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De refilón, desde la ventanilla de un taxi, conservo una foto borrosa, movida, pero ¡¡era París y la Torre Eiffel!!.
1981, 25 años. Trabajaba, y necesitaba reforzar el francés por mi trabajo. Busqué el curso más modesto y barato, mis finanzas no daban para más. Y mis dineros me llevaron a un curso en la Universidad de Amiens. No pudo ser mejor destino. Una ciudad encantadora, cerca de París para escaparme los fines de semana, pero mucho más barata y tranquila que París.
En el Aeropuerto de Orly tomé un taxi para ir a la Gare du Nord y allí un tren para ir a Amiens. Tenía el tiempo justo, era un domingo y la residencia universitaria permanecía abierta solo hasta las cinco de la tarde para acoger a los estudiantes extranjeros.
En el trayecto en taxi confesé al taxista que nunca había estado en París, el hombre me vió tan emocionada que se portó de maravilla conmigo, bajó la bandera para que no corriera el contador ¡¡y me llevó en taxi por París!!. Un viaje relámpago, sin pararnos, a través e la ventanilla descubrí ¡la Torre Eiffel! y Los Inválidos, y Notre Dame...era como un sueño, borroso, con contorsiones para asomarme por la ventanilla y llenarme los ojos de esa ciudad con la que siempre soñé.
Descubrí París, pero descubrí muchas más cosas.
Que Francia era carísimo y que el café que me tomé en la Gare du Nord costaba cinco veces más que el que me había tomado por la mañana en el Aeropuerto de Barajas.
Que Amiens está muy al norte y a las 8 de la tarde de julio está todo cerrado. Y que el grupo de estudiantes extranjeros, si queríamos tomarnos algo "por la noche", solo encontraríamos abierta la cantina de la estación.
Que en el 81 los franceses todavía no había conseguido perdonar a los alemanes. Haciéndoles responsables de todas y cada una de sus desgracias.
Que es divertido y fascinante mezclar gente tan diversa en un curso internacional. Desde Markus, un alemán de 19 años hasta Henry, un inglés de 79 que no había perdido la curiosidad de seguir aprendiendo.
Que existían ingleses republicanos ¡¡¡sí, es cierto!!, al menos Henry lo era y el día que se casó Lady Di se negó a ver el fastuoso enlace real por televisión y se encerró furioso en su cuarto.
Que ingleses e irlandeses del norte fueron capaces de convivir en armonía (ojo, que hablo del 81).
Que los franceses eran muy abiertos y liberales, los baños y duchas de la residencia universitaria eran mixtos, que las duchas tenían una puertecita minúscula que tapaba "lo justo" y que debías acceder al grito de "on y va" para que todo el mundo se cubriera.
Que las multinacionales existen, todos los alumnos llevábamos nuestro botecito de Nescafé etiquetado en inglés, alemán, español, griego, finés, holandés, flamenco, italiano, pero siempre con el mismo nombre: Nescafé
Que los franceses inventaron la grandeur, la democracia, las casas de la cultura, la liberté, la egalité y la fraternité, o al menos eso creen ellos.
Que en el Diario de la Picardie pusieron un anuncio solicitando a familias francesas que nos invitaran a pasar el día a los estudiantes extranjeros, y que los franceses llamaban a la residencia pidiendo "mándeme un español, dos alemanes y un suizo" como quien hacía el pedido a la tienda.
Que en el 81 se había puesto de moda una canción, que bailamos en la Plaza del Ayuntamiento de Amiens en la fiesta del 14 de julio, "la dance du canard" y descubrir a mi vuelta que ¡oh sorpresa!, aquella tontada se había puesto también de moda en España con el título del "baile de los pajaritos".
Que es muy difícil hacer un "guateque" multicultural, porque cada uno quiere hacer un "catering" diferente.
Que los españoles nos acostábamos mucho más tarde que el resto, al final siempre acabábamos solos en la cantina de la estación.
Que Amiens tenía una catedral maravillosa y que en los relieves de las sillerías del coro, podías meter los dedos por debajo de las mesas talladas en la madera, y tocar los piececitos de los apóstoles allí representados.
Que en San Quintín nos odian a los españoles, claro y que en la Mairie (el Ayuntamiento) hay un gran cuadro en el que se nos representa como demonios.
Que las almohadas de rulo destrozan las cervicales.
Que la mantequilla empacha y se extraña tanto el aceite de oliva.
Que la formación en la universidad era viva, activa, diferente a lo que se estilaba en España en los primeros 80, sin manuales ni libros de texto, sino con artículos de prensa, programas de televisión, y por la tardes, museos, exposiciones, excavaciones arqueológicas, conferencias, y los fines de semana excursiones por la Picardie... era otra forma realmente excitante de aprender un idioma.
Que los españoles implantamos bailes, fiestas, juegos y con mucho éramos los más alegres y divertidos del grupo.
Fue un viaje algo iniciático, apasionante, en el que , por supuesto, aprendí muchísimo francés pero, sobre todo, hice grandes amigos que conservé de manera postal (por carta , vamos, de aquellas que llevaban un sello y un franqueo) durante años. Un viaje en el que todo era sorprendente, viniendo de un país como el mío que salía en el 81 de un gran atraso y ostracismo. Un viaje en el que aproveché cuatro domingos para ir en tren a París y poco a poco irme haciendo con una ciudad fascinante. Viajaba con una americana que estaba en principiantes y pagaba mis servicios como guía e intérprete, pues mi francés era muy alto en aquella época.
He vuelto a París desde el 81 unas siete u ocho veces...ninguna tan excitante, tan emocionante, tan auténtica, tan verdad, como aquélla, en la que a mis veinticinco años, de manera borrosa y a través de la ventanilla de un taxi ...¡¡descubrí la torre Eiffel!!.
PD y Maniobras orquestales en la oscuridad, no se escuchaba otra cosa en Francia en el verano del 81 www.youtube.com/watch?v=iotENYMT6Yo
E NESS SAYS “I INVENTED THE WHEEL” AND CALLS DNA A COWARD battledomination.com/e-ness-says-i-invented-the-wheel-and...
I think I've possible found the sculpt for the oldest Bryne Brother....now if I can only do a faceup worthy of him. This is just a start.
Maker: David Octavius Hill (1802-1870) and Robert Adamson (1821-1848)
Born: Scotland
Active: Scotland
Medium: photogravure from original calotype negative
Size: 6.25" x 8.25"
Location: Scotland
Object No. 2022.425
Shelf: B-30
Publication: Camera Work issue Number 37, 1912 ,
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg 602
Camera Work, A Pictorial Guide, Dover, 1978, pg
Other Collections:
Provenance: Daniel Oliver
Rank: 150
Notes: photogravure from original paper negative printed by James Craig Annan in 1909. Annan, possibly the finest photographer ever to work in photogravure, is credited with reviving interest in the work of Hill and Adamson. Annan’s connection to D.O. Hill is substantial. When Annan was a child, his father Thomas was a friend of Hill’s. The Annan’s even lived in Hill’s home for a short period. Thomas Annan, a skilled photographer himself, made his living photographically reproducing paintings and worked closely with Hill in the reproduction of his monumental and important painting, The First General Assembly of the Free Church of Scotland. In fact it was this work that initially inspired Hill to explore portrait photography as art. And Hill’s portraits inspired James Craig Annan’s pursuit of photography. In this issue of Camera Work ___ of the photogravures made by Annan are from Hill and Adamson’s original calotype negatives. These prints can and should be considered the best representations available of Hill and Adamson’s work. A talented craftsman intimately related to the original prints made them. In fact, in some way, these images are more accurate a representation than the original calotype. Over time Hill and Adamson’s calotypes have faded – subject to the same fate as the prints in Fox Talbot’s, Pencil of Nature (which consequently motivated Talbot to invent the photogravure process.) (source: www.photogravure.com)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Fortune Brainstorm E 2015
SEPTEMBER 28–29, 2015: AUSTIN, TX, USA
Companies worldwide are navigating an epic business revolution driven by new sources of energy, disruptive technologies, and environmental pressures in a world slated to grow to 9 billion people, from 7 billion, by mid-century. The stakes are high, the risks are palpable, and the opportunities massive. In the race to create a more sustainable world, companies are exploring new technologies and inventing new business models. How will these new disruptive technologies—whether they are in solar, fracking, smart grids, self-driving cars, zero-emission buildings or safe chemicals—impact your business?
Fortune Brainstorm E: Where Energy, Technology, and Sustainability Meet will bring together the smartest people we know who are operating at the forefront of this revolution, including CEOs and senior executives, investors, policy makers, environmentalists, and thought leaders. We’ll challenge one another to explore the disruptive technologies and the new business models that will be needed to thrive in this age of rapid change. In two action-packed days, we’ll showcase the people, companies, ideas, and strategies that will bring about the transformational change the business world needs. We’ll gather September 28–29, 2015, in Austin, Texas.
The program will tackle tough questions: How is the energy revolution impacting the American economy and the way American corporations operate? Silicon Valley increasingly is applying new info-tech to our energy, transportation, water, and food systems. How can companies grow revenues and profits while reducing their environmental impact? Can wasteful consumerism be tamed? Will business lead a movement in Washington to fix today’s energy and environmental policies—which manage to be both ineffective and inefficient? If business is to help solve the world’s biggest environmental problems, and do so profitably, corporate executives, environmentalists, and politicians will need to innovate and collaborate, think big and act boldly.
Brainstorm E builds upon the distinguished legacy of Brainstorm GREEN, long the premier conference on business, sustainability, and green investing. It’s the optimal place to deliver fresh thinking, actionable solutions, and unparalleled opportunities to build top-level relationships.
Photograph by Stuart Isett/Fortune Brainstorm E
Je suis heureuse de vous annoncer que j'exposerai
du samedi 7 au samedi 28 mars
à la Galerie de La cité de l'eau
à Amphion. (74500 Publier)
"Anitaa, photographe et plasticienne, crée des collages originaux sur le thème de la diversité du féminin.
Curieuse, drôle et inventive, cette collectionneuse fascinée d’images organise ses montages, assemble ses collages comme on invente une histoire, comme on écrit le scénario, sur fond de nature, d’actualité, dans l’univers bien grand de son imaginaire."
"En Cuba no hay periodistas presos, hay mercenarios presos"
Lázaro Barredo es director del periódico Granma, órgano oficial del Partido Comunista de Cuba. En esta entrevista, realizada por cuestionario, por Carlos Salas, director de Metro España, Barredo explica el papel de la prensa en Cuba, el estado de la libertad de expresión y comenta el impacto de las medidas recientes.
Lázaro Barredo (Granma-Metro España) [22.04.2008 22:12] - 10 lecturas - 0 comentarios
Los cubanos ya pueden entrar en los hoteles, disponer de teléfonos móviles, comprar computadoras. Grandes cambios. Y respecto a la prensa, ¿cuál va ser el paso que va a dar el Gobierno?
Esas y muchas otras cosas que se atenderán en las próximas semanas y que hemos denominado ahora "prohibiciones" constituyen la rectificación de decisiones que se adoptaron en los momentos más aciagos de la crisis económica a principios de la década de los 90, cuando comenzó lo que los cubanos llamamos Período Especial y que fue consecuencia del derrumbe del campo socialista, la desaparición de la Unión Soviética y el reforzamiento de las medidas del criminal bloqueo económico y financiero de Estados Unidos, y que se asumieron en aquel momento con el deseo de evitar desigualdades en una sociedad hasta aquel momento marcadamente igualitarista.
Esas decisiones fueron superadas por las propias coyunturas y las realidades y debieron haber sido enmendadas mucho tiempo atrás.
Con respecto a la prensa, se han venido dando pasos para poner el énfasis en una mayor profundidad de análisis y crítica de los problemas y ampliar el despliegue de la necesaria variedad de perfiles de los medios y órganos, que sean reflejo cada vez más de la realidad misma y no de la edulcoración, sin dejar de reconocer que la prensa aquí, allá y acullá, responde siempre a una línea política y a un sistema.
En nuestro caso, esa concepción está bien definida en la ideas que recién acaba de expresarle el compañero Fidel en su mensaje a los intelectuales reunidos en el VII Congreso de la Unión de Escritores y Artistas de Cuba: "todo lo que fortalezca éticamente a la Revolución es bueno, todo lo que la debilite es malo".
En Cuba hablamos mucho de Batalla de Ideas, no es una consigna, es una estrategia política que parte de un presupuesto martiano: "Ser cultos es el único modo de ser libres" y que lo asociamos directamente a la idea de que el máximo de libertad del ser humano reside en el máximo de conocimientos que tenga.
Los medios son parte de esa estrategia. En los últimos seis años salieron al aire casi 30 emisoras radiales nuevas con programaciones de 18 a 24 horas cada una de ellas (de 63 a 91 emisoras en todo el territorio nacional); de dos canales nacionales de televisión se han pasado a cinco y uno internacional y de 11 estaciones televisivas territoriales a 32, en provincias y municipios, además de 71 corresponsalías municipales con moderna capacidad tecnológica y estudios para elaborar programas con su propia sustentación. A la vez, se ha ido produciendo una recuperación paulatina de los medios de prensa plana que virtualmente colapsaron hace casi 20 años atrás al desaparecer el mercado natural que tenía Cuba, es decir la Unión Soviética y el campo socialista. Ya hoy más de 700 publicaciones nacionales periódicas y no periódicas han vuelto a circular.
En el mes de junio próximo tendremos las sesiones finales del Congreso de los periodistas que tiene también proyectada una importante agenda de debate político y profesional.
Desde hace pocos días, los cubanos pueden exponer sus quejas en una sección de su periódico. ¿Es un signo de lo que puede pasar en Granma?
Lo que estamos haciendo ha estado siempre dentro de la intencionalidad de nuestro colectivo de redacción. Granma ya tuvo en la década de los 80 una sección de intercambio con los lectores que se llamó "A vuelta de Correo" y después en la década de los 90 tuvo otra denominada "Abrecartas", ambas propiciaron espacios para la queja, la denuncia y el intercambio de opiniones
¿Cuál es el papel de Granma en estos momentos en los que muchos analistas internacionales ven cambios sólidos en Cuba?
Granma, como el resto de los medios, tienen un importante desempeño en la información, orientación, en el emplazamiento a los principales problemas del mundo y de la sociedad. Y hacerlo todo profesionalmente a partir de aquellos conceptos de la reflexión del Apóstol "la prensa no es aprobación bondadosa o ira insultante; es proposición, estudio, examen y consejo".
En otras palabras, llevar a vías de hecho la recomendación de José Martí de que hacer un buen diario es que no haya una manifestación de la vida, cuyos diarios accidentes no sorprendan al diarista.
Temas internacionales para abordar, en los que el mundo vive uno de sus momentos más peligrosos de la supervivencia humana, tenemos suficientes. Como también tenemos muchísimos temas nacionales. El país necesita más respuestas sobre el llamado a la profundización de las concepciones socialistas de la Revolución, más énfasis en la institucionalidad, mas acentos en el control estatal y la participación ciudadana y popular en la exigencia y una batalla mucho más abierta y pública contra el burocratismo, la corrupción, la ilegalidad, la indisciplina social y laboral, la falta de eficiencia, la doble moral y la simulación, contra las tendencias desmoralizantes de quienes por mezquindad han perdido la virtud ética y desprestigian hoy las funciones de la administración y dañan la autoridad de la Revolución.
Tengo la más íntima convicción de que como nunca el país necesita que todos los periodistas tratemos con absoluta responsabilidad el análisis de los principales problemas de nuestra realidad social, que razonemos y argumentemos sobre las causas de las dificultades, rehuyendo el facilismo, la espectacularidad, las declaraciones generales y abstractas y la tendencia a la simplificación.
Su periódico es el órgano del Partido Comunista Cubano. ¿Lo ve usted en un futuro como un periódico que no dependa del partido?
La Revolución, el Partido y Granma es una misma cosa. Hace unos años atrás, Fidel nos decía que el diario es un órgano en que la cuestión política, revolucionaria, ideológica, está muy por encima de cualquier tentación de subordinar un átomo de su papel, porque dejaría de ser el órgano revolucionario de excelencia política, con prioridad absoluta en la política, lo cual no excluye que haga las cosas con el máximo de técnica periodística y que esté ajustado fielmente a la realidad de la nación.
Ustedes publican periódicamente columnas de opinión del comandante Castro ¿Qué mensaje de fondo cree usted que está transmitiendo Fidel Castro a los cubanos?
Bueno, son más de 100 artículos o Reflexiones en este último año. Cuando Fidel anunció que no aceptaría la nominación para el cargo de Presidente de los Consejos de Estado y de Ministros, no había renunciado como se acuñó por los medios internacionales con toda mala intención. Como escribí al día siguiente de su decisión en un comentario en Granma: Fidel no ha renunciado, no se ha despedido de nosotros, sino que por sus limitaciones físicas nos ha comunicado una decisión que ha meditado mucho: "Deseo solo combatir como un soldado de las ideas". Es la consecuencia de lo que nos ha dicho siempre y de lo que proclama ahora con su ejemplo, de que un comunista tiene que dedicar el ciento por ciento de sus energías, de su trabajo, de su vida, a los empeños revolucionarios.
Ha escrito pensando siempre en los jóvenes, abordando temas medulares que tienen por su actualidad política un impacto en la opinión pública internacional, desde las insensatas medidas que condenan a la humanidad a una encrucijada destructiva, como la condena a muerte por hambre a la mayoría de la población mundial, la irracionalidad del uso de alimentos para producir biocombustibles, los graves problemas que destruyen el medio ambiente o fustigando sin cesar las mentiras y los embustes de W. Bush, por mencionarte algunos ejemplos. Sus certeros análisis no abordan solo la crítica a esos fenómenos, sino también la observación sobre fórmulas aplicables para afrontarlos.
Creo que si me preguntaras que te nombrara una en particular, te mencionaría una joya política y literaria, Regalo de Reyes que publicó el pasado 14 de enero, dedicado en su primera parte a la gira de Bush por el Medio Oriente, pero que lleva de la mano sobre algunos de los pretextos de la guerra de Iraq, la crisis actual y concluye con un impactante llamado a la juventud:
A los revolucionarios más jóvenes, especialmente, recomiendo exigencia máxima y disciplina férrea, sin ambición de poder, autosuficiencia, ni vanaglorias. Cuidarse de métodos y mecanismos burocráticos. No caer en simples consignas. Ver en los procedimientos burocráticos el peor obstáculo. Usar la ciencia y la computación sin caer en lenguaje tecnicista e ininteligible de élites especializadas. Sed de saber, constancia, ejercicios físicos y también mentales.
En la nueva era que vivimos, el capitalismo no sirve ni como instrumento. Es como un árbol con raíces podridas del que sólo brotan las peores formas de individualismo, corrupción y desigualdad. Tampoco debe regalarse nada a los que pueden producir y no producen o producen poco. Prémiese el mérito de los que trabajan con sus manos o su inteligencia.
Si hemos universalizado los estudios superiores, debemos universalizar el trabajo físico simple, que ayuda por lo menos a realizar parte de las infinitas inversiones que todos demandan, cual si existiera una enorme reserva de divisas y de fuerza de trabajo. Cuídense en especial de los que inventan empresas del Estado con cualquier pretexto y administran después las fáciles ganancias cual si hubiesen sido capitalistas toda la vida, sembrando egoísmo y privilegios.
Mientras no se tome conciencia de esas realidades, ningún esfuerzo puede realizarse para "impedir a tiempo", como diría Martí, que el imperio al que vio surgir por haber vivido en sus entrañas, destroce los destinos de la humanidad.
Ser dialécticos y creadores. No hay otra alternativa posible.
En la última columna de Castro se leía que la religión no es un obstáculo para ser militante del Partido Comunista. ¿Piensa que se está preparando a los cubanos para un gran cambio?
Esta pregunta tuya es una prueba de lo poco que se conoce la realidad de Cuba. Es comprensible, ha sido mucha la manipulación mediática sobre nuestra vida nacional.
El libro Fidel y la Religión, Conversaciones con Frei Betto, un sacerdote dominico brasileño, editado por primera vez en octubre de 1985, originó un prolongado debate político en Cuba que culminó en 1991 cuando en mayoritarios segmentos sociales se llegó a la conclusión sobre la necesidad de rectificar una cierta posición discriminatoria contra algunos sectores creyentes y esa fue una de las premisas en el debate del IV Congreso del Partido celebrado ese año de 1991. Allí se aprobó el principio de que la religión no debía ser un obstáculo para que un creyente pudiese hasta llegar a ingresar en las filas del Partido Comunista de Cuba. Como ves, esa política se aprobó hace cerca de 27 años y Fidel en sus reflexiones no hizo otra cosa que recordarlo.
Las reformas constituciones de 1992, aprobadas por los diputados a la Asamblea Nacional del Poder Popular (Parlamento) enmendaron desde el punto de vista legislativo esa situación discriminatoria al establecer los principios del Estado Laico.
Debo aclararte que no hablamos solo de la religión católica o las protestantes, sino también de más de 50 congregaciones con personalidad jurídica, entre ellas varias denominaciones sincréticas de la cultura africana –que es la religión más extendida en Cuba-, las cuales por primera en la historia cubana han sido reconocidas por el Estado.
Si tuviera que hacer una autocrítica, ¿qué cambiaría de su periódico?
Autocráticamente, nuestro colectivo de redacción tiene que reflejar mucho más las contradicciones de nuestra sociedad, la lucha por resolver los problemas de la nación y el enfrentamiento a las deficiencias y con argumentos no retóricos o apologéticos demostrar que el socialismo es viable, porque para los cubanos cualquier otra opción es perder nuestra independencia y soberanía.
¿Cómo están considerados los periodistas en su país? ¿Son los garantes de la libertad de expresión?
