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This church was built in neo-Gothic style utilising red bricks around 1897. It is named after the Chapel of St Catherine which was founded here in 1360. According to legend, the Nuns living here invented Gingerbread for which the town is deservedly famous!
(In this case, the salad isn't homemade, but ordered from a neighborhood café.)
Olivier salad (Russian salad) is a traditional salad dish in Russian cuisine, which is also popular in other post-Soviet countries, many European countries, Iran, Israel, Mongolia, and throughout Latin America.
In various modern recipes, it is generally prepared with diced boiled potatoes, carrots, pickled dill (or cucumber), peas, eggs, celeriac, onions, diced boiled chicken or mortadella sausage (sometimes ham or sausages), and tart apples, with salt, pepper, and mustard added to enhance the flavor, dressed with mayonnaise.
In many countries, the dish is commonly known as Russian salad. There is a variation called Stolichny salad (Russian for "capital city salad"), which is also popular in Russian cuisine.
In Russia and other post-Soviet states, as well as in Russian communities around the world, the salad has become one of the main dishes on the Zakuski tables served during New Year's Eve ("Novy God") celebrations.
HISTORY: The original version of the salad was invented in the 1860s by a Belgian-born cook, Lucien Olivier, chef of the Hermitage, one of Moscow's most celebrated restaurants.
Olivier Salad quickly became immensely popular with the Hermitage's regulars and became the restaurant's signature dish.
The exact recipe —especially that of the dressing— was a closely guarded secret, but it is known that the salad contained grouse, beef tongue, caviar, lettuce, langoustine tails, capers, and smoked duck, although the recipe may have varied seasonally.
The original Olivier dressing was a type of mayonnaise, made with French wine vinegar, mustard, and Provençal olive oil; its exact recipe, however, remains unknown.
At the beginning of the 20th century, one of Olivier's sous-chefs, Ivan Ivanov, attempted to steal the recipe.
While preparing the dressing alone one evening, as was his custom, Olivier was suddenly called away due to an emergency.
Seizing the opportunity, Ivanov slipped into Olivier's private kitchen and observed his mise en place, allowing him to make reasonable assumptions about the recipe for Olivier's famous dressing.
Ivanov then left Olivier's employ and began working as a chef for Moskva, a somewhat less prestigious restaurant, where he started serving a suspiciously similar salad under the name "Capital Salad" (Russian: Stolichny).
However, gourmets of the time reported that the dressing in Stolichny salad was of lower quality than Olivier's, meaning that "something was missing."
Later, Ivanov sold the salad recipe to several publishers, further contributing to its popularity.
Due to the closure of the Hermitage restaurant in 1905 and the subsequent departure of the Olivier family from Russia, the salad could now be called "Olivier".
One of the first printed recipes for Olivier salad, by Aleksandrova, which appeared in 1894, called for half a hazel grouse, two potatoes, one small cucumber (or one large gherkin), three or four lettuce leaves, three large crayfish tails, 1/4 cup of cubed gelatin, one teaspoon of capers, three to five olives, and 1/2 tablespoons of Provençal dressing (mayonnaise).
As is often the case with gourmet recipes that become popular, rare, expensive, seasonal, or difficult-to-prepare ingredients were gradually replaced by cheaper and more readily available foods.
IN OTHER COUNTRIES: EUROPE
The salad is very popular in the Balkans. It is known as "ruska salata" in Bulgaria, Serbia, and North Macedonia, and "sallatë ruse" in Albania, both literally meaning "Russian salad". Similarly, it is called "rossiki salata" in Greece and can be found on the menu of almost any restaurant.
IN SPAIN: Russian salad is widely consumed in Spain, where it is served as a tapa in many bars.
It typically consists of chopped boiled potatoes, chopped boiled carrots, canned tuna, chopped hard-boiled eggs, peas, and mayonnaise.
This bears some resemblance to versions of "macédoine de légumes froid" (cold vegetable salad).
In Italy, "Insalata russa" has the same ingredients. A similar version is also popular in Portugal, where it's called "salada russa".
It's usually served as a main dish or as a side dish with fish, particularly fish fillets.
In Norway, Iceland, and Denmark, it's called Italian salad and contains carrots and peas with a mayonnaise dressing.
Often, and most popularly, it's served with smoked meat on bread.
(Source: Wikipedia, en.wikipedia.org/wiki/Olivier_salad)
ENSALADILLA RUSA, AL ESTILO ESPAÑOL, 2026
(En este caso la ensaladilla no está hecha en casa, sino encargada en una cafetería del barrio)
La ensalada Olivier (ensaladilla rusa) es un plato de ensalada tradicional en la cocina rusa, que también es popular en otros países postsoviéticos, muchos países europeos, Irán, Israel, Mongolia y también en toda América Latina.
En diferentes recetas modernas, generalmente se prepara con papas hervidas en cubitos, zanahorias, encurtidos de eneldo en salmuera (o pepino), guisantes, huevos, apio nabo, cebollas, pollo hervido en cubitos o salchicha mortadela (a veces jamón o salchichas) y manzanas ácidas. , con sal, pimienta y mostaza agregada para realzar el sabor, aderezado con mayonesa.
En muchos países, el plato se conoce comúnmente como ensalada rusa. Existe una variación llamada ensalada Stolichny (en ruso: "ensalada de la ciudad capital"), y también es popular en la cocina rusa.
En Rusia y otros estados postsoviéticos, así como en las comunidades rusas de todo el mundo, la ensalada se ha convertido en uno de los platos principales de las mesas Zakuski que se sirven durante las celebraciones de Nochevieja ("Novy God").
HISTORIA: La versión original de la ensalada fue inventada en la década de 1860 por un cocinero de origen belga, Lucien Olivier, chef del Hermitage, uno de los restaurantes más célebres de Moscú.
La ensalada de Olivier rápidamente se hizo inmensamente popular entre los clientes habituales del Hermitage y se convirtió en el plato estrella del restaurante.
La receta exacta —sobre todo la del aderezo— era un secreto celosamente guardado, pero se sabe que la ensalada contenía urogallo, lengua de ternera, caviar, lechuga, colas de cigala, alcaparras y pato ahumado, aunque es posible que la receta fuera variando estacionalmente.
El aderezo Olivier original era un tipo de mayonesa, hecha con vinagre de vino francés, mostaza y aceite de oliva provenzal; su receta exacta, sin embargo, sigue siendo desconocida.
A principios del siglo XX, uno de los sous-chefs de Olivier, Ivan Ivanov, intentó robar la receta.
Mientras preparaba el aderezo una noche en soledad, como era su costumbre, Olivier fue llamado repentinamente por alguna emergencia.
Aprovechando la oportunidad, Ivanov se coló en la cocina privada de Olivier y observó su "mise en place", lo que le permitió hacer suposiciones razonables sobre la receta del famoso aderezo de Olivier.
