmi e a disperare della vita, sono venuto a conoscenza della salvezza offerta da Dio Onnipotente negli ultimi giorni. Nelle Sue parole ho colto alcune verità e sono giunto a conoscere la causa principale della sofferenza umana nel mondo. Inoltre ho capito come le persone debbano vivere perché la loro vita sia ricca di significato e degna di essere vissuta. Da allora in poi, per quanto fossi stato confuso e smarrito, ho trovato il mio orientamento nella vita. Lasciandomi alle spalle la depressione e lo sconforto, ho scoperto una nuova vitalità e nuove prospettive, e ho visto speranza per la mia vita. Dopo di che, per consentire anche a quanti ancora vivevano nella sofferenza e nello smarrimento di conseguire questa rarissima salvezza, ho cominciato ad andare di luogo in luogo, predicando energicamente la salvezza offerta da Dio negli ultimi giorni. Ciò che non mi aspettavo, però, era che durante la mia attività di diffusione del Vangelo sarei stato arrestato due volte dal governo cinese e avrei subito torture brutali e disumane… In questo buio abisso di mostruosità, Dio Onnipotente non mi ha mai abbandonato; le Sue parole mi hanno trasmesso fede e forza, conducendomi ripetutamente alla vittoria sulle forze oscure di Satana e rafforzando il mio amore per Dio.
Era un giorno di giugno del 2003; io e due fratelli eravamo andati in un villaggio a diffondere il Vangelo, quando siamo stati denunciati da una persona malvagia. Cinque o sei agenti con tre auto della polizia si sono avvicinati rapidamente a noi e ci hanno ammanettati senza farci nemmeno una domanda. A calci e spintoni, ci hanno costretti a salire in auto e ci hanno condotti all’Ufficio di Pubblica Sicurezza. In auto non ho avuto affatto paura. Avevo sempre ritenuto che lo scopo della diffusione del Vangelo fosse offrire la salvezza alle persone, perciò non avevamo fatto niente di male; una volta arrivati all’Ufficio, avrei spiegato la situazione e la polizia ci avrebbe rilasciati. Non potevo sapere, però, che i poliziotti del governo cinese fossero più crudeli ed efferati di qualsiasi canaglia o tiranno malvagio. Arrivati all’Ufficio, i poliziotti non ci hanno dato nemmeno la possibilità di dare spiegazioni prima di separarci e interrogarci singolarmente. Ero appena entrato nella stanza degli interrogatori quando un poliziotto mi ha urlato: “La politica del Partito Comunista è ‘clemenza per chi confessa, severità per chi resiste’. Lo sapevi?” Dopo di che ha chiesto i miei dati personali. Vedendo che le mie risposte non lo soddisfacevano, un altro poliziotto mi si è avvicinato e ha grugnito: “Bah. Non stai collaborando. Ti daremo una lezione, così forse ci dirai la verità”. Poi ha fatto un gesto con la mano dicendo: “Portate qui dei mattoni così possiamo punirlo!” Due poliziotti si sono avvicinati all’istante, mi hanno preso una mano e me l’hanno strattonata da sopra la spalla e dietro la schiena, mentre mi tiravano l’altra mano in alto, e poi me le hanno ammanettate a forza. Ho subito provato un dolore insopportabile, come se mi si stessero spezzando le braccia. Come poteva una persona così debole sopportare un simile tormento? Un attimo dopo sono crollato a terra. Al che i malvagi poliziotti mi hanno bruscamente sollevato le manette e mi hanno infilato due mattoni fra le mani e la schiena. Un dolore acuto, improvviso, mi è penetrato fino al cuore, come se migliaia di formiche mi stessero masticando le ossa. In preda alla sofferenza, ho usato tutte le forze rimanenti per implorare Dio: “Dio Onnipotente, salvami. Dio Onnipotente, salvami…” Anche se all’epoca avevo accolto la salvezza offerta da Dio negli ultimi giorni solo da circa tre mesi, non conoscevo ancora molte Sue parole e capivo soltanto poche verità, ciò nonostante, grazie alle mie continue suppliche, Dio mi ha concesso fede e forza e mi ha trasmesso una ferma convinzione: dovevo rimanere saldo nella testimonianza a Dio; non dovevo assolutamente arrendermi a Satana! Perciò ho stretto i denti e mi sono rifiutato categoricamente di dire altro. Innervositi ed esasperati, i malvagi poliziotti hanno escogitato un altro brutale stratagemma nel tentativo di soggiogarmi: hanno collocato per terra due mattoni e mi hanno costretto a inginocchiarmici sopra; allo stesso tempo mi strattonavano con forza le manette. Ho provato subito un dolore così lancinante alle braccia che mi sembrava si fossero spezzate. Mi sono sforzato di rimanere lì inginocchiato per qualche minuto prima di ricadere a terra inerte, al che i poliziotti mi hanno di nuovo sollevato violentemente per le manette e mi hanno costretto a stare ancora in ginocchio. Mi hanno torturato ripetutamente in questo modo. Era piena estate, perciò il caldo acuiva la mia sofferenza; dal viso mi colavano continue gocce di sudore. Facevo tanta fatica a tenermi su che non riuscivo a respirare e sono quasi svenuto. Ciò nonostante, questa banda di poliziotti malvagi non faceva che godere della mia disgrazia. “Ti senti bene?” mi ha detto uno. “Se continui a rifiutarti di parlare, abbiamo tanti altri metodi per convincerti!” Vedendo che non rispondevo, erano furenti per la frustrazione e mi hanno detto: “Allora non ne hai avuto abbastanza? Ancora!” … Dopo due o tre ore di questo tormento, ero dolorante dalla testa ai piedi e non mi restavano più forze. Sono caduto a terra senza riuscire a muovermi e ho perso anche il controllo della vescica e dell’intestino. Di fronte alla tortura spietata di questi malvagi poliziotti, ho odiato me stesso per essere stato così cieco e ignorante; ingenuamente, avevo dato per scontato che l’Ufficio di Pubblica Sicurezza fosse un luogo in cui poter ragionare e che i poliziotti avrebbero difeso la giustizia e mi avrebbero rilasciato. Non mi sarei mai aspettato che fossero tanto malevoli e crudeli da voler estorcere una confessione con le sevizie senza un briciolo di prove, torturandomi fin quasi alla morte. Sono davvero la massima espressione del male! Ero steso a terra come fatto a pezzi, e non mi sarei potuto muovere nemmeno se l’avessi voluto. Non sapevo in che modo intendessero ancora torturarmi, né quanto sarei riuscito a resistere. Nella mia sofferenza e nel mio smarrimento, non potevo far altro che implorare continuamente Dio di darmi la forza di sopportare ancora. Dio ha ascoltato le mie suppliche e ha avuto pietà di me, facendomi rammentare uno dei suoi discorsi: “Questo è un momento cruciale. Fai in modo di non demoralizzarti e di non scoraggiarti. Devi guardare avanti in ogni cosa e non voltarti indietro, […] Finché avrai respiro, persevera fino alla fine; solo questo sarà degno di lode” (Capitolo 20 di “Discorsi di Cristo al principio” in “La Parola appare nella carne”). Le parole di Dio mi hanno trasmesso fede e forza in gran quantità. Erano così vere! Poiché stavo percorrendo il cammino della luce e della giustizia, dovevo avere la fede per andare avanti; fossi anche giunto al mio ultimo respiro, dovevo comunque perseverare sino alla fine! Le parole di Dio pulsavano di forza vitale e mi hanno dato la fede e il coraggio per combattere sino alla fine questi demoni malvagi, e così lentamente ho riacquistato anche un po’ di forza fisica. Dopo di che, i malvagi poliziotti hanno continuato a interrogarmi, pestandomi spietatamente i piedi fino a schiacciarmeli e a straziarmeli. Tuttavia non provavo più dolore. Sapevo che tutto questo era dovuto agli atti meravigliosi di Dio; avendo avuto pietà di me e mostrato sollecitudine per la mia debolezza, mi alleviava la sofferenza. In seguito i malvagi poliziotti ci hanno trattenuti con l’accusa di “turbamento dell’ordine pubblico”. Quella sera hanno ammanettato ciascuno di noi a un blocco di cemento di 150-200 chili, a cui siamo rimasti incatenati fino alla sera dopo, quando ci hanno trasferiti al locale centro di detenzione.
Entrare nel centro di detenzione è stato come precipitare in una sorta di inferno. Gli agenti penitenziari mi costringevano a infilare insieme lampadine colorate. Inizialmente dovevo infilarne seimila al giorno, ma poi la quantità è aumentata ogni giorno fino ad arrivare a dodicimila. In conseguenza di questo eccessivo carico di lavoro quotidiano, le dita mi si erano assottigliate fino all’osso, eppure non riuscivo comunque a portare a termine il mio compito. Non avevo altra scelta che continuare a infilarle per tutta la notte. Talvolta non ce la facevo proprio più e volevo fare un pisolino, ma non appena se ne accorgevano mi bastonavano brutalmente. Gli agenti penitenziari incitavano perfino i bulli del carcere dicendo ad alta voce: “Se questi detenuti non fanno il lavoro o non lo fanno bene, dategli un paio di dosi di ‘penicillina’”. Ciò che intendevano con una dose di “penicillina” era affibbiare al detenuto una ginocchiata all’inguine, poi una forte gomitata a metà schiena mentre lui si piegava per il dolore e quindi col tallone pestargli il piede. Questo metodo brutale talvolta faceva svenire lì per lì il detenuto e poteva perfino lasciarlo storpio per tutta la vita. In quel carcere diabolico io svolgevo ogni giorno un lavoro durissimo e per di più dovevo subire pestaggi crudeli. Come se non bastasse, i tre pasti che ci fornivano ogni giorno non erano adatti nemmeno ai cani o ai maiali: le pietanze che mangiavamo erano foglie di ravanello e spinaci d’acqua senza condimento (spesso mescolati a foglie e radici marce, sabbia e fango), oltre a circa 150 grammi di riso e un bicchiere dell’acqua che era stata usata per lavare il riso. Tutto il giorno avevo così fame che lo stomaco mi brontolava di continuo. In un ambiente del genere potevo affidarmi soltanto a Dio Onnipotente; ogni volta che subivo un pestaggio, pregavo con fervore, implorando Dio di darmi fede e forza per poter vincere le tentazioni di Satana. Dopo oltre venti giorni di angherie e tormenti, il mio corpo era così emaciato da essere irriconoscibile: non avevo forza nelle braccia e nelle gambe, non riuscivo a stare in piedi dritto e non avevo nemmeno la forza di stendere le braccia. Ciò nonostante, quelle guardie squilibrate non solo erano indifferenti alla mia situazione, ma si impadronivano anche delle poche centinaia di yuan che mi inviavano i miei familiari. Col passare del tempo le mie condizioni fisiche sono peggiorate sempre più; mi sono indebolito al punto che non ho potuto fare a meno di lamentarmi fra me: “Perché, in questo Paese, una persona che crede in Dio deve subire tante sofferenze? Il motivo per cui diffondo il Vangelo non è forse portare le persone al cospetto di Dio perché ricevano la Sua salvezza? E non ho nemmeno commesso alcun reato…” Più pensavo così, più mi era difficile sopportare e più mi sentivo trattato ingiustamente. Non potevo fare altro che pregare continuamente Dio e implorarLo di avere pietà di me e salvarmi. Nel pieno della mia disperazione e del mio smarrimento, Dio mi ha fatto ricordare un inno dei Suoi discorsi: “[…] 2. Forse vi ricordate tutti di queste parole: ‘Perché la nostra momentanea, leggera afflizione ci produce un sempre più grande, smisurato peso eterno di gloria’. Esse sono ciò che Dio compirà negli ultimi giorni, e saranno adempiute in coloro che sono crudelmente attaccati dal gran dragone rosso, nella terra in cui si trova. Il gran dragone rosso perseguita Dio ed è nemico di Dio, così in questa terra, coloro che credono in Dio sono sottoposti all’umiliazione e alla persecuzione. Ecco perché queste parole diventeranno realtà nel vostro gruppo di persone. 3. È estremamente arduo per Dio portare a termine la Sua opera nella terra del gran dragone rosso, ma è attraverso tale difficoltà che Dio compie una fase della Sua opera per manifestare la Sua saggezza e le Sue meravigliose opere. Dio coglie questa opportunità per rendere completo questo gruppo di persone. A causa della sofferenza delle persone, della loro levatura e di tutta l’indole satanica delle persone in questa terra immonda, Dio svolge la Sua opera di purificazione e di conquista in modo che, attraverso ciò, possa ottenere la gloria e guadagnare coloro che testimoniano le Sue opere. Questo è il significato completo di tutti i sacrifici che Dio ha fatto per questo gruppo di persone” (“Voi siete coloro che riceveranno l’eredità di Dio” in “Seguire l’Agnello e cantare dei canti nuovi”). Le parole di Dio mi hanno trasmesso grande conforto e incoraggiamento e mi hanno consentito di capire la Sua volontà. Poiché noi crediamo in Dio in un Paese ateo, siamo destinati a subire la coercizione e la persecuzione del demone Satana; però il fatto che noi subiamo questo tormento è permesso da Dio, perciò questa sofferenza ha un valore e un significato. È proprio tramite questa persecuzione e questa sofferenza che Dio semina in noi la verità, rendendoci in tal modo meritevoli di ricevere la Sua promessa. Questa “sofferenza” è una benedizione di Dio, e riuscire a rimanerGli fedeli durante tale sofferenza è una testimonianza della vittoria di Dio su Satana ed è anche una prova convincente del fatto che io sia stato conquistato da Dio. “Oggi”, ho pensato, “poiché seguo Dio, subisco questa persecuzione per mano dei demoni del Partito Comunista Cinese, e questo è Dio che mi dimostra uno speciale favore, perciò dovrei sottomettermi alla Sua orchestrazione e affrontarla e accoglierla felicemente con ferma tranquillità d’animo”. Mi sono rammentato un altro discorso di Dio, pronunciato nell’Età della Grazia: “Beati i perseguitati per motivo di giustizia, perché di loro è il Regno dei Cieli” (Matteo 5:10). In quel momento ho trovato fede e forza in misura ancora maggiore: per quanto Satana e i suoi demoni potessero torturarmi, io ero deciso a non cedere, e ho giurato che sarei rimasto saldo nella testimonianza e avrei soddisfatto Dio! Dotate di autorità e potenza, le parole di Dio avevano dissipato la desolazione e lo smarrimento che provavo dentro di me e alleviato la rovinosa sofferenza fisica a cui ero assoggettato. Mi hanno consentito di vedere la luce nel buio, e il mio spirito si è fatto più forte e ostinato.