Esta pregunta me obliga a tratar la disquisición conceptual que pretende denigrar al sistema político cubano.
En el mundo comunicacional, el concepto de libertad de expresión es muy controvertido, depende de la apreciación de cada cual. Por ejemplo, desde mi punto de vista se tienden a confundir la libertad de opinión del ciudadano y su derecho a estar informado con la llamada libertad de prensa que por sí misma, y en buena parte del mundo, impone limitaciones de una forma u otra por intereses propios de lo que no pocas veces, sin lugar a duda, resulta más bien la "libertad de empresa".
La libertad de expresión en nuestro caso la garantizan la Constitución y las leyes y sobre todas las cosas las condiciones materiales creadas para garantizar ese ejercicio y que están dadas por el hecho de que la prensa, la radio, la televisión, el cine y otros medios de difusión masiva son de propiedad estatal o social y no pueden ser objeto, en ningún caso, de propiedad privada, lo que asegura su uso al servicio exclusivo de los intereses de la sociedad.
En la difusión sobre las realidades de lo que acontece en Cuba hay mucha mala fe, pero visto el asunto cubano con objetividad nadie podría negar que en el ámbito político-cultural es ostensible una cada vez más abierta y profunda discusión de los problemas sociales, intelectuales, artísticos y filosóficos entre los propios creadores y un espacio crítico que tienen hoy reflejo en la diversidad de las numerosas publicaciones que se editan.
En la isla no existe un sentimiento de xenofobia o aldeanismo con respecto a la comunicación mundial. En el país se proyectan anualmente más de 1 200 filmes extranjeros, el 80 % de ellos norteamericanos. Se difunde la música universal de todos los tiempos y en los centros de documentación y bibliotecas hay pleno acceso a decenas de miles de autores de todas las corrientes, principios filosóficos y tendencias estéticas, así como a revistas y periódicos universales, mientras que en los medios televisuales se reproducen importantes segmentos informativos de varias cadenas televisivas internacionales.
Haga un ejercicio de búsqueda de los principales acontecimientos en la isla en el último año y verá que Cuba ha estado de congreso en congreso, de asamblea en asamblea, discutiendo plenamente y con absoluto respeto toda la agenda política del país.
No hay ninguna norma del Estado que impida el ejercicio de la opinión, y de hecho aun las personas que se convierten en instrumentos de la política de agresión de Estados Unidos contra Cuba, dentro de Cuba, expresan sin ninguna restricción legal el derecho a emitir sus opiniones, acudir a los corresponsales extranjeros o las misiones diplomáticas, establecen comunicaciones directas con personas y con medios en el exterior.
Cuba tiene una alta densidad radial y es una de las naciones que mayores accesos tiene a la comunicación mundial, cuando por la situación geográfica de la isla se pueden captar en el dial más de 100 emisiones internacionales, desde la BBC de Londres, Radio Exterior de España y la Voz del Vaticano, pasando por Radio Rumbo de Venezuela, Radio Caracol de Colombia y hasta la Voz de los Estados Unidos.
No es necesaria mucha imaginación para evaluar lo que puede significar para una isla larga y estrecha como Cuba, tener emplazada contra ella a 15 plantas radiales, transmitiendo en más de 30 frecuencias de ondas media y corta desde Estados Unidos, con más de 250 horas de programación diaria totalmente destinada para Cuba, con propaganda intencionada en los propósitos de infundir temor e incertidumbre, fanatismo, y enajenación, a la vez que empeñadas en estimular conductas sin escrúpulos y sin consideraciones éticas.
Desde estas emisoras, provenientes de Miami en lo fundamental, se promueve constantemente la subversión mediante llamados abiertos a la subversión civil, la realización de sabotajes a la economía nacional como forma de destrucción de la infraestructura del país, a la celebración de huelgas, a incrementar el delito económico, a colocar propaganda contra el Gobierno.
Agencias federales norteamericanas han dedicado más de 600 millones de dólares en los últimos años al fomento de estas plantas que operan bajo su amparo oficial (las más llamadas Radio y Televisión Martí), que se identifican o complementan con la de grupos terroristas y otras del servicio comercial de Miami, comprometidas por las ambiciones políticas de quienes las patrocinan.
Nadie en Cuba es perseguido ni por escuchar las transmisiones extranjeras, ni tampoco por oír ninguna de esas emisoras abiertamente antinacionales.
Y lo que es más, la mayoría de las personas que se autodenominan disidentes, hablan casi en muchísimas oportunidades por esas emisoras radiales, expresas sus comentarios directos o son entrevistados, a la vez que escriben desde la isla para los periódicos más importantes de Miami, sin que por ello sufran ninguna acción legal, pese a que en la mayoría de los casos se denigra flagrantemente y de manares reiterada a la Revolución, sus instituciones y sus dirigentes.
La prensa extranjera tiene acceso al país. Hay más de 150 periodistas de 111 medios de prensa extranjeros acreditados en las corresponsalías permanentes, incluidas las principales agencias cablegráficas internacionales y cerca de 20 000 periodistas de diversas latitudes obtuvieron visa para trabajar en el país y reportar libremente en los últimos 19 años, desde 1989.
Los periodistas en Cuba son profesionales y se distinguen por ser revolucionarios.
Hay algunos periodistas cubanos encarcelados por expresar su opinión. Como periodista que dirige Granma, ¿cuál es su opinión?
En Cuba no hay periodistas presos por ejercer su profesión. Hay mercenarios presos, pagados por una potencia extranjera, en este caso el gobierno de los Estados Unidos, para llevar adelante planes de subversión que propicien el derrocamiento de la Revolución.
En ningún país del mundo se admitiría el financiamiento de grupos de personas por una potencia extranjera para llevar adelante actividades políticas violatorias de las leyes.
¿Qué opina de medios como El Nuevo Herald en Miami?
El Nuevo Herald es un libelo de la mafia terrorista de Miami.
Si tienes tiempo tómate el trabajo de analizar lo que publica sobre Cuba The Miami Herald y El Nuevo Herald, que tienen la misma matriz, y si comparas los mismos textos en inglés y en español, apreciaras la manipulación,comprobarás esta apreciación.
¿Qué opinión tiene de los medios de comunicación europeos?
No se si en España será así, pero en Cuba cuando hay cosas difíciles acostumbramos a decir "Me la has puesto en China" (por el término de distancia). No tengo posibilidad de hacer una evaluación. Hay de todo como en botica. Pero con respecto a Cuba hay una tendencia bastante generalizada a la enajenación y publicitar cuanta manipulación se prepare contra la isla. Contra Cuba, todo es bueno.
¿Y de los medios norteamericanos más poderosos como New York Times o The Washington Post o The Wall Street Journal?
Nosotros aquí públicamente hemos denunciado la parcialidad con que algunos medios norteamericanos tratan el asunto cubano. Hay varias investigaciones que prueban el grado de complicidad que tienen con la política del gobierno, una de ellas es el silencio que han hecho del caso de cinco cubanos luchadores contra el terrorismo que guardan prisión injustamente, condenados a cadena perpetua en un amañado proceso judicial, donde se ha impuesto la presión de los grupos terroristas de Miami en contubernio con la Administración de George W. Bush.
Solo aporto como prueba, que cuando los abogados defensores apelaron a la Corte de Apelaciones del Circuito de Atlanta, fue nombrado un panel de tres renombrados jueces norteamericanos por esa misma Corte. Tras un año de revisión, los tres jueces elaboraron por unanimidad un documento de 93 páginas donde de punta a cabo, desde la A hasta la Z, consideraron que el proceso había sido arbitrario. En un precedente inaudito en la jurisprudencia norteamericana, el entonces Fiscal General de los Estados Unidos, Albert Gonzáles, a nombre del Gobierno de W. Bush solicitó a la Corte de Apelaciones la anulación del fallo del Panel de esos tres jueces, lo cual fue concedido. La prensa norteamericana ha ignorado completamente todo esto.
Ahora, si se piensa que estoy prejuiciado con Estados Unidos, invito a leer el libro Agentes de Poder, escrito por el catedrático y periodista J. Herbert Altschull, quien fue reportero y editor de la agencia AP, el diario The New York Times, la cadena televisiva NBC, y la revista Newsweek.
Analizando el cacareado código de la objetividad de que se enaltece la gran prensa norteamericana, ¿qué dice Altschull?
"Bajo el código de la objetividad no es posible atacar a las instituciones fundamentales. Y tampoco es posible atacar a los símbolos de esas instituciones fundamentales: por ejemplo, a la bandera, o a la "democracia"; o a la libertad de prensa, de expresión, o de religión; o a la Presidencia. No se puede aplaudir a los enemigos del sistema, ni a las representaciones simbólicas de esos enemigos. No se puede apoyar el ateísmo; la libertad religiosa no llega a ese extremo. Y tampoco se puede apoyar ningún símbolo de animosidad hacia la familia. La homosexualidad puede tolerarse, pero no apoyarse. La maternidad no puede ser condenada; el comunismo no puede ser defendido. Y para el caso, dentro de los perímetros del sistema, tampoco es aceptable atacar el código de la objetividad.
"Es más, el código de la objetividad parece ser eficaz sólo dentro de los límites geográficos de los Estados Unidos. Cuando Estados Unidos está en colisión con otra nación, no es necesario conceder la misma atención a "ambos lados" de la disputa; sería poco patriótico. Es raro encontrar que se conceda la misma importancia a las opiniones de Fidel Castro que a las de sus enemigos y cuando se presenta la postura de Castro, por lo común se reporta de tal manera que ilustre con claridad lo obstinado de sus puntos de vista".
¿Cree que Chávez es ya el nuevo mito de la izquierda en América Latina, como lo fue en su tiempo Fidel Castro?
Chávez y Fidel son símbolos de la cruenta lucha emprendida por los humildes y para los humildes. En esa consagración fecunda reside la grandeza de ambos y son referentes enaltecedores de los movimientos sociales.
Te reitero lo que escribí en enero, al día siguiente de la decisión de Fidel: En este mundo donde la política es una caricatura no pueden entender que esta Revolución en su pensamiento y en su acción es un proceso de continuidad y que el compañero Fidel seguirá siendo el líder de la Revolución de hoy y de mañana, que por encima de cargos y títulos, seguirá siendo el consejero de ideas al que tendremos que acudir siempre, porque Fidel ha logrado trascender la vida política para insertarse como algo íntimo en la vida familiar de la inmensa mayoría de los cubanos.
Si ha conocido personalmente a Hugo Chávez, ¿cómo lo definiría?
Un revolucionario y un hombre de su tiempo, consecuente con sus ideas.
¿Qué cree que le hace falta en este momento a Cuba desde el punto de vista económico?
Que termine el criminal bloqueo económico y financiero de los yankis y todas sus leyes extraterritoriales, y nos dejen hacer nuestra vida nacional en paz.
¿Cómo describiría el estado de ánimo de sus compatriotas?
Quien lea el Programa de Santa Fe, que fue la plataforma política elaborada por los pujantes neoconservadores republicanos en 1979 para la Administración de Ronald Reagan, encontrará que sobre Cuba quedó claramente definido que había que hacerle pagar caramente a La Habana el costo del desafío.
Los cubanos, como los españoles que enfrentaron al imperio de Napoleón en el siglo XIX, lo hemos resistido todo: amenaza de bombardeo nuclear, agresión militar, actos de terrorismo donde han sido asesinados más de 3 500 niños, mujeres y hombres, guerra económica para rendirnos por hambre y enfermedades, guerra bacteriológica que ha matado personas y dañado nuestras principales producciones agrícolas y ganaderas, guerra radial y televisiva, en fin, todo lo posible para derrocar a la Revolución. Y pese a todo, aquí estamos.
Acabamos de terminar en el país un proceso popular de discusión política. Más de cuatro millones de compatriotas participaron y se hizo más de un millón de planteamientos de asuntos a atender desde la fábrica, la cooperativa o la universidad, pasando por los municipios y provincias y hasta llegar a los ministerios, el gobierno o el Estado.Todas las opiniones, incluso las más críticas, estuvieron dirigidas a fortalecer la Revolución. Hay una expectativa muy favorable. Creo que el propio Presidente Raúl Castro lo definió claramente ante los diputados a la Asamblea Nacional: No hay por qué temer a las discrepancias en una sociedad como la nuestra, en que por su esencia no existen contradicciones antagónicas, porque no lo son las clases sociales que la forman. Del intercambio profundo de opiniones divergentes salen las mejores soluciones.
Hay optimismo en que con las medidas que se comienzan a aplicar, las cuales cuentan con el consenso popular, saldremos adelante. Si la Revolución inspira confianza es porque hace todo lo que dice.
¿Qué cree que debe Cuba copiar hoy día de China?
¿Copiar? Si algo hemos aprendido en estos años es que "a historia propia, soluciones propias".
Con China tenemos buenísimas relaciones en todos los campos y constituyen un ejemplo de transparencia y colaboración pacífica entre dos naciones que sostienen los ideales del socialismo. Las ventajas que disfrutan nuestros dos países al compartir similares objetivos, salvando las particularidades propias, crean el ambiente necesario que facilitan el desarrollo ulterior estable e ininterrumpido.
En Europa, en muchos medios, hay una fuerte oposición al embargo. ¿Cree que los medios europeos han sido muy débiles a la hora de oponerse o crear estados de opinión?
Europa ha utilizado a Cuba como una tarjeta de cambio en sus relaciones trasatlánticas con Estados Unidos. Su oposición ha sido más bien discursiva porque es demasiado evidente la trasgresión de las normas del Derecho Internacional dadas las disposiciones extraterritoriales de leyes norteamericanas como la Torricelli o la Helms-Burton. Ha primado más bien el patrón mediático contra la isla, reclamándole medidas injerencistas a Cuba, las cuales no las han pedido a nadie más en este mundo.
Por último, ¿diría que Cuba está a las puertas del cambio más importante desde que comenzó la Revolución hace justamente 50 años?
He observado con respeto que casi todas las preguntas que me has hecho tienen como elemento vinculante la palabra "CAMBIO".
Me pregunto ¿y qué tiene que cambiar Cuba?
A una pregunta similar respondí en el periódico semanas atrás:
¿Qué cambios estructurales o que transición tendría que hacer Cuba después de la que hizo el Primero de Enero de 1959?
¿Puede olvidarse que las leyes y medidas revolucionarias más radicales, que modificaron completamente los cimientos de nuestro Estado, fueron adoptadas con el beneplácito de la inmensa mayoría de la población?
No hay posiblemente otro caso en la historia en que una Revolución y su liderazgo hayan contado con un apoyo tan masivo y en una época caracterizada por cambios profundos, radicales y acelerados, a la vez que ha tenido que enfrentarse durante medio siglo a la fuerza descomunal de la agresión norteamericana.
El Estado revolucionario rescató para todo el pueblo las riquezas nacionales de manos de los imperialistas y de los explotadores de todo tipo: eliminó el desempleo y abrió fuentes de trabajo para todos: acabó con el analfabetismo y puso la educación de manera gratuita al alcance de todos y con plena equidad social: garantizó por primera vez la atención médica y hospitalaria gratuitamente a todos; popularizó y amplió los cauces de la cultura; desarrolló el deporte y algo muy sobresaliente: organizó al pueblo, le dio armas y le enseñó a manejarlas para que se defendiera.
La Revolución ha partido de motivaciones auténticas, de valores y principios éticos y morales para mover a la mayoría de los cubanos hacia una participación soberana de sus ciudadanos en los asuntos más importantes de la sociedad.
Eso no quiere decir que estemos satisfechos ni mucho menos, y que aun en el orden democrático haya que trabajar por lograr un estadio superior, pero nadie puede negar que por primera vez en nuestra historia nacional las mayorías sociales logran expresarse como mayorías políticas.
Si ya hicimos esa transición hace 50 años, ¿qué nos proponen entonces como no sea volver atrás, al otro medio siglo de neocolonia con un daño irreversible: perder nuestra identidad?
19 aprile 2008
INVENTATO DI SANA PIANTA
ovvero gli affari del barone Laborde
di Hermann Broch
regia Luca Ronconi
con Massimo De Francovich, Pia Lanciotti, Massimo Popolizio, Anna Bonaiuto, Giovanni Crippa, Giacinto Palmarini, Pasquale Di Filippo
traduzione di Roberto Rizzo
scene Marco Rossi
luci Gerardo Modica
Piccolo Teatro di Milano - Teatro d’Europa
What did Vikings do before Harley Davidson motorcycles were invented?
I've always liked Vikings.
Well... I'm not sure I ever knew one...
But I was a kid in the seventies when vans were very popular... havin' a conversion van then was like some status symbol indicating your complete coolness or something.
Fred had a van on Scooby Doobie Doo and I think that's why he scored with Daphne.
But he wore ascots... and I could never figure that out.
Usually guys who wear ascots don't score with hot chicks if you know what I mean.
Unless they're British.
British guys could get away with that kinda stuff because of their accents.
I always looked up to guys who drove vans.
Guys who wear ascots?
Not so much.
I don't know... I was only like ten years old... but I remember it seemed like a lot of vans had really cool Viking scenes painted on them.
I especially liked the ones painted with the really well toned super-endowed Viking woman... usually in a fur bikini with matching fur boots... on top of some gnarly and rugged mountain... swinging a big double handed sword and cutting off a dragons head or something.
I don't know about you but I've always been a big fan of the 'hot chick slays the beast' genre of art.
It's not for everyone.
That's also when I learned to appreciate fine airbrush art.
And Viking women.
In fur bikinis.
Swinging big swords.
Airbrush art and fine looking Viking women are like peanut butter and chocolate I think... they just 'go together.'
Throw in a 'blank' van and you're talking the ultimate-cool 'trifecta' baby!
I wonder how people went about getting those murals painted on their van?
'Yesh... I really like this van... but it's kinda plain... I'm the kinda guy who'd like an airbrushed nordic goddess painted on the side... it speaks of my unique personality and character attributes... can you set me up... I mean if you do... I'll buy the van... but she's gotta be wearing a fur bikini and fur boots... deal?'
Or... 'eh Louie... I'm thinkin' about buyin' one a dem conVERsion vans... you know anybuddy who maybe knows anybuddy who get me all set up with one a dem Viking chick fantasy murals?'
'Dere's dis guy named Sven dey say he's a like Michael Angelo with de airbrush... down dere in Blue Island... he does really good fur boots an stuff... I getcha his numbah.'
I did a flickrsearch for 'fur bikini' to come up with a good picture for this story.
I prolly shouldn't have done that.
Although the one with Latitia Casta's face pasted on to some other chicks body was kind of interesting... it was a decent photoshop job... but I could tell right away that those weren't Latitia's breasts because I studied them in college at the masters level.
What I saw was really disturbing and I'm going to have a hard time going to sleep now.
If you like disturbing stuff check out this image... you'll totally regret it so don't get all p!ssed off at me because I warned you... but you know you wanna look... so here... click on this link... www.flickr.com/photos/furslave/2487451390/
Now go clear your browser's history before you forget.
You can thank Viewminder for reminding you later.
Nothing ruins a weekend like your girl/guy/lifepartner saying...
'So WHO were YOU looking to buy a FUR BIKINI for huh?'
If you have good instincts you'd duck after ever hearing a statement like that.
I know I'd just run... in a tight zig zag pattern. Fast. Far. And Away. Fast and far away.
DON'T EVEN try to explain... you'll only dig your hole deeper... it's better to present a moving target anyway.
Gahd help you if you get cornered in the car on the expressway with this one... just aim for the closest bridge abuttment and get it over with quick.
If there's one thing Viewminder knows it's CRAZY LOVE gone bad. Trust me.
Nobody could possibly be ready to lie their way out of that one... and let's face it... the truth isn't too believable either.
You'd be an idiot if you tried the old 'so WHAT were you doing looking at MY browser history... you don't TRUST me' routine on that one. You ain't turning this one around this time. No way.
The time-tested 'turn the tables' trick with the look of sincere hurt on your face might work when you been caught looking at your garden variety internet porn... but not dudes in fur bikinis.
Don't matter if you're innocent... you gotta think damage control at this point.
And damage control means DON'T bring me into it... nunna that 'baby I was just lookin' at Viewminder's stream again... he always links to this crazy sh!t.'
I get enough Chicago-Love without your help thank you.
Best bet... find a payphone... cuz your cell phone was probably the first thing thrown at you... and just call and do like Hollywood movie stars do... 'baby... I know I need help... I'm going to check into a residential intensive program... I appreciate you standin' by me until WE get through this.'
Charlie Sheen has that printed on the back of his business cards I heard.
You gotta use the 'WE' word. It's like subliminal. Either they'll be happy that there's still a 'WE' or they won't and you'll know it right away.
It's good to know where you stand in crisis mode.
Might buy you enough time to get your stuff back when your new ex leaves if they don't change the locks right away.
Better getcher stuff quick too... before you get the restraining order.
That's the best I got.
Strategically you're in a really good position... when the ex goes out and tells all their friends and family the story... it's so outrageous it kinda sounds like a lie.
So when all that stuff you're really guilty of comes out no one'll believe that either.
There's really a bright side to everything if you look at it right.
Mr. Fur Bikini couldda made you a contact... friends and family too!
Of course if you'd get a 'c'mere you... I noticed you were looking at fur bikinis for me'... I'd say you're in for a wild weekend and I would hope you'd at least send Viewminder a private flickr mail describing the craziness of said weekend.
You'd owe me that much.
Maybe even a 'guest pass' to check out the pictures.
I promise to change your name before I tell everyone.
If that doesn't shock you... cus you're the kind a person it takes a lot to shock... try looking at that image while listening to this song... it's the one from Disney World... 'It's a small world after all'... www.youtube.com/watch?v=eIabgPX14R4
I suggest opening two different windows AND locking your door.