Ivanov luego dejó el empleo de Olivier y comenzó a trabajar como chef para Moskva, un restaurante algo inferior, donde comenzó a servir una ensalada sospechosamente similar bajo el nombre de "Ensalada Capital" (ruso: Stolichny).
Sin embargo, los gourmets de la época informaron que el aderezo de la ensalada Stolichny era de menor calidad que el de Olivier, lo que significa que "faltaba algo".
Más tarde, Ivanov vendió la receta de la ensalada a varias editoriales, lo que contribuyó aún más a su popularización.
Debido al cierre del restaurante Hermitage en 1905 y la posterior partida de Rusia de la familia Olivier, la ensalada ahora podría denominarse "Olivier".
Una de las primeras recetas impresas para la ensalada Olivier, de Aleksandrova, que apareció en 1894, requería medio urogallo avellano, dos papas, un pepino pequeño (o un pepinillo grande), 3 o 4 hojas de lechuga, 3 colas de cangrejo de río grandes, 1/ 4 tazas de gelatina en cubos, 1 cucharadita de alcaparras, 3–5 aceitunas y 112 cucharadas de aderezo provenzal (mayonesa).
Como suele suceder con las recetas gourmet que se vuelven populares, los ingredientes raros, costosos, de temporada o difíciles de preparar fueron reemplazados gradualmente por alimentos más baratos y disponibles.
EN OTROS PAÍSES: EUROPA
La ensalada es muy popular en los Balcanes. Se conoce como "ruska salata" en Bulgaria, Serbia, Macedonia del Norte y "sallatë ruse" en Albania, ambos significan literalmente "ensalada rusa". De manera similar, se llama "rossiki salata" en Grecia y se puede encontrar en el menú de casi cualquier restaurante.
EN ESPAÑA: La ensaladilla rusa se consume mucho en España, donde se sirve como tapa en muchos bares.
Por lo general, consiste en papa hervida picada, zanahorias hervidas picadas, atún enlatado, huevos cocidos picados, guisantes y mayonesa.
Esto tiene cierta similitud con las versiones de "macédoine de légumes froid".
En Italia, "Insalata russa" tiene los mismos ingredientes. Una versión similar también es popular en Portugal, donde se llama "salada russa".
Por lo general, se sirve como plato independiente o como guarnición de platos de pescado, en particular filetes de pescado.
En Noruega, Islandia y Dinamarca se llama ensalada italiana y contiene zanahorias y guisantes con aderezo de mayonesa.
A menudo, y lo más popular, es acompañar la ensalada con carne ahumada sobre pan.
(Fuente: Wikipedia, en.wikipedia.org/wiki/Olivier_salad)
I've been inventing mostly.... This is made from a photo I took when I was in India in 2012. I'm a prime offender of taking stacks of photos (some awesome, some better left unmentioned) and then never doing anything with them. Well, times they are a changing... and the moment I finished uni I became bored and overstimulated by under stimulation (it makes sense I swear)
I think its got some fancy pants about it, some colors... working on my 3D deceptions, made a circle, its all coming together lol
"On aimerait tant pouvoir inventer le dragon qui fera de nous un Prince Charmant."
For strobist :
1x SB-600, 1/16, camera left, model front
1x SB-600, 1/1, camera right, behind model
IN ENGLISH BELOW THE LINE
La meva Graflex Pacemaker Speed Graphic, la primer càmera que vaig fer servir per a plaques de col·lodió (en 4x5 polzades).
Es tracta d'un ambrotip de format 18x24 cm, realitzat amb una GOMZ FK 18X24 fabricada el 1960; objectiu Industar I-37 f4/300mm; Col·lodió Old Workhorse de Franalog; revelador Mammoth MD7.
Les plaques de col·lodió es realitzen al moment, cobrint una placa de vidre o planxa metal·lica negra amb col·lodió i sals de cadmi i/o potassi, sensibilitzat amb nitrat de plata. Aleshores s'ha de fer la fotografia i revelar-la en uns 5 minuts, abans no s'assequi la emulsió. És un dels processos fotogràfics més antics del món, inventat el 1851, i que dominà fins el 1880. Però ara ha resorgit, ja que les imatges, molt treballades, que dona són úniques, màgiques i i irrepetibles.
ca.wikipedia.org/wiki/Col%C2%B7lodi%C3%B3_humit
==========================================
My Graflex Pacemaker Speed Graphic, the first camera I used for wet plate collodion, shot in 18x24 cm with a quite larger camera.
Clear glass ambrotype in 18x24 cm format, made with a GOMZ FK 18X24 made in 1960; Industar-37 f4/300mm lens; Old Workhorse collodion by Franalog; Mammoth MD7 developer.
The collodion plates are made covering a glass plate or black metal plate with collodion and salts of cadmium and / or potassium, sensitized with silver nitrate. Then you have to take the photo and reveal it in about 5 minutes, before the emulsion dries. It is one of the oldest photographic processes in the World, invented in 1851, and which dominated photography until 1880. But now it has resurfaced, as the images, very elaborate to create, that it gives are unique, razor sharp, magical and unrepeatable.
en.wikipedia.org/wiki/Collodion_process
intrepidcamera.co.uk/blog/rikard-osterlund-guide-to-wet-p...
traveladventureeverywhere.blogspot.com/2020/08/holy-mosco...
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ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
De Dion, Bouton et Cie., Puteaux, Seine, France
Deutsches Museum, Verkehrszentrum, München
__________________________________
Dieser offene Tourenwagen mit Phaetonkarosserie gehörte zu den führenden Fahrzeugen seiner PS-Klassse. Technisch bemerkenswert war die sogenannte De-Dion-Achse hinten.
Diesen Achstyp, der bis heute im Nutzfahrzeug Anwendung findet, entwickelte Alber De Dion 1893. Die Antriebsräder sind über ein Achsrohr starr miteinander verbunden. Das Ausgleichsgetriebe ist direkt am Fahrzeugrahmen befestigt, die Kraftübertragung auf die Antriebsräder erfolgt über Doppelgelenkwellen. Die Firma De Dion-Bouton verdankte ihren Erfolg nicht zuletzt ihrem technischen Know-how. 1899 richtete De Dion ein Forschungs-und Entwicklungslabor mit drei Abteilungen ein, das im Herstellerbereich zu den ersten seiner Art zählte.
Der rund 1000 kg schwere Wagen brachte es mit 12 PS zwar nur auf 50 km/h. Da man auf den vorhandenen Straßen aber nur langsam fahren konnte - in Ortschaften war die Geschwindigkeit oft auf 15 km/h begrenzt - war mit seinen 4 Sitzen und einem Verdeck ein bequemer Reisewagen.