Poi, malgrado la totale assenza di prove, il governo cinese mi ha inflitto una sentenza di un anno di rieducazione attraverso il lavoro. Quando la polizia mi ha trasportato al campo di lavoro, le guardie carcerarie hanno visto che ero ormai ridotto pelle e ossa e quasi non avevo più nemmeno un aspetto umano. Temendo che morissi, non hanno osato accettarmi, così i poliziotti non hanno avuto altra scelta che riportarmi al centro di detenzione. Ormai ero stato torturato da quei malvagi poliziotti al punto che non riuscivo più a mangiare, eppure non mi hanno prestato cure mediche, dicendo perfino che stavo fingendo. Quando hanno visto che non riuscivo a inghiottire il cibo, hanno incaricato qualcuno di aprirmi la bocca e di ficcarmelo dentro a forza, e poiché avevo difficoltà a deglutire, mi hanno picchiato. Sono stato alimentato a forza e picchiato come una bambola di pezza tre volte in tutto. Una volta constatato che non riuscivano più ad alimentarmi, non hanno avuto altra scelta che portarmi all’ospedale. Dagli esami è risultato che le vene mi si erano indurite; il sangue era diventato pastoso e nero e non circolava adeguatamente. Il medico ha detto: “Se quest’uomo rimane ancora in carcere, di sicuro morirà”. Ciò nonostante quei poliziotti odiosi e malvagi non volevano lasciarmi andare. Poi, con la mia vita appesa a un filo, ho sentito gli altri detenuti dire che ero senza speranza e ormai finito. A quel punto ho provato un’angoscia estrema; a mio parere, essendo ancora così giovane e avendo accolto solo di recente l’opera di Dio degli ultimi giorni, avevo ancora tanto di cui gioire e ancora non avevo visto il giorno della gloria di Dio. Davvero non ero rassegnato a essere torturato a morte dal governo cinese. Disprezzavo totalmente questo branco di poliziotti malvagi e spietati, e provavo un odio ancora maggiore per questo regime perverso, satanico, malvagio e opposto al Cielo che è il governo cinese. Mi aveva privato della libertà di seguire il vero Dio, mi aveva condotto sull’orlo della morte e non mi consentiva di adorare il vero Dio. Il Partito Comunista si oppone con tutte le forze a Dio, perseguita crudelmente i cristiani e intende sterminare tutti coloro che credono in Dio, per fare della Cina un Paese ateo. Questo malvagio demone Satana è effettivamente il nemico che si oppone a Dio in maniera inconciliabile e, per di più, è il nemico che io non potrò mai perdonare. Ho giurato che, se anche fossi stato torturato a morte quel giorno stesso, assolutamente non sarei sceso a compromessi e non mi sarei arreso a Satana! In preda al dolore e all’indignazione, mi sono rammentato una cosa che aveva detto Dio: “Migliaia di anni di odio sono concentrati nel cuore, millenni di peccaminosità sono incisi nel cuore – come potrebbe ciò non ispirare ripugnanza? Vendicare Dio, estinguere completamente il Suo nemico, non permettere a costui di dilagare ulteriormente, e non permettergli di continuare a creare problemi a proprio piacimento! Adesso è il momento: l’uomo da tempo è andato raccogliendo tutte le sue forze, e ha dedicato tutti i propri sforzi, pagato ogni prezzo per questo, per fare a brandelli l’odioso volto di questo demone e permettere alle persone, che sono state accecate e hanno patito ogni genere di sofferenza e di difficoltà, di risollevarsi dalle loro sofferenze e voltare le spalle a questo antico diavolo malvagio” (“Lavoro e ingresso (8)” in “La Parola appare nella carne”). Dopo avere riflettuto sulle parole di Dio, ho visto ancora più chiaramente il volto malvagio e demoniaco del governo cinese e ho constatato che proprio in quel momento stavo affrontando una battaglia spirituale fra la vita e la morte, fra il bene e il male. Lo scopo del governo cinese nel distruggermi in questo modo era costringermi ad abbandonare Dio e a tradirLo, ma Dio mi aveva rammentato e incoraggiato a rimanere forte, a liberarmi della presa che aveva su di me la morte e a renderGli una testimonianza vittoriosa. Non potevo ritirarmi nella negatività; dovevo collaborare diligentemente con Dio e sottomettermi alle Sue orchestrazioni e disposizioni. Come Pietro, dovevo sottomettermi fino alla morte e, nel mio ultimo momento di vita, rendere a Dio una testimonianza salda e risonante e confortare il Suo cuore. La mia vita era nelle mani di Dio e, sebbene Satana potesse ferirmi e massacrarmi il corpo fisico, non poteva distruggermi l’anima, tanto meno fare qualcosa per ostacolare la mia determinazione a credere in Dio e a ricercare la verità. Che sopravvivessi o no quel giorno, il mio unico desiderio era affidare la mia vita a Dio e accettare le Sue orchestrazioni; anche se fossi stato menomato fino a morirne, assolutamente non mi sarei arreso a Satana! Quando mi sono detto disposto a sacrificare la vita e ho deciso di rendere testimonianza a Dio, Egli mi ha dischiuso una via d’uscita inducendo gli altri detenuti a farmi mangiare. Quando è successo quest0, mi sono sentito colmo di entusiasmo; nel profondo sapevo che Dio era al mio fianco ed era stato sempre con me. Per tutto il tempo aveva vegliato su di me e mi aveva protetto, avendo compassione per la mia debolezza e predisponendo tutto per me. In quel tenebroso covo di diavoli, anche se il mio corpo era distrutto, nel cuore non provavo più tanto dolore e tanta disperazione. Dopo quel momento, i malvagi poliziotti mi hanno tenuto in carcere ancora per quindici giorni, ma vedendo che la mia vita era appesa a un filo e che potevo morire da un momento all’altro, alla fine non hanno avuto altra scelta che scarcerarmi. In origine pesavo più di 50 chili, ma nei quasi due mesi di carcere sono stato tormentato fino a ridurmi pelle e ossa: pesavo appena 25 o 30 chili ed ero in pericolo di vita. Ciò nonostante, questo branco di mostri voleva ancora multarmi di diecimila yuan. Alla fine, vedendo che la mia famiglia non aveva alcun modo di reperire una simile somma di denaro, hanno chiesto seicento yuan per pagare le spese per la mia alimentazione, e solo quando l’importo è stato versato mi hanno lasciato andare.
Subire questa tortura disumana e questo trattamento crudele per mano del governo cinese mi ha lasciato la sensazione di essere sfuggito per un pelo alle porte dell’inferno. Che ne fossi uscito vivo era dovuto unicamente alla cura e alla protezione di Dio; Egli mi stava mostrando la Sua grandiosa salvezza. Pensando all’amore di Dio, mi sono sentito doppiamente commosso, e ho imparato ad apprezzare ancora più a fondo la preziosità delle Sue parole. Così, ho preso a leggere ogni giorno avidamente i Suoi discorsi e pregavo spesso Dio. A poco a poco ho capito sempre meglio l’opera che Dio stava compiendo per salvare l’umanità negli ultimi giorni. Dopo un po’, con la cura di Dio, il mio corpo si è ripreso a poco a poco e io ho ricominciato a diffondere il Vangelo e a testimoniare l’opera di Dio degli ultimi giorni. Eppure, finché quel regime satanico rimarrà in piedi, non smetterà mai di cercare di sconvolgere e distruggere l’opera di Dio. In seguito ho di nuovo subìto una caccia frenetica e un arresto da parte della polizia del governo cinese.