Somebody walks into your world while you've got that image on your screen and that song playing...
If you're a minor... stay away from the first link but play the second link over and over in your room really loud.
Pretty soon your mom will be taking you once a week to see the nice lady who asks lots of questions but seems completely non-judgemental.
You can find a lot of ways to have fun with that.
And Mr. Fur Bikini lover... if you track back all those hits to my stream here... I'm not judgin'... I say to each their own... live and let live... I mean... I've already admitted I got a thing for airbrushed fantasy scenes of well endowed Viking women swingin' swords... everybody's got their thing... we all fuhreeky deeky!
You have fun with that... I mean... it doesn't look like anyone's getting hurt... next time maybe try to be a little environmentally conscious and use 'simulated' fur maybe... I'm just sayin'.
Chicago-Love!
I've never been big on vans... but they seemed like a really great place to paint an airbrush masterpiece to show off to the world your enthusiasm for nordic goddess warrior chick types.
I guess that's where my fascination with Vikings started.
This guy reminds me of a Viking.
I didn't have a chance to ask him... but I bet he digs vans with cool airbrush art and women in fur bikinis and boots weilding broadswords.
I'm psychic like that.
Now if I could have only foreseen the results of my image search for 'fur bikini'...
Oh and about that quitting flickr thing... April Fools.
Don't be hatin' me and pass this on to all your 'frenemies.'
I gotta feelin' this'll be my latest picture to be kicked off of 'explore.'
Faces on the street
Chicago 3.26.11
35mm 1.8 I can't even remember what I did to this one.
Du 26 mars au 14 juillet 2024
Exposition Paris 1874 Inventer l'impressionnisme
Musée d'Orsay à Paris 7ème
www.musee-orsay.fr/fr/agenda/expositions/paris-1874-inven...
The Château de Chenonceau is a French château spanning the river Cher, near the small village of Chenonceaux, Indre-et-Loire, Centre-Val de Loire. It is one of the best-known châteaux of the Loire Valley.
The estate of Chenonceau is first mentioned in writing in the 11th century. The current château was built in 1514–1522 on the foundations of an old mill and was later extended to span the river. The bridge over the river was built (1556-1559) to designs by the French Renaissance architect Philibert de l'Orme, and the gallery on the bridge, built from 1570 to 1576 to designs by Jean Bullant.
An architectural mixture of late Gothic and early Renaissance, Château de Chenonceau and its gardens are open to the public. Other than the Royal Palace of Versailles, it is the most visited château in France.
The château has been designated as a Monument historique since 1840 by the French Ministry of Culture. Today, Chenonceau is a major tourist attraction and in 2007 received around 800,000 visitors.
In the 13th century, the fief of Chenonceau belonged to the Marques family. The original château was torched in 1412 to punish the owner, Jean Marques, for an act of sedition. He rebuilt a château and fortified mill on the site in the 1430s. Jean Marques' indebted heir Pierre Marques found it necessary to sell.
Thomas Bohier, Chamberlain to King Charles VIII of France, purchased the castle from Pierre Marques in 1513 and demolished most of it (resulting in 2013 being considered the 500th anniversary of the castle: MDXIII–MMXIII), though its 15th-century keep was left standing. Bohier built an entirely new residence between 1515 and 1521. The work was overseen by his wife Katherine Briçonnet, who delighted in hosting French nobility, including King Francis I on two occasions.
In 1535 the château was seized from Bohier's son [fr] by King Francis I of France for unpaid debts to the Crown. After Francis' death in 1547, Henry II offered the château as a gift to his mistress, Diane de Poitiers, who became fervently attached to the château along the river.[8] In 1555 she commissioned Philibert de l'Orme to build the arched bridge joining the château to its opposite bank. Diane then oversaw the planting of extensive flower and vegetable gardens along with a variety of fruit trees. Set along the banks of the river, but buttressed from flooding by stone terraces, the exquisite gardens were laid out in four triangles.
Diane de Poitiers was the unquestioned mistress of the castle, but ownership remained with the crown until 1555 when years of delicate legal manoeuvres finally yielded possession to her.
After King Henry II died in 1559, his strong-willed widow and regent Catherine de' Medici forced Diane to exchange it for the Château Chaumont. Queen Catherine then made Chenonceau her own favourite residence, adding a new series of gardens.
As Regent of France, Catherine spent a fortune on the château and on spectacular nighttime parties. In 1560, the first-ever fireworks display seen in France took place during the celebrations marking the ascension to the throne of Catherine's son Francis II. The grand gallery, which extended along the existing bridge to cross the entire river, was dedicated in 1577. Catherine also added rooms between the chapel and the library on the east side of the corps de logis, as well as a service wing on the west side of the entry courtyard.
Catherine considered an even greater expansion of the château, shown in an engraving published by Jacques Androuet du Cerceau in the second (1579) volume of his book Les plus excellents bastiments de France. If this project had been executed, the current château would have been only a small portion of an enormous manor laid out "like pincers around the existing buildings."
On Catherine's death, in January 1589, the château went to her daughter-in-law, Louise of Lorraine, wife of King Henry III. Louise was at Chenonceau when she learned of her husband's assassination, in August 1589, and she fell into a state of depression. Louise spent the next 11 years, until her death in January 1601, wandering aimlessly along the château's corridors dressed in mourning clothes, amidst sombre black tapestries stitched with skulls and crossbones.
Henri IV obtained Chenonceau for his mistress Gabrielle d'Estrées by paying the debts of Catherine de' Medici, which had been inherited by Louise and were threatening to ruin her. In return, Louise left the château to her niece Françoise de Lorraine, at that time six years old and betrothed to the four-year-old César de Bourbon, duc de Vendôme, the natural son of Gabrielle d'Estrées and Henri IV. The château belonged to the Duc de Vendôme and his descendants for more than a hundred years. The Bourbons had little interest in the château, except for hunting. In 1650, Louis XIV was the last king of the ancien régime to visit.
The Château de Chenonceau was bought by the Duke of Bourbon in 1720. Little by little, he sold off all of the castle's contents. Many of the fine statues ended up at Versailles.
In 1733 the estate was sold for 130,000 livres to a wealthy squire named Claude Dupin. His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress Manon Dancourt, whose mother was also an actress who had joined the Comédie Française in 1684. Louise Dupin was "an intelligent, beautiful, and highly cultivated woman who had the theatre in her blood." Claude Dupin, a widower, had a son, Louis Claude, from his first wife Marie-Aurore de Saxe, who was the grandmother of George Sand (born Aurore Dupin).
Louise Dupin's literary salon at Chenonceau attracted such leaders of the Enlightenment as the writers Voltaire, Montesquieu, and Fontenelle, the naturalist Buffon, the playwright Marivaux, the philosopher Condillac, as well as the Marquise de Tencin and the Marquise du Deffand. Jean-Jacques Rousseau was Dupin's secretary and tutored her son. Rousseau, who worked on Émile at Chenonceau, wrote in his Confessions: "We played music there and staged comedies. I wrote a play in verse entitled Sylvie's Path, after the name of a path in the park along the Cher."
The widowed Louise Dupin saved the château from destruction during the French Revolution, preserving it from being destroyed by the Revolutionary Guard because "it was essential to travel and commerce, being the only bridge across the river for many miles."
In 1864 Marguerite Pelouze [fr ], a rich heiress, acquired the château. Around 1875 she commissioned the architect Félix Roguet to restore it. He almost completely renewed the interior and removed several of Catherine de' Medici's additions, including the rooms between the library and the chapel and her alterations to the north facade, among which were figures of Hercules, Pallas, Apollo, and Cybele that were moved to the park. With the money Marguerite spent on these projects and elaborate parties, her finances were depleted, and the château was seized and sold.
José-Emilio Terry, a Cuban millionaire, acquired Chenonceau from Madame Pelouze in 1891. Terry sold it in 1896 to a family member, Francisco Terry. In 1913, the château was acquired by Henri Menier, a member of the Menier family, famous for their chocolates, who still own it to this day.
During World War I Gaston Menier set up the gallery to be used as a hospital ward. During the Second World War, the château was bombed by the Germans in June 1940.[20] It was also a means of escaping from the Nazi-occupied zone on one side of the river Cher to the "free" zone on the opposite bank. Occupied by the Germans, the château was bombed by the Allies on 7 June 1944, when the chapel was hit and its windows destroyed.
In 1951, the Menier family entrusted the château's restoration to Bernard Voisin, who brought the dilapidated structure and the gardens (ravaged in the Cher flood in 1940) back to a reflection of its former glory.
Chenonceaux is a commune in the French department of Indre-et-Loire, and the region of Centre-Val de Loire, France.
It is situated in the valley of the river Cher, a tributary of the Loire, about 26 km (16 mi) east of Tours and on the right bank of the Cher.
The population of permanent residents hovers about 350, but there is a large influx of tourists during the summer months because the village adjoins the former royal Château de Chenonceau, one of the most popular tourist destinations in France. The château is distinctive in being built across the river. The village is also situated in Touraine-Chenonceaux wine-growing area, and bordered on its northern edge by the Forest of Amboise.
Name
The difference in spelling between the Château's name (Chenonceau) and the village (Chenonceaux) is attributed to Louise Dupin de Francueil, owner of the château during the French Revolution, who is said to have dropped the "x" at the end of its name to differentiate what was a symbol of royalty from the Republic. As a result of her good relations with the village, the Château was spared the iconoclastic damage suffered by many other monuments during the Revolution. Although no official sources have been found to support this claim, the Château has ever since been referred to and spelled as Chenonceau.
Mme Dupin hosted the philosopher Jean-Jacques Rousseau in Chenonceau as tutor to her children, and among her descendants was the writer George Sand, born Aurore Dupin.
Philibert de l'Orme (pronounced [filibɛːʁ də lɔʁm]) (3-9 June 1514 – 8 January 1570) was a French architect and writer, and one of the great masters of French Renaissance architecture. His surname is also written De l'Orme, de L'Orme, or Delorme.
Biography
Early career
Philbert de l'Orme was born between 3 and 9 June 1514 in Lyon. His father was Jehan de L'Orme, a master mason and entrepreneur, who, in the 1530s, employed three hundred workers and built prestigious buildings for the elite of the city.[3] When Philibert was nineteen he departed Lyon for Italy, where he remained for three years, working on building projects for Pope Paul III. In Rome he was introduced to Cardinal Jean du Bellay, the Ambassador of King François I to the Vatican, who became his protector and client. Du Bellay was also the patron of his friend Francois Rabelais. In about 1540 de l'Orme moved to Paris, and was soon occupied with royal projects.
Royal architect of Henry II (1548-1559)
On April 3, 1548 he was a named architect of the King by Henry II. For a period of eleven years, he supervised all of the King's architectural projects, with the exception of changes to the Louvre, which were planned by another royal architect, Pierre Lescot. His major projects included the Château de St Maur-des-Fossés, the Château d'Anet, the Château de Chenonceau in the Loire Valley; the royal Château de Madrid in the Bois de Boulogne; the Château de Vincennes, and major modifications to the Palace of Fontainebleau.
He also made a reputation as a writer and theorist, and as an innovator in building techniques. He invented a new system for making the essential wooden frameworks for constructing stone buildings, called charpente à petits bois, which was quicker and less expensive than previous methods and used much less wood. He demonstrated it before the King in 1555, and put it to work in construction at the new royal Château de Montceaux and at the royal hunting lodge La Muette [fr] in the Forest of Saint-Germain-en-Laye.
Out of favor - architectural theorist (1559-1563)
The death of Henry II of France on July 10, 1559 suddenly left him without a patron and at the mercy of rival architects who resented his success and his style. Two days later, on 10 July, he was dismissed from his official posts, and replaced by an Italian artist and architect, Francesco Primaticcio, whose work was much in fashion. He had joined a religious order, and decided to turn his attention to meditation, scholarship and writing. He made another trip to Rome to inspect the new works of Michelangelo. Beginning in 1565 wrote the first volume of a work on architectural theory, which was scientific and philosophical. It was published in 1567, and was followed by new editions after his death in 1576, 1626 and 1648.
Royal architect again (1563-1570)
Under Charles IX and Catherine de Medici, he returned to royal favor. He was employed on the enlargement of the Chateau of Saint Maur (1563) and, along with Jean Bullant, on additions to the Tuileries Palace (1564). He died in Paris in 1570, while this project was underway.
Reputation
In the 17th century, during the period of Louis XIV style that followed his death, his reputation suffered. The grand stairway that he built at the Tuileries Palace was demolished in 1664, as was his Château de Saint-Léger in 1668, to make way for classical structures. In 1683, he was denounced by François Blondel of the Royal Academy for his "villainous Gothic ornaments" and his "petty manner". Nonetheless, his two major theoretical works on construction and design continued to be important textbooks, and were regularly republished and read.
His reputation rose again in the 18th century, through the writings of Dezallier d'Argenville, who wrote in 1787 that he had "abandoned the Gothic covering in order to redress French architecture in the style Ancient Greece." D'Argenville wrote the first biography and catalog of works. Though few of his building survived to be studied carefully, later important academic works on de l'Orme were written in the 19th and 20th centuries by art historians including H. Clouzot and Anthony Blunt.
One of De l'Orme's primary accomplishments was to change the way architects trained and studied. He insisted that architects needed formal education in classical architecture, as well as in geometry and astronomy and the sciences, but also needed practical experience in construction. He himself was an accomplished scholar of ancient Greek and Roman architecture, as well as a humanist scholar. He argued that architects needed to be able to design and manage every aspect of the building, from the volumes to the lambris to adding up the cost, making detailed three-dimensional drawings of vaults, judging if wood was dry enough, and knowing to stop digging the foundation when the first sand was encountered. He had scorn for those architects who could design a facade but had no knowledge actual construction. His opponents scorned him for his background as the son of a masonry contractor. He was referred to by Bernard Palissy as "The god of the stone masons", which deeply offended him.
His other major accomplishment was to resist the tendency to simply copy Italian architectural styles; he traveled and studied in Italy, and borrowed much, but he always added a distinctly French look to each of his projects.
The first major building of de l'Orme was the Château of Saint Maur (1541), built for the Cardinal Jean du Bellay, whom de l'Orme had met during his time in Rome. Its plan showed the influence of the Italian villas; and, like the Italian buildings, it was decorated with frescoes.
Much of his work has disappeared, but his fame remains. He was an ardent humanist and student of the antique, he yet vindicated resolutely the French tradition in opposition to Italian tendencies; he was a man of independent mind and a vigorous originality. His masterpiece was the Château d'Anet (1552–1559), built for Diane de Poitiers, the plans of which are preserved in Jacques Androuet du Cerceau's Plus excellens bastimens de France, though only part of the building remains. His designs for the Tuileries (also given by Androuet du Cerceau), begun by Catherine de' Medici in 1565, were magnificent. His work is also seen at Chenonceau and other famous châteaux; and his tomb of Francis I at Saint Denis Basilica remains a perfect specimen of his art.
The most easily viewed work of de l'Orme in Paris is the court facade of the Chateau d'Anet, which was moved to Paris after a major portion of the chateau was demolished, to illustrate for students the major works of the French Renaissance. It is attached to the front wall of the chapel of the Ecole des Beaux-Arts, and is visible from Rue Bonaparte.
Partial list of works
Château de Saint-Maur (1541), demolished in 1796
Tomb of François Ie in the Basilica of Saint-Denis, Paris (1547)
Château d'Anet (1547-1555), built for Diane de Poitiers. Only one wing remains.
Plans of the Chapel of Saint-Éloi, Paris (1550-1566), (Long attributed, but not documented. Only a portion of the facade remains)
Attribution du château d'Acquigny
Facade of the residence of the Vicomte of the Duchy of Uzès (attributed)
Completion of Sainte-Chapelle at the Château de Vincennes (1552)
Château de Villers-Cotterêts, southern portion( 1547-1559)
Chapel of the Château of Villers-Cotterêts (1552-1553)
Royal Château of Saint-Léger-en-Yvelines (demolished)
Château de Meudon (attributed)
Château de Montceaux
Château de Thoiry (1560s)
The bridge upon which the Château de Chenonceau is constructed
Portions of the Louvre
Portions of the new Chateau of Saint-Germain-en-Laye
Portal of Château d'Écouen, now the National Museum of the French Renaissance (mid 16th century). The wing he designed was destroyed in 1787, but vestiges are displayed inside the Chateau.
Roofs of the towers of the Château de Bonnemare.
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The Ultimate Fighting Championship (UFC) was invented by a Vegetarian. His name is Rorion Gracie. It is the origin of octagon cage fighting and modern mixed martial arts as we have come to know it today in the octagon. The vegetarian also created the practice of cage fighting in an Octagon, the octagon was also invented by the vegetarian.
You may have heard of Gracie Jiujitsu. This was invented by Rorion Gracie's father, Helio Gracie, of the Gracie Family, the forefather of Gracie Barra. Helio Gracie, the inventor of Gracie Jiu-Jitsu GJJ was also a vegetarian.
Uncle Carlos is Carlos Gracie, brother of Helio Gracie, a vegetarian and that is who developed BJJ, Brazialian Jiu Jitsu. BJJ is a must-learn technique for every MMA fighter in the UFC today, if not in the world. That is, if they want to win, the meat-eater had better learn what was invented a hundred years ago by a Vegetarian man or they won't last the ring.
Pollo-Vegetarian Royce Gracie also won the very 1st UFC #1! And the vegetarian had to fight those who weighed up to 250+ pounds! Not only did he beat all the other meat-eaters, he beat all the other meat-eaters in 1 night!
And then to prove it wasn't an accident, he did it again! A vegetarian also won UFC #2 and vegetarians have been dominant in the UFC ever since, though you may not know it just like you probably didn't know vegetarians invented it.
Vegetarian Mac Danzig beat all the other meat-eaters to take the belt on THE ULTIMATE FIGHTER. Danzig is not just vegetarian, he is vegan, and he was the largest, most massive muscular man on the entire show.
Vegetarian Nick Diaz also won THE ULTIMATE FIGHTER. So did Nate Diaz, also a vegetarian. The StrikeForce middleweight champion Jake Shields is a vegetarian. Heavyweight Frank Mir ate vegetarian at 280 pounds. Randy Couture beat 6 foot 8 Tim Sylvia and Couture trains on an alkaline plant-based diet. The EliteXC martial arts belt holder is a vegetarian. UFC fighter Aaron Simpson is a vegetarian. Jon Fitch ranked #2 in the world at the current time is vegetarian. Ben Saunders MMA fighter is a Vegetarian. Luke Cuomo who made it to the semi-finals and the finals on The Ultimate Fighter eats vegetarian. WEC champion Urijah Faber trains on a plant-based diet. MMA fighter Kyra Gracie is vegetarian. Ryron Gracie of the Gracie Mixed Martial Arts clan is vegetarian.
Penny Thomas, the world Brazilian Jiujitsu womens champion is vegetarian. Nicolas Gregorades of the Jiujitsu Brotherhood fighting academy is virtually all vegetarian. Shanti belha, 2-time world Brazilian Jiujitsu fighting champion is vegetarian. Ahmed El Ghandouri, Brazilian Kiujitsu Black Belt is a vegan.
Dave Meyer of the American BJJ Academy and a blackbelt in Brazilian Jiu Jitsu under Machado--is vegetarian.
The original ultimate fighters the roman Gladiators were mainly vegetarian. Kung Fu was developed by the Shaolin Monks who were vegetarian. The very Art of Martial Arts itself was invented by Bodhidharma who was from India, and was a vegetarian.
Bellator Fighting Championships Ricardo Moreira is a vegan. Eric the Bengal Castile, in the UFC is a vegetarian. Heavyweight boxer Mike Tyson is now a vegan. StrikeForce fighter and NFL Football player and Heisman Trophy winner Herschel Walker is a vegetarian. The Dream3 Grand Prix Fighting championship belt is owned by a vegetarian.
The TITAN Fighting Championships fight winner Jason High is a vegetarian. Vegetarians are now ranked in the top 2,3,and 5 spots in the best p4p in the world in the UFC welterweight division, meaning that vegetarians hold 66% of the top rankings in the UFC's welterweight division. Antonio McKee who established Rampage Jackson's Gym is a vegan. AKC trains vegetarian UFC fighters. Noah Hannibal "The VEGAN TANK" is a vegetarian powerlifter who beat all his other opponents and took gold in the Australian Powerlifting championships. MMA Fighter Dale Hart is a vegetarian and has an unblemished 5 and 0 record. All wins.
MMA fighter Erik Purcell is a vegetarian. The vegetarian Purcell just beat 6 foot 6 inch Aaron Skates at the Reality Fighting Championships. King of the Cage fighter Tom Kenny is vegetarian.
UFC Heavyweight contender Shane Carwin is now training vegan. Heavyweight 120kilogram Jan Muller is vegetarian. JiuJitsu champion Henry Atkins is vegan. MMA Fighter Georgi Krakhanyan is vegetarian.
Finland fighter Harri Nieminem is vegetarian. So is James WIlks, vegetarian UFC fighter from England in the UK.
And many more. You probably didn't realize that so many UFC fighters and current belt holders and MMA champions were vegetarians, because they are often not preachy about it and don't make it known, but they have recognized the best most-athletic and muscular endurance diet for athletes and UFC fighters is plant-based vegetarian and vegan. Your cardio power shoots through the roof. You can out-last, out-hit, and out-muscle other opponents who don't know what hit them. Plus, nobody wants meat-eaters to find out that a vegetarian diet is better, that's like giving away the secret, so vegan and vegetarian fighters sometimes keep tight lipped and let meat eaters continue to post and convince all the others that meat or steak is what you need before a fight, that way their opponents will gas, get tired out, be weak and not have any strength, and once again lose do to a meat-based diet. Lowcarb is even funnier since you can actually get opponents to go around eating bacon, sausage, and piles of fat and get them loaded down, obese, and likely to fall over, that is if they even make weight. Likewise the Paleo Diet has now been found fake and scientifically wrong, proven wrong by actual Paleontologists. Turns out the original discoverer of Australopithecus, a real paleontologist revealed man's ancient ancestors were vegetarian, including Australopithecus africanus, Paranthropus boisei, Ardipithecus ramidus, all vegetarian ancestors of man that came millions of years BEFORE paleo man. Turns out the Paleo Diet was fabricated by a "gym teacher" who was not even a paleontologist and was never on even 1 archeological dig.