Motor: 4-Zylinder-Blockmotor
Hubraum: 1370 cm³
Leistung: 9 kW (12 PS)
Höchstgeschwindigkeit: 50 km/h
__________________________________
This open touring car with a phaeton chassis was one of the leading motorcars in its horsepower class. Its most remarkable technical innovation was the De Dion rear axle. This axle type that is still used today in commercial vehicle manufacture was invented by Albert De Dion in 1893. The driving wheels are rigidly joined by an axle tube. The differential is directly mounted on the vehicle frame: power is transmitted to the driving wheels by a double-jointed cardan shaft. The success of the De Dion-Bouton firm was also due to their technical knowledge. In 1899 De Dion established a research and development laboratory with three departments. It was the first of its kind in the manufactoring sector.
Weighing 1,000 kg, the motorcar with its 12 hp engine only drove 50 km/h. Since drivers were only permitted to drive slowly on the existing roads - speeds were often limited to ca. 15 km/h in towns - it was a comfortable travel car with its four seats and convertible top.
Engine: 4 cylinder block engine
Displacement: 1,370 cm³
Power: 9 kW (12 hp)
Top speed: 50 km/h
In modern Japanese folklore since the mid-2000s, the Ningen (ニンゲン) is an aquatic humanoid whale-like creature supposedly inhabiting the subantarctic oceans. It was invented by Japanese internet users. Image made with Midjourney Ai
The Enigma machine was invented by a German engineer Arthur Scherbius shortly after WW1
The machine (of which a number of varying types were produced) resembled a typewriter. It had a lamp board above the keys with a lamp for each letter. The operator pressed the key for the plaintext letter of the message and the enciphered letter lit up on the lamp board. It was adopted by the German armed forces between 1926 and 1935. The machine contained a series of interchangeable rotors, which rotated every time a key was pressed to keep the cipher changing continuously. This was combined with a plug board on the front of the machine where pairs of letters were transposed, these two systems combined offered 159 million million million possible settings to choose from, which the Germans believed made Enigma unbreakable.
The Poles had broken Enigma in as early as 1932, but in 1939 with the prospect of war, the Poles decided to inform the British of their successes. Dilly Knox, one of the former British World War One Codebreakers, was convinced he could break the system and set up an Enigma Research Section, comprising himself and Tony Kendrick, later joined by Peter Twinn, Alan Turing and Gordon Welchman. They worked in the stable yard at Bletchley Park and that is where the first wartime Enigma messages were broken in January 1940. Enigma traffic continued to be broken routinely at Bletchley Park for the remainder of the war. www.bletchleypark.org.uk/our-story/the-challenge/enigma
In 1860 Thomas Aveling invented the traction engine, offering an alternative to horses in agricultural haulage. Eleven years later, approximately when this engine was built, Aveling was improving his design for the self-propelling power plant. This engine was one of the first to be steered by its front wheels (earlier designs were steered by a fifth wheel) and to have gear-driven rear wheels. These features, as well as the Aveling patented method of supporting the crankshaft, were to become standard on all traction engines. This engine was renovated by Aveling-Barford Ltd in the 1950s before being donated to the Science Museum.
Built in 1870-72, it is the oldest surviving traction engine to show all the features that became standard on all traction engines for the next 60 years.
Traction engines were often used as a portable power source for various machines, driven by a long belt from a flywheel. The engines would travel from far to far at harvest time, where they would drive a threshing machine (which separated the wheat from the chaff and stalks).
For many people, the traciton engine was probably their first encounter with the "machine age." In Tess of the d'Urbervilles, published in 1891, Thomas Hardy described the harsh pace of the new machinery as Tess helped to feed corn into the threshing machine. "It was the ceaselessness of the work that tried her so severely .... For Tess there was no respite; for, as the drum never stopped, the man who fed it could not stop, and she, who had to supply the man with untied sheaves, could not stop either."
Traction engines were also used to haul heavy industrial equipment and also pulled 'road trains' consisting of several wagons. However, their average speed was slow - about 4 mph.
Aveling and Porter exported steam engines all over the world. They also pioneered the steam road-roller - really a traction engine with heavy rollers for wheels - thus steam "paved the way" for the petrol, diesel and electric vehicles of today...
All information from the Science Musuem's website and noticeboards.
Blokart® was invented in 1999 by New Zealander Paul Beckett. A background in hang gliding and land sailing inspired Paul to build a serious wind-powered toy.
Whangamata, Waikato, New Zealand
The Floating Dock of the Whitehead & Co. Torpedo Factory – History and Highlights
The Whitehead & Co. Torpedo Factory in Rijeka (then Fiume) was founded in 1875 by Robert Whitehead, a British engineer who invented the first practical self-propelled torpedo. It was the world’s first torpedo factory, soon becoming one of the most important industrial facilities in the Austro-Hungarian Empire and a global center of naval innovation.
To support maintenance and testing of torpedo boats and ships, the factory operated its own floating dock – a remarkable piece of engineering that allowed vessels to be lifted out of the water for repairs and inspection. The dock consisted of metal chambers that could be filled or emptied with water, enabling it to submerge or rise as needed.
🔹 Highlights and Interesting Facts
•The first floating dock on the Adriatic belonged to the Whitehead Torpedo Factory.
•It was used for testing torpedo boats and auxiliary vessels during experimental runs in the Kvarner Bay.
•The dock was mobile, capable of being repositioned within the harbor.
•In the 19th century, it symbolized Rijeka’s industrial and technological progress, making the city a European innovation hub.
•After World War II, the dock and facilities changed ownership several times (Italian, Yugoslav), but the torpedo industry tradition in Rijeka continued well into the late 20th century.
🔹 Highlights and Interesting Facts
•The first floating dock on the Adriatic belonged to the Whitehead Torpedo Factory.
•It was used for testing torpedo boats and auxiliary vessels during experimental runs in the Kvarner Bay.
•The dock was mobile, capable of being repositioned within the harbor.
•In the 19th century, it symbolized Rijeka’s industrial and technological progress, making the city a European innovation hub.
•After World War II, the dock and facilities changed ownership several times (Italian, Yugoslav), but the torpedo industry tradition in Rijeka continued well into the late 20th century.
•Tvornica torpeda Whitehead & Co. u Rijeci (tada Fiume) osnovao je 1875. godine Robert Whitehead, engleski inženjer koji je razvio prvi praktični torpedo na svijetu. Bila je to prva tvornica te vrste na svijetu i ubrzo je postala jedan od najvažnijih industrijskih pogona u Austro-Ugarskoj Monarhiji, a kasnije i šire.
•Kako bi se omogućilo testiranje i održavanje torpeda te brodova, tvornica je imala vlastiti plutajući dok – tehnički izum koji je omogućavao podizanje brodova iz mora radi popravaka i pregleda trupa. Taj dok bio je impresivan za svoje doba: metalna konstrukcija s komorama koje su se mogle napuniti ili isprazniti vodom, čime je dok tonuo ili izranjao.