Un giorno di novembre del 2004, soffiava un vento gelido e nell’aria turbinavano grossi fiocchi di neve. Durante la nostra opera di diffusione del Vangelo, io e alcuni fratelli e sorelle siamo stati seguiti di nascosto dalla polizia del PCC. Alle otto di sera eravamo nel bel mezzo di una riunione quando abbiamo udito un improvviso picchiare e gridare alla porta: “Aprite! Aprite la porta! Siamo dell’Ufficio di Pubblica Sicurezza! Se non aprite subito questa porta, la sfondiamo!” Senza aver tempo di pensare, ci siamo affrettati a nascondere i lettori VCD, i libri e altro materiale. Un attimo dopo, cinque o sei poliziotti hanno sfondato la porta, irrompendo come un branco di banditi o rapinatori. Uno di loro ha gridato: “Fermi tutti! Mettete le mani sulla testa e accovacciatevi accanto al muro!” Immediatamente alcuni poliziotti sono entrati in ogni stanza mettendo a soqquadro l’intera l’abitazione. Hanno confiscato quattro lettori VCD portatili e alcuni libri sulla fede in Dio. Subito dopo ci hanno costretti a salire nelle auto della polizia e ci hanno condotti alla stazione di polizia locale. Durante il tragitto mi sono tornate alla memoria una dopo l’altra le scene delle orrende torture inflittemi l’anno prima da quei malvagi poliziotti e inevitabilmente mi sono sentito piuttosto nervoso, non sapendo che altro avrebbero potuto inventarsi questa volta per tormentarmi. Temendo di non riuscire a sopportare la loro crudeltà e di finire col tradire Dio, in silenzio ho pregato Dio con fervore. All’improvviso mi sono rammentato alcune Sue parole che avevamo letto durante una riunione alcuni giorni prima: “Io sono colmo di speranza per i Miei fratelli e le Mie sorelle, credo che non siate né desolati né scoraggiati, e che a prescindere da ciò che Dio compie voi siate come un braciere acceso: non siete mai tiepidi e sapete persistere sino in fondo, finché l’opera di Dio sarà stata pienamente rivelata […]” (“Il cammino… (8)” in “La Parola appare nella carne”). “Tutti noi possiamo giurare davanti a Dio: ‘Operare uniti! Devozione fino alla fine! Non separarsi mai, per essere sempre insieme!’. Possiate voi, Miei fratelli e sorelle, prendere questa decisione davanti a Dio, in modo che i nostri cuori non si allontanino e le nostre volontà siano incrollabili!” (“Il cammino… (5)” in “La Parola appare nella carne”). Le parole di Dio mi hanno scosso nel profondo. Ho pensato a come Dio fosse disceso dal cielo in terra e avesse subìto tante prove e tribolazioni durante la Sua opera per offrire salvezza all’umanità. La Sua speranza è che le persone rimangano saldamente fedeli a Lui sino alla fine, per quanto grave sia la loro situazione. Essendo stato prescelto da Dio e avendo gioito del nutrimento dei Suoi discorsi, era giusto che mi offrissi interamente a Lui. “Per quanto io possa soffrire o essere tormentato”, ho pensato, “il mio cuore deve rimanere colmo di fede; i miei sentimenti verso Dio non devono mutare, la mia volontà non deve vacillare. Devo rendere a Dio una testimonianza risonante e non devo assolutamente arrendermi né cedere a Satana. Inoltre non devo tradirLo per andare poi a trascinare avanti un’esistenza ignobile e priva di significato. Dio è Colui dal quale io dipendo e, oltre a questo, è il mio sostegno fidato. Purché io collabori sinceramente con Lui, di certo Egli mi guiderà alla vittoria su Satana”. Così in silenzio ho comunicato la mia decisione a Dio: “O Dio! Anche se devo sacrificare la vita, Ti renderò testimonianza. Qualunque sofferenza io debba sopportare, mi atterrò alla vera via. Mi rifiuto assolutamente di arrendermi a Satana!” Rinvigorita dalle parole di Dio, la mia fede è sbocciata cento volte di più e io ho trovato la fede e la determinazione per sacrificare tutto allo scopo di rimanere saldo nella testimonianza a Dio.
N0n appena siamo arrivati alla stazione di polizia, gli agenti sono corsi a riscaldarsi vicino alla stufa. Tutti mi fissavano, e con le sopracciglia aggrottate e gli occhi infuocati mi interrogavano con voce severa: “Parla! Come ti chiami? A quante persone hai comunicato il Vangelo? Con chi sei stato in contatto? Chi è il capo della tua Chiesa?” Vedendo che ero deciso a rimanere in silenzio, uno dei malvagi poliziotti ha rivelato la sua natura brutale avventandosi su di me e afferrandomi furiosamente per il collo. Mi ha poi sbattuto la testa contro il muro, ripetutamente, fino a stordirmi e a farmi fischiare le orecchie. Poi ha alzato il pugno e mi ha colpito ferocemente al viso e alla testa, gridando: “Sei tu il maledetto capo, vero? Parla! Se no ti appendo in cima all’edificio e ti faccio morire congelato!” Quei malvagi poliziotti mi hanno picchiato brutalmente per una buona mezz’ora o più, fino a farmi vedere le stelle, col sangue che mi colava dal naso. Vedendo che non ottenevano le risposte volute, mi hanno condotto all’Ufficio di Pubblica Sicurezza. Lungo la strada, pensavo al folle pestaggio che avevo appena subìto da parte di quei malvagi poliziotti e sono stato pervaso da un’involontaria ondata di paura. Ho pensato: “Visto che hanno avuto la mano pesante con me appena giunto alla stazione di polizia, a che genere di crudeltà si spingeranno i poliziotti dell’Ufficio di Pubblica Sicurezza per torturarmi? Per me le cose si mettono male. Questa volta forse non ne uscirò vivo…” Mentre rimuginavo tutto questo, il cuore mi si colmava di un senso indescrivibile di disperazione e tristezza. Nel pieno dell’angoscia e dello smarrimento, all’improvviso mi sono ricordato di come Dio mi avesse consentito di sopravvivere miracolosamente l’anno prima, quando i malvagi poliziotti mi avevano torturato fino a pormi in pericolo di vita. Mi sono subito rasserenato, pensando: “Il fatto che io viva oppure muoia è nelle mani di Dio, no? Senza il permesso di Dio, Satana non può riuscire a uccidermi, per quanto ci provi. Ho visto nel passato gli atti meravigliosi di Dio, come posso essermene dimenticato? Come posso essere così privo di fede?” In quel momento ho visto che la mia levatura era ancora troppo immatura: di fronte alla prova della morte imminente, non ero ancora capace di rimanere accanto a Dio. Non ho potuto fare a meno di rammentare uno dei Suoi discorsi: “Ma vivere nella tua mente significa essere preso da Satana e questo è un vicolo cieco. È molto semplice: consideraMi con il tuo cuore e il tuo spirito diventerà immediatamente forte, avrai un cammino da praticare e Io guiderò ogni tuo passo. La Mia parola ti sarà rivelata in ogni momento e in ogni luogo. A prescindere da dove e quando, o da quanto l’ambiente sia avverso, Mi mostrerò a te chiaramente e il Mio cuore ti sarà rivelato se ti rivolgi a Me con il tuo cuore; in questo modo percorrerai la strada di fronte a te e non la perderai mai” (Capitolo 13 di “Discorsi di Cristo al principio” in “La Parola appare nella carne”). Le parole di Dio erano un faro che indicava la via, fornendomi una sempre maggiore lucidità di mente. Mi sono reso conto che Dio voleva usare questo ambiente ostile per purificarmi, in modo che nei momenti di crisi io abbandonassi i concetti e le fantasie e le mie preoccupazioni riguardo alla carne e andassi avanti affidandomi unicamente a Dio e dipendendo dalle Sue parole. Questo era un momento cruciale in cui Dio mi guidava a sperimentare la Sua opera, e ho capito che assolutamente non dovevo tirarmi indietro. Dovevo mettere la mia vita e la mia morte interamente nelle mani di Dio e affidarmi solamente a Lui, lottando sino alla fine contro Satana!
Quando siamo arrivati all’Ufficio di Pubblica Sicurezza, di nuovo i poliziotti ci hanno separati e interrogati singolarmente. Mentre cercavano continuamente di costringermi a parlare di questioni concernenti la mia fede in Dio, uno dei malvagi poliziotti, vedendo che insistevo a tenere la bocca chiusa, si è infuriato: “Pensi davvero di cavartela facendo il muto con noi. Ho finito la pazienza!” Così dicendo, mi ha afferrato per il colletto con entrambe le mani e mi ha scaraventato a terra come un sacchetto di sabbia. Poi gli altri malvagi poliziotti sono accorsi e hanno cominciato a prendermi a calci e a pestarmi dappertutto, fino a farmi rotolare sul pavimento per il dolore. Dopo di che mi hanno messo i piedi sulla testa e hanno premuto forte, sfregando avanti e indietro… Ancora non mi ero del tutto ripreso dalle torture selvagge che avevo sopportato l’anno prima, così dopo essere stato picchiato tanto brutalmente ho provato subito stordimento e nausea. Dolorante dalla testa ai piedi, mi sono raggomitolato. Poi il malvagio poliziotto mi ha strappato via le scarpe e i calzini e mi ha costretto a stare in piedi scalzo. Faceva un tale freddo che involontariamente battevo i denti e i piedi mi si sono intorpiditi. Mi sembrava di non farcela più, di stare per crollare a terra da un momento all’altro. Di fronte ai tormenti crudeli di questi malevoli poliziotti, non ho potuto fare a meno di provare un ardente senso di collera e indignazione. Disprezzavo questi scagnozzi del demonio, di una malvagità assoluta, e aborrivo il vile e reazionario governo cinese, che si oppone al Cielo ed è nemico di Dio, e per costringermi a tradire Dio e a rifiutarLo mi stava devastando e torturando, deciso a tutti i costi a mettermi a morte. Di fronte alla brutalità e alla crudeltà di Satana, ho pensato ancor più all’amore di Dio, soffermandomi sul fatto che per portare la salvezza all’umanità, e a beneficio della nostra futura esistenza, Egli aveva sopportato un’umiliazione estrema quando è venuto di persona fra noi per compiere la Sua opera. Aveva dato la vita per noi e adesso esprimeva con pazienza e sollecitudine le Sue parole per condurci lungo il cammino della ricerca della verità allo scopo di conseguire la salvezza… Valutando quel prezzo scrupolosamente pagato da Dio per la salvezza dell’umanità, mi sono reso conto di come nessuno mi amasse più di Dio; Egli teneva alla mia vita più di chiunque altro. Satana poteva soltanto ferirmi, o divorarmi e uccidermi. In quel momento ho sentito sbocciare nel cuore ancora più affetto e adorazione per Dio e non ho potuto fare a meno di pregarLo in silenzio: “Dio, grazie perché mi guidi e mi salvi in questo modo. Per quanto Satana possa torturarmi oggi, io sicuramente mi impegnerò a fondo per collaborare con Te. Lo giuro, non mi arrenderò e non cederò al demonio!” Con l’incoraggiamento dell’amore di Dio, anche se il mio corpo fisico era debole e fiacco per il tormento, il mio cuore era saldo e forte e io non mi sono arreso nemmeno una volta a quei malvagi poliziotti. Hanno continuato a torturarmi fino all’una di notte, quando, vedendo che non riuscivano proprio a ottenere risposte da me, non hanno avuto altra scelta che condurmi al centro di detenzione.