The Paleo Diet was ranked 24th by experts in nutrition, problem is there were just 24 in the list for review, which means The Paleo Diet came in LAST place, the worst diet of all. --Yes, the Paleo Diet was found deficient, pseudo-scientific nonsense made to appear like it was scientific, and the Paleo Diet lost and landed in last place as the worst. This is also a reason why crossfit has become the laughing-stock of the athletic and fitness world, akin to the shake-weight of fitness. Or the mullet. Crossfit fitness centers often have what's called a "puke bucket" lying around. They like to claim this as somehow being proof that their workouts of little light burpees and things is 'so tough' but really it's just because crossfit people start eating the Paleo Diet and it tastes so bad and is so horrible for fitness and athletes that they vomit it back up. All kinds of partially digested meat and so forth, right there in the gym when they work out. Didn't know this? Do a search for "Crossfit Puke Bucket" you'll see it. They even wear T-shirts bragging about puking on it in crossfit, because the paleo diet tastes so bad. Imagine how much worse it tastes on the way back up. Robb Wolf recommending sausages and things. Great for sausage-lovers probably, but not real ironmen or mma fighters or real athletes.
Crossfit is pretty much like ladies' pilates. MovNat is like having someone come over and do your housework, carrying out the trash, and mopping up the bathroom for you. In any case, the foods recommended by the gym teacher who peddled the Paleo Diet were found nutritionally deficient, and Paleo Diet foods have now been linked to colorectal cancer (cancer of the butt). This is why Paleo and Crossfit have become ridiculed as 'so silly not even a caveman did it'. Referring to the fact that the Paleo Diet told to people in the books is NOT even what paleolithic man turned out to eat. For instance, on a real paleo diet, you'd have to eat maggots in your meat, afterall, paleo man scavenged putrifying meat. Also you can't refrigerate your meat, on a paleo diet, then you'll need to keep your meat outside, in the hot sun, because paleo man originated in Africa. So on Paleo you'll need to eat luke warm rotted meat, brimming with botfy maggots in it. Oh, and you can't drink treated disinfected water, cavemen didn't have tapwater out of faucets, sorry. Nor bottled water. So if you're on paleo you'll have to drink out of some watering-hole where animals wash themselves.
Drinking feces ound delicious? If you think so, then Paleo is for you. Just don't expect girls or the ladies to be around you because unlike vegetarians, men on a Paleo Diet it's been shown to cause horrible B.O. stink and odor. Oh, and paleo man didn't have a toothbrush. So ladies, if your boyfriend ot date is paleo, look forward to low stamina, offensive Body Odor smells, cavemen didn't have showers, and getting close to a mouth full of bacteria because paleo man didn't brush their teeth.
Vegetarians do not have this problem. And last longer, were scientifically measured in tests to have More Testosterone than meat eaters, smell better, comb their hair, and have higher stamina, and endurance. And better protectors. Afterall, vegetarians invented Martial Arts, BJJ, and the UFC.
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CARL BARKS
Carl Barks (March 27, 1901 – August 25, 2000) was an American Disney Studio illustrator and comic book creator, who invented Duckburg and many of its inhabitants, such as Scrooge McDuck (1947), Gladstone Gander (1948), the Beagle Boys (1951), The Junior Woodchucks (1951), Gyro Gearloose (1952), Cornelius Coot (1952), Flintheart Glomgold (1956), John D. Rockerduck (1961) and Magica De Spell (1961). The quality of his scripts and drawings earned him the nicknames The Duck Man and The Good Duck Artist. Writer-artist Will Eisner called him "the Hans Christian Andersen of comic books."
In 1987, Barks was one of the three inaugural inductees of the Will Eisner Comic Book Hall of Fame.
Professional artist
At the same time Barks had started thinking about turning a hobby that he always enjoyed into a profession: that of drawing. Since his early childhood he spent his free time by drawing on any material he could find. He had attempted to improve his style by copying the drawings of his favorite comic strip artists from the newspapers where he could find them. As he later said, he wanted to create his own facial expressions, figures and comical situations in his drawings but wanted to study the master comic artists' use of the pen and their use of color and shading.
Among his early favorites were Winsor McCay (mostly known for Little Nemo) and Frederick Burr Opper (mostly known for Happy Hooligan) but he would later study any style that managed to draw his attention.
At 16 he was mostly self-taught but at this point he decided to take some lessons through correspondence. He only followed the first four lessons and then had to stop because his working left him with little free time. But as he later said, the lessons proved very useful in improving his style.
By December 1918, he left his father's home to attempt to find a job in San Francisco, California. He worked for a while in a small publishing house while attempting to sell his drawings to newspapers and other printed material with little success.
Disney
In November 1935, when he learned that Walt Disney was seeking more artists for his Studio, Barks decided to apply. He was approved for a try-out which entailed a move to Los Angeles, California. He was one of two in his class of trainees who was hired. His starting salary was 20 dollars a week. He started at Disney Studios in 1935, more than a year after the debut of Donald Duck on June 9, 1934 in the short animated film The Wise Little Hen.
Barks initially worked as an inbetweener. This involved being teamed and supervised by one of the head animators who did the key poses of character action (often known as extremes) for which the inbetweeners did the drawings between the extremes to create the illusion of movement. While an inbetweener, Barks submitted gag ideas for cartoon story lines being developed and showed such a knack for creating comical situations that by 1937 he was transferred to the story department. His first story sale was the climax of Modern Inventions, for a sequence where a robot barber chair gives Donald Duck a haircut on his butt.
In 1937 when Donald Duck became the star of his own series of cartoons instead of co-starring with Mickey Mouse and Goofy as previously, a new unit of storymen and animators was created devoted solely to this series. Though he originally just contributed gag ideas to some duck cartoons by 1937 Barks was (principally with partner Jack Hannah) originating story ideas that were storyboarded and (if approved by Walt) put into production. He collaborated on such cartoons as Donald's Nephews (1938), Donald's Cousin Gus (1939), Mr. Duck Steps Out (1940),Timber (1941), The Vanishing Private (1942) and The Plastics Inventor (1944).
Unhappy at the emerging wartime working conditions at Disney plus bothered by ongoing sinus problems caused by the studio's air conditioning, Barks quit in 1942. Shortly before quitting, he moonlighted as a comic book artist, contributing half the artwork for a one-shot comic book (the other half of the art being done by story partner Jack Hannah) titled Donald Duck Finds Pirate Gold. This 64-page story was adapted by Donald Duck comic strip writer Bob Karp from an unproduced feature, and published in October 1942 in [Dell] Four Color Comics #9. It was the first Donald Duck story originally produced for an American comic book and also the first involving Donald and his nephews in a treasure hunting expedition, in this case for the treasure of Henry Morgan. Barks would later use the treasure hunting theme in many of his stories. This actually was not his first work in comics, as earlier the same year Barks along with Hannah and fellow storyman Nick George scripted Pluto Saves the Ship, which was among the first original Disney comic book stories published in the United States.
After quitting the Studio, Barks relocated to the Hemet/San Jacinto area in the semi-desert inland empire region east of Los Angeles where he hoped to start a chicken farm.
When asked which of his stories was a favorite in several interviews Barks cited the ten-pager in Walt Disney's Comics and Stories 146 (Nov. 1952) in which Donald tells the story of the chain of unfortunate events that took place when he owned a chicken farm in a town which subsequently was re-named Omelet. Likely one reason it was a favorite is that it was inspired by Barks' own experiences in the poultry business.
But to earn a living in the meantime he inquired whether Western Publishing, which had published Pirate Gold, had any need for artists for Donald Duck comic book stories. He was immediately assigned to illustrate the script for a ten-page Donald Duck story for the monthly Walt Disney's Comics and Stories. At the publisher's invitation he revised the storyline and the improvements impressed the editor sufficiently to invite Barks try his hand at contributing both the script and the artwork of his follow-up story. This set the pattern for Barks' career in that (with rare exceptions) he provided art (pencil, inking, solid blacks and lettering) and scripting for his stories.
The Victory Garden, that initial ten-page story published in April, 1943 was the first of about 500 stories featuring the Disney ducks Barks would produce for Western Publishing over the next three decades, well into his purported retirement. These can be mostly divided into two categories:
Ten-pagers, comedic Donald Duck stories that were the lead for the monthly flagship title Walt Disney's Comics and Stories, whose circulation peaked in the mid-1950s at 3 million copies sold a month.
Humorous adventure stories, usually 24-32 pages in length. In the 1940s these were one-shots in the Four Color series (issued 4-6 times a year) that starred Donald and his nephews. From the early 1950s Barks undertook the quarterly adventures of Uncle Scrooge and the duck clan in Scrooge's own title.
He surrounded Donald Duck and nephews Huey, Dewey and Louie with a cast of eccentric and colorful characters, such as the aforementioned Scrooge McDuck, the wealthiest duck in the world; Gladstone Gander, Donald's obscenely lucky cousin; inventor Gyro Gearloose; the persistent Beagle Boys; the sorceress Magica De Spell; Scrooge's rivals Flintheart Glomgold and John D. Rockerduck; Daisy's nieces April, May and June; Donald's neighbor Jones, and The Junior Woodchucks organization.
People who work for Disney generally do so in relative anonymity; the stories only carry Walt Disney's name and (sometimes) a short identification number. Prior to 1960, the creator of these stories remained a mystery to his readers. However, many readers recognized Barks' work and drawing style, and began to call him the Good Duck Artist, a label which stuck even after his true identity was discovered by John and Bill Spicer in 1959. After Barks received a 1960 visit from Bill and John Spicer and Ron Leonard, he was no longer anonymous, as his name soon became known to his readers.
Barks stories (whether humorous adventures or domestic comedies) often exhibited a wry, dark irony born of hard experience. The 10 pagers showcased Donald as everyman, struggling against the cruel bumps and bruises of everyday life with the nephews often acting as a Greek chorus commenting on the unfolding disasters Donald wrought upon himself. Yet while seemingly defeatist in tone, the humanity of the characters shines through in their persistence despite the obstacles. These stories found popularity not only among young children but adults as well. Despite the fact that Barks had done little traveling his adventure stories often had the duck clan globe trotting to the most remote or spectacular of places. This allowed Barks to indulge his penchant for elaborate backgrounds that hinted at his thwarted ambitions of doing realistic stories in the vein of Hal Foster's Prince Valiant.
Carl Barks retired in 1966 but was persuaded by editor Chase Craig to script stories for Western. The last new comic book story drawn by Carl Barks was a Daisy Duck tale ("The Dainty Daredevil") published in Walt Disney Comics Digest issue 5 (Nov. 1968). When bibliographer Michael Barrier asked Barks about why he drew it, Barks' vague recollection was no one was available and he was asked to do it as a favor by editor Chase Craig.
He wrote one Uncle Scrooge story, three Donald Duck stories and from 1970-1974 was the main writer for the Junior Woodchucks comic book (issues 6 through 25). The latter included environmental themes that Barks first explored in 1957 ["Land of the Pygmy Indians", Uncle Scrooge 18]. Barks also sold a few sketches to Western that were redrawn as covers. For a time the Barkses lived in Goleta, California before returning to the Inland Empire by moving to Temecula.
To make a little extra money beyond what his pension and scripting earnings brought in, Barks started doing oil paintings to sell at the local art shows he and Garé exhibited at. Subjects included humorous depictions of life on the farm and portraits of Native American princesses. These skillfully rendering paintings encouraged fan Glenn Bray to ask Barks if he could commission a painting of the ducks ("A Tall Ship and a Star to Steer Her By", taken from the cover of Walt Disney's Comics and Stories 108 by Barks). This prompted Barks to contact George Sherman at Disney's Publications Department to request permission to produce and sell oil paintings of scenes from his stories. In July 1971 Barks was granted a royalty-free license by Disney. When word spread that Barks was taking commissions from those interested in purchasing an oil of the ducks, much to his astonishment the response quickly outstripped what he reasonably could produce in the next few years.
When Barks expressed dismay at coping with the backlog of orders he faced, fan/dealers Bruce Hamilton and Russ Cochran suggested Barks instead auction his paintings at conventions and via Cochran's catalog Graphic Gallery. By September 1974 Barks had discontinued taking commissions.
At Boston's NewCon convention, in October 1975, the first Carl Barks oil painting auctioned at a comic book convention ("She Was Spangled and Flashy") sold for $2,500. Subsequent offerings saw an escalation in the prices realized. The buyer of this painting, Jerry Osborne, quickly became one of Barks' close friends. Barks even painted Osborne into the scene of his 1976 "July Fourth in Duckburg." Jerry Osborne delivered the eulogy at Barks' funeral at Grants Pass, Oregon.[citation needed]
In 1976, Barks and Garé went to Boston for the NewCon show, their first comic convention appearance. Among the other attendees was famed Little Lulu comic book scripter John Stanley; despite both having worked for Western Publishing this was the first time they met. The highlight of the convention was the auctioning of what was to that time the largest duck oil painting Barks had done, "July Fourth in Duckburg", which included depictions of several prominent Barks fans and collectors. It sold for a then record high amount: $6,400.
Soon thereafter a fan sold unauthorized prints of some of the Scrooge McDuck paintings, leading Disney to withdraw permission for further paintings. To meet demand for new work Barks embarked on a series of paintings of non-Disney ducks and fantasy subjects such as Beowulf and Xerxes. These were eventually collected in the limited-edition book Animal Quackers.
As the result of heroic efforts by Star Wars producer Gary Kurtz and screenwriter Edward Summer, Disney relented and in 1981, allowed Barks to do a now seminal oil painting called "Wanderers of Wonderlands" for a breakthrough limited edition book entitled Uncle Scrooge McDuck: His Life and Times. The book collected 11 classic Barks stories of Uncle Scrooge colored by artist Peter Ledger along with a new Scrooge story by Barks done storybook style with watercolor illustrations, "Go Slowly, Sands of Time". After being turned down by every major publisher in New York City, Kurtz and Summer published the book through Celestial Arts, which Kurtz acquired partly for this purpose. The book went on to become the model for virtually every important collection of comic book stories. It was the first book of its kind ever reviewed in Time Magazine and subsequently in Newsweek, and the first book review in Time Magazine with large color illustrations.
In 1977 and 1982, Barks attended the San Diego Comic Con. As with his appearance in Boston, the response to his presence was overwhelming, with long lines of fans waiting to meet Barks and get his autograph.
In 1981, Bruce Hamilton and Russ Cochran, two long-time Disney comics fans, decided to combine forces to bring greater recognition to the works of Carl Barks. Their first efforts went into establishing Another Rainbow Publishing, the banner under which they produced and issued the award-winning book, "The Fine Art of Walt Disney´s Donald Duck by Carl Barks", a comprehensive collection of the Disney duck paintings of this artist and storyteller. Not long after, the company began producing fine art lithographs of many of these paintings, in strictly limited editions, all signed by Barks, who eventually produced many original works for the series.
In 1983 Another Rainbow took up the daunting task of collecting the entire Disney comic book ouvré of Barks—over 500 stories in all—in the ten-set, thirty-volume Carl Barks Library. These oversized hardbound volumes reproduced Barks´ pages in pristine black and white line art, as close as possible to the way he would originally drawn them, and included mountains of special features, articles, reminiscences, interviews, storyboards, critiques, and more than a few surprises. This monumental project was finally completed in mid-1990.
In 1985 a new division was founded, Gladstone Publishing, which took up the then-dormant Disney comic book license. Gladstone introduced a whole new generation of Disney comic book readers to the wondrous storytelling of such luminaries as Barks, Paul Murry, and Floyd Gottfredson, as well as presenting the first works of modern Disney comics masters Don Rosa and William Van Horn. Seven years after Gladstone's founding, the Carl Barks Library was revived as full-color, high-quality squarebound comic albums (including the first-ever Carl Barks trading cards) - the Carl Barks Library in Color.
Barks relocated one last time to Grants Pass, Oregon near where he grew up, partly at the urging of friend and Broom Hilda artist Russell Myers, who lived in the area. The move also was motivated, Barks stated in another famous quip, by Temecula being too close to Disneyland and thus facilitating a growing torrent of drop-in visits by vacationing fans. In this period Barks made only one public appearance, at a comic book shop near Grants Pass.
From 1993 to 1998, Barks' career was managed by the "Carl Barks Studio" (Bill Grandey and Kathy Morby—They had sold Barks original art since 1979). This involved numerous art projects and activities, including a tour of 11 European countries in 1994, Iceland being the first foreign country he ever visited. Barks appeared at the first of many Disneyana conventions in 1993. Silk screen prints of paintings along with high-end art objects (such as original water colors, bronze figurines and ceramic tiles) were produced based on designs by Barks.
During the summer of 1994 and until his death, Carl Barks & his studio personally assigned Peter Reichelt, a museum exhibition producer from Mannheim, Germany, as his agent for Europe. Publisher "Edition 313" put out numerous lithographs. In 1997, tensions between Barks and the Studio eventually resulted in a lawsuit that was settled with an agreement that included the disbanding of the Studio. Barks never traveled to make another Disney appearance. He was represented by Rev. Ed Bergen, as he completed a final project. Gerry Tank and Jim Mitchell were to assist Barks in his final years.
During his Carl Barks Studio years, Barks created two more stories: the script for the final Uncle Scrooge story "Horsing Around with History", which was first published in Denmark in 1994 with Bill Van Horn art. The Barks outlines for Barks final Donald Duck story "Somewhere in Nowhere", were first published in 1997, in Italy, with art by Pat Block.
Austrian artist Gottfried Helnwein curated and organized the first solo museum-exhibition of Carl Barks. Between 1994 and 1998 the retrospective was shown in ten European museums and seen by more than 400,000 visitors.
At the same time in spring 1994, Reichelt and Ina Brockmann designed a special museum exhibition tour about Barks' life and work. Also represented for the first time at this exhibition were Disney artists Al Taliaferro and Floyd Gottfredson. Since 1995, more than 500,000 visitors have attended the shows in Europe, Reichelt also translated the Michael Barrier Barks biography into German and published it in 1994.
Steven Spielberg and George Lucas have acknowledged that the rolling-boulder booby trap in the opening scene of Raiders of the Lost Ark was inspired by the 1954 Carl Barks Uncle Scrooge adventure "The Seven Cities of Cibola" (Uncle Scrooge 7). Lucas and Spielberg have also said that some of Barks's stories about space travel and the depiction of aliens had an influence on them. Lucas wrote the foreword to the 1982 Uncle Scrooge McDuck: His Life and Times. In it he calls Barks’s stories "cinematic" and "a priceless part of our literary heritage".
Carl Barks has spent most of his life drawing, illustrating, painting and telling stories about ducks. He was editor and artist for the Calgary Eyeopener until he joined the Disney Studio in 1935. Barks wrote and drew thirty six early Donald Duck cartoons. Walt Disney was supervisor to his "duck unit". In 1942 he dedicated himself to the art form that made him famous: writing comics books and drawing them. Carl became the preeminent Disney comic book artist and remains so to this day. In 1996 his timeless work has been reprinted worldwide. He is known as the father of Donald Duck as well as the creator of the miserly Uncle Scrooge. Duckburg and most of the duck clan owe their existence to his pen and paintbrush. In 1968 Carl began a new career capturing the duck family in oil paintings. Many Disney Bark's products have been created from his work including silk-screens, lithographs, bronze and porcelain figurines. At 93 Barks went on an eleven country museum tour with his oil paintings. From Iceland to Poland forty of his paintings were received to rave reviews and huge crowds. In Denmark the 3rd grade was let out to meet Barks at the boat. When asked what he would most like to be remembered for he answers "storytelling."
Las fronteras fisicas no existen son inventos fatales. El sol se oculta sobre Colombia y cede su espacio a la Luna sobre Venezuela.
When Dead Tree Fused With Picture Frames, One of the Most Spooky Wall Decor Invented
jh-siesta.com/art/when-dead-tree-fused-with-picture-frame...
When he's not acro-foxing, inventing or putting out fires, Mr Fox sometimes finds it relaxing to engage in a spot of bushcraft. The skills passed on fox to fox, Mr Fox is a dab hand when it comes to knot tying and trap setting. With his keen sense of smell, and ever watchful eye, he's also an incredibly competent tracker. If it weren't for a certain penchant for beans, and Mr Fox's superb managerial skills, there wouldn't be many rabbits left.
Overhearing a certain polar bear invite Knut, an equally mischievous member of the species, on a 'walk', Mr Fox knew something was up. Running perilously low on beans, they simply could not afford for any more to go 'missing'. Sneaking ahead, a new knot to master, he sprung his trap. A huntsman with incredible patience, Mr Fox wouldn't need any today - No sooner than he'd primed his trap, the pair of pesky polar bears, ambled over the horizon merrily singing the bean pilfering song. Mid chorus, and in unison, they spotted the trademark can nestled amongst the branches. As Mrs PB lent in to head butt it open a twig snapped, and before she could shriek "BAAAAH" she found herself dangling upside down, suspended from a bizarrely located tree!
Knut didn't seem all that bothered until he found the can to be practically empty! Mrs PB wasn't sure to feel embarrassed, or to splat him for entrapment when Mr Fox arrived to let her down....
Mysteriously, Mr Fox doesn't seem able to remember which she opted for - his memory blank the moments immediately after letting her down!