•🔹 Posebnosti i zanimljivosti
•Prvi plutajući dok na Jadranu bio je upravo onaj koji je pripadao Whiteheadovoj tvornici.
•U doku su se održavali probni torpedni čamci i pomoćni brodovi korišteni pri testiranju torpeda u Kvarnerskom zaljevu.
•Dok je bio pokretan – mogao se premještati između različitih dijelova luke.
•U 19. stoljeću bio je simbol tehnološkog napretka Rijeke, tada jednog od vodećih industrijskih središta Europe.
•Nakon Drugog svjetskog rata, dok i postrojenja su prelazila u različite ruke (talijanske, jugoslavenske), no industrijska tradicija torpeda u Rijeci trajala je do kraja 20. stoljeća.
11788 DSC PPMHP 157448 Plutajući dok tvornice torpeda Whitehead & Co. 4.X.1914. u 13 sati Neg. 42 Ekspozicija 1/100 sekunde "Agfa" Svjetlo Jako CB negativ staklo 9X12 cm JC Dock gallegiante del silurificio Whitehead & Co. Floating dock of the Whitehead & Co torpedo factory
Perdue de vue
Dans la poussière des vieilles boîtes
Passé à autre chose, d'autres jouets d'aujourd'hui
Grandir, laisser de côté
Déménager, retomber sur cette invention mécanique
A base de briques
Grandir, retrouver,
Grandir, mais avec émotion
Malgré la poussière retrouvée intacte
Comme le jour où tu es passé à autre chose
Mon fils
Lost from sight
In the dust of old boxes
Moved on, to other toys of today
Growing up, leaving behind
Moving house, stumbling upon this mechanical invention
Built from bricks
Growing up, rediscovering,
Growing up, but with emotion
Despite the dust, found intact
Just as you left it
The day you moved on
My son
They were invented by the Reverend Jonathan Scobie, an American Baptist minister living in Yokohama, Japan. The first model was built in 1869 in order to transport his handicapped wife. Today it remains as one of the most important modes of transportation in Pakistan used for traveling short distances within cities.
One of the major brands of auto rickshaws is Vespa (an Italian Company). Environment Canada is implementing pilot projects in Lahore, Karachi and Quetta with engine technology developed in Mississauga, Ontario, Canada that uses compressed natural gas (CNG) instead of gasoline in the two-stroke engines, in an effort to combat environmental pollution.
In many cities in Pakistan, there are also motorcycle rickshaws, usually called chand gari (moon car) or qingqi (after the Chinese company who first introduced these to the market).
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Auto rickshaws are locally known as "Tuk Tuk".
It is a cute little ride.It is so small and compact that when ur sitting in it ur knees are actually touching your chin. And u will be amazed to see the number of ppl which can fit in this small thing. They got their name from the sound they make which is “tuk..tuk..tuk tuk….”
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Visit the following link if you're interested to know more about it; this guy has done a good research on them:
pakistaniat.com/2007/08/22/guest-post-pictures-of-the-day...
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8/60...Thank you every1 for your nicest comments and fave!! ..Always come back.:))
Les papillons ne sont que des fleurs envolées un jour de fête où la nature était en veine d'invention et de fécondité. [George Sand]
Thanks for all your comments, awards and faves.
(Please do not use without my written permission.)
jejjejejjee... me acabo de inventar una nueva especie de camelia!!!!
Está un poco chuchurría porque ya había caído del árbol y cayó, justo, en ese estanque... y llovía...
Me vais a permitir que haga un regalo con ella... para la persona que todos los que le seguimos llamamos ya "el rey de las camelias". Las fotografía como nadie, nos regala todos los días una o dos o tres y, además, le sonríen!!!!!! je.
Juan... juantiagues... espero que te guste aunque... regalarte a ti una camelia es como regalarle una monedita de oro al rey Midas... jejejjee... yyyyyy... lo siento perooooooo... tienes que compartir el regalo... aunque estoy segura que no te importará...
Alex V. Palacios (www.flickr.com/photos/alexvpalacios/6651818497/) es un pintor maravilloso... pinta las camelias con una belleza que, la mayoría de las veces, supera el original y... además... es un encanto y todo un caballero!!!!! Espero que te guste también Alex...
Espero que os guste a todos...
BESOSSSSSS...
A copy of an actual photograph of Jesus Christ which formed on His burial cloth. Negative image (computer enhanced, with added colour to blood stains).
The herringbone weave of the cloth can be seen (when enlarged). The white lines are creases in the cloth.
This is a unique, photographic image (miraculously?) formed by a process unknown to science.
The only such example of its kind from any historical or modern period.
Unable to be replicated or explained by any known photographic or artistic technology.
Tangible proof of the crucifixion and resurrection of Jesus and confirmation of the Christian Gospel narratives.
A summary of scientific and historical evidence supporting the authenticity of the Shroud of Turin as the ancient burial cloth of the historical Jesus of Nazareth.
newgeology.us/presentation24.html
The shroud - new evidence.
www.asis.com/users/stag/shroud/newevid.html
____________________________________________
"This is a Nuclear Video Exploding with information about how the image was formed on the Shroud of Turin.
The Shroud of Turin is an x ray, Photographic, Holographic Image.
It has properties of
1. X Ray Photo
2. Photo Negative
3. Hologram
Yet none of these are an accurate description of the Shroud. The Shroud is a one of a kind image in which a new word would have to be invented to describe it.
The Shroud is not a painting or contact image of any kind with the exception of the blood stains which are a result of body to cloth to contact. The image is over the blood stains and is a separate event that occurred 2-3 days after the blood stains made contact with the cloth.
The Shroud of Turin is not a painting, X Ray Fluorescence, micro chemistry, ultra violet and infrared evaluations confirm this.
The painting rumor was started by Walter McCrone who found some microscopic traces of paint on some sticky tape samples delivered to him in Chicago by Ray Rodgers of the Shroud of Turin Research Project on Friday October 13th, 1978. It was a bad luck day for the Shroud. He received a total of 30 to 33 of these sticky samples. A few of them had microscopic traces of paint on them. This should not have come as a surprise to him or anyone; this is what we would expect to see knowing
The Savoy Family (who purchased The Holy Shroud of our Lord in 1453 for what would be a multi- million dollar real estate deal today) allowed artists to attempt to replicate the Shroud. No less than 52 different times they allowed artists to lay their paintings on top of the Shroud after completing their replica as a way of sanctifying it, or attempting or hoping some of its “power” would rub off on their painting. The Savoy Family kept very detailed records of most everything did with the Shroud, each time it was moved and when it was displayed. The forensic evidence on the Shroud is in agreement with the historical record. The historical record states the Savoy Family allowed artists to lay their paintings on it and of course we did indeed find trace evidence of this. Does that mean the image on the Shroud is paint? Of course not!