All’arrivo al centro di detenzione, di nuovo quei malvagi poliziotti hanno incitato i bulli del carcere a escogitare dei metodi per punirmi. Ormai ero stato tormentato a tal punto che avevo il corpo ricoperto di tagli e lividi; ero completamente stremato e appena entrato in cella sono crollato sul pavimento gelido. Vedendomi così, senza dire una parola, i bulli del carcere mi hanno tirato su e mi hanno preso a pugni in testa. Mi hanno picchiato fino a darmi le vertigini, e di nuovo sono caduto pesantemente a terra. Dopo di che i detenuti sono arrivati tutti a tormentarmi, costringendomi a premere una mano sul pavimento e l’altra sull’orecchio e poi a roteare in cerchio come una bussola. Vedendomi stordito a terra prima di avere portato a termine un paio di giri, mi hanno di nuovo preso a calci e picchiato. Uno dei detenuti mi ha perfino assestato un colpo feroce all’addome, facendomi perdere i sensi all’istante. Dopo di che gli agenti penitenziari hanno dato istruzioni ai detenuti di torturarmi e picchiarmi in maniera diversa ogni giorno e di farmi fare tutti i lavori sporchi quotidiani, come lavare i piatti, pulire le latrine e così via. Ero perfino costretto a fare docce fredde nelle giornate di neve. Inoltre, ogni volta che facevo la doccia, tutti mi costringevano a insaponarmi dalla testa ai piedi e poi mi facevano colare lentamente l’acqua gelida su tutto il corpo. Dopo quasi mezz’ora di doccia, avevo così freddo che ero viola dappertutto e tremavo. Di fronte a queste torture e crudeltà disumane, pregavo continuamente Dio, terrorizzato al pensiero che, se Lo avessi abbandonato, sarei diventato completamente prigioniero di Satana. Attraverso la preghiera, le parole di Dio risuonavano continuamente in me e mi guidavano: “Coloro che Dio definisce vincitori sono quelli che possono ancora testimoniare, conservare la fiducia e la propria devozione a Lui quando sono influenzati e assediati da Satana, ossia quando si trovano nelle forze dell’oscurità. Se sei ancora capace di conservare un cuore puro e un amore sincero per Dio a prescindere da tutto, sei testimone innanzi a Lui, e questo è ciò che Egli definisce essere un vincitore” (“Dovresti preservare la tua devozione per Dio” in “La Parola appare nella carne”). Le parole di Dio erano una luce che mi illuminava e mi calmava i pensieri. Sapevo che proprio quando ero assediato da Satana era il momento in cui dovevo avere lealtà e amore per Dio. Anche se questo ambiente disgraziato aveva causato sofferenze e tormenti al mio corpo fisico, dietro tutto questo si celavano il grande amore e le benedizioni di Dio. Era Dio ad avermi dato l’occasione di renderGli testimonianza davanti a Satana e di umiliare totalmente e sconfiggere Satana. Pertanto, mentre subivo queste sofferenze, rammentavo a me stesso ripetutamente che dovevo essere paziente sino alla fine, rimanere saldo nella testimonianza a Dio affidandomi alla Sua guida in questo tenebroso covo di demoni e sforzarmi di essere un vincitore. Guidato dalle parole di Dio, il mio cuore si è fatto saldo e forte. Malgrado la debolezza e il tormento che mi devastavano il corpo fisico, ero fiducioso di poter sopportare tutto allo scopo di avviare una battaglia per la vita o per la morte contro Satana e, col mio ultimo respiro, testimoniare Dio.
Dopo oltre venti giorni di carcere, mi sono preso una grave infreddatura. Avevo tutti e quattro gli arti doloranti e flosci, ero completamente privo di forze e avevo la mente confusa. Col peggioramento delle mie condizioni e con gli spietati pestaggi e torture degli altri detenuti, mi sentivo incapace di resistere ancora. Nel cuore ero particolarmente debole e depresso e pensavo: “Quando finiranno questo tormento e questa crudeltà quotidiani? A quanto pare stavolta verrò condannato, perciò non vi è molta speranza per me di uscire vivo da qui…” Non appena ho pensato così, mi è sembrato che il cuore fosse precipitato in un abisso, e sono sprofondato in una disperazione e un dolore così profondi che non trovavo più la via d’uscita. Nel momento più disperato, mi sono rammentato un inno delle parole di Dio: “Io non voglio che tu sia capace di pronunciare molte parole toccanti, o di raccontare tante storie entusiasmanti; piuttosto, ti chiedo di essere in grado di renderMi una bella testimonianza, e di entrare pienamente e profondamente nella realtà. […] Non pensate più alle vostre prospettive, e agite come avete stabilito davanti a Me, di sottomettervi alle orchestrazioni di Dio in tutte le cose. Tutti quelli che si trovano nella Mia casa dovrebbero fare il possibile; tu dovresti offrire il lato migliore di te stesso all’ultima parte della Mia opera sulla terra. Sei realmente disposto a mettere in pratica queste cose?” (“Siete realmente disposti a sottomettervi alle orchestrazioni di Dio?” in “Seguire l’Agnello e cantare dei canti nuovi”). Riga per riga, le parole di Dio mi hanno percosso il cuore, facendomi provare una profonda vergogna. Ho pensato a tutte le volte in cui avevo versato lacrime amare e mi sono deciso a dedicarmi a Dio in tutte le cose e sottomettermi alle Sue orchestrazioni e disposizioni. Inoltre ho pensato a come, quando le parole di Dio mi avevano guidato mentre sopportavo sofferenze e torture, avessi giurato sulla mia vita davanti a Lui che sarei rimasto saldo nella testimonianza, ma poi, quando a Dio veramente serviva che io pagassi un prezzo per soddisfarLo, mi aggrappavo invece vilmente alla vita e temevo la morte, preoccupandomi soltanto di quel che sarebbe successo al mio corpo fisico. Avevo completamente ignorato la volontà di Dio e pensavo solo a sottrarmi alla mia situazione e a mettermi in salvo il più presto possibile. Ho capito quanto fossi meschino e indegno; non avevo sufficiente fede in Dio ed ero colmo di intenzioni ingannevoli. Non ero in grado di rivolgere a Dio una vera devozione e non avevo in corpo nemmeno un osso davvero obbediente. In quel momento ho capito che nell’opera di Dio degli ultimi giorni ciò che Egli vuole sono il vero amore e la vera lealtà da parte dell’umanità; queste sono le ultime richieste di Dio e gli ultimi compiti da Lui assegnati all’umanità. “In quanto persona che crede in Dio”, pensavo, “dovrei mettermi completamente nelle Sue mani. Poiché la vita mi è stata data da Dio, Egli ha l’ultima parola sul fatto che io viva o muoia. Dato che ho scelto Dio, devo offrirmi a Lui e sottomettermi alle Sue orchestrazioni; per quante sofferenze e umiliazioni io possa subire, devo dedicarmi a Dio con le mie azioni. Non devo avere scelte o esigenze mie; questo è il mio dovere, nonché il senno che dovrei avere. Il fatto che io potessi ancora respirare e fossi vivo era dovuto unicamente alla protezione e alla cura di Dio; questa era la Sua provvista di vita; altrimenti non sarei stato già da tempo distrutto e ucciso dal diavolo? Quando per la prima volta avevo subìto sofferenze e patimenti così intensi, Dio mi aveva guidato a superarli. Che motivo avevo adesso di perdere fiducia in Lui? Come potevo essere negativo e debole, ritirarmi e desiderare di fuggire?” Quando mi è venuto questo pensiero, in silenzio ho confessato a Dio la mia colpa: “Dio Onnipotente! Sono davvero egoista e avido; ho solo voluto gioire del Tuo amore e delle Tue benedizioni, ma non sono stato disposto a dedicarmi sinceramente a Te. Quando penso di dover sopportare la sofferenza di lunghi anni di carcere, desidero soltanto uscire di qui per evitarla. Ho davvero urtato terribilmente i tuoi sentimenti. O Dio! Non voglio continuare a sprofondare ancora; desidero soltanto sottomettermi alle Tue orchestrazioni e disposizioni e accettare la Tua guida. Anche se muoio in carcere, voglio ugualmente renderTi salda testimonianza. Anche se sarò torturato a morte, Ti rimarrò fedele sino alla fine!” Dopo avere pregato, mi sono sentito doppiamente commosso. Anche se provavo dolore come prima, nel cuore sentivo di avere fede e determinazione a non arrendermi finché non avessi onorato il mio giuramento di soddisfare Dio. Non appena mi sono sentito deciso e fiducioso di poter restare saldo nella testimonianza a Dio fino alla morte, è successa una cosa miracolosa. Una mattina presto mi sono alzato dal letto e ho scoperto di non avere più la sensibilità ai piedi. Non riuscivo affatto a sostenermi, tanto meno a camminare. Inizialmente quei malvagi poliziotti non mi hanno creduto; supponendo che io fingessi, hanno cercato di costringermi a stare in piedi. Tuttavia, per quanto ci provassi, non ci riuscivo, Sono ritornati il giorno seguente a esaminarmi. Notando che avevo entrambi i piedi gelidi e del tutto privi di circolazione sanguigna, si sono convinti che ero davvero paralizzato. Dopo di che hanno comunicato ai miei familiari che potevano riportarmi a casa. Il giorno in cui sono arrivato a casa, miracolosamente mi è ritornata la sensibilità ai piedi e non ho avuto alcuna difficoltà a camminare! So nel profondo che tutto questo è dovuto a Dio Onnipotente, che ha mostrato compassione per la mia debolezza. Egli Stesso mi ha dischiuso una via d’uscita, consentendomi di andarmene libero e senza intoppi dal covo di Satana dopo essere stato detenuto illegalmente per un mese dal governo cinese.
Dopo essere stato due volte detenuto e sottoposto alle torture crudeli e disumane del governo cinese, anche se fisicamente avevo sofferto ed ero stato perfino prossimo alla morte, queste due esperienze straordinarie in realtà hanno costituito un solido fondamento per il mio cammino verso la fede in Dio. Nel pieno delle mie sofferenze e tribolazioni, Dio Onnipotente mi ha offerto la più concreta possibilità di dissetarmi con la verità e la Sua provvista di vita, non solo consentendomi di capire a fondo le intenzioni del governo cinese, il suo odio per la verità, la sua inimicizia verso Dio e il suo volto demoniaco, e di venire a conoscenza dei crimini efferati con cui si oppone a Dio e perseguita i Suoi fedeli, ma anche offrendomi la capacità di apprezzare la potenza e l’autorità delle parole di Dio. Il fatto che io sia riuscito a sottrarre per due volte la mia vita alle malvagie grinfie del Partito Comunista Cinese è stato unicamente il risultato della cura e della misericordia di Dio. Inoltre, in tal modo si è concretata e confermata la straordinaria forza vitale di Dio. Adesso mi rendo conto profondamente che in ogni momento e in ogni luogo Dio Onnipotente è sempre stato il mio unico sostegno e la mia salvezza! In questa vita, per quanti pericoli o patimenti io possa subire, sono deciso a perseverare nel mio impegno a seguire Dio Onnipotente, diffondendo attivamente la Sua parola e rendendo testimonianza al nome di Dio, ripagando il Suo amore con la mia autentica devozione!
Fonte: La Chiesa di Dio Onnipotente
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
Dong Jingxin is a preacher in a house church in China. She's believed in the Lord for thirty years, and loves the truth; she frequently reads the Lord's words and is driven by them. She expends herself for the Lord with enthusiasm. Because of her preaching work, she was arrested by the police of the Chinese Communist government and sent to prison where she endured cruelty and torture. It was the words of the Lord that guided her through enduring seven years of inhuman prison life. After getting out, her co-worker Chenguang comes to see her and reads to her from the words of Almighty God, bearing witness that God has appeared and is working in the last days . She also gives her a copy of The Word Appears in the Flesh. After reading quite a bit of the words of Almighty God, Dong Jingxin feels that they are authoritative and that they have come from God. She develops a heart of longing to seek. Dong Jingxin and her husband hungrily devour the words of Almighty God and discover that they are all the truth, and that they are the voice of God. They determine that Almighty God really is the return of the Lord Jesus they have been awaiting for years! Just as the two of them are awash in the joy of welcoming the return of the Lord, the chief of police pays them a visit to warn them against attending any gatherings or doing any preaching. He warns them that they particularly must report anyone who preaches Eastern Lightning , giving rise to anxiety in Dong Jingxin. After that, once their pastor finds out that Dong Jingxin is leading brothers and sisters to look into the work of God in the last days, he also interferes with and blocks them. Faced with confusion and disruption from the forces of Satan, Dong Jingxin is able to clearly see the true face of the pastors and elders of the religious world through prayer, seeking, and fellowship. She does not back down, but continues to lead brothers and sisters to investigate the true way, and she invites people from the Church of Almighty God to give fellowship and bear witness to the work of Almighty God in the last days. In the end, everyone acknowledges that the words uttered by Almighty God really are the voice of God, and that He is the appearance of God. Everyone is deeply moved: What a beautiful voice the words of Almighty God are!