MAX FLEISCHER
Betty Boop
Max Fleischer (July 19, 1883 – September 11, 1972) was an American animator. He was a pioneer in the development of the animated cartoon and served as the head of Fleischer Studios. He brought such animated characters as Betty Boop, Koko the Clown, Popeye, and Superman to the movie screen and was responsible for a number of technological innovations.
Fleischer devised a concept to simplify the process of animating movement by tracing frames of live action film. His patent for the Rotoscope was granted in 1915, although Max and his brother Dave Fleischer made their first cartoon using the system in 1914. Extensive use of this technique was made in Fleischer's Out of the Inkwell series for the first five years of the series, which started in 1919 and starred Koko the Clown and Fitz the dog.
Fleischer produced his Inkwell films for the Bray Studios until 1921, when he and younger brothers Dave and Lou established Fleischer Studios (initially named "Out of the Inkwell Films") to produce animated cartoons and short subjects; Max was credited as the producer at the beginning of every cartoon as well. Koko and Fitz remained the stars of the Out of the Inkwell series, which was renamed Inkwell Imps in 1927. The Fleischer brothers also partnered with Lee DeForest, Edwin Miles Fadiman, and Hugo Riesenfeld to form Red Seal Pictures Corporation, which owned 36 theaters on the East Coast, extending as far west as Cleveland, Ohio.
Fleischer invented the "follow the bouncing ball" technique for his Song Car-Tunes series of animated singalong shorts beginning in May 1924. After a few films with unsynchronized sound (music and sound effects only), Fleischer added synchronized sound to this series, with My Old Kentucky Home (released April 13, 1926) with a dog-like character saying "Follow the ball, and join in, everybody." The sound entries in the Song Car-Tunes series — roughly 19 out of 36 short films — used the Phonofilm sound-on-film process developed by Lee DeForest. The Song Car-Tunes series would last until early 1927, just a few months before the actual start of the sound era. This was before Walt Disney's Steamboat Willie (1928), which is often mistakenly cited as the first cartoon to synchronize sound with animation. However, by late 1926, both the DeForest Phonofilm Corp. and Red Seal Pictures had filed for bankruptcy, and the Song Car-Tunes series came to an end.
In 1923, Fleischer made two 20-minute educational features explaining Albert Einstein's Theory of Relativity (The Einstein Theory of Relativity) and Charles Darwin's Theory of Evolution. Both features used a combination of animated special effects and live action. Fleischer also produced Finding His Voice (1929) illustrating how sound films worked.
Into the early sound era, Fleischer produced many technically advanced and sophisticated animated films. Several of his cartoons had soundtracks featuring live or rotoscoped images of the leading jazz performers of the time, most notably Cab Calloway, Louis Armstrong and Don Redman. Fleischer's use of black performers was bold at a time when depictions of blacks were often denigrating and stereotypical.
In 1928, as film studios made the transition to sound, Fleischer revived the Song Car-Tunes series as Screen Songs, starting with the release of The Sidewalks of New York on February 5, 1929 through Paramount Pictures. Out of the Inkwell Films, Inc. was reorganized as Fleischer Studios in January 1929 following bankruptcy. During this time, Walt Disney was also gaining success with Mickey Mouse and Silly Symphonies. In August 1929, the silent Inkwell Imps series was replaced with the Talkartoon series, beginning with Noah's Lark. A year into the series, Fitz was renamed "Bimbo" and became the star of the Talkartoon series, starting with the cartoon Hot Dog (1930).
However, in August 1930, a Rubenesque poodle-human hybrid, Bimbo's girlfriend, made her screen debut in Dizzy Dishes, and quickly became Fleischer's biggest star; she would later be named Betty Boop. By 1931, Betty's floppy canine ears had evolved into hoop earrings, and she was transformed into a fully human girl (though she retained her romantic relationship with the dog for several episodes after her transmogrification). By the time of Minnie the Moocher (1932), Betty Boop was in a class of her own, and by August 1932, starting with Stopping the Show, the Talkartoon series was renamed as Betty Boop Cartoons; by now, as noted from even the opening song from Stopping the Show, Betty clearly became the self-proclaimed "Queen of the Animated Screen." Along with his standout star Boop, Fleischer had become one of the two premier animation producers; the up-and-coming Walt Disney was the other.
Fleischer cartoons were very different from Disney cartoons, in concept and in execution. The Fleischer approach was sophisticated, focused on surrealism, dark humor, adult psychological elements and sexuality. The Fleischer milieu was grittier, more urban, sometimes even sordid, often set in squalid tenement apartments with cracked, crumbling plaster and threadbare furnishings. Even the jazz music on Fleischer's soundtracks was rawer, saucier, more fitting with the unflinching Fleischer look at America's multicultural scene. But as popular as Betty Boop was for Fleischer, the Fleischer Studios would never come close to matching the huge international success of Mickey Mouse.
Fleischer would come closest through his deal securing the rights to the comic strip character Popeye the Sailor from King Features Syndicate. Popeye started out as a secondary character in 1929 in the newspaper feature Thimble Theater, and made his film debut in July, 1933, introduced in the Betty Boop short Popeye the Sailor. Popeye was an immediate hit for Fleischer, and would remain in production until 1957.
Fleischer's studio was a major operation in New York under the support of Paramount Studio. But as a recipient of Paramount cash, Fleischer was also at the mercy of Paramount's management. During the Great Depression, Paramount went through four name changes and reorganizations due to bankruptcies. These reorganizations affected the production budgets and created obstacles to Fleischer's development.
When the three-color Technicolor process became available, Paramount vetoed it based on their concerns with economic balance, giving Disney the opportunity to acquire an exclusivity to the process for four years, thus giving him the market edge on color cartoons. Two years later, Paramount approved color production for Fleischer, but he was left with the clearly inferior two-color processes of Cinecolor (red and blue) and two-strip Technicolor (red and green). The Color Classics series was introduced in 1934 as Fleischer's answer to Disney's Silly Symphonies.
These color cartoons were augmented with a Fleischer-patented three-dimensional background effect called "The Stereoptical Process," a precursor to Disney's Multiplane. This technique replaced the usual flat-plane, drawn and painted cartoon backgrounds with a circular 3-D scale-model background — a diorama — in front of which the action cels were positioned and photographed. As the character, say, hustled down a city street, the camera operator would rotate the diorama a click with each frame. The result was a constantly changing perspective of converging parallel lines that gave an amazing sense of depth. The process worked most dramatically with pans or tracking shots; for static shots, traditional drawn backgrounds sufficed. It was used to great effect in the longer format Popeye cartoons Popeye the Sailor Meets Sindbad the Sailor (1936) and Popeye the Sailor Meets Ali Baba's Forty Thieves (1937). These series of double-length (two-reel) cartoons were a gradual progression expressing Fleischer's desire to produce feature-length animated features. And while he had concepts for full-length features, it was not until the success of Disney's Snow White and the Seven Dwarfs (1937) that the stodgy Paramount executives realized the value of an animated feature as Fleischer had been proposing for the previous three years.
The popularity of Betty Boop was irreparably damaged as a result of the enforcement of the Hays Code in 1934. Her overt sexuality was downplayed, and her racy flapper attire was replaced with longer skirts and a less revealing neckline. While the production of the cartoons had become more refined with more structured stories, the level of the content was more juvenile, largely influenced by Paramount's front office, which was changing the tone of their films to reflect a more family-oriented audience by producing films more of the nature of MGM. Betty became a spinster career girl and maiden aunt character, a judgmental "good citizen" instead of the carefree, funloving Jazz Baby she had once been. As a result, she lost much of her audience appeal, and the era and musical style that she represented had already faded away with the coming of the Swing Era.
In 1937, film production at Fleischer's studio was affected by a five month strike, which kept his cartoons off theater screens through the rest of the year. The strikers represented by the Commercial Artists and Designers Union were not recognized by the IATSE, which represented the majority of the motion picture crafts. But after five months, Paramount Pictures urged Fleischer to settle. Then in March 1938, Fleischer Studios moved from New York City to Miami, Florida. The reasons were many. While it was reasoned that the relocation removed the studio from further union agitation, they were in need of additional space for the production of features. Coincidentally with the move, relations between brothers Dave and Max began deteriorating. A feud started simmering after Dave began an adulterous affair with his Miami secretary in 1938, and was followed by more personal and professional disputes.
While at Paramount, Dave Fleischer was asked by the studio to put the popular comic book and radio hero Superman into a cartoon series. Despite the high budgets that came from the series — triple the budget of typical Popeye one-reelers — Superman became the most successful cartoons in the late period of the studio. Its ultra-realistic drawing, stylish Art Deco look and magnificently intricate scoring made the Superman pilot the highwater mark of the studio's sophisticated output.
In the wake of Disney's inarguable triumph with Snow White and the Seven Dwarfs in 1937, Paramount top brass finally acquiesced to Fleischer's longstanding appeals to produce feature-length animated films — and now they wanted one for a Christmas 1939 release. In order to finance the new operation, Fleischer negotiated a loan with Paramount that in essence surrendered the studio's assets for the term of the loan, 10 years.
While Gulliver's Travels (1939) did moderate box office, it did not make back all of its costs since the production ran nearly $500,000 overbudget due to the relocation, transportation of film for processing and back, and costs of training new workers. At the time, it was also reported that the escalated war in Europe just three months before cut off Paramount's foreign release potential; however, recent information indicates that the picture was released in Europe but the returns were not reported to Fleischer Studios' accounting department. At the same time, returns on Popeye cartoons were also not properly accounted. These factors contributed to the continued financial losses for Fleischer's studio. The final blow came with the ill-fated release of their second feature, Mr. Bug Goes to Town (1941) two days before the bombing of Pearl Harbor.
On May 24, 1941, Paramount initiated takeover of Fleischer's studio. Max remained nominally in charge, but the long-simmering personal feud with his brother Dave further complicated the situation. Shortly after the release of Mr. Bug, a disgusted Dave left for California to take over as head of Columbia's Screen Gems animation unit in April 1942 — just one month prior to the renewal of Fleischer's contract. The move put Dave in breach of contract, for taking a position with a competitor while still contracted to Paramount. This breach, along with the substantial debt to Paramount, gave the bigger studio the right to take control of the smaller, forcing Max out. Paramount installed new management, among them Max's son-in-law, Seymour Kneitel. On May 25, 1942, the studio was renamed Famous Studios, and it moved back to New York within eight months.
Despite the disappointing performance of the feature films, the Superman series continued to do well. Nine episodes were completed by Fleischer Studios, with the final eight made by Famous Studios after the reorganization. Today, the Max Fleischer Superman cartoons are considered the final triumph of this great pioneer and his innovative studio.
After leaving his studio, Fleischer was brought in as head of the Animation Department for the industrial film company, The Jam Handy Organization. While there he supervised the technical and cartoon animation departments, producing training films for the Army and Navy and was also involved with research and development for the war effort. Following the war, he supervised the production of the animated adaptation of Rudolph the Red Nosed Reindeer (1948), sponsored by Montgomery Ward. Fleischer left Handy in 1954 and returned as Production Manager for the Bray Studios in New York.
Fleischer lost a lawsuit against Paramount in 1955 over the removal of his name from the credits of his films. While Fleischer had issues over the breach of contract, he had avoided suing to protect his son-in-law, Seymour Kneitel, who still had a position with Paramount's Famous Studios. The lawsuit was lost because the court decided that, though Fleischer's case had merit, the statute of limitations had expired. In 1958, Fleischer revived Out of the Inkwell Films, Inc. and partnered with his former animator, Hal Seeger to produce 100 color Out of the Inkwell (1960–1961) cartoons for television. Actor Larry Storch performed the voices for Koko and supporting characters Kokonut and Mean Moe.
Although the rift with his brother Dave was never resolved, Max eventually formed a friendship with his old rival Walt Disney, who welcomed Max to a reunion with former Fleischer animators who were by then employed by Disney.
Fleischer, along with his wife Essie, moved to the Motion Picture Country House in 1967. He died from heart failure on September 11, 1972, after a period of poor health. On the day of his death, Max Fleischer was cited as a great pioneer who invented an industry, and was named by Time magazine as the "Dean of Animated Cartoons."[
His son Richard Fleischer, born in 1916, entered the film industry in the 1940s, and in retirement worked on merchandising Betty Boop.
8/5/2015
COPENHAGEN ULTRACONTEMPORARY BIENNALE @ Venice Biennale
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The COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done in 3 platforms
the parliament is platform 2
Artist have to express closer to decision makers . in time , in the NOW
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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile during Venice Biennale contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
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
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
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
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
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
Don Preston, tecladista do Grande Mothers Re:Invented, durante show da banda em São Paulo. Mais fotos - UOL - musica.uol.com.br/album/thegrandemothers_sp_2010_album.jh...
Architecte et urbaniste français, Fernand Pouillon fut l’un des grands bâtisseurs de la reconstruction d'après-guerre. On lui doit de nombreux bâtiments à Marseille, en région parisienne et Algérie. Les realisations de FERNAND POUILLON on peut ajouter qu'il s'est battu pour éviter que les façades du vieux port ne soient qu'un cadrillage sans proportions. on en voit les vestiges côté mucem, le chantier était déjà engagé. fernandpouillon.com/sud-est.html @ 84 Avignon (Vaucluse) 1955-61 Cité La Croix des Oiseaux
rue de la Croix des Oiseaux @ Ces 800 logements sociaux réalisés en préfabrication lourde laisseront un goût amer à F. Pouillon. Il conte dans ses "Mémoires d'un architecte" les conditions ... Bref; misfitsarchitecture.com/2017/05/14/architecture-misfit-29... @ Avignon (Vaucluse)
1953
Cité administrative
Photos d'archives
Photos contemporaines
Avignon Cité administrative
C'est avec le préfet Boissier, qui tentera ensuite d'introduire Fernand Pouillon à la Martinique, que l'architecte construit le regroupement des services préfectoraux...
Avignon (Vaucluse)
1940
réalisation en 1945
groupe de logements
en attente
Informations en attente
Avignon (Vaucluse)
1953
Immeuble d'habitation
avenue Jean Jaurès
Picture
Informations en attente
Avignon (Vaucluse)
1955-61
Cité La Croix des Oiseaux
rue de la Croix des Oiseaux
Photos d'archives
Photos contemporaines
Avignon Croix des Oiseaux
Ces 800 logements sociaux réalisés en préfabrication lourde laisseront un goût amer à F. Pouillon. Il conte dans ses "Mémoires d'un architecte" les conditions ...
Avignon (Vaucluse)
1955-1957
La Montagnette
logements sociaux HLM
rue Maurice Barrès
Avignon La Montagnette
Cet ensemble de logements sociaux dessiné par Fernand Pouillon pour aider un confrère comprend en réalité deux entités de logements...
Bastia (Corse du Nord)
1958-61
Aménagement des quartiers
du Vieux-Port
Maquette
Bastia Vieux-Port
Si la reconstruction du Vieux-Port de Bastia fut si tardive c'est que les difficultés urbaines étaient si importantes qu'aucun projet avant celui de Fernand Pouillon n'avait satisfait ...
Bastia (Corse du Nord)
1958-61
Immeubles du Vieux-Port
Maquette et plan d'ensemble
Plans-Coupes-Façades
Photographies d'archives
Photos contemporaines
Bastia Vieux-Port immeuble
Les immeubles du Vieux-Port de Bastia dessinés par Fernand Pouillon sont volontairement banaux dans le paysage urbain mais ils offrent des solutions urbaines très imaginatives...
Baux-de-Provence (BdR)
vers 1960
La Cabro d'Or
L'Oustau de Baumanière
Photographies contemporaines
Baux-de-Provence Cabro d'or
Fernand Pouillon dessine vers 1960 pour le propriétaire du restaurant L'Oustau de Baumanière des écuries qui seront transformées en chambres d'hôtel...
Bonifacio (Corse du sud)
fin des années 1970
Une villa
Golfe de Santa Manza
Picture
"Cette maison implantée dans le sable relève d'une technique, la renforçant grâce à un système antismique..."
Cabriès (Bouches-du-Rhône)
1936
Villa Falconetti
Villa Falconetti
La villa Falconetti est très probablement la première maison individuelle conçue et construite par F. Pouillon à l'âge de 24 ans donc.
Cassis (Bouches-du-Rhône)
1953-1954
Deux villas
Picture
F. Pouillon a réalisé à Cassis la villa Barthélémy et une villa mitoyenne, la première étant actuellement une chambre d'hôtes...
Cotignac (Var)
1976
Monastère
Plans-Coupes-Façades
Photographies contemporaines
Monastère de Cotignac
Lorsqu'elles quittent l'Algérie, les sœurs de Médéa demandent à F. Pouillon de dessiner leur prochain monastère, qu'elles situeront à Cotignac...
Fontvieille (BdR)
1950
Carrières
Bureaux, logement, atelier
Photos contemporaines
Fontvieille carrières
La machine à pré-tailler la pierre est encore sur le site. Cette invention de Paul Marcerou a permis à F. Pouillon de déployer à Alger...
Gardanne (BdR)
1946-1947
Cité-jardin Casablanca
Maquette et chantier
Photos contemporaines
Gardanne cité Casablanca
La cité-jardin Casablanca tient son nom de ses toitures plates, une exception à cette époque dans le village de mineurs de Biver...
La Seyne-sur-Mer (Var)
1950
Village des Sablettes
Maquette - Photographies de chantier et de détails
Photos contemporaines
Les Sablettes
Pour que le village de pêcheurs dévasté par la guerre soit le plus beau possible au coût le plus faible, Fernand Pouillon imagine de le reconstruire avec les déchets de pierre ...
LA RECONSTRUCTION DES SABLETTES 1950-1953 Architecte : Fernand POUILLON
Picture
diaporama par Carine Calafato-Calba
conseillère pédagogique aux arts visuels pour le Var dans l'académie de Nice.
Ce diaporama retrace l'histoire du site et sa reconstruction. Pour ce qui concerne
l'épisode du CNL (et non CNR) au début des années 60 il faut se reporter à
l'ouvrage de Bernard Marrey "Fernand Pouillon l'homme à abattre"
aux éditions du Linteau
et
Picture
LE HAMEAU DES SABLETTES
document en deux pages
par S.Duprat-Mathiesen, conseillère aux Arts Plastiques, Académie de Nice
La Seyne-sur-Mer (Var)
les Sablettes
1950
Hôtel Provence-Plage
Photographies d'archives
de chantier - de détails
Photos contemporaines
Les Sablettes Hôtel
Le programme de reconstruction du village des Sablettes comprend l'Hôtel Provence-Plage et son restaurant. Son escalier en colimaçon conduisait à une terrasse ...
La Seyne-sur-Mer (Var)
1950
les Sablettes
Station service
Photographies du chantier
Photographies contemporaines
Les Sablettes station service
L'étonnante voûte de la station service aurait disparu sans l'instauration de la protection du village des Sablettes en ZPPAUP et la sensibilisation exercée notamment par l'architecte Rudy Ricciotti...
Marignane (BdR)
1953-1956
Aéroport
Photographies d'archives
d'études du projet - maquette
Photographies contemporaines
Aéroport de Marignane
Tandis que Fernand Pouillon étudie la réalisation de l'aéroport de Marignane, Auguste Perret réalise les hangars d'aviation (photographies incluses dans notre album de photographies d'archives)...
La-Colle-sur-Loup
(Alpes Maritimes)
1970
Hôtel Mas d'Artigny
La-Colle-sur-Loup Mas
Le dispositif des chambres distribué en éventail ressemble beaucoup à celui de l'hôtel Gourara à Timimoun en Algérie réalisé à la même époque.
Sanary-sur-mer (Var)
1955
une villa
Villa Chichourlié
Réalisée pour une personnalité amie...
Val d'Isère (Savoie)
La Taverne
1958
Val d'Isère Chalet
Ce chalet réalisé pour l'un de ses associés a connu quelques transformations ... www.maison.com/architecture/portraits/fernand-pouillon-ar... @
1934
Palais Albert 1er, (30 apartments, 2 commercial units), avenue Albert 1er, Aix-en-Provence, France, in collaboration with Henri Enjouvin. Pouillon was 22.
1935
Palais Victor Hugo (28 apartments), avenue Victor Hugo, Aix-en-Provence, France
1936
Groupe Corderie 25 (40 apartments), 27 avenue de la Corse, Marseille, France
The fernandpouillon.com website lists the creation or extension of “co-operative cells” [“caves coopèratives”] around this time, in the towns of Rosières, Lussas, Vinezac, Vogue, Lablachère, Senas, Graveson, Maillane, Eygalières, Mallemort, Saint-Andiol, Châteauneuf de Gadagne, Le Thor, La Tour d’Aygues, and Sablet. All were formed in association with Pouillon’s former mentor Henri Enjouvin. I imagine these to be something like architects of record on-call, and with some fee arrangement already in place for fast turnaround. It would have to be because, as you will see, the amount of work attributed to Pouillon is phenomenal. Pouillon was beyond prolific, he had a compulsion to design buildings and get them built.
1938
Mondovi Building (18 apartments), rue de Mondovi, Marseille, France
Villa for Doctor Bernard, quartier Saint-Julien Villa de M. Magallon, avenue Flotte, Marseille, France
Villa for M. Teissier, quartier Saint-Barnabé Villa de M. Terracole, au Roucas Blanc, Marseille, France
Villa for M. Falconetti, Cabriès, France
1939
Group “Résidence” quai de Rive-Neuve (36 apartments), Marseille, France
1940
A group of 70 apartments, Avignon, France
1942 was the end of Vichy Government rule in Algeria and the end of Le Corbusier’s speculative Plan Obus for Algiers. It was also the year Pouillon, now 30, became a registered architect. Previously, it had not been necessary to be one in order to build.