People like to touch famous things and or attempt to replicate them. Of course during this process microscopic traces of this paint got on the Shroud. If one was to scrape them all together and put them in one pile on the Shroud you would need a microscope to see them. They do not make up the Shroud image. There are many foreign objects on the Shroud, such as pollens from Israel and Turkey and a rare calcite from soil found in tombs around the Damascus Gate, but that does not mean the Shroud image is made up of pollens and dirt!
When McCrone was confronted with this information he stomped out of the room like a 5 year old baby and refused to listen. He could not admit he was wrong. We all make mistakes. It is important we stand up like a man and admit it. He could not bring himself to do that. Pride goes before the Fall. He fell.
To this very day this painting rumor still persists. If after watching this video you still think the Shroud is a painting or contact image, God help you.
I have spent the last 7 years of my life studying the Shroud, I know the forensic evidence and I know the scripture that relates to it. What you are hearing and seeing in this video is accurate information.
Know right now, in your heart, mind and body and soul. The Shroud is authentic, The witness to the Resurrection.
To the viewer: I hope and pray you are baptized in the Holy Spirit as a result of watching this video, in the case you are not. Amen.
This subject line in the video was inspired by John Klotz who wrote one of the best books on the Shroud of Turin ever written and is writing a 2nd book which involves the subject of life after death, near death experiences. This is not a promo for his book "Quantum Christ" but if you are interested:
johnklotz.blogspot.com/2015_01...
This is a famous quote from that book
If the Shroud of Turin is the actual burial cloth of Jesus Christ, it is arguably the most important object on the face of the earth with the possible exception of nuclear weapons."
John C. Klotz
I don't normally recommend books, or post links to them on this channel but I recommend this book written by Isabelle Esling who is baptized in the The Holy Spirit.
This is a book for someone who has come to believe but wants to come to know and learn more about a "Higher Power Intelligence/God/Jesus/Yeshua"
Please go to this link to see and read more. FREE INFO.
encounterwithyeshua.blogspot.c...
The new astonishing phenomenon detected on the Shroud
Scientific evidence.
Carbon dating of the Shroud debunked.
_________________________________________
The real theory of everything.
www.flickr.com/photos/truth-in-science/34295660211
www.flickr.com/photos/truth-in-science/34295660211/in/dat...
Evolution timescale refuted by field and experimental evidence.
Rapid strata formation.
Inventing a disaster management plan on the spot, David Bahlman, president of Landmarks Illinois, Barbara Campagna, the Trust's director of architecture, and others borrowed a flat-bottomed aluminum motorboat from a nearby homeowner and rode through the brown floodwaters to the skeletal white house, whose walls consist of huge sheets of floor-to-ceiling glass.
They made makeshift tables out of hastily purchased crates and boards, and stacked rugs and other furnishings on them. They bundled the bottoms of curtains in plastic garbage bags, getting the curtains off the floor. They lifted Mies-designed Barcelona chairs atop the house's wardrobe. Removable primavera wood panels from the house's fireplace wall went there too.
Then the big oncoming storm dissipated, the sun came out and the waters began to recede.
www.chicagotribune.com/entertainment/chi-0830archnotesaug...
Aux Pays-Bas, Reinier Sijpkens est très connu. Il a inventé le concept de Muziekboot (bateau musical). Il circule sur les canaux avec son bateau, sur lequel il joue de la musique...
Sa spécialité ? Reprendre, sur son incroyable orgue de barbarie, des chansons populaires, en faisant participer le public avec des cloches de bateaux. « Mais dans une version réduite de moins d’une minute ! »Un concept minimaliste qui s’exprime également sur la barque, le Notendop, signifiant « coquille de noix ».
Il était à Paimpol pour le Festival de chants de marins 2017, il a mis l'ambiance et nous a bien fait rire .... ;-)
Artifacts in an already degraded image are the result of interrupted sorting, Fast Fourier Transforms and a median filter that behaves more like a cellular automaton than a denoising tool. That's the technique—you can invent the narrative yourself.
ENGLISH :
Funny vegetation! In Costa Rica, and more widely in all tropical countries, we discover bizarre and inventive beauties. Here, a splendid Cyrtostachys palm tree
"Para história,ela tem um plano
Inventa mil idéias,não entra pelo cano
Ah,essa boneca é uma maravilha!
Emília,Emília..."
I invented this technic for building a decorative Rubic's cube a long time ago. And I still find it interesting ;)
Epcot's Spaceship Earth.
In the mid fifteenth-century, Johannes Gutenberg invented the movable type printing press. His new device now makes information available to the masses. In the background of this scene we see pressmen sorting paper and setting type while in the foreground, Gutenberg examines a page from the bible he is currently printing. This sheet is an exact replica from the Gutenberg Bible on display at the Huntington Library in San Marino, California.
allears.net/2010/01/17/spaceship-earth-epcots-icon-part-2/
Gutenberg in 1439 was the first European to use movable type. Among his many contributions to printing are: the invention of a process for mass-producing movable type; the use of oil-based ink for printing books; adjustable molds; mechanical movable type; and the use of a wooden printing press similar to the agricultural screw presses of the period. His truly epochal invention was the combination of these elements into a practical system that allowed the mass production of printed books and was economically viable for printers and readers alike. Gutenberg's method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture of lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting, cast well, and created a durable type.
this is my gorgeous sister. it's her birthday today and we're having italian out to celebrate her turning 14. it's scary thinking that between those moments of when i leave for college and when i come back to visit, she'll have changed - hopefully not too much though. sometimes i can't quite get use to the fact that things won't ever be the same as they are now.
hit L please
Ask around what are the two most iconic symbols of Gothic architecture and art, and the answer will likely be: stained glass windows and rib vaulting.
In both cases, that answer will be wrong: those wonders, on which Gothic cathedrals built their worldwide reputation, are... Romanesque! And they were not just invented and barely tested at the time of Romanesque, they were actually implemented again and again, and perfected along the way over at least one century before Gothic happened. Much more than the definitive breaking point it is often purported to be, the advent of the Gothic was much more a smooth and slow transition, largely calling upon concepts, methods and techniques created and improved during Romanesque times.
As regards stained glass, the oldest still in place is the Ascension Window in the Le Mans Cathedral, which could be as old as Year 1100, possibly 1120–40. The windows in the Augsburg Cathedral in Germany also have a strong claim to the title of oldest Romanesque stained glass window. I hope to be able to photograph all of them some day.
Now, and coming back to our main subject, the rib vaulting (in French: voûte sur croisée d’ogives, or more simply voûte d’ogives), experts agree that, even before the cathedral of Durham in England, it was first experimented in the abbey church of Lessay in Normandy, which stands in the Cotentin peninsula, today the département of Manche. This new, revolutionary vaulting system could be as old as 1090, at least for the apse, choir and transept. Let us remember that this was also the time when other Benedictine monks, in Burgundy, were experimenting the “broken”, or “pointy” Romanesque arch in the Cluny II abbey church, on which construction began in 1088.