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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Uncle Tom's Cabin; or, Life Among the Lowly is an anti-slavery novel by American author Harriet Beecher Stowe, published in 1852.
Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, featured the character of Uncle Tom, a long-suffering black slave around whom the stories of other characters revolve. The sentimental novel depicts the reality of slavery while also asserting that Christian love can overcome something as destructive as enslavement of fellow human beings.
Uncle Tom's Cabin was the best-selling novel of the 19th century and the second best-selling book of that century, following the Bible
It is credited with helping fuel the abolitionist cause in the 1850s. In the first year after it was published, 300,000 copies of the book were sold in the United States; one million copies were sold in Great Britain. In 1855, three years after it was published, it was called "the most popular novel of our day." The impact attributed to the book is great, reinforced by a story that when Abraham Lincoln met Stowe at the start of the Civil War, Lincoln declared, "So this is the little lady who started this great war." The quote is apocryphal; it did not appear in print until 1896, and it has been argued that "The long-term durability of Lincoln's greeting as an anecdote in literary studies and Stowe scholarship can perhaps be explained in part by the desire among many contemporary intellectuals ... to affirm the role of literature as an agent of social change."
Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, wrote the novel as a response to the 1850 passage of the second Fugitive Slave Act.
Much of the book was composed in Brunswick, Maine, where her husband, Calvin Ellis Stowe, taught at his alma mater, Bowdoin College.
Stowe was partly inspired to create Uncle Tom's Cabin by the 1849 slave narrative The Life of Josiah Henson, Formerly a Slave, Now an Inhabitant of Canada, as Narrated by Himself. Henson, a formerly enslaved black man, had lived and worked on a 3,700 acres (15 km2) tobacco plantation in North Bethesda, Maryland, owned by Isaac Riley.[ Henson escaped slavery in 1830 by fleeing to the Province of Upper Canada (now Ontario), where he helped other fugitive slaves settle and become self-sufficient, and where he wrote his memoirs.
Stowe acknowledged in 1853 that Henson's writings inspired Uncle Tom's Cabin. When Stowe's work became a best-seller, Henson republished his memoirs as The Memoirs of Uncle Tom and traveled on lecture tours extensively in the United States and Europe. Stowe's novel lent its name to Henson's home—Uncle Tom's Cabin Historic Site, near Dresden, Canada—which since the 1940s has been a museum. The cabin where Henson lived while he was enslaved no longer exists, but cabin on the Riley farm erroneously thought to be the Henson Cabin was purchased by the Montgomery County, Maryland, government in 2006. It is now a part of the National Park Service National Underground Railroad Network to Freedom program, and plans are underway to build a museum and interpretive center on the site.
American Slavery As It Is: Testimony of a Thousand Witnesses, a volume co-authored by Theodore Dwight Weld and the Grimké sisters, is also a source of some of the novel's content.
Stowe said she based the novel on a number of interviews with people who escaped slavery during the time when she was living in Cincinnati, Ohio, across the Ohio River from Kentucky, a slave state. In Cincinnati the Underground Railroad had local abolitionist sympathizers and was active in efforts to help runaway slaves on their escape route from the South.
Uncle Tom's Cabin first appeared as a 40-week serial in National Era, an abolitionist periodical, starting with the June 5, 1851, issue. Because of the story's popularity, the publisher John Jewett contacted Stowe about turning the serial into a book. While Stowe questioned if anyone would read Uncle Tom's Cabin in book form, she eventually consented to the request.
Convinced the book would be popular, Jewett made the unusual decision (for that time) to have six full-page illustrations by Hammatt Billings engraved for the first printing.
Published in book form on March 20, 1852, the novel soon sold out its complete print run. A number of other editions were soon printed (including a deluxe edition in 1853, featuring 117 illustrations by Billings).
The book was translated into all major languages, and in the United States it became the second best-selling book after the Bible. Uncle Tom's Cabin sold equally well in Britain, with the first London edition appearing in May 1852 and selling 200,000 copies. In a few years over 1.5 million copies of the book were in circulation in Britain, although most of these were pirated copies (a similar situation occurred in the United States).
Uncle Tom's Cabin outraged people in the American South.[24] The novel was also roundly criticized by slavery supporters.
Acclaimed Southern novelist William Gilmore Simms declared the work utterly false, while others called the novel criminal and slanderous. Reactions ranged from a bookseller in Mobile, Alabama, who was forced to leave town for selling the novel to threatening letters sent to Stowe (including a package containing a slave's severed ear).
Many Southern writers, like Simms, soon wrote their own books in opposition to Stowe's novel.
In response to Uncle Tom's Cabin, writers in the Southern United States produced a number of books to rebut Stowe's novel. This so-called Anti-Tom literature generally took a pro-slavery viewpoint, arguing that the issues of slavery as depicted in Stowe's book were overblown and incorrect. The novels in this genre tended to feature a benign white patriarchal master and a pure wife, both of whom presided over childlike slaves in a benevolent extended family style plantation. The novels either implied or directly stated that African Americans were a childlike people unable to live their lives without being directly overseen by white people.
Among the most famous anti-Tom books are The Sword and the Distaff by William Gilmore Simms, Aunt Phillis's Cabin by Mary Henderson Eastman, and The Planter's Northern Bride by Caroline Lee Hentz, with the last author having been a close personal friend of Stowe's when the two lived in Cincinnati. Simms' book was published a few months after Stowe's novel, and it contains a number of sections and discussions disputing Stowe's book and her view of slavery. Hentz's 1854 novel, widely-read at the time but now largely forgotten, offers a defense of slavery as seen through the eyes of a northern woman—the daughter of an abolitionist, no less—who marries a southern slave owner.
In the decade between the publication of Uncle Tom's Cabin and the start of the American Civil War, between twenty and thirty anti-Tom books were published. Among these novels are two books titled Uncle Tom's Cabin As It Is (one by W.L. Smith and the other by C.H. Wiley) and a book by John Pendleton Kennedy. More than half of these anti-Tom books were written by white women, with Simms commenting at one point about the "Seemingly poetic justice of having the Northern woman (Stowe) answered by a Southern woman."
Even though Uncle Tom's Cabin was the best-selling novel of the 19th century, far more Americans of that time saw the story as a stage play or musical than read the book.[84] Eric Lott, in his book Uncle Tomitudes: Racial Melodrama and Modes of Production, estimates that at least three million people saw these plays, ten times the book's first-year sales.
Uncle Tom's Cabin has been adapted several times as a film. Most of these movies were created during the silent film era (Uncle Tom's Cabin was the most-filmed book of that time period).[93] Because of the continuing popularity of both the book and "Tom" shows, audiences were already familiar with the characters and the plot, making it easier for the film to be understood without spoken words. There has been no Hollywood treatment since the end of the silent era.
blogged:
tinyhaus.blogspot.com/2012/07/the-last-elephant.html
I made this piece after seeing photos of Jimmy John Liautaud, founder of Jimmy John's, killing endangered animals on Safari in Africa. I was enraged and disgusted! I'm happy I've never eaten at a Jimmy Johns and after this I never will. Thanks for bringing my attention to this Lisa. The company that is responsible for these killing "adventures" is Johan Calitz Safaris. I can't stand to look at those pictures, they're just vial.
My mother's family was from a rural part of Vietnam. My grandfather was a hunter and both my mom and grandmother have done their share of slaughtering chickens, fish and I think pigs and goats. I'm an omnivore so I don't want to step on a soapbox and pass judgment on the killing of animals. But I'm 100% against animal cruelty and senseless acts like this. It's just a pure ego stroke, lacking in any compassion or consideration. You want to shoot something get a camera!
My mother's family was from a rural part of Vietnam. My grandfather was a hunter and both my mom and grandmother have done their share of slaughtering chickens, fish and I think pigs and goats. I'm an omnivore so I don't want to step on a soapbox and pass judgment on the killing of animals. But I'm 100% against animal cruelty and senseless acts like this. It's just a pure ego stroke, lacking in any compassion or consideration. You want to shoot something get a camera!
The Last Elephant 2012
carved carpenter's pencil (graphite & wood)
5 1/4"h x 5/8"w x 1/4"d (13.3cm x 1.6cm x .6cm)
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
Fonte dell'immagine: Il Lampo da Levante
Condizioni d'Uso: Avviso legale e condizioni per l’uso
1. Ogni parola di Dio è un’espressione della Sua indole
Hu Ke Città di Dezhou, Provincia dello Shandong
Ogniqualvolta vedevo queste parole pronunciate da Dio mi sentivo ansiosa: “In ogni frase che ho pronunciato è contenuta l’indole di Dio. Fareste bene a ponderare attentamente le Mie parole, e ne trarrete di certo grande profitto” (“È molto importante comprendere l’indole di Dio” in “La Parola appare nella carne”). Mi sentivo ansiosa perché capire l’indole di Dio è fondamentale per l’uomo, sia per la sua comprensione di Dio, sia nel suo cercare di amarLo e soddisfarLo. Ma quando mangiavo e bevevo delle parole di Dio, avevo sempre la sensazione che la Sua indole fosse troppo astratta e io non sapessi come comprenderla. Successivamente, attraverso la condivisione da parte del mio leader, ho appreso che avrei dovuto capire ciò che piace a Dio e ciò che Egli odia dalle Sue parole, e in tal modo arrivare a comprendere la Sua indole. Di conseguenza, ho provato a metterlo in pratica per qualche tempo e ho visto dei risultati. Tuttavia ero ancora perplessa riguardo alle parole di Dio, “In ogni frase che ho pronunciato è contenuta l’indole di Dio” e non avevo idea di come intenderle esattamente.
Un giorno ho letto queste parole in un sermone: “L’indole di Dio contiene molti aspetti. Essa contiene ciò che Dio ha ed è, le Sue riflessioni, le Sue idee, il Suo pensiero e la Sua saggezza. Essa contiene l’atteggiamento di Dio verso ogni genere di persona, come il Suo sentimento di misericordia e di premura, e ancor più la Sua ira verso la ribellione e la resistenza del genere umano. Poiché ognuna delle frasi di Dio contiene il Suo pensiero, la Sua saggezza e le Sue idee, poiché tutte contengono il contesto e la fonte delle Sue parole, poiché esse esprimono tutte naturalmente l’atteggiamento di Dio verso l’umanità, e non c’è una sola frase che sia priva di fondamento, per questo è un fatto molto naturale che ogni frase contenga l’indole di Dio. Ogni parola che gli esseri umani dicono esprime la loro indole della vita, dunque ogni parola di Dio non conterrà a maggior ragione la Sua indole? Ciò è facile da comprendere, ma come scoprirlo e conoscerlo non è così semplice come si possa immaginare. Se, quando si leggono le parole di Dio, non si cerca di ponderarle a sufficienza, non ci si sforza abbastanza o non si ha esperienza sufficiente, allora l’indole di Dio non sarà facile da percepire, e ancor meno da capire. Ciò che è necessario, quindi, è che l’uomo si plachi davanti a Dio, che metta interamente il suo cuore nelle Sue parole e che la lettura e il tentativo di ponderarle avvengano durante la preghiera
; allora tu giungerai lentamente a scoprire l’ordine di idee che sta dietro le parole di Dio. Questo è l’inizio dell’ingresso” (La condivisione del Fratello). Quando ho letto questa condivisione tutto mi è diventato chiaro. Mi sono resa conto che l’indole di Dio contiene molte cose: contiene ciò che Egli ha ed è, le Sue riflessioni e le Sue idee, il Suo pensiero e la Sua saggezza, così come il Suo atteggiamento verso ogni genere di persona, e così via. Inoltre, ciascuna delle frasi di Dio contiene il contesto e la fonte di ogni Sua parola, e non c’è una sola frase che sia priva di fondamento, e ogni singola cosa che Dio fa e ogni frase che Egli pronuncia sono una naturale espressione di tutto ciò che Egli è nella vita. La mia comprensione dell’indole di Dio, d’altro canto, era limitata solo a ciò che Egli ama e a ciò che Egli odia. Questo tipo di comprensione era troppo unilaterale e dunque non era in grado di raggiungere una conoscenza dell’indole di Dio partendo da ogni Sua singola frase. Oltre a questo ho capito anche che, se volevo comprendere l’indole di Dio da ogni Sua frase, dovevo placarmi dinanzi a Lui e compiere uno sforzo molto più grande per cercare di capire a fondo le Sue parole. Inoltre, avevo bisogno di pregare e di cercare la guida dinanzi a Dio, focalizzandomi sulla comprensione dello stato d’animo dietro alle parole che Egli aveva pronunciato, così come sul contesto e sulla fonte dietro alle Sue azioni.