1943
Restoration of private mansion of M. Columeau, bd du Redon Immeuble 38 rue Longue des Capucins, Marseille, France
1944 was the liberation of France and the dissolution of the Vichy government.
1945
“Dames de France”, transformation of a store into offices for the American base
Grand Arénas, provisional accommodation for prisoners, deportees and refugees
Gendarmerie Augusto, Marseille, France
1946
The Regional Center for Physical Education and Sport, CREPS, chemin du Guiraudet Gardanne, Aix-en-Provence, France
Casablanca Garden City in Biver, 21 dwellings, Aix-en-Provence, France
1947
Deux écoles déclarées dans les “Mémoires d’un architecte”, Aix-en-Provence, France
Hotel in Cap Manuel, Dakar, Senegal
Stade municipal, avenue des Ecoles Militaires, Aix-en-Provence, France
Pouillon’s 1947 Aix-en-Provence City Stadium is often presented as the project in which his personal “style” began to emerge but (in perfect illustration of how words convert buildings into architecture) this turns out to be nothing more than perfectly normal things that everybody should be doing, like updating traditional construction processes and using several different materials so each does what they do best.
stadium 1946-50.jpeg
1948
Nestlé Factory, chocolate and soluble coffee factory, offices, common services and employee housing, Saint-Menet, France
Restoration of the Villa of Doctor Latil, Aix-en-Provence, France
Station sanitaire maritime, Avenue Vaudoyer, Marseille, France
0008
1949
Police Building, 2 rue Antoine Becker, Marseille, France
Canebière Building, boulevard de la Canebière, apartments, offices, retail units, Marseille, France
La Tourette, Protis Square, 260 dwellings, shops garages, Marseille, France
The civic projects increased in scale and importance, leading to the 1948-1953 La Tourette housing complex in Marseille, just behind the Old Port. There’s a glowing description of La Tourette here, along with many fine photographs of it.
With La Tourette project, Pouillon refined his system of co-ordinating all the elements of a project – a system that came to be known as The Pouillon System. Details are sketchy, but it included artists and craftsmen such as cabinetmakers, locksmiths and stonecutters and the invention/use of construction processes intended to reduce the cost of material and labour. One of these was pierre banchée in which stone tiles are used as permanent shuttering.
LE+GENIE+DE+POUILLON+-+ECONOMIE+ET+QUALITE
Other innovations included a method of providing better soundproofing between apartments. A legend to the section above might be able to tell us more about this. In 1955, Pouillon created the CNL, the Comptoir National du Logement, which was a commercial and legal structure that would allow him to design thousands of housing units in Paris and to build them as a developer.
1950
Reconstruction of the Sablettes, seaside resort, 150 apartments, shops, a hotel, La Seyne-sur-Mer, France
Carrières de Fontvieille, La Seyne-sur-Mer, France
Offices, Garden Dwellings, Atelier, La Seyne-sur-Mer, France
Atelier for the painter, Marchutz, Aix-en-Provence, France
Villa for the mayor of d’Aix-en-Provence, Henri Mouret, Aix-en-Provence, France
Hôtel d’Espagnet, Cours Mirabeau, Headquarters of the University Rectorate plus official Housing, Aix-en-Provence, France
Restoration of a listed monument, Aix-en-Provence, France
Saint-Charles University Library, Marseille, France
Library of the Faculty of Sciences, Centre for Administrative Studies, Marseille, France
1951
Building rue Méry, Reconstruction of the Vieux-Port quarter, housing, shops and bars, Marseille, France
Outer areas of the Old Port district, monument surroundings, roads and public spaces, Marseille, France
Shopping Cart District Urban Redevelopment, Marseille, France
Two hundred apartments, 1-6 room apartments for rent, Aix-en-Provence, France
Reconstruction of the Old Port, seafront 1200 m, 350 apartments and shops, Marseille, France
1952
Faculty of Law, resumption of the works for completion of University Library, Aix-en-Provence, France
Villa La Brillanne, residence of the family of Fernand Pouillon, Aix-en-Provence, France
Lycée Colbert, commercial and industrial learning center, Marseille, France
1953
Atelier for the painter André Masson, Aix-en-Provence, France
Administrative City, architectural and urban development program, Avignon, France
Terminal, offices, technical block, control tower, Cassis, Marignane, France
Villa Barthélemy and Villa X., seafront villas, Algiers, Algeria
Diar El Mahçoul, 1800 apartments, Algiers, Algeria
This last was Pouillon’s first project in Algeirs and the project he was invited there for. The hillside site required 100,000 of terracing and huge retaining walls. A main road divided the French side and Algerian side. Two thirds of the 1,454 housing units were on the French side of the road with views of the sea (and huge retaining walls).
The other third were on the Algerian side facing the valley and had small courtyards. We may think this discriminatory but we forget that “view” is a cultural invention (whereas houses in a Mediterranean fishing village, for example, might have a view of the sea for reasons connected with weather and fish). Another such difference showed in sanitation facilities and, again, we can’t say if this is cultural prejudice or cultural preference.
1953 (cont’d)
Diar Es Saada, 800 lodgings, Algiers, Algeria
Villa des Arcades, restaurant, and development of a swimming pool, residence and agency of F. Alger, Algerie
Residential building, regularization of the extension of the course Jean Jaurès in front of the administrative city, Avignon, France
1954
Diar El Mahçoul, Saint-Jean-Baptiste church Climat of France, 3500 dwellings, Algiers, Algiers
Pouillon’s 1954-1957 Climat de France project for Algiers has a touch of what two decades later would be called Post-Modern Classicism. We look at it and see Rossi, unfairly.
The Mayor of Algiers believed a properly housed population made for a happy population and Pouillon obliged by combining the social aspirations of Modernism giving residents something larger to feel a part of, and the proto Post-Modern idea of giving residents something grander to live up to.
Diar Es Saada, girls ‘and boys’ schools, Algiers, Algierie
El Karma, Valmy (near Oran), Agierie
City of 800 houses, Algiers, Algierie
Cité Lescure, Designed for a colleague, Oran, Algiers
Military city for 8000 inhabitants, Magharé, Iran
Military city for 8000 inhabitants, Shahabad, Iran
Iranian Empire Headquarters, Tehran, Iran
Geographical Institute, Tehran, Iran
Railway station, Machad, Iran
This was a project in collaboration with the Iranian architect, Heydar Ghiaï-Chamlou.
Railway station, Tabriz, Iran
As was this.
1955
Cité universitaire les Gazelles, 564 avenue Gaston Berger, 500 beds, Aix-en-Provence, France
La Montagnette social housing, rue Maurice Barrès, Vignon, France
Cité La Croix des Oiseaux, about 800 social housing units with much prefabrication, rue de la Croix des Oiseaux, Avignon, France
Villa for Admiral Jubelin, Sanary, France
1956
Development of the Old Port district, partially completed. Reconstruction of several Old Port buildings, reconstruction, Bastia, France
1957
Charzola Building, 58 rue Emile Zola, 93 dwellings, Paris, France
47 avenue de Friedland, apartment for Fernand Pouillon, Paris, France
Victor Hugo Residences, avenue Jean Lolive, 282 apartments and retail units, Pantin, France
Chalet, Val d’Isere, France
Municipal stadium, rue des Ecoles Militaires, awning above the stands (destroyed in the eighties), Aix-en-Provence, France
Résidence le Parc, 2,635 lodgings, shopping centers, Meudon-la-Forêt, France
Pouillon and the CNL’s first major successes were apartment developments of three hundred units in Pantin (1957) and five hundred units in Montrouge (1958). Despite the stone and marbile finishes, the apartments were affordable on a 25-year plan.
1958
Private apartment, Boulevard Suchet, Paris, France
Le Point du Jour, 2260 logements et équipements, Boulogne-Billancourt, France
Peugeot-quai de Passy, projet d’extension du Point du Jour, Boulogne-Billancourt, France
Résidence du Stade Buffalo, 466 logements et commerces, Montrouge, France
1959
Hôtel des Ursins, île de la Cité, résidence de F. Pouillon Appartement de M. Junot Iéna, Paris, France
Résidence Jules Ferry, 60 logements et garages au rez-de-chaussée, Montrouge, France
Résidence le Parc, 2,635 lodgings, shopping centers, Meudon-la-Forêt, France
Pouillon was to make himself many enemies when the 2,635 apartments of the Résidence du Parc in Meudon-la-Forêt (1959) came online at less than market prices.
1960
Résidence du Quai, 135 apartments and shopping mall, Boulogne-Billancourt, France
Hôtel-restaurant Baumanière, la Cabro d’Or, Les Baux de Provence, France
1961
Hotel, Puerto-Rico
Pouillon’s unorthodox corporate arrangements encouraged financial impropriety and the CNL was unable to pay its contractors in 1959 and was wound up in 1961 and Pouillon charged, arrested, de-registered and jailed. Eighteen months later he escaped but ten months later gave himself up, only to be sentenced to another four years. This was later reduced to three and he was released in February 1964. Charges of breaching the laws of companies, of breaches of trust, fraud and concealment were dismissed but charges of the abuse of social assets, false declaration of release of shares and false notarial declaration remained. During his imprisonment, we was to write Les Pierres Sauvages published in 1964, and Memoirs of an Architect, published 1968.
1962
Domaine de Lanruen (detached houses), partially realized, construction site not monitored, Erquy, France
1964
Masterplan for the new town of Créteil, Créteil, France
La Vallée Moussue, restoration of a house, Saint-Léger-en-Yvelines, France.
1965
Hôtel du Port, for the company Bancaire, Saint-Jean-Cap-Ferrat, France
The masterplan was to be Pouillon’s first major job after jail and, perhaps because of this, he received death threats urging him not to work in France. Jacques Chevallier suggested Pouiloon return to Algeria and he did. For the next twenty years Pouillon was to design hotels to improve the tourism infrastructure of Algeria, as well as many civic and educational buildings. His greatest regret was never being being asked to design mass housing again, either in France or in Algeria.
1966
Algerian coastal tourism development plan (partially realized), Algiers, Algeria
Villa des Arcades, restoration and extension, Algiers, Algeria
Diar El Mahçoul, transformation of the church into a mosque, Algiers, Algeria
Hotel Le Caîd, 400 beds, Bou Saada, Algeria
Hotel Marhaba, 300 beds, Laghouat, Algeria
Hotel El Minzah, 300 beds, Moretti, Algeria
Spa and hotel with 200 beds, Saida, Algeria
1967
Pavillon de la Foire d’Alger, Algiers, Algeria
The Calle (El Kala), Algiers, Algeria
Hotel El Manar, 300 beds, Algiers, Algeria
Tourist complex, 3,000 beds, Moretti, Algeria
Hotel El Mountazah (Ksar du Rocher), 300 beds, Seraïdi, Algeria
Tourist complex, 4,000 beds, Zeralda, Algeria
1968
Restaurant “Maxim’s, air conditioning and facilities, Paris, France
Caravanserai of 150 beds, Ain Sefr, Algeria
Hotel Plaza, 500 beds, Annaba, Algeria
Caravanserai the Rym, 150 beds, Beni-Abbes, Algeria
Hotel with 300 beds, Biskra, Algeria
Hotel school for 1,600 students, Biskra, Algeria
Caravanserai El Boustan, 200 beds Saharan dwellings (detached houses), Biskra, Algeria
Saharan homes (detached houses), Biskra, Algeria
New market and renovation of old market, cinema, theater, 15,000 m2, Biskra, Algeria
Abattoirs, Biskra, Ghardaïa, Algerie
Saharan homes (detached houses), Laghouat, Algeria
Caravanserai El Mehri, 200 beds, Ouargla, Algeria
Prefecture of the Oasis and Administrative City, 15 000 m2 Saharan dwellings (detached houses), Ouargla, Algeria
Tourist complex, 4,000 beds El Riadh Hotel, Sidi Ferruch, Algeria
Tourist complex, shopping center Hôtel les Hammadites, 350 beds, Tichy, Algerie
Caravanserai El Gourara, 150 beds, Timimoun, Algeria
Tourist complex, 2,000 beds, Tipasa Beach, Algeria
Tourist complex, 2,500 beds Arrangement of the harbor, village and barbecue, Tipasa Club, Algeria
Slaughterhouses, Touggourt, Algerie
Caravanserai L’Oasis, 200 beds, Touggourt, Algeria
Saharan homes (detached houses), Touggourt, Algeria
Hotel Les Sables d’Or, 600 beds, Zeralda, Algeria
Hotel with 300 beds, Tamanrasset, Algeria
1969
Prototype “metal house” at the edge of J. Chevallier, El Ançor, Algeria
Andalusian tourist complex of 2,000 beds, Algiers, Algeria
Hotel with 600 beds, Tipasa Matarès, Algeria
Hotel school for 1600 students, Tizi Ouzou, Algeria
1970
La Breche aux Loups, 444 detached houses, commercialization, Ozoir-la-Ferrière, France
27 post offices, sorting centers and telephone exchanges, 50,000 m2 realized since, Algeria
Hotel M’Zab (ex-Rostémides), 600 beds, Ghardaïa, Algerie
Several “metallic” houses, Ghazaouate, Algeria
Hotel Les Zianides, 300 beds, Tlemcem, Algeria
43 Villas from 1970 to 1984 in Algiers, Bir Mourad Raïs, Blida, Bouzareah, Draria (Algiers), El Achour, El Biar, Algiers, Kouba, Larbaa, Sahaoula, Sidi Aïch, Sidi Mohammed, Yakouren
1971
Furnishing of an apartment, place des Vosges, Paris, France
Theater for 3,600, Sidi Ferruch (surroundings of Algiers), Algeria
Tipaza Club (Algiers area), Algeria
Tourist complex, extension and horse-riding center, (Algiers area), Algeria
Tipasa Matarès (near Algiers), Algeria
Tourist complex, extension, (Algiers area), Algeria
Hotel les Hammadites, extension, Tichy, Algeria
Caravanserai El Gourara, extension, Timimoun, Algeria
1972
Tourist complex, extension, Moretti, Algeria
Village artisanal Plage Ouest: 150 shops and workshops, Sidi Ferruch, Algerie
Resort complex, extension Hotel Mazafran, Zeralda, Algeria
Hotel with 300 beds, Saida, Algeria
Thermal Spa, Hammam Rabbi (Saïda), Algeria
City of 200 apartments, Staoueli (near Algiers), Algeria
Villa des Arcades, transformation of stables into living room and dining room, El Madania, Algiers, Algeria
Technical Unit of SONATOUR, Algiers, Algeria
1973
Prototype “metallic” house, on the property of the president of the PUM (Products of Metallurgical Factories), Sologne, France
Caravanserai The Rym, extension, Beni-Abbes, Algeria
Caravanserai El Mehri, extension, Ouargla, Algeria
1974
Furnishings for a small manor, Chennevières / Marne, France
House of M and Mme V., Gueux, France
Five “metallic” houses, Jonchery / Vesle, France
House-witness of the concept “HOME” (metal house), Val-de-Vesle-Thuisy, France
A “metallic” house, Saint-Brice-Courcelles, France
Residence Lion d’Or, place Drouet d’Erlon, housing, cinema, shopping mall, Reims, France
Galerie du Jardin de Flore, 24 place des Vosges, creation of a flower shop in art gallery, for the publishing company created by Fernand Pouillon, Paris, France
Apartment rue des Fontaines, Algiers, Algeria
Cabaret Dar El Alia, Bouzareah (Algiers), Algeria
Housing development of “metallic” houses, Cheraga, Algeria
Caravanserai El Boustan, extension, El Golea, Algeria
Caravanserai, extension, El Oued, Algeria
Hotel El Djanoub, 600 beds, Ghardaïa, Algeria
Villa Paradou for the Ministry of Higher Education, Hydra (Algiers), Algeria
Expansion and development of the port, 200 ships of 10 m, La Madrague (near Algiers), Algeria
Development of the port, 400 boats, Sidi Ferruch (Algiers area), Algeria
West Beach Hotel, Sidi Ferruch (surroundings of Algiers), Algeria
West Beach second hotel, in all 1500 beds, West Beach Civic Center of Animation, Sidi Ferruch (surroundings of Algiers), Algeria
Harbor development, 200 boats of 10 meters Hotel with 152 rooms, Skikda, Algeria
1975
Restoration of a house, Peyrusse-le-Roc, France
Offices of Technal International, Toulouse, France
Cité Universitaire for Young Girls, Ben Aknoun, Algeria
Horse-riding center, multi-purpose hall, Tipaza, Algeria
Shopping and leisure center, Tipaza Plage, Algeria
Amraoua Hotel, Tizi Ouzou, Algeria
Tourist complex, extension, multi-purpose hall and facilities, Zeralda, Algeria
Wilaya (prefecture), landscaping, Tlemcem, Albgerie
Château de Belcastel, restoration (from 1975 to 1983), Belcastel, France
Belcastel1
1976
Monastery for the sisters of Médéa (Algeria) repatriated to Provence, Cotignac, France
Hotel Plaza, Annaba, Algeria
ab797d597ad3ddb0b8c0b80e33db8e44
Hotel Aurassi, furnishing and decoration, Oued Koreiche (Alger), Algeria
Villa Marguerite, Tlemcem, Algeria
1977
Aménagement du port et extension du centre ville, Saint-Tropez, France
Hôtel, Djemila, Algerie
Cité universitaire, Oran, Algerie
1977-1980
Port development and extension of the city center, Saint-Tropez, France
Hotel, Djemila, Algeria
Cité universitaire, Oran, Algeria
1978
Villas Rochmeboisson, Ain Benian (Algiers), Algeria
Villa Citroën, Algiers, Algeria
University campus, extension, Ben Aknoun (Algiers), Algeria
Hotel, 600-bed hotel, Constantine, Algeria
Wilaya (prefecture), two projects, Tlemcem, Algeria
Wilaya (prefecture), 3rd project, Tlemcem, Algeria
1979
Cité Universitaire, Ain El Bey (Constantine), Algerie
1979-1982
Cité Universitaire, Ain El Bey (Constantine), Algerie
400 dwellings, Sétif, Algerie
Cité Universitaire for 3,000, Alger, Algerie
Cité Universitaire for 5,000, Bab Ezzouar (Alger), Algerie
Cité Universitaire for 2,000, Batna, Algerie
Cité Universitaire for 2,500, Constantine, Algerie
Cité Universitaire for 2,000, Mostaganem, Algerie
Cité Universitaire for 2,000, Oran, Algerie
Cité Universitaire for 2,000, Sidi Bel Abbès, Algerie
1980
House F, Belcastel, France
Map of the new town, competition, Saint-Quentin-en-Yveline, France
City of 400 dwellings, Boufarik, Algeria
Bus station 40,000 m2, Constantine, Algeria
Spa, extension, Hammam Rabbi (Saïda), Algeria
Post Office, Touggourt, Algerie
1981
Hotel El Djazaïr (formerly Saint-Georges), resumption and continuation of works, Algiers, Algeria
1982
House extension project, Eschentzwiller, France
Hotel El Djazaïr (ex Saint-Georges), extension, Algiers, Algeria
City of 400 dwellings, Blida, Algeria
Boulevard belt interior, layout plan, Sidi Bel Abbès, Algerie
The Hotel El-Djazaïr was completed in record time to coincide with the twentieth anniversary of Algerian independence but the government never paid the fees, causing Pouillon to default on, in turn, social security contributions, taxes, and then wages. Pouillon abandoned Algeria and returned to France where he was reinstated to the Order of Architects but the tax debt of the CNL was still outstanding. President Mitterrand forgave Pouillon the CNL debt and made him an Officer of the Legion of Honor in 1984.
1984
Computing Center for the Ministry of Culture, Montigny-le-Bretonneux, France
1985
Thirty detached houses on an air base, Avord, France
Masterplan for 4,000 housing units, Créteil, France
Europarc activity zone plan, two buildings realized in collaboration with Schott firm), Créteil, France
Music Conservatory, rue Armand Carrel, 19th arrondissement
Social housing 172 avenue Jean-Jaurès, 19th arrondissement
Apartment rue de Bièvre, development and extension, 5th arrondissement
Apartment rue Boissy d’Anglas, development and extension, 8th arrondissement
Undated
Development of an abbey in a secondary residence, Belhomert-Guehouville, Algerie
Building for SNECMA, Corbeil, France
A swimming pool in the rock by the sea for M and Mme B., Normandy, France
Avenue Montaigne, private apartment, Paris, France
Georges V, Georges V Avenue, after 1970 Private apartment, rue Surcouf, Paris, France
Restoration of Manoir du Jonchet, Romilly / Aigre, France
Studies for an unidentified program, Monaco, France
Villas “Les Jardins Exotiques”, Monte-Carlo, France
Maxim’s Restaurant, Montreal, Canada
Maxim’s Restaurant, after 1965, Tokyo, Japan
Apartment rue Didouche Mourad, Algiers, Algeria
Hotel, Biskra, Algeria
New Hotel, 600 beds, Constantine, France
Hotel, 150 rooms, Djanet, Algeria
Bordj of the Chevalier family, extension, El Biar (Algiers), Algeria
Caravanserai, Hotel du Souf, El Oued, Algeria
Hotel El Mordjane, La Calle (El Kala), Algeria
Apartment hotel of 1,000 beds, La Calle (El Kala), Algeria
Depot garage, communal Market Cinema Theater, Laghouat, France
Caravanserai, Madakh, Algeria
Villas, Sahaoula, Algeria
La Grande Plage Resort (Sidi Begra), Seraïdi, Algeria
Hotel du Port, Seraïdi, Algeria
Hotel El Marsa Olympic Swimming Pool Quartier du Corsaire Restaurant, Seraïdi, Algeria
The fernandpouillon.com website lists the creation or extension of “co-operative cells” [“caves coopèratives”] around this time, in the towns of Rosières, Lussas, Vinezac, Vogue, Lablachère, Senas, Graveson, Maillane, Eygalières, Mallemort, Saint-Andiol, Châteauneuf de Gadagne, Le Thor, La Tour d’Aygues, and Sablet. All were formed in association with Pouillon’s former mentor Henri Enjouvin. I imagine these to be something like architects of record on-call, and with some fee arrangement already in place for fast turnaround. It would have to be because, as you will see, the amount of work attributed to Pouillon is phenomenal. Pouillon was beyond prolific, he had a compulsion to design buildings and get them built.