The beginning of the nave is also very old, as will be explained below. Its western part may have been built a few decades later, around 1130–40 —but even so, at that time we are still fully within the Romanesque Age, which did not come to an end until 1200 at the earliest —and of course such a clean cutoff date is only symbolic and does not correspond to any actual reality.
The abbey church of Lessay was miraculously saved in the 1950s by Yves-Marie Froidevaux, Chief Architect of Historic Landmarks, after it was severely damaged by the mines detonated by the Nazi army before it retreated after the D-Day landing of June 1944. The restoration Froidevaux carried out, re-using most of the old stones wherever it was possible, today remains an example of a successful and respectful restoration.
Dedicated to the Holy Trinity, this church may look less impressive from the outside than the one in Cerisy, of which I uploaded photos a few days ago. Its apparel is mostly of local shale stones. The cut stones are limestone from Yvetot-Bocage near Valognes, a stone of a lesser quality compared to the famous pierre de Caen, which is also used here, but quite sparsely. Prima facie, this vast church offers more similarities with the humble parochial ones to be found locally in the Cotentin, than with “the great monastic architecture”, as Lucien Musset calls it in the Normandie romane book published by Zodiaque.
As you step inside, however, the architectural and religious message resonates with all its majesty and might. Contrary to Cerisy, this nave retains all of its rows; its perfect proportions are ample, elegant and powerful. They fascinate the first-time visitor.
In the oldest rows of the nave, toward the transept, the ribs fall on “nothing”, for lack of a base or an engaged column to receive them. Such an approximation denotes an incomplete concept, enthusiastically adopted but not yet fully developed.
However remarkable and iconic it may be, owing to the very first use of rib vaulting in human history, the abbey church of Lessay fails to satisfy the lovers of Romanesque sculpture, which is almost absent. This does not come as a surprise in a Norman Romanesque church. Some capitals are sculpted, but they are often the most distant, way up high at triforium level, and the other are only prepared for sculpting, rarely decorated with hooks or gadroons.
The massive Romanesque bell tower.
Peter has a deep interest in Diabetes - in his research days, he invented the HbA1C test that all diabetics use, and of course, the biggest irony - we have an 8 year old T1 diabetic granddaughter. His university, at the time, refused to support the patenting of the test, so fortunes were not made, and the invention attributed to the pharmaceutical companies - nevertheless, Peter's interest in diabetes continues. In Hawaii, we came across obesity in the most gigantic proportions, and while we all know that diabetes has many different causes, we also know that the American way of eating can be a major contributory factor. Or even the British, German, Australian, etc way of filling plates to the brim and leaving them clean. I think Hawaii has a large number of diabetics due to the combination of the American diet and the Polynesian culture of power, strength and status being related to size.
For information purposes - T1 diabetes is genetic, insulin dependent, usually starts in childhood and is not food related. Type 2 diabetes is due to insulin resistance, can often be controlled by diet and is reversible in many cases. Both types seem to be on the increase, but T2 is almost at epidemic proportions in Hawaii...conversations with some people from the local hospital confirmed this. In particular, an orthopaedic surgeon who has had to to refuse people operations because their HbA1C levels were too high to be safe.
Manufacturer: Rogue Automotive, Fear Motorsports
Nationality: American
First assembled: Summer 2216
Birthplace: Lemont, Illinois
Engine: 2 Electric Motors w/ Ultrafire HT1 mircoturbine
HP: 1,700+ HP
0-60: 1.4 seconds
Top speed: 300+ MPH
In the 23rd century, humanity has advanced immensely on a technological scale ever since the automobile was invented. Fantastic leaps everywhere from computer to medical science, to aviation and space studies. Humanity has even reached out to other worlds, as Mars is now colonized and in the process of being terraformed. The car itself has advanced as well. The standard family hauler of 2214 is a multimillion-dollar hypercar compared to what was sold a century prior. What's under the hood; however, hasn't changed much. Evolved yes, but the internal combustion engine has soldiered on since it was conceived, and though other power plants have seen usage on the road, they have yet to take off like the internal combustion engine has, if they ever will to start. Nor has anything radical been done. The most ambitious try at a change of pace in recent times was the 2213 Harrier Varsovian, which simply put, is nuclear. When the 2215 Chicago Auto Show rolled around however, one of the most ambitious, innovative, and outright insane cars took the automotive world by complete surprise. Rogue Automotive of Illinois was always an analogue-focused brand, and never seemed big on change. Chicago is essentially their home turf, so they absolutely needed to bring something to the 2215 auto show, also considering they got their launch there many years prior with the unveiling of the well received Firepower GT, their first ever hypercar. Leaked maps of the autoshow's floorplan showed at Rogue's booth something called "Forward", flanked by a Firepower GT and XLR Blazefury, Rogues only 2 hypercars. Many speculated "Forward" to be the next great hypercar from Rogue, and on the show's very first day, the speculations were proven true. Rogue's Supernova T was unveiled to the roaring cheers of the audience and flashing cameras of the press. The Supernova had the looks, and it's easy to figure out it'll have the speed, but Rogue states there's far more to it. They brag that it's a technological masterpiece, and rightly so. You see no matter what angle you look at the new Supernova, you're looking at the engine in a sense. The Supernova uses a material called Callistine, a mineral from the Jupiter moon where it gets it's namesake from. Callistine is super-reactive to sunlight, producing high amounts of electricity from even the most brief exposures. Callistine has seen small usage in cars before, but not in the way the Supernova does. Before it was just sheets wired up to an electric motor. With the Supernova, the Callistine is crushed down into dust and mixed in with the paint, not only giving the paint a stylish metallic look, but still producing electricity even in this small state. A nervous system of receivers under the body takes the electricity and powers two electric motors moving the front and rear wheels, making the Supernova Rogue's first AWD hypercar. With this impressive usage of actual alien materials, the Supernova can truly call itself a space-age car, hence it's name which also keeps with the heat/fire theme of the previous names for Rogue's hypercars. Rogue emphasizes on this by calling it a Callistine-powered car instead of a solar-electric powered car. There's one little extra to the Supernava that gives it an extra boost over every other hypercar. It's AWD system is rear-dominant, thanks to a mid-mounted hydrogen powered mircoturbine working in tandem with the Callistine during sport/track modes, hence the "T" in the name. The Callistine alone produces over 1,000 HP and according to Rogue an "planet cracking" amount of torque, the turbine throwing in an extra 700 HP into the mix, for a total power output of 1,700+ BHP at the Supernova's peak. An entirely different galaxy from Rogue's previously-seen V10 combustion engines. 0-60 takes an organ-crushing 1.4 seconds, and top speed, though unreleased, is stated to be "faster than the outgoing Blazefury at it's best" which is the FCGT trim that topped out at 302 MPH. Handling aspects are based off of and improved from the information gained from studying the outgoing FCGT, therefore the Supernova will still be a fantastic track vehicle even with it's colossal power. All this immense power and incredible technology will come at a price, clearly. Rogue themselves speculate a $600-$800K pricetag, if not more. Interestingly enough as well, even though it's considered the Blazefury's successor, the Supernova will be produced alongside the Blazefury until the Blazefury's production run is complete, which Rogue states won't happen until late 2216. Another interesting note about the Supernova T is that Rogue "already has plans" to race it, and an LM version should be expected "very, very soon".