Ringrazio Dio per l’illuminazione e la rivelazione che mi hanno permesso di rendermi conto di queste cose e, quindi, in seguito, ho iniziato a focalizzarmi sulla pratica e l’ingresso in questo aspetto. Un giorno ho letto un brano delle parole di Dio: “Se quest’opera sia importante o meno, dipende dai bisogni del genere umano, dalla realtà della sua depravazione, dalla gravità della disobbedienza di Satana e dal suo disturbo dell’opera. Il giusto, cioè colui che è all’altezza del compito, è stabilito in base alla natura della propria opera e all’importanza di quest’opera. Quando si tratta dell’importanza di quest’opera, in termini di quale metodo di lavoro adottare − opera compiuta direttamente dallo Spirito di Dio, opera compiuta dal Dio incarnato
, o opera compiuta attraverso l’uomo − la prima ad essere eliminata è l’opera compiuta attraverso l’uomo e, in base alla natura dell’opera e alla natura dell’opera dello Spirito rispetto a quella della carne, è infine stato stabilito che l’opera compiuta dalla carne è più benefica all’uomo dell’opera compiuta direttamente dallo Spirito, e offre più vantaggi. Questo è il pensiero di Dio, al momento di decidere se l’opera debba essere compiuta dallo Spirito o dalla carne” (“L’umanità corrotta ha maggiormente bisogno della salvezza del Dio incarnato” in “La Parola appare nella carne”). Quando ho cercato con attenzione di comprendere questo brano, ho sentito di aver scoperto un grande dono. Le parole di Dio mostrano lo sviluppo del Suo pensiero in quel momento, mentre rifletteva su quale metodo utilizzare per l’opera degli ultimi giorni. Durante il corso del Suo pensiero, la prima cosa che Dio ha considerato è stata quale metodo usare che fosse di maggiore beneficio per l’uomo in quest’opera, quale fosse il modo migliore per raggiungere l’esito della salvezza dell’uomo e cosa fare per portare Satana ad accettare la sconfitta, vincendolo in tal modo e portando alla salvezza completa le persone che sono state così profondamente danneggiate. Durante l’intero processo di pensiero, Dio ha costantemente tenuto in considerazione l’uomo e mai i Propri interessi o la Propria incolumità. Dio sapeva chiaramente che la Sua incarnazione avrebbe patito molta sofferenza, ma ciò non è stato preso in esame quando si è trattato di salvare l’umanità. Invece, Egli ha scelto comunque il metodo del Dio che Si fa carne per compiere l’opera degli ultimi giorni, basandosi sulle necessità dell’umanità e sulla realtà della depravazione del genere umano. Egli corre un grande pericolo addentrandosi nella tana della tigre; Egli subisce la persecuzione selvaggia e la caccia del gran dragone rosso, sopporta gli abusi e la blasfemia delle varie religioni e confessioni e tollera la resistenza, la ribellione e l’incomprensione di quelli di noi che le seguono. Le ferite e gli attacchi inflitti al cuore di Dio e l’umiliazione che Egli sopporta sono veramente cose che nessuno può comprendere. Tutto ciò che Dio esprime e rivela è tutto quello che Egli è nella vita: la Sua dedizione disinteressata all’umanità e il Suo pagare il prezzo per essa. La grandezza di Dio e il Suo altruismo sono rivelati naturalmente nella Sua opera e in ogni Sua frase, e queste esprimono anche la grande misericordia e l’amore disinteressato di Dio. Il Suo amore per l’umanità non è solo parole vuote, ma un prezzo concreto che Egli paga. In quel momento, ho avuto una vivida percezione che Dio è davvero così grande e così amabile! Quindi, sebbene avessi letto queste parole di Dio in precedenza, non avevo mai capito il contesto dietro le parole che Cristo
aveva pronunciato o tutto ciò che esse rivelavano, né l’amore di Cristo per l’umanità. Solo in quel momento ho avuto un’autentica comprensione di queste parole di Dio: “In ogni frase che ho pronunciato è contenuta l’indole di Dio”.
Prima, poiché non avevo mai quietato il mio cuore o provato seriamente a capire le parole di Dio, avevo perso tante buone opportunità di comprenderLo, al punto che persino oggi ho ancora tante nozioni e fraintendimenti verso di Lui e sono ancora estraniata da Lui. Solo ora comprendo che, se desidero capire l’indole di Dio, devo provare seriamente a capire e a cercare la verità all’interno di ogni Sua frase. In questo modo trarrò certamente un grande beneficio. Da oggi in poi desidero concentrarmi sul porre più impegno nelle Sue parole, e cercare di diventare presto una persona che ha una certa comprensione di Dio.
Fonte: Il Lampo da Levante
willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
www.jejuweekly.com/news/articleView.html?idxno=1554
“Is this the right place?” I asked my friend as we arrived at the quiet, nondescript building on the eastern side of Jeju City. “I think so,” she replied unconvincingly as we descended the dimly lit stairs. We had just finished an excellent dinner, and I was reluctant to let such a great evening end early. I wanted to go somewhere a little different and had heard about a popular tea house called Namu Mulggogi.
As we opened the well-worn, wooden doors, a warm, golden light from the room flooded over us. Entering the room I was struck by a multitude of sights and sounds. A variety of colorful wind chimes, dolls, and a mini waterfall made out of vertically stacked cups sat like an oasis in the center of the room. Beautiful clay tea pots, bowls and cups of all sizes and shapes adorned the shelves lining the back wall. Soft music played in the background, completing the tranquil scene before us.
Approaching the front counter, we were greeted by a pleasant young woman who quietly led us to our table. She left us alone to take in the peaceful atmosphere only to return a short time later to place a pot of steaming green tea and a colorful array of snacks on the table.
The tea, grown locally, was freshly made, had perfect texture and a wonderfully mild flavor. The snacks were equally fantastic. Sun-flower seeds wrapped in dried persimmon. Dried radish stuffed with sesame seeds. Broiled dates. Dried carrots that tasted like jellied candy. It was all delicious!
While we were drinking our tea, we were joined by the owner, Won Jong-ae. She explained she had opened the tea house about six years ago out of a love for tea and people and a desire to preserve a little piece of Korean culture. She told us she has even opened a class on the second floor that teaches the art of the Korean tea ceremony, including pouring etiquette, a tradition that dates back nearly 1,400 years.
“All foreigners are welcome to take part in the class,” she exclaimed enthusiastically.
As we walked home that night, we passed a popular coffee shop. Its big, glass front window glistened under the glare of its bright lights. I looked inside and could see the same stainless steel stools, overstuffed sofas, and plastic chairs you can find in dozens of other coffee shops around Jeju City. A counter sat at the back, cluttered with the usual generic cookies and cakes. Pop music blared in the background. It made me pine for my next visit to Namu Mulggogi.
Please view my stream LARGE on black:
Thierry Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
AHS Ames High School Alumni Assoc AHSAA Ames, IA
ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join
Gary Clem biography in the 2016 Hall of Fame program.
Another photo of Gary Clem
Gary W. Clem, Class of 1961
Distinguished Alumni Award Presented by Bill Ripp
Gary W. Clem, AHS Class of 1961, is currently Chairman of ALMACO in Nevada, Iowa. Gary’s formal education in Ames included Crawford and Roosevelt Elementary Schools as well as Central Junior H.S. and Ames Sr. H.S. In high school Gary worked for Allan Machine & Supply Company doing a variety of odd jobs. Following an excursion to California after graduation, he returned to the Midwest and enrolled in an Apprenticeship Tool and Die Maker program in Omaha, NE. Upon his graduation in 1966, Gary was drafted by the Army and stationed in Germany during the Viet Nam Conflict. Following his military discharge, from 1968-1971 Gary was the Product Manger of the Aluminum Container Division for Revere Copper and Brass in Louisville. Kentucky. In 1972, Gary returned to Ames to become the general manager of Allan Machine & Supply Company, which at that time employed 8 people and provided all types of welding, repair and machining services. In the mid-70s Iowa State University and the U.S. Dept. of Agriculture approached the business about producing a specialized self-propelled, self-cleaning plot harvester to use in the seed research programs. After building several unsuccessful prototypes, the first Clark-Fehr SPC20 combine was manufactured in 1976, casting the mold for the future of seed research equipment.
In 1978 Gary purchased the manufacturing and machine segments of Allan Machine and Supply Company, along with the research equipment brand name ALMACO. He continued to expand the research equipment product line to include planters, threshers, combines and their electronic data collection and control systems. In 1982, business growth prompted Gary to move ALMACO, along with about 50 employees, to its current location in Nevada, Iowa. Demand for the seed research equipment continued to grow, so in the mid-80's ALMACO shut down its welding and repair services in order to focus entirely on manufacturing seed research technology. Today ALMACO’s state-of-the-art design and manufacturing facility occupies 120,000 sq. ft. on a 75 acre campus, at times employing over 200 individuals. ALMACO has developed and patented numerous models of specialized agricultural research combines, planters and electronic equipment for planting and harvesting research tests for the improvement of corn, soybeans, wheat, rice and other seeds. ALMACO has placed equipment worldwide, and recently they opened a satellite facility in Brazil to accommodate the growth of agricultural research in South America. The ALMACO products that have been developed over the years have helped automate the seed research industry and have contributed significantly to increasing the world food production.
Gary is also very generous with his time and talent. While living in the Nevada, Iowa community, he has served in the following capacities: 10 years on the Nevada City Council, President of the Nevada Rotary Club and inducted into the Nevada Rotary Hall of Fame, President of the Nevada Chamber of Commerce, Chairman of the Nevada Economic Development, Mainstream Living Board of Directors, Citizens for Criminal Justice (CCJ) Board member and member of the Cornerstone Church in Ames. Other Businesses include: GWC Real Estate, Ames Executive Rentals, and Iowa Boys Real Estate. He enjoys motor homing, collecting classic cars and vintage Harley Davidson’s, fishing and motorcycling throughout the USA. This year marks 24 years of marriage to his wife, Sue, and they are enjoying the blended family of six children and twelve grandchildren. They currently spend six months in Nevada and six months in Gold Canyon, Arizona. It is with great pleasure that we present our 2016 AHSAA Distinguished Alumnus Award to Gary W. Clem, AHS Class of 1961.
Ames High School 25th Annual Hall-of-Fame Induction Banquet
Thursday September 29, 2016
Ames High School Cafeteria
Ames Hi Aims High
Camera: Motorola X Pure mobile phone camera
photobyEd photobyEdHendrickson
Sponsored by: Ames High School Athletic Booster Club
www.monitor-systems-engineering.com/anti_piracy_terrorism...
Maritime Early Detection Systems (M.E.D's) for Oil Rigs, Semi-Submersibles and Jack-Ups!