1938
Mondovi Building (18 apartments), rue de Mondovi, Marseille, France
Villa for Doctor Bernard, quartier Saint-Julien Villa de M. Magallon, avenue Flotte, Marseille, France
Villa for M. Teissier, quartier Saint-Barnabé Villa de M. Terracole, au Roucas Blanc, Marseille, France
Villa for M. Falconetti, Cabriès, France
1939
Group “Résidence” quai de Rive-Neuve (36 apartments), Marseille, France
1940
A group of 70 apartments, Avignon, France
1942 was the end of Vichy Government rule in Algeria and the end of Le Corbusier’s speculative Plan Obus for Algiers. It was also the year Pouillon, now 30, became a registered architect. Previously, it had not been necessary to be one in order to build.
1943
Restoration of private mansion of M. Columeau, bd du Redon Immeuble 38 rue Longue des Capucins, Marseille, France
1944 was the liberation of France and the dissolution of the Vichy government.
1945
“Dames de France”, transformation of a store into offices for the American base
Grand Arénas, provisional accommodation for prisoners, deportees and refugees
Gendarmerie Augusto, Marseille, France
1946
The Regional Center for Physical Education and Sport, CREPS, chemin du Guiraudet Gardanne, Aix-en-Provence, France
Casablanca Garden City in Biver, 21 dwellings, Aix-en-Provence, France
1947
Deux écoles déclarées dans les “Mémoires d’un architecte”, Aix-en-Provence, France
Hotel in Cap Manuel, Dakar, Senegal
Stade municipal, avenue des Ecoles Militaires, Aix-en-Provence, France
Pouillon’s 1947 Aix-en-Provence City Stadium is often presented as the project in which his personal “style” began to emerge but (in perfect illustration of how words convert buildings into architecture) this turns out to be nothing more than perfectly normal things that everybody should be doing, like updating traditional construction processes and using several different materials so each does what they do best.
stadium 1946-50.jpeg
1948
Nestlé Factory, chocolate and soluble coffee factory, offices, common services and employee housing, Saint-Menet, France
Restoration of the Villa of Doctor Latil, Aix-en-Provence, France
Station sanitaire maritime, Avenue Vaudoyer, Marseille, France
0008
1949
Police Building, 2 rue Antoine Becker, Marseille, France
Canebière Building, boulevard de la Canebière, apartments, offices, retail units, Marseille, France
La Tourette, Protis Square, 260 dwellings, shops garages, Marseille, France
The civic projects increased in scale and importance, leading to the 1948-1953 La Tourette housing complex in Marseille, just behind the Old Port. There’s a glowing description of La Tourette here, along with many fine photographs of it.
With La Tourette project, Pouillon refined his system of co-ordinating all the elements of a project – a system that came to be known as The Pouillon System. Details are sketchy, but it included artists and craftsmen such as cabinetmakers, locksmiths and stonecutters and the invention/use of construction processes intended to reduce the cost of material and labour. One of these was pierre banchée in which stone tiles are used as permanent shuttering.
LE+GENIE+DE+POUILLON+-+ECONOMIE+ET+QUALITE
Other innovations included a method of providing better soundproofing between apartments. A legend to the section above might be able to tell us more about this. In 1955, Pouillon created the CNL, the Comptoir National du Logement, which was a commercial and legal structure that would allow him to design thousands of housing units in Paris and to build them as a developer.
1950
Reconstruction of the Sablettes, seaside resort, 150 apartments, shops, a hotel, La Seyne-sur-Mer, France
Carrières de Fontvieille, La Seyne-sur-Mer, France
Offices, Garden Dwellings, Atelier, La Seyne-sur-Mer, France
Atelier for the painter, Marchutz, Aix-en-Provence, France
Villa for the mayor of d’Aix-en-Provence, Henri Mouret, Aix-en-Provence, France
Hôtel d’Espagnet, Cours Mirabeau, Headquarters of the University Rectorate plus official housing, Aix-en-Provence, France
Restoration of a listed monument, Aix-en-Provence, France
Saint-Charles University Library, Marseille, France
Library of the Faculty of Sciences, Centre for Administrative Studies, Marseille, France
1951
Building rue Méry, Reconstruction of the Vieux-Port quarter, housing, shops and bars, Marseille, France
Outer areas of the Old Port district, monument surroundings, roads and public spaces, Marseille, France
Shopping Cart District Urban Redevelopment, Marseille, France
Two hundred apartments, 1-6 room apartments for rent, Aix-en-Provence, France
Reconstruction of the Old Port, seafront 1200 m, 350 apartments and shops, Marseille, France
1952
Faculty of Law, resumption of the works for completion of University Library, Aix-en-Provence, France
Villa La Brillanne, residence of the family of Fernand Pouillon, Aix-en-Provence, France
Lycée Colbert, commercial and industrial learning center, Marseille, France
1953
Atelier for the painter André Masson, Aix-en-Provence, France
Administrative City, architectural and urban development program, Avignon, France
Terminal, offices, technical block, control tower, Cassis, Marignane, France
Villa Barthélemy and Villa X., seafront villas, Algiers, Algeria
Diar El Mahçoul, 1800 apartments, Algiers, Algeria
This last was Pouillon’s first project in Algeirs and the project he was invited there for. The hillside site required 100,000 of terracing and huge retaining walls. A main road divided the French side and Algerian side. Two thirds of the 1,454 housing units were on the French side of the road with views of the sea (and huge retaining walls).
The other third were on the Algerian side facing the valley and had small courtyards. We may think this discriminatory but we forget that “view” is a cultural invention (whereas houses in a Mediterranean fishing village, for example, might have a view of the sea for reasons connected with weather and fish). Another such difference showed in sanitation facilities and, again, we can’t say if this is cultural prejudice or cultural preference.
1953 (cont’d)
Diar Es Saada, 800 lodgings, Algiers, Algeria
Villa des Arcades, restaurant, and development of a swimming pool, residence and agency of F. Alger, Algerie
Residential building, regularization of the extension of the course Jean Jaurès in front of the administrative city, Avignon, France
1954
Diar El Mahçoul, Saint-Jean-Baptiste church Climat of France, 3500 dwellings, Algiers, Algiers
Pouillon’s 1954-1957 Climat de France project for Algiers has a touch of what two decades later would be called Post-Modern Classicism. We look at it and see Rossi, unfairly.
The Mayor of Algiers believed a properly housed population made for a happy population and Pouillon obliged by combining the social aspirations of Modernism giving residents something larger to feel a part of, and the proto Post-Modern idea of giving residents something grander to live up to.
Diar Es Saada, girls ‘and boys’ schools, Algiers, Algierie
El Karma, Valmy (near Oran), Agierie
City of 800 houses, Algiers, Algierie
Cité Lescure, Designed for a colleague, Oran, Algiers
Military city for 8000 inhabitants, Magharé, Iran
Military city for 8000 inhabitants, Shahabad, Iran
Iranian Empire Headquarters, Tehran, Iran
Geographical Institute, Tehran, Iran
Railway station, Machad, Iran
This was a project in collaboration with the Iranian architect, Heydar Ghiaï-Chamlou.
Railway station, Tabriz, Iran
As was this.
1955
Cité universitaire les Gazelles, 564 avenue Gaston Berger, 500 beds, Aix-en-Provence, France
La Montagnette social housing, rue Maurice Barrès, Vignon, France
Cité La Croix des Oiseaux, about 800 social housing units with much prefabrication, rue de la Croix des Oiseaux, Avignon, France
Villa for Admiral Jubelin, Sanary, France
1956
Development of the Old Port district, partially completed. Reconstruction of several Old Port buildings, reconstruction, Bastia, France
1957
Charzola Building, 58 rue Emile Zola, 93 dwellings, Paris, France
47 avenue de Friedland, apartment for Fernand Pouillon, Paris, France
Victor Hugo Residences, avenue Jean Lolive, 282 apartments and retail units, Pantin, France
Chalet, Val d’Isere, France
Municipal stadium, rue des Ecoles Militaires, awning above the stands (destroyed in the eighties), Aix-en-Provence, France
Résidence le Parc, 2,635 lodgings, shopping centers, Meudon-la-Forêt, France
Pouillon and the CNL’s first major successes were apartment developments of three hundred units in Pantin (1957) and five hundred units in Montrouge (1958). Despite the stone and marbile finishes, the apartments were affordable on a 25-year plan.
1958
Private apartment, Boulevard Suchet, Paris, France
Le Point du Jour, 2260 logements et équipements, Boulogne-Billancourt, France
Peugeot-quai de Passy, projet d’extension du Point du Jour, Boulogne-Billancourt, France
Résidence du Stade Buffalo, 466 logements et commerces, Montrouge, France
1959
Hôtel des Ursins, île de la Cité, résidence de F. Pouillon Appartement de M. Junot Iéna, Paris, France
Résidence Jules Ferry, 60 logements et garages au rez-de-chaussée, Montrouge, France
Résidence le Parc, 2,635 lodgings, shopping centers, Meudon-la-Forêt, France
Pouillon was to make himself many enemies when the 2,635 apartments of the Résidence du Parc in Meudon-la-Forêt (1959) came online at less than market prices.
1960
Résidence du Quai, 135 apartments and shopping mall, Boulogne-Billancourt, France
Hôtel-restaurant Baumanière, la Cabro d’Or, Les Baux de Provence, France
1961
Hotel, Puerto-Rico
Pouillon’s unorthodox corporate arrangements encouraged financial impropriety and the CNL was unable to pay its contractors in 1959 and was wound up in 1961 and Pouillon charged, arrested, de-registered and jailed. Eighteen months later he escaped but ten months later gave himself up, only to be sentenced to another four years. This was later reduced to three and he was released in February 1964. Charges of breaching the laws of companies, of breaches of trust, fraud and concealment were dismissed but charges of the abuse of social assets, false declaration of release of shares and false notarial declaration remained. During his imprisonment, we was to write Les Pierres Sauvages published in 1964, and Memoirs of an Architect, published 1968.
1962
Domaine de Lanruen (detached houses), partially realized, construction site not monitored, Erquy, France
1964
Masterplan for the new town of Créteil, Créteil, France
La Vallée Moussue, restoration of a house, Saint-Léger-en-Yvelines, France.
1965
Hôtel du Port, for the company Bancaire, Saint-Jean-Cap-Ferrat, France
The masterplan was to be Pouillon’s first major job after jail and, perhaps because of this, he received death threats urging him not to work in France. Jacques Chevallier suggested Pouiloon return to Algeria and he did. For the next twenty years Pouillon was to design hotels to improve the tourism infrastructure of Algeria, as well as many civic and educational buildings. His greatest regret was never being being asked to design mass housing again, either in France or in Algeria.
1966
Algerian coastal tourism development plan (partially realized), Algiers, Algeria
Villa des Arcades, restoration and extension, Algiers, Algeria
Diar El Mahçoul, transformation of the church into a mosque, Algiers, Algeria
Hotel Le Caîd, 400 beds, Bou Saada, Algeria
Hotel Marhaba, 300 beds, Laghouat, Algeria
Hotel El Minzah, 300 beds, Moretti, Algeria
Spa and hotel with 200 beds, Saida, Algeria
1967
Pavillon de la Foire d’Alger, Algiers, Algeria
The Calle (El Kala), Algiers, Algeria
Hotel El Manar, 300 beds, Algiers, Algeria
Tourist complex, 3,000 beds, Moretti, Algeria
Hotel El Mountazah (Ksar du Rocher), 300 beds, Seraïdi, Algeria
Tourist complex, 4,000 beds, Zeralda, Algeria
1968
Restaurant “Maxim’s, air conditioning and facilities, Paris, France
Caravanserai of 150 beds, Ain Sefr, Algeria
Hotel Plaza, 500 beds, Annaba, Algeria
Caravanserai the Rym, 150 beds, Beni-Abbes, Algeria
Hotel with 300 beds, Biskra, Algeria
Hotel school for 1,600 students, Biskra, Algeria
Caravanserai El Boustan, 200 beds Saharan dwellings (detached houses), Biskra, Algeria
Saharan homes (detached houses), Biskra, Algeria
New market and renovation of old market, cinema, theater, 15,000 m2, Biskra, Algeria
Abattoirs, Biskra, Ghardaïa, Algerie
Saharan homes (detached houses), Laghouat, Algeria
Caravanserai El Mehri, 200 beds, Ouargla, Algeria
Prefecture of the Oasis and Administrative City, 15 000 m2 Saharan dwellings (detached houses), Ouargla, Algeria
Tourist complex, 4,000 beds El Riadh Hotel, Sidi Ferruch, Algeria
Tourist complex, shopping center Hôtel les Hammadites, 350 beds, Tichy, Algerie
Caravanserai El Gourara, 150 beds, Timimoun, Algeria
Tourist complex, 2,000 beds, Tipasa Beach, Algeria
Tourist complex, 2,500 beds Arrangement of the harbor, village and barbecue, Tipasa Club, Algeria
Slaughterhouses, Touggourt, Algerie
Caravanserai L’Oasis, 200 beds, Touggourt, Algeria
Saharan homes (detached houses), Touggourt, Algeria
Hotel Les Sables d’Or, 600 beds, Zeralda, Algeria
Hotel with 300 beds, Tamanrasset, Algeria
1969
Prototype “metal house” at the edge of J. Chevallier, El Ançor, Algeria
Andalusian tourist complex of 2,000 beds, Algiers, Algeria
Hotel with 600 beds, Tipasa Matarès, Algeria
Hotel school for 1600 students, Tizi Ouzou, Algeria
1970
La Breche aux Loups, 444 detached houses, commercialization, Ozoir-la-Ferrière, France
27 post offices, sorting centers and telephone exchanges, 50,000 m2 realized since, Algeria
Hotel M’Zab (ex-Rostémides), 600 beds, Ghardaïa, Algerie
Several “metallic” houses, Ghazaouate, Algeria
Hotel Les Zianides, 300 beds, Tlemcem, Algeria
43 Villas from 1970 to 1984 in Algiers, Bir Mourad Raïs, Blida, Bouzareah, Draria (Algiers), El Achour, El Biar, Algiers, Kouba, Larbaa, Sahaoula, Sidi Aïch, Sidi Mohammed, Yakouren
1971
Furnishing of an apartment, place des Vosges, Paris, France
Theater for 3,600, Sidi Ferruch (surroundings of Algiers), Algeria
Tipaza Club (Algiers area), Algeria
Tourist complex, extension and horse-riding center, (Algiers area), Algeria
Tipasa Matarès (near Algiers), Algeria
Tourist complex, extension, (Algiers area), Algeria
Hotel les Hammadites, extension, Tichy, Algeria
Caravanserai El Gourara, extension, Timimoun, Algeria
1972
Tourist complex, extension, Moretti, Algeria
Village artisanal Plage Ouest: 150 shops and workshops, Sidi Ferruch, Algerie
Resort complex, extension Hotel Mazafran, Zeralda, Algeria
Hotel with 300 beds, Saida, Algeria
Thermal Spa, Hammam Rabbi (Saïda), Algeria
City of 200 apartments, Staoueli (near Algiers), Algeria
Villa des Arcades, transformation of stables into living room and dining room, El Madania, Algiers, Algeria
Technical Unit of SONATOUR, Algiers, Algeria
1973
Prototype “metallic” house, on the property of the president of the PUM (Products of Metallurgical Factories), Sologne, France
Caravanserai The Rym, extension, Beni-Abbes, Algeria
Caravanserai El Mehri, extension, Ouargla, Algeria
1974
Furnishings for a small manor, Chennevières / Marne, France
House of M and Mme V., Gueux, France
Five “metallic” houses, Jonchery / Vesle, France
House-witness of the concept “HOME” (metal house), Val-de-Vesle-Thuisy, France
A “metallic” house, Saint-Brice-Courcelles, France
Residence Lion d’Or, place Drouet d’Erlon, housing, cinema, shopping mall, Reims, France
Galerie du Jardin de Flore, 24 place des Vosges, creation of a flower shop in art gallery, for the publishing company created by Fernand Pouillon, Paris, France
Apartment rue des Fontaines, Algiers, Algeria
Cabaret Dar El Alia, Bouzareah (Algiers), Algeria
Housing development of “metallic” houses, Cheraga, Algeria
Caravanserai El Boustan, extension, El Golea, Algeria
Caravanserai, extension, El Oued, Algeria
Hotel El Djanoub, 600 beds, Ghardaïa, Algeria
Villa Paradou for the Ministry of Higher Education, Hydra (Algiers), Algeria
Expansion and development of the port, 200 ships of 10 m, La Madrague (near Algiers), Algeria
Development of the port, 400 boats, Sidi Ferruch (Algiers area), Algeria
West Beach Hotel, Sidi Ferruch (surroundings of Algiers), Algeria
West Beach second hotel, in all 1500 beds, West Beach Civic Center of Animation, Sidi Ferruch (surroundings of Algiers), Algeria
Harbor development, 200 boats of 10 meters Hotel with 152 rooms, Skikda, Algeria
1975
Restoration of a house, Peyrusse-le-Roc, France
Offices of Technal International, Toulouse, France
Cité Universitaire for Young Girls, Ben Aknoun, Algeria
Horse-riding center, multi-purpose hall, Tipaza, Algeria
Shopping and leisure center, Tipaza Plage, Algeria
Amraoua Hotel, Tizi Ouzou, Algeria
Tourist complex, extension, multi-purpose hall and facilities, Zeralda, Algeria
Wilaya (prefecture), landscaping, Tlemcem, Albgerie
Château de Belcastel, restoration (from 1975 to 1983), Belcastel, France
Belcastel1
1976
Monastery for the sisters of Médéa (Algeria) repatriated to Provence, Cotignac, France
Hotel Plaza, Annaba, Algeria
ab797d597ad3ddb0b8c0b80e33db8e44
Hotel Aurassi, furnishing and decoration, Oued Koreiche (Alger), Algeria
Villa Marguerite, Tlemcem, Algeria
1977
Aménagement du port et extension du centre ville, Saint-Tropez, France
Hôtel, Djemila, Algerie
Cité universitaire, Oran, Algerie
1977-1980
Port development and extension of the city center, Saint-Tropez, France
Hotel, Djemila, Algeria
Cité universitaire, Oran, Algeria
1978
Villas Rochmeboisson, Ain Benian (Algiers), Algeria
Villa Citroën, Algiers, Algeria
University campus, extension, Ben Aknoun (Algiers), Algeria
Hotel, 600-bed hotel, Constantine, Algeria
Wilaya (prefecture), two projects, Tlemcem, Algeria
Wilaya (prefecture), 3rd project, Tlemcem, Algeria
1979
Cité Universitaire, Ain El Bey (Constantine), Algerie
1979-1982
Cité Universitaire, Ain El Bey (Constantine), Algerie
400 dwellings, Sétif, Algerie
Cité Universitaire for 3,000, Alger, Algerie
Cité Universitaire for 5,000, Bab Ezzouar (Alger), Algerie
Cité Universitaire for 2,000, Batna, Algerie
Cité Universitaire for 2,500, Constantine, Algerie
Cité Universitaire for 2,000, Mostaganem, Algerie
Cité Universitaire for 2,000, Oran, Algerie
Cité Universitaire for 2,000, Sidi Bel Abbès, Algerie
1980
House F, Belcastel, France
Map of the new town, competition, Saint-Quentin-en-Yveline, France
City of 400 dwellings, Boufarik, Algeria
Bus station 40,000 m2, Constantine, Algeria
Spa, extension, Hammam Rabbi (Saïda), Algeria
Post Office, Touggourt, Algerie
1981
Hotel El Djazaïr (formerly Saint-Georges), resumption and continuation of works, Algiers, Algeria
1982
House extension project, Eschentzwiller, France
Hotel El Djazaïr (ex Saint-Georges), extension, Algiers, Algeria
City of 400 dwellings, Blida, Algeria
Boulevard belt interior, layout plan, Sidi Bel Abbès, Algerie
The Hotel El-Djazaïr was completed in record time to coincide with the twentieth anniversary of Algerian independence but the government never paid the fees, causing Pouillon to default on, in turn, social security contributions, taxes, and then wages. Pouillon abandoned Algeria and returned to France where he was reinstated to the Order of Architects but the tax debt of the CNL was still outstanding. President Mitterrand forgave Pouillon the CNL debt and made him an Officer of the Legion of Honor in 1984.