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Big thanks to Steven Stone for the editing.
By 1918, the vibrator was available in the Sears, Roebuck catalog to make any housewife happy–a bargain at $6. By 1920, more than 50 different kinds had been invented, according to Rachel Maines, author of The Technology of Orgasm.
“It was a big era for the vibrator,” says Maines. “And they weren’t sexualized. It wasn’t a problem to get them. But the cat was out of the bag as soon as they were used in porn movies.” One of the first adult films to feature a vibrator was the 1920s movie “Widow’s Delight,” in which a woman rejects her suitor to go home to her vibrator. “The veil was off,” Hysteria director Tanya Wexler says. “Oh my God–who knew these were for sex? Shocker!”
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.....item 1).... Ms. Magazine ... Ms. Blog ... msmagazine.com/blog
Home / Life / How the Vibrator Came Out of the Closet
How the Vibrator Came Out of the Closet
June 1, 2012 by Jennifer Vineyard
msmagazine.com/blog/blog/2012/06/01/how-the-vibrator-came...
Freud condemned the clitoral orgasm as “immature”–but at least he recognized that it was in fact an orgasm. Before that, medical science didn’t even think orgasms were sexual in nature, calling them “paroxysms,” and doctors actually prescribed them for their female patients. The practice of bringing them about by massage–first by hand, then by machine–was in vogue in the Victorian era and put into mass effect with the advent of the vibrator, which allowed doctors to “service” patients diagnosed with “hysteria” even faster.
The new Maggie Gyllenhaal-Hugh Dancy period sex comedy Hysteria looks at the invention of the first vibrator in the 1880s, which led rapidly to the devices being mass-marketed for home use. But even though more women than ever could achieve climax with the help of a vibrator, for decades feminists still had to fight to assert that it was normal and healthy to do so. Once the practice was recognized as being sexual, it was frowned upon because of the prejudice that women were supposed to climax from vaginal penetration alone. It’s a notion that persists in our popular culture–just think of every movie scene in which a man slams a woman against a wall and they achieve orgasm simultaneously.
That this is not a common scenario is indicated by Shere Hite’s ground-breaking Hite Report (1976), which found that many women pleased themselves without a penis. If women did choose a partner-in-crime to achieve orgasm, the vibrator was still a favorite option. But what those vibrators look like–and how they’re viewed–has evolved quite a bit over the past 100-plus years.
Vibrators weren’t available for home use until about 1899–if you wanted to use one before that, you had to see your doctor, and it usually cost about $2 at the time. And they weren’t advertised until 1904, when they started popping up in women’s periodicals, with such taglines as “Vibrate your body and make it well,” “Take the edge off things,” “Nature’s own cure-all” and “Magic power… will make you feel like a new person.” These ads made no mention of sex, orgasms, or even hysteria–the so-called “disease” for which vibrators were the purported cure. By 1918, the vibrator was available in the Sears, Roebuck catalog to make any housewife happy–a bargain at $6. By 1920, more than 50 different kinds had been invented, according to Rachel Maines, author of The Technology of Orgasm.
“It was a big era for the vibrator,” says Maines. “And they weren’t sexualized. It wasn’t a problem to get them. But the cat was out of the bag as soon as they were used in porn movies.” One of the first adult films to feature a vibrator was the 1920s movie “Widow’s Delight,” in which a woman rejects her suitor to go home to her vibrator. “The veil was off,” Hysteria director Tanya Wexler says. “Oh my God–who knew these were for sex? Shocker!” Once the vibrator was used in porn, it was harder to find a doctor to use one in treatment–although some continued to diagnose hysteria well up until the 1950s. Says Maines, “You can still find doctors who will do this treatment in Argentina, which makes me think it’s a great reason to go to Buenos Aires!”
During the sexual revolution of the ’60s and ’70s, feminists brought back the vibrator as a means for women to find release without relying on a partner, and by 1977, the first women-centric sex store, Good Vibrations, was open for business. But in non-pornos, the vibrator was kept more symbolic, fantastic–the orgasmic Excessive Machine in 1968′s Barbarella (“It couldn’t keep up with you! What kind of girl are you? Have you no shame?”) or the Orgasmatron in 1973′s Sleeper (“You want to get in the machine now?”). Debra Winger made do with a gyrating mechanical bull in 1980′s Urban Cowboy (“Look at that! Her nipples are hard!”).
But by the late 1980s, the vibrators were coming out of the closet, thanks to open discussion about women’s orgasms in in films such as When Harry Met Sally… and Sex, Lies, and Videotape, which touched on topics like faking it and the difficulty of achieving orgasm. In 1988, a silly comedy called Casual Sex? had the audacity to name-check a vibrator when Lea Thompson said, “I’m sick of my Mighty Intruder vibrator with the flexible shaft and textured head.” But in mainstreams films, it was still a topic of shame, as in 1989′s Parenthood when Steve Martin found Dianne Wiest’s vibrator when he was looking for a flashlight during a blackout. When one of the kids asks, “Mommy, what was that?” she’s told, “That was an electric ear cleaner.”
By the early-to-mid 1990s, it was far more common to acknowledge that a vibrator was in your possession–from the friend who confides to Sharon Stone in Sliver that she’s going to get a “plastic yeast infection” to Brian Krakow on My So-Called Life complaining that the one his parents have sounds “like a lawnmower” to Marina playfully making the most of a vibrating toy diver during her bath in Pedro Almodovar’s Tie Me Up! Tie Me Down! The 1994 film The Road to Wellville featured Victorian ideas about how to achieve optimum health, including electrical stimulus to your genitals–even Matthew Broderick got a little action. More direct was the teenage girl who handcuffed her boyfriend and took out her vibrator to pleasure herself in front of him on HBO’s Dream On–”Cool,” he says–or Jennifer Aniston taking hers into the bathroom when her husband won’t have sex with her in She’s the One.