Ninety percent of the world’s trade moves in containers and nearly half of all incoming U.S. trade moves by ship. The current situation is bleak at best, Maritime attacks are on the increase. Pirates are more aggressive. The financial impact is significant and increasing. Military solutions are weak– they can’t be everywhere at the same time and private sector solutions are non–existent.
Don't leave port without it!
• Integrated systems designed to specific threat levels, pier side, at anchor and under way
• Any ship can be easily refit to any level of ability
• Crew assistance with installations cut costs
• System operates with no user interface
• System can provide off vessel reporting and monitoring
• Integrated system designed to give advance warning prior to boarding, giving crew time to take evasive action
A Closer Look at Maritime Early Detection Systems (M.E.D's) Onboard
With day/night and infrared gyro-stabilized cameras and motion detection equipment strategically placed, crews are alerted to the presence of an approaching threat. Bearing and speed data are provided through a radar interface.
This is integrated into a security network on board with custom control panels and alert devices placed throughout the vessel. Custom control and monitoring can be satellite linked to corporate security offices, central monitoring and law enforcement personnel.
Monitor Systems is the United Kingdom distributor for Radio Zeeland DMP’s highly effective, maritime security system. We supply, install and commission the Maritime Early Detection System (M.E.D.S) which offers a comprehensive layered security approach with onboard advance warning for ships, boats, rigs, platforms and pipelines against acts of terrorism, hijacking, piracy and other violations of security wherever a vessel is operating.
M.E.D.S delivers a military grade solution in a commercial format combining unique cutting edge technology integrated in design and function with a user-friendly interface. Utilising a customised perimeter sensor monitoring network and sophisticated infra-red tracking day/night vision cameras and onboard radar equipment, this state of the art system generates a secure perimeter network extending outwards from the vessel, divided into three zones – Red, Orange and Yellow. Each zone represents a secured area in relation to its proximity to the vessel to provide maximum levels of detection able to detect intruders from all quadrants in advance.
M.E.D.S. can be expanded and integrated with other options and systems and can be installed whilst the vessel is in service thereby eliminating costly downtime.
Case Study
Overview: Under construction. Anti piracy maritime security solutions, Non-Lethal Anti-Piracy Maritime Security Solutions, Terrorism Maritime Security, piracy detection, anti piracy, against piracy, anti-piracy, maritime piracy, sea piracy, high seas piracy, piracy solutions, piracy security, marine security, maritime security, Maritime Early Detection System, maritime piracy protection
Maritime Early Detection System (M.E.D.S)
Overview: Maritime Early Detection Systems (MEDS™) is a combination of unique integrated state of the art technologies. By equipping maritime assets with these advanced detection systems we can dramatically decrease the potential of a hostile takeover of ships /rigs in port or at sea. The worldwide threat of terrorism and piracy in international waters is increasing exponentially and the need for a solution is becoming paramount.
Option 1 uses a proximity sensor network with built in motion sensing which provides short range detection capabilities that allow a ship’s crew enough time to take the necessary measures to successfully avoid attacks before assailants are in the pilot house and have control of the vessel.
Maritime Early Detection System (M.E.D.S)
Short Range Detection
MEDS™ Perimeter Sensor Network provides a 180 degree laser grid of protection that is proven to work in extreme temperature and weather conditions. Each sensor is mounted into the side frame of the vessel and equipped with a remote enclosure with internal battery back up and redundant wired and emergency wireless communications via armored cable and cyclonic secure encryption respectively.
Each sensor ties into a wired data hub and reports its status continuously. If hard wired communication fails or is lost to any one unit the wireless communication feature will query as a back up. If this query is not returned it will report a failure of sensor locally to the monitoring system and control panels, as well as triggering an audible alarm.
Maritime Early Detection System (M.E.D.S)
MEDS™ Sensors
Photo of typical sensor system installation provides 180 degree continuous protection for the vessel, cargo and crew. Added green ½ spheres illustrate the sensor overlapping downward facing protection. Sensors are in NEMA 4x weatherproof enclosures with lighted alarm and klaxon for local indication of perimeter breach or sensor failure. Each sensor has a built in lens heater and remote back up power supply to ensure optimal operation under even the most extreme conditions and scenarios.
Maritime Early Detection System (M.E.D.S)
System Redundancy and Protective Measures
The complete MEDS package is designed with multiple redundant integrated communication systems that ensure that upon failure or destruction of one part of the system another system will come online to compensate for the failure. Upon loss of any component in the system even down to the smallest communication error, the crew or port security personnel is alerted via the monitoring control system and control of the issue giving a real time diagnostic of the overall health of the system. This feature ensures that no matter what is attempted to bring down the system for intrusion purposes the system will continue to function to do what is required … PROTECT AND REPORT.
Maritime Early Detection System (M.E.D.S)
System Expandability and Customisation
One key feature that stands out with the MEDS™ solution over any other devices currently on the market is the ability of the system to be integrated with other options and systems that the end user wishes to include. The system is based off of standard Ethernet Protocol which allows us to program Ethernet based modules to allow time and/or event delayed operation of external components. For example if minutes after a confirmed perimeter breach the owner wanted all cargo holds and the pilot house of the vessel to lock down until released from inside the pilot house via a secure code command MEDS™ allows that possibility. Or maybe a more aggressive approach is desired while still remaining non‐lethal in design. If the owner wanted motion activated debilitating sonic devices enabled at all doors when a confirmed breach is detected after the lock down of all doors this can be accomplished as well. Anything that you can think of when it comes to protecting your vessel and investment.
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Further Reading
Overview: Maritime Security.
Maritime security is concerned with the prevention of intentional damage through sabotage, subversion, or terrorism. Maritime security is one of the three basic roles of the United States Coast Guard has gradually developed in response to a series of catastrophic events, which began in 1917.
There are three main maritime security activities conducted by the Coast Guard: Port Security / Vessel Security and Facility Security.
Port Security
The Port Security requirements found in the MTSA requires security measures for U.S. ports in order to reduce the risks and to mitigate the results of an act that threatens the security of personnel, facilities, vessels, and the public. The regulations draw together assets within port boundaries to provide a framework to communicate, identify risks, and coordinate resources to mitigate threats and consequences. The COTP must ensure that the total port security posture is accurately assessed, and that security resources are appropriate to meet these programs. The COTP must identify critical assets within a port, develop a prioritized list of those most susceptible to acts of sabotage, and plan for adequate security measures to meet specific needs.
Vessel Security
Both MTSA and the ISPS Code regulate vessel security. The regulations within these two documents require the owners or operators of vessels to designate security officers for vessels, develop security plans based on security assessments, implement security measures specific to the vessel’s operation, and comply with current Marine Security levels.
Facility Security
A facility is defined as: any structure or facility of any kind located in, on, under, or adjacent to any waters subject to the jurisdiction of the U.S. and used, operated, or maintained by a public or private entity, including any contiguous or adjoining property under common ownership or operation. Some examples of facilities are:
Barge fleeting facilities.
Container terminals.
Oil storage facilities.
Passenger vessel terminals.
Outer Continental Shelf (OCS) Facilities are generally offshore fixed platforms in water depths ranging up to 1,000 feet deep whose primary purpose is the exploration, development, and/or product of offshore petroleum reserves. This definition also includes novel floating design such as:
Tension Leg Platforms (TLP).
Floating Production Facilities (converted MODUs).
Floating Production Storage Offloading units (FPSO).
Both MTSA and the ISPS Code regulate facility security. The regulations within these two documents require the owners or operators of facilities to designate security officers for facilities, develop security plans based on security assessments, implement security measures specific to the facility’s operation, and comply with current Marine Security levels. Those facilities designated as Outer Continental Shelf (OCS) facilities must meet the same security requirements as those designated as waterfront facilities.
When US Navy merchant vessels are in dangerous waters, security detachments are posted on the vessel. Security forces have helped deter piracy as well as terrorist attacks, such as the Maersk Alabama and the USS Cole. US Navy merchant vessels normally train the deck department in firearms training, but the added Navy security detail provides for extra security. Additionally, Navy escorts might sometimes accompany the vessels, such as traveling through the Straights of Gibraltar.
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 6 All Game Live Streaming Online.
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ncaafootball2013live.blogspot.com/2013/10/michigan-wolver...
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2013 NCAA College Football Week 6
ALL LIVE GAME SCHEDULE
Saturday October 5
Navy Midshipmen V Air Force Falcons-From:-11:30Am
Buffalo Bulls V Eastern Michigan Eagles-From:-12:00pm
Florida State Seminoles V Maryland Terrapins-From:-12:00pm>>
Indiana Hoosiers V Penn State Nittany Lions-From:-12:00pm
Iowa Hawkeyes V Michigan State Spartans-From:-12:00pm
Texas Tech Red Raiders V Kansas Jayhawks-From:-12:00pm>>
Nebraska Cornhuskers V Illinois Fighting Illini-From:-12:00pm
Virginia Cavaliers V Ball State Cardinals-From:-12:00pm
Alabama Crimson Tide V Georgia State Panthers-From:-12:21pm>>
Virginia Tech Hokies V North Carolina Tar Heels-From:-12:30pm
Boston College Eagles V Army Black Knights-From:-01:00pm
Miami (OH) RedHawks V Central Michigan Chippewas-From:-01:00pm
Troy Trojans V South Alabama Jaguars-From:-01:00pm
Akron Zips V Ohio Bobcats-From:-02:00pm
Marshall Thundering Herd V UTSA Roadrunners-From:-02:00pm
Toledo Rockets V Western Michigan Broncos-From:-03:00pm
UAB Blazers V Florida Atlantic Owls-From:-03:00pm
Bowling Green Falcons V Massachusetts Minutemen-From:-03:30pm
Kent State Golden Flashes V Northern Illinois Huskies-From:-03:30pm
Miami (FL) Hurricanes V Georgia Tech Yellow Jackets-From:-03:30pm>>
Michigan Wolverines V Minnesota Golden Gophers-From:-03:30pm>>
Middle Tennessee Blue Raiders V East Carolina Pirates-From:-03:30pm
Oklahoma State Cowboys V Kansas State Wildcats-From:-03:30pm>>
Clemson Tigers V Syracuse Orange-From:-03:30pm>>
Georgia Bulldogs V Tennessee Volunteers-From:-03:30pm>>
Tulane Green Wave V North Texas Mean Green-From:-03:30pm
Tulsa Golden Hurricane V Rice Owls-From:-03:30pm
Wake Forest Demon Deacons V North Carolina State Wolfpack-From:-03:30pm
California Golden Bears V Washington State Cougars-From:-04:00pm
Southern Miss Golden Eagles V FIU Golden Panthers-From:-04:00pm
Fresno State Bulldogs V Idaho Vandals-From:-05:00pm>>
Oregon Ducks V Colorado Buffaloes-From:-06:00pm>>
Ole Miss Rebels V Auburn Tigers-From:-07:00pm>>
Florida Gators V Arkansas Razorbacks-From:-07:00pm>>
Louisiana Ragin' Cajuns V Texas State Bobcats-From:-07:00pm
LSU Tigers V Mississippi State Bulldogs-From:-07:00pm>>
New Mexico Lobos V New Mexico State Aggies-From:-07:00pm
Oklahoma Sooners V TCU Horned Frogs-From:-07:00pm>>
Notre Dame Fighting Irish V Arizona State Sun Devils-From:-07:30pm>>
South Carolina Gamecocks V Kentucky Wildcats-From:-07:30pm>>
UTEP Miners V Louisiana Tech Bulldogs-From:-07:30pm
Vanderbilt Commodores V Missouri Tigers-From:-07:30pm
Baylor Bears V West Virginia Mountaineers-From:-08:00pm>>
Ohio State Buckeyes V Northwestern Wildcats-From:-08:00pm>>
Stanford Cardinal V Washington Huskies-From:-10:00pm>>
Hawaii Rainbow Warriors V San Jose State Spartans
Over 3700 Live Streaming HD Channels
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NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 6 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/michigan-wolver...
ncaafootball2013live.blogspot.com/2013/10/michigan-wolver...
2013 NCAA College Football Week 6
ALL LIVE GAME SCHEDULE
Saturday October 5
Navy Midshipmen V Air Force Falcons-From:-11:30Am
Buffalo Bulls V Eastern Michigan Eagles-From:-12:00pm
Florida State Seminoles V Maryland Terrapins-From:-12:00pm>>
Indiana Hoosiers V Penn State Nittany Lions-From:-12:00pm
Iowa Hawkeyes V Michigan State Spartans-From:-12:00pm
Texas Tech Red Raiders V Kansas Jayhawks-From:-12:00pm>>
Nebraska Cornhuskers V Illinois Fighting Illini-From:-12:00pm
Virginia Cavaliers V Ball State Cardinals-From:-12:00pm
Alabama Crimson Tide V Georgia State Panthers-From:-12:21pm>>
Virginia Tech Hokies V North Carolina Tar Heels-From:-12:30pm
Boston College Eagles V Army Black Knights-From:-01:00pm
Miami (OH) RedHawks V Central Michigan Chippewas-From:-01:00pm
Troy Trojans V South Alabama Jaguars-From:-01:00pm
Akron Zips V Ohio Bobcats-From:-02:00pm
Marshall Thundering Herd V UTSA Roadrunners-From:-02:00pm
Toledo Rockets V Western Michigan Broncos-From:-03:00pm
UAB Blazers V Florida Atlantic Owls-From:-03:00pm
Bowling Green Falcons V Massachusetts Minutemen-From:-03:30pm
Kent State Golden Flashes V Northern Illinois Huskies-From:-03:30pm
Miami (FL) Hurricanes V Georgia Tech Yellow Jackets-From:-03:30pm>>
Michigan Wolverines V Minnesota Golden Gophers-From:-03:30pm>>
Middle Tennessee Blue Raiders V East Carolina Pirates-From:-03:30pm
Oklahoma State Cowboys V Kansas State Wildcats-From:-03:30pm>>
Clemson Tigers V Syracuse Orange-From:-03:30pm>>
Georgia Bulldogs V Tennessee Volunteers-From:-03:30pm>>
Tulane Green Wave V North Texas Mean Green-From:-03:30pm
Tulsa Golden Hurricane V Rice Owls-From:-03:30pm
Wake Forest Demon Deacons V North Carolina State Wolfpack-From:-03:30pm
California Golden Bears V Washington State Cougars-From:-04:00pm
Southern Miss Golden Eagles V FIU Golden Panthers-From:-04:00pm
Fresno State Bulldogs V Idaho Vandals-From:-05:00pm>>
Oregon Ducks V Colorado Buffaloes-From:-06:00pm>>
Ole Miss Rebels V Auburn Tigers-From:-07:00pm>>
Florida Gators V Arkansas Razorbacks-From:-07:00pm>>
Louisiana Ragin' Cajuns V Texas State Bobcats-From:-07:00pm
LSU Tigers V Mississippi State Bulldogs-From:-07:00pm>>
New Mexico Lobos V New Mexico State Aggies-From:-07:00pm
Oklahoma Sooners V TCU Horned Frogs-From:-07:00pm>>
Notre Dame Fighting Irish V Arizona State Sun Devils-From:-07:30pm>>
South Carolina Gamecocks V Kentucky Wildcats-From:-07:30pm>>
UTEP Miners V Louisiana Tech Bulldogs-From:-07:30pm
Vanderbilt Commodores V Missouri Tigers-From:-07:30pm
Baylor Bears V West Virginia Mountaineers-From:-08:00pm>>
Ohio State Buckeyes V Northwestern Wildcats-From:-08:00pm>>
Stanford Cardinal V Washington Huskies-From:-10:00pm>>
Hawaii Rainbow Warriors V San Jose State Spartans
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Suppo
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 6 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/michigan-wolver...
ncaafootball2013live.blogspot.com/2013/10/michigan-wolver...
2013 NCAA College Football Week 6
ALL LIVE GAME SCHEDULE
Saturday October 5
Navy Midshipmen V Air Force Falcons-From:-11:30Am
Buffalo Bulls V Eastern Michigan Eagles-From:-12:00pm
Florida State Seminoles V Maryland Terrapins-From:-12:00pm>>
Indiana Hoosiers V Penn State Nittany Lions-From:-12:00pm
Iowa Hawkeyes V Michigan State Spartans-From:-12:00pm
Texas Tech Red Raiders V Kansas Jayhawks-From:-12:00pm>>
Nebraska Cornhuskers V Illinois Fighting Illini-From:-12:00pm
Virginia Cavaliers V Ball State Cardinals-From:-12:00pm
Alabama Crimson Tide V Georgia State Panthers-From:-12:21pm>>
Virginia Tech Hokies V North Carolina Tar Heels-From:-12:30pm
Boston College Eagles V Army Black Knights-From:-01:00pm
Miami (OH) RedHawks V Central Michigan Chippewas-From:-01:00pm
Troy Trojans V South Alabama Jaguars-From:-01:00pm
Akron Zips V Ohio Bobcats-From:-02:00pm
Marshall Thundering Herd V UTSA Roadrunners-From:-02:00pm
Toledo Rockets V Western Michigan Broncos-From:-03:00pm
UAB Blazers V Florida Atlantic Owls-From:-03:00pm
Bowling Green Falcons V Massachusetts Minutemen-From:-03:30pm
Kent State Golden Flashes V Northern Illinois Huskies-From:-03:30pm
Miami (FL) Hurricanes V Georgia Tech Yellow Jackets-From:-03:30pm>>
Michigan Wolverines V Minnesota Golden Gophers-From:-03:30pm>>
Middle Tennessee Blue Raiders V East Carolina Pirates-From:-03:30pm
Oklahoma State Cowboys V Kansas State Wildcats-From:-03:30pm>>
Clemson Tigers V Syracuse Orange-From:-03:30pm>>
Georgia Bulldogs V Tennessee Volunteers-From:-03:30pm>>
Tulane Green Wave V North Texas Mean Green-From:-03:30pm
Tulsa Golden Hurricane V Rice Owls-From:-03:30pm
Wake Forest Demon Deacons V North Carolina State Wolfpack-From:-03:30pm
California Golden Bears V Washington State Cougars-From:-04:00pm
Southern Miss Golden Eagles V FIU Golden Panthers-From:-04:00pm
Fresno State Bulldogs V Idaho Vandals-From:-05:00pm>>
Oregon Ducks V Colorado Buffaloes-From:-06:00pm>>
Ole Miss Rebels V Auburn Tigers-From:-07:00pm>>
Florida Gators V Arkansas Razorbacks-From:-07:00pm>>
Louisiana Ragin' Cajuns V Texas State Bobcats-From:-07:00pm
LSU Tigers V Mississippi State Bulldogs-From:-07:00pm>>
New Mexico Lobos V New Mexico State Aggies-From:-07:00pm
Oklahoma Sooners V TCU Horned Frogs-From:-07:00pm>>
Notre Dame Fighting Irish V Arizona State Sun Devils-From:-07:30pm>>
South Carolina Gamecocks V Kentucky Wildcats-From:-07:30pm>>
UTEP Miners V Louisiana Tech Bulldogs-From:-07:30pm
Vanderbilt Commodores V Missouri Tigers-From:-07:30pm
Baylor Bears V West Virginia Mountaineers-From:-08:00pm>>
Ohio State Buckeyes V Northwestern Wildcats-From:-08:00pm>>
Stanford Cardinal V Washington Huskies-From:-10:00pm>>
Hawaii Rainbow Warriors V San Jose State Spartans
Over 3700 Live Streaming HD Channels
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willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
Opened for rail service on August 1, 1888
This passenger depot, called the Hopkins Avenue Station, was the only one in Norwood not built entirely by a railroad company (although the "Northern" may have placed a platform there previously, and furnished some of the materials and labor for the depot construction).
The building provided a much needed station — especially during bad weather — on the Cincinnati, Lebanon & Northern Railroad for the residents between the Ivanhoe and Smith Road Stations. The building was also used for community activities and businesses. Today, it is the only remaining of the old passenger stations.
Saturday, June 9, 1888: A Depot for Norwood
(Special by Telegraph to the Times-Star)
"Columbus, O., June 9–The Hopkins Avenue Depot Company, of Norwood, Hamilton County, organized for the purpose of erecting a depot on Hopkins avenue, at the Cincinnati, Lebanon & Northern Railroad Crossing, with a capital stock of $4,000, was incorporated to-day by G. Edward Mills, C. E. Page, Robert Leslie, Geo. H. Bonte, C. F. Husser, Jackson Slane and D. H. Whitehead."
Cincinnati, Lebanon &Northern Railroad - Hopkins Avenue Depot
The Cincinnati, Lebanon and Northern Railway (CL&N) was a local passenger and freight-carrying railroad in the southwestern part of the U.S. state of Ohio, connecting Cincinnati to Dayton via Lebanon.
It was built in the late 19th century to give the town of Lebanon and Warren County better transportation facilities. The railroad was locally known as the "Highland Route", since it followed the ridge between the Little and Great Miami rivers, and was the only line not affected by floods such as the Great Dayton Flood of 1913.
The company went through multiple bankruptcies, both before and after its 1881 completion, until the Pennsylvania Railroad gained control in 1896 and leased it in 1921. Except for several years in the mid-1880s, when the line was under control of the narrow-gauge Toledo, Cincinnati and St. Louis Railroad, it was not a major line, in part due to its steep approach to downtown Cincinnati. For this reason, portions of the line have been abandoned, beginning in 1952 with a segment north of Lebanon.
Passenger service was eliminated entirely in 1934. Conrail, the Pennsylvania Railroad's successor, sold the remaining trackage in the 1980s to the Indiana and Ohio Railway, a short line now owned by RailAmerica. That company continues to provide local freight service on the ex-CL&N, and the Lebanon Mason Monroe Railroad operates tourist trains on a portion of the line near Lebanon.
Double tracks initially stretched from Court Street to near Fredonia Avenue, where the 1.25-mile (2.01 km) Avondale Branch split for the Cincinnati Zoo. When the line was converted to standard gauge in 1894, the tunnel and McMillan Street underpass were not wide enough for a double-track line, yet two standard-gauge tracks were laid side-by-side. After an accident in 1916, the tracks were relaid as a gauntlet track. The trestles were rebuilt as single-track in 1888 and 1889, after which double track only extended from Eden Park Drive to Avondale.
Due to increased passenger traffic, the line was re-widened not only south to Court Street but also north to Norwood from 1902 to 1904, once the valley had been filled in. Beyond Avondale, the CL&N descended through Idlewild, where two Norfolk and Western Railway lines diverged—the Cincinnati and Eastern Railway east to Portsmouth and the Cincinnati Connecting Belt Railroad northwest to a junction near Elmwood Place. The railway began to climb again at East Norwood, where it crossed the Marietta and Cincinnati Railroad (Baltimore and Ohio Railroad), reaching the flat highlands at Deer Park. In the late 1880s, the CL&N, with its frequent commuter service, contributed to the development of suburbs along its line including Idlewild, East Norwood, Silverton, Deer Park, and Hazelwood.
At Hopkins Avenue in Norwood, commuters unsatisfied with the bare platform built by the railroad company raised $1500 to build a station building, which opened on August 1, 1888, and was owned by the Hopkins Avenue Depot Company until service ended in the 1930s. It was later used as a gas station, and a chiropractic office.