As the 1990s came to a close, fictional girls and women were more willing to experiment–Natasha Lyonne took a vibrator for a test drive in The Slums of Beverly Hills, after Marisa Tomei recommends one and calls it her “boyfriend.” But it was Sex and the City that made the vibrator a national conversation, thanks to the pivotal episode The Turtle and the Hare that popularized “the Rabbit,” plus a later episode where Samantha gives some frank advice about which devices to use (and which ones to avoid). “You don’t want that one, too many bells and whistles,” she tells one customer at Brookstone, which insists the store was only selling “neck massagers,” not vibrators. “That one actually works against you,” Samantha says. “If we wanted to work that hard, we’d get us a man, am I right?” And about another model, “No, absolutely not. That will burn your clit off.”
“It was a big deal,” said Good Vibrations sexologist Carol Queen. “People could talk about sex toys and have a really honest conversation. It made it possible to say, ‘Yes, I have one.’ And I don’t think the Rabbit Pearl would have been as popular if not for [SATC].”
Sales skyrocketed, and the vibrator was officially mainstream. Gil Grissom could find one in a dishwasher on CSI and Buster could use a cleaning robot in bed for comedy’s sake on Arrested Development. Indie films continued to be more explicit in the 2000s–Shinya Tsukamoto’s A Snake in June, when Rinko uses one for a voyeuristic stalker; Michael Winterbottom’s 9 Songs, when Lisa uses one after getting a table-dance–but creative substitutes allowed bigger-release films to be more stimulating. Elizabeth Banks in The 40-Year Virgin uses a showerhead to “warm up” for Steve Carell (and then Seth Rogen). Parker Posey uses her vibrating cell phone in both Fay Grim and The Oh in Ohio–which leads her into a sex shop as part of her exploration of sexual empowerment. Alice and Dana on season two of The L Word went sex toy shopping as well–and like the girls on Sex and the City, learn way more about their options than they had ever considered. Of course, by the next episode, they also learn that it’s hard to travel with such toys–and it can be embarrassing to have airport security hold up your vibrators, dildos, and nipple clamps for all the world to see. “You can’t take these on the plane, ladies,” they’re told. “You should know better than that.” (It’s a little more acceptable now).
Still, it’s always embarrassing as well as frustrating to be walked in on (as Laney’s whole family does in Not Another Teen Movie, coming to wish her a happy birthday just as her “My Lil’ Vibrator” is getting going), called at the crucial moment (as Courtney Cox’s mom does on Dirt to remind her that she’s late for a reservation: “You better be coming!”), or to drop the remote control while your hands are tied behind your back when you’re watching porn at the same time you’re using your vibrator (as Amber Benson does in Strictly Sexual). Okay, probably that last one doesn’t happen quite as much. “Okay, you caught me,” Amber’s character says. “I mean, men are not the only ones who like to wack off like zoo monkeys.”
The 2000s also saw this idea embraced on TV. Charlotte is giving vibrators away by season three of Private Practice–the Aphrodite, to be precise, from Dr. Laura Berman’s line of sex toys. Peggy on Mad Men gets a little vibe action in a 2007 episode when Don Draper assigns her the “Electrosizer” to try out for an ad campaign. An early predecessor to vibrating panties, it’s a girdle that’s supposed to promote weight loss, but she discovers that its arousing capacity is “probably unrelated,” so she pitches the ad line: “You’ll love the way it makes you feel.” The men are confused, so Don explains, “It provides the pleasure of a man, without the man.” Even Kristen Wiig got some vibe time this month before leaving Saturday Night Live, during a Mother’s Day skit in which she is interrupted while reading 50 Shades of Grey. Of course, the hubby and kids walk in to surprise her with breakfast in bed. “Get out!” she tells them. “Look, a microphone!” one of the kids exclaim during a family photo.
Recent film has seen lots of vibrator discussion as well. Elizabeth Banks–back for another round of masturbation talk with Seth Rogen in Zack and Miri Make a Porno–explains: “I never met a man who makes me come like a vibrator does.” Berman’s vibrating panties made a big splash with Katherine Heigl in The Ugly Truth when a kid gets a hold of the remote control and gives her an orgasm during the middle of a business dinner. “Oh! Oh, wow. Yeah! Yeah. Mmm. This ceviche, it’s so good. Quite possibly the best I’ve ever tasted. I’m going to go ask the chef about the recipe.” (“What’s in ceviche?” one of the dinner guests asks, in a callback to Rob Reiner’s mom asking to order the same pastrami sandwich as Meg Ryan in When Harry Met Sally…) Julianne Moore and Annette Bening use a vibrator in The Kids Are All Right. However, most films tend toward more talk than action, because too real or long of a female orgasm puts the movie at risk of getting a NC-17 rating (as This Film Is Not Yet Rated explains). So women on film are usually relegated to sex that’s all about penetration and not about the other practices that actually work for women.
Now, however, vibrators are taking center stage. Sarah Ruhl’s play, In the Next Room, or the Vibrator Play, put them on Broadway, and now Hysteria places the vibrator on the big screen, tracing its invention to a freethinking woman (played by Gyllenhaal) who links female orgasms with women’s rights. “My goal isn’t to shock people, but to make you laugh,” director Tanya Wexler said. “It’s a thinking woman’s romantic comedy, and it’s just what the doctor ordered. There’s no need to hide it anymore. There’s no shame.“
(From TOP LEFT to BOTTOM LEFT): Photo of antique poster advertising the doctor’s cure for women’s hysteria; photo of an early century vibrator advertisement; Photo of window display in Good Vibration’s Antique Vibrator Museum; Photo of sexologist Carol Queen from Flickr user Charles Haynes under Creative Commons 3.0; Photo of OhMiBod club vibrating panties which can be purchased at
Filed under Life, Sex + Relationships · Tagged with Barbarella, Good Vibrations, Hite Report, Hysteria, Masturbation, Orgasm, Rachel Maines, Sleeper, Tanya Wexler, The Technology of Orgasm, Urban Cowboy, Vibrators, Widow's Delight
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I'm not really one to make up my own baking recipes but maybe I'll try it more often since it was so satisfying today.
When I was in Seattle, Tea took me to Central Market and besides being a fab grocery store with an amazing Asian food section, they had two things which blew my mind. A flour grinder and in addition to fresh ground peanut and almond butter, you could also get fresh ground chocolate hazelnut spread. OMG! It stays a little chunky so it was more like the filling of a Ferrero Rocher than nutella. Mine is all gone and at work today I thought, "Well, what would happen if I just put hazelnuts and chocolate in the Robot Coupe?" It wasn't coming out the same so I put in a little oil and then drizzled in some hot cream. At this point it was pretty tasty but I didn't have a plan for it. I remembered I had some pie dough in the fridge so I rolled it out for a galette, added 2 eggs to the filling and baked it. It's like a chocolate hazelnut brownie pie. How bad could that be??
R.I.P. Steve, The Man who invented the future
133rd Day
Very bad news tonight.. Rest In Peace dear Steve, you were and will be an inspiration for generations and a very good person. Thanks for all you made.
Cya mate.
The Man who invented the FUTURE
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