1984
Computing Center for the Ministry of Culture, Montigny-le-Bretonneux, France
1985
Thirty detached houses on an air base, Avord, France
Masterplan for 4,000 housing units, Créteil, France
Europarc activity zone plan, two buildings realized in collaboration with Schott firm), Créteil, France
Music Conservatory, rue Armand Carrel, 19th arrondissement
Social housing 172 avenue Jean-Jaurès, 19th arrondissement
Apartment rue de Bièvre, development and extension, 5th arrondissement
Apartment rue Boissy d’Anglas, development and extension, 8th arrondissement
Undated:
Development of an abbey in a secondary residence, Belhomert-Guehouville, Algerie
Building for SNECMA, Corbeil, France
A swimming pool in the rock by the sea for M and Mme B., Normandy, France
Avenue Montaigne, private apartment, Paris, France
Georges V, Georges V Avenue, after 1970 Private apartment, rue Surcouf, Paris, France
Restoration of Manoir du Jonchet, Romilly / Aigre, France
Studies for an unidentified program, Monaco, France
Villas “Les Jardins Exotiques”, Monte-Carlo, France
Maxim’s Restaurant, Montreal, Canada
Maxim’s Restaurant, after 1965, Tokyo, Japan
Apartment rue Didouche Mourad, Algiers, Algeria
Hotel, Biskra, Algeria
New Hotel, 600 beds, Constantine, France
Hotel, 150 rooms, Djanet, Algeria
Bordj of the Chevalier family, extension, El Biar (Algiers), Algeria
Caravanserai, Hotel du Souf, El Oued, Algeria
Hotel El Mordjane, La Calle (El Kala), Algeria
Apartment hotel of 1,000 beds, La Calle (El Kala), Algeria
Depot garage, communal Market Cinema Theater, Laghouat, France
Caravanserai, Madakh, Algeria
Villas, Sahaoula, Algeria
La Grande Plage Resort (Sidi Begra), Seraïdi, Algeria
Hotel du Port, Seraïdi, Algeria
Hotel El Marsa Olympic Swimming Pool Quartier du Corsaire Restaurant, Seraïdi, Algeria
Sidi Fredj / Sidi-Ferruch – Alger wilaya – Algeria / AlgÈrie: Hotel El Marsa and Hotel El Manar | HÙtels El Marsa et El Manar – photo by M.Torres
Holiday village, Sidi Okba Oumache, Skikda Aïn Ben Noui, Algeria
Complex: theater, bungalows, restaurant, port, Tipaza La Corne d’Or, Algeria
Hotel Esmeralda, Tipaza Plage, Algeria
Cité Universitaire, Tlemcem, Algeria
Complex of Courbet Marine, Zemmouri, Algeria
Administrative Center One Hotel, Zeralda, Algeria
Hotel La Residence, Zeralda, Algeria
Villas in Ain El Hammam, Ain Taya, Draa Esmar, El Biar (Algiers), In Nadjah, Hydra (Algiers), Kraicia
Unrealized
Additionally, there are approx. 800 unrealized projects in France alone.
prolific!
• • •
Seven possible reasons why Fernand Pouillon is not better remembered than he is.
His main period of activity as an architect was over the period 1932–1961 – a period corresponding to the heyday of Le Corbusier. Perhaps the world of architecture didn’t need another architect from France when they already had someone contributing so much to the mythology of architecture and architects.
Reconstruction and rehabilitation are both good things but both only restore and improve upon what was already present. They don’t add to the mythology of architecture in such a way as did Le Corbusier’s Unité d’Habitations that put Marseille on the map.
Or perhaps the world of architecture did not need anything else from Algeria, since it already had Le Corbusier’s Plan Obus which is vastly over-remembered, especially when compared with his earlier proposal for Algiers.
LC1
The period 1956–1961 when the Algerian Uprising was changing into the Algerian War and Pouillon, like Chevalier, would have deen (rightly) suspected of having Algerian separatist sympathies. This period coincides with the time people would have been collecting evidence against Pouillon and making a case for his imprisonment.
Not only that, Pouillon was a member of the communist party until about 1943. After that, he would have been remembered as having been a member of the communist party until about 1943. The period 1947–1956 coincided with United States’ doctrine of McCarthyism that persecuted persons suspected of being either communists or of having communist sympathies. Fernand Pouillon may thus have suffered the same fate as Hannes Meyer, Karel Teige and André Lurçat. Architecture prefers fascist governments and their rallying monuments to communist ones and their dreary obsession with mass housing.
Pouillon was never stylistically experimental for the sake of it. If Brutalism had had construction advantages we would no doubt see more Pouillon buildings in concrete. He experimented with metallic housing and prefabrication in the seventies, long after it had been fashionable. His career also overlapped Post Modernism but he had no need for semiotics beyond indicating home and neighbourhood by conventional means. His sensibility towards reconstruction and restoration was also off-trend.
Pouillon is responsible for the design of an enormous number of buildings, many of which are regarded as fine or outstanding. The sheer volume of his output shows he was extremely skilled at promoting his services but that he is not remembered has a lot to do with him being more interested in building than in designing his mythology – a trait he shares with many of the other misfit architects.
• • •
fernand-pouillon
Fernand Pouillon!
Your service to the community began long before your imprisonment
and continued long after.
misfits salutes you!
• • •
www.fernandpouillon.com is the most comprehensive resource there is. I’m indebted.
publishing.cdlib.org a substantial website on post-war housing in Algeria
www.jeanlucmichel.com is a blog (in French) with a fine collection of images of many otherwise unphotographed Fernand Pouillon buildings. The photographs are more photo-journalism than architectural photography and make you feel as if you had been there walking around looking at the buildings and taken the photographs yourself. The unstaged photographs are real and, because of that, informative and, because of that, refreshing.
www.bdonline.co.uk links to article about La Tourette inspiring the UK architect Adam Khan
Adam Caruso and Helen Thomas (Hg.): The Stones of Fernand Pouillon – An Alternative Modernism in French Architecture. gta Verlag, Zürich 2013, ISBN 978-3-85676-324-4.
• • •
Pouillon’s infamous system for coordinating all construction activity may have had its flaws but it did produce high quality and affordable housing that, seventy years on, has aged well, is not dated, and is still eminently liveable. A system that could produce results of such high quality under budget and in record time goes is not a system geared towards stakeholders systematically milking the budget by inflating or falsifying invoices. It defies conventional thinking.
Exactly how Pouillon brought the 2,635 apartments of the 1959 Résidence du Parc in Meudon-la-Forêt (1959) online in record time and at less than market prices remains a mystery no-one seems to want to see solved.
2445909041_small_2.jpg
Cite this article as: Graham McKay, "Architecture Misfit #29: Fernand Pouillon," misfits' architecture, published on May 14, 2017, accessed on July 4, 2021, permalink: misfitsarchitecture.com/2017/05/14/architecture-misfit-29....
Hacking my first video clip
Where I discuss how I build a music video. It's not meant to be a high-end piece of art. It's simply a response to a challenge to build something. The equipment I've used is basic, the resources minimal. Time was short. The clip is meant to be cheesy, but not lame or tacky. I don't have an old car so I have to somehow invent one. I don't have an electric guitar and a special effects budget. So what do I do?
Read on to find out how.
Building a *cheesy* music video
Hacking my first music video clip reminds me of the scene in Guitar Hero where you have to play on top flat-bed truck with dry ice blowing out of the smoke stack with fans blowing air and a rolling screen to simulate movement. It's cheesy, doesn't look real and a bit of fun. For the past month of so in my spare time I've been collecting ideas, images and telecine to build a video clip.
Why?
Why not?
Because it's fun. It's not often you can legally add music let alone this type of music to your own video and then show it. Then there is also the challenge of building stuff. Sometimes if I see a challenge I just have to take it up. I'd never really done this before so while it seemed abstract and difficult I though I'd give it a go. But there is another reason. Doing anything with images, especially moving images also tests the boundaries of your system. By system I mean from hardware (monitors, RAM, CPU, connections), network (bandwidth) and software (image editing, upload tools & all the other little fiddly bits of software you never thought you'd need) to produce something. So how did I build this video? and what did I found out about the limitations of my system?
Building a video
I've never built a video before. I've never had any technical training in video's per say. But I have had technical training in collecting information and cameras. But nothing like this. So where do you begin? Well the first thing I did was write down some quick sketches on paper. An idea. The exact idea isn't important here. What is important is how I proceeded. What I needed was some visual images and video.
Equipment
I chose the most low cost, commodity priced camera I could get. My plain old Sony Cyber-shot DSCW55. It's battered and held together with gaffer tape. But does the job. Next I needed some image processing software. I run Linux on my machines and while the Gimp works for static images I didn't want to embarrass myself trying to edit video on it. I'd still be trying to install stuff or something would break and I'd have to start again.
So I grovelled and borrowed my sisters Julian Ives designed iMac. This is the first time I've used a Mac since the original one. I has a beautiful 17" screen. I had to adjust my eyes again after using the Mac then moving back to my ASUS 22" MW221u screen. Everything looked blury compared to the mac. I used the pre-installed iMovie. At first I couldn't do a lot of the things I required. Like select section of a clip or join together two pieces of dissimilar footage using wipes. But I soon got the hang of it. What I could not get the hang of was the crappy mouse. It didn't seem to want to grip properly no matter the surface I supplied.
Choice of Operating Systems in editing video matters. But there is also another problem as well. This only became apparent at uploading time. Something I'll explain later.
Then there is the network. I ended up using a cheap USB thumb-drive to transfer telecine and images from one machine to the next. However I did find severe limitations at the at upload time. Hint: a 6Kb/s upload rate isn't going to allow you to upload 80Mb of video quickly.
Gathering visuals
I ended up collecting hundreds of images and many Megabytes of video clips in a couple of different formats. So quickly organise your images by either date or theme. This helps when you come to try and build a clip. Accurate text descriptions and something explaining the shot helps. I systematically added all but the most processed images to flickr. This helped a lot later both to give me a sense of what I had/had not done. Plus it meant I could quickly see things. See things much better than using my clumsy Linux box or using the crappy Mac mouse. This is especially important if you chop videos or artwork up. Be warned do this at the start and avoid wasted time hunting for that particular look you want. Good management of resources pays off in the long run.
Getting the look, cheaply
I knew what I wanted but how do I get the look? I definitely chose to use the optical path. Most of the clip I uses what was shot through the lens at the time with little gimmicks. If I wanted a car with Fins I'd look for them, photograph them myself. I could have just as easily used images released under Creative Commons licenses but this complicates things. One of the reasons I gather obscure images is I can be flexible with respect to copyright.
So how do you build that you see in your mind without spending time or resources chasing the "Moby Dick" of personal visions? I'm a great fan of Alfred Hitchcock. When he produced films he was constrained by time and money and as a result would marshal what resources he had at the time to get his vision across in film. So if I had a problem that needed solving this is the technique I'd use. Need an www.flickr.com/photos/bootload/tags/oldcar? Well I'll keep an eye open and see if there's any I can shoot. Need some expensive visual effects to make the Freeway footage look interesting? I'll go and take some video footage where I know the light will be automatically pre-processed and shoot it, live. This is risky. Sometimes you will end up with nothing. Another trick is to use static images to punctuate points. This is probably only good for music clips not movies as such but it's worth a look. Static images can be cheaply captured. They can be post-processed. And with a few editing tricks look like a part of the clip. Other times you'll get a result you could never plan for. One example I did plan for was a short clip of some guitar playing. I don't play guitar. But I do play guitar-hero.
Look good cheap: an example
So how do I hack together a good looking guitar solo with no guitar, no special effects? Well I achieved this by using a simple cartooning trick. By placing together several images together your mind joins the gaps and makes things seem real. So firstly I got an image I wanted you to see. This forms the reference point. I want you to see this image (an image I took on Television and processed to look very blue) before my next video clip. Seeing them in order means your mind sees the first image, then the second and thinks image one is creating the second image. But how did I create the guitar playing? I got my guitar from guitar hero. Then used some gaffer tape to tape down a blue light to the neck, closed the blinds and turned on the lights. Then turned up the sound on the stereo and let loose with the camera. By concentrating on the neck and because the room is dark and the guitar is black all you see is the frets. You mind fills in the gaps. This is the trick to making things look good cheaply. Trick the mind and it fills in the gaps. It's not what you put in, it's what is left out. Your mind will do the rest.
Rough cuts
So you have an idea, some good footage what do you do now? Well create a rough cut. A rough cut is really a video sketch. Renaissance painters like Michaelangelo didn't paint his Fresco masterpieces straight off. Instead he first did many, many rough sketches first. Only when he'd finished a rough sketch would he move to anything near paint. Video is no exception. I organised what I wanted to shoot visually with a pen and paper, broke the images into numbers then proceeded to visually with the software. Macs, iMovie in particular is a superior piece of software. It lets you lay down your images one at a time and play with the results. Once you have what you consider is something like what your vision, finalise the result. Then leave if for a day. Why do this? Well come back in a day and you will see any holes in your ideas. It allows you to make decisions on what works and what does not. That's all. You might have to repeat this a number of times.
Don't waste time.
Final cut editing
By this time you should have a good idea of what you want to achieve. You should also have some usable artwork and clips. From the rough you assembled you now have the technical information you need. Timing, sequencing of images. If you don't have a good idea, no amount of quality visuals will make up for this. The final editing should be there to really fine tune you "rough cut" ideas. The biggest problem I found with the final editing is the start, the end and the tying together of different image sequences. You need to have the final image in your head to make things look smooth. All the transitions have to look as if they tie together. The same with the start and ending. The start image has to sum up the whole video in one frame. The end image has to enforce this. Always make a couple of versions of your released work. In my case I created a low-fi and a hi-fi version. The former being roughly half the download of the later.
Finish up
Think you've finished? Well think again. The most critical point, the uploading exposed a huge hole in my computer system, bandwidth and browsers. Firstly my Firefox Linux browser is a poor cousin to it's Windows and Mac brothers. I simply could not functionally upload images because of the use of Flash. When it came time to upload the 80Mb of uploads I resorted to using an Internet Cafe'.
The first since '94.
next >>>
This was for sale on eBay today.
Background:
www.nysm.nysed.gov/publications/record/vol_01/pdfs/CH04El...
IROQUOIS BEADWORK:
A Haudenosaunee Tradition and Art
Dolores Elliott
The Iroquois tradition of raised beadwork began in western New York in the late eighteenth century. It is slightly older than the other great North American Indian beadworking tradition that the Lakota, Cheyenne, and other people of the Plains developed. Raised beadwork is unique to the Haudenosaunee; it is made nowhere else in the world. The Senecas, who decorated clothes, sashes, and small pin cushions with small glass beads in the eighteenth century, probably invented the style of Iroquois beadwork that still exists today. They were making beaded pincushions by 1799 and purses by 1807. In the mid-nineteenth century, ethnohistorian Lewis H. Morgan noted in his League of the Ho-de’-no-sau-see, or Iroquois the “delicacy, even brilliancy of their beadwork embroidery” on women’s clothing (1851, Book 3:384), and he included illustrations of beadwork on a needle case, woman’s skirt, cradleboard, heart-shaped pincushion, and work bag, the forerunner of a modern purse. He reported that in 1849 he had purchased five varieties of work bags as well as three varieties of pin cushions and five varieties of needle books (Morgan 1850, 57).
(Figure 4.1). While they sold their goods at nearby Montreal, the Mohawks also traveled extensively throughout North America to sell at fairs, exhibitions, wild west shows, and Indian medicine shows. Some even sold their beadwork when they traveled to England to perform Indian dances at Earls Court, an exhibition ground in London. Photographs taken in 1905 show these performers attired in clothing decorated with Mohawk beadwork.
The Iroquois tradition of beadwork continued to evolve in the nineteenth century, and by 1860 Mohawks near Montreal and Tuscaroras near Niagara Falls were creating elaborate pincushions, purses, and wall hangings adorned with raised beadwork. Despite the similarity of items created, the two geographic areas developed different styles of beadwork (Table 4.1). Throughout the late nineteenth century and early twentieth century, at the height of beadwork production, the Tuscaroras sold their beadwork mostly at Niagara Falls, on their reservation, and at the New York State Fair. They preferred to use small clear and white beads. During this same period, the Mohawks used larger clear beads and also employed red, blue, green, and yellow beads on most of their early pieces
Figure 4.1. Two needle cases that illustrate differences in nineteenth-century Mohawk (left) and Niagara (right) beadwork.
My personal family experience illustrates typical Iroquois beadwork transactions in the twentieth century. My story starts in 1903 when my grandmother went to the Afton Fair, a small agricultural fair in central New York. She took my nine-year-old father, but his sister, then eleven, was sick and could not go. My grandmother brought her home a present from the fair. It was a beautiful pink satin-covered bird-shaped pincushion that sparkled with light green beads (Figure 4.2). My aunt treasured this bird throughout her long life and displayed it proudly in her china cabinet, where I saw it when I was a child. At her death this cherished heirloom was passed on to her daughter who later donated it to the Afton Historical Society in Chenango County, where it is presently on view.
My research indicates that this bird was made by a skilled Mohawk beadworker from a Mohawk community located near Montreal and several hundred miles from the Afton Fair. This pincushion probably got to the fair with a group of Mohawks who traveled by train or wagon to perform at fairs, medicine shows, and exhibi- tions. While at these venues, they also sold their hand- made baskets and beadwork.
In 1958 I bought a small red heart-shaped pincushion at a booth in the Indian Village at the New York State Fair, which is held near Syracuse (Figure 4.3). It was a present for my mother, who displayed it prominently on her bedroom dresser for the next twenty-five years until I inherited it. Mary Lou Printup, a leading Tuscarora sewer, later identified this pincushion as one she had made. She, like most Tuscarora beadworkers prefer to be called “sewers,” a term not popular with some other Iroquois beadworkers. In my research and writing, I use the word “beadworker” to refer to all except those individuals who specifically prefer to be called “sewers.”
When I purchased the red heart I had no idea that this pincushion had anything in common with the bird that my grandmother acquired fifty-five years earlier. I knew that I wanted to get something special for my mother, and this pincushion was special because it was beautiful and made by a native artist. In buying it I shared something with my grandmother, who died before I was born, that is, the purchase of a piece of Iroquois beadwork. Most likely the purchase of the bird was my German-born grandmother’s only interaction with a Haudenosaunee woman, and my purchase at the State Fair was my first interaction with a Tuscarora sewer, the first of many.
In a similar manner Iroquois beadworkers and their non-Indian customers, often tourists or attendees at a public entertainment venue, have been brought together by beadwork for over two centuries. These transactions undoubtedly number in the tens of thousands.1 During honeymoon trips to Niagara Falls and visits to agricultural fairs, exhibitions, and other attractions, people purchased Iroquois beadwork as mementos to remember these places and experiences. The beads often form designs featuring birds and flowers, natural themes that appealed to the Victorian women who drove the market of souvenir sales in the nine- teenth century. Studies by Beverly Gordon (1984; 1986) and Ruth B. Phillips (1998) describe the souvenir trade and point out the importance of these items to the people on both sides of the transactions.
Souvenir beadwork was so treasured that the pieces were frequently kept in cedar chests or keepsake boxes. Therefore, when unwrapped one hundred or more years later, they are often in pristine condition. Ironically, few contemporary beadworkers have samples of their ancestors’ work because it was usually made for sale to strangers, although some beadwork was created as gifts for family and friends.
Because most pieces were made for sale to tourists, many people have dismissed Iroquois beadwork as “souvenir trinkets” not important enough to collect, study, or exhibit. In fact, they are often called whimsies, a term that I believe trivializes them and diminishes their artistic and cultural value. But within the last two decades Iroquois beadwork has become the subject of serious study and museum exhibitions. At least four traveling exhibits of Iroquois beadwork have been installed in over a dozen museums and seen by thousands of museum visitors in the United States and Canada since 1999.2 This scholarly recognition has resulted in an increased appreciation of these beadwork creations and the artists who made them. What were considered curious tourist souvenirs when they were made are now generating increased respect from both the general public and the Haudenosaunee.
ry pieces, the back is a colorful calico. Some pieces, mainly in the Niagara Tradition, have a silk or cotton binding around their perimeters to cover the cut edges and attach the front and back fabrics. Tight beadwork on the edging often binds Mohawk pieces together so a cloth binding is not necessary. Flat purses as well as fist and box purses are constructed in the same manner, with cardboard as the base.
Contemporary beadworkers see their work as a significant part of Haudenosaunee culture and an important link to the past. In Haudenosaunee communities beadworkers are admired as continuing a revered tradition. Although there are a few male beadworkers, the majority are women, and in a matrilineal-society with powerful clan matrons, the economic benefit of beadwork sales increases the influence of the women even more.
Pincushions were usually stuffed with sawdust, but sweet grass, cotton, cattail fluff, newspapers, and poly- ester have also been used. Contemporary craftsmen remember that their mothers preferred pine sawdust because of the nice aroma.4 Small strawberry-shaped pincushions are traditionally filled with emery, used to sharpen and polish needles. Velvet and twill-covered pic- ture frames and other wall hangings on cardboard bases have polished cotton backs on earlier pieces and calico on more recent ones. European glass beads were often aug- mented with metal sequins on nineteenth-century pieces and with plastic sequins and other plastic novelty beads since the late twentieth century. Bone and shell beads and leather, which are often used in other American Indian beadwork, rarely occur in Iroquois beadwork.
Iroquois beadwork is still sold at Niagara Falls, the New York State Fair, and several pow wows and festivals in the northeast; the methods of beadwork distribution have changed little over two hundred years. The bead-work itself, however, has changed tremendously. Over the last two centuries the styles of beadwork have evolved from simple small pincushions and purses to highly elaborate shapes, becoming works of art in the tra- ditional sense. The beads selected have progressed from the very small seed beads used around 1800 to the larger seed beads of 1900 and finally, by 2000, to a wider variety of bead sizes and colours.
The most common form of Iroquois beadwork, and the form most easily recognizable by people who are not familiar with Iroquois beadwork, is the flat black purse or bag featuring identical colorful, beaded floral designs on both sides. Most flat bags have flaps on both sides, but the opening is across the top where the two sides meet. The face fabric is usually black or very dark brown velvet, and the interior is often a light-colored linen or polished cot- ton. A binding, usually red, is attached around the closed sides of the purses. A beaded fringe is sometimes added. The fringe is merely sewn to the binding and does not hold the two sides of the bag together; it is purely deco- rative. The flaps usually are edged with white beads that are larger than the beads that outline the flaps and body (Figure 4.4). The flaps and body are sometimes outlined with short parallel lines like a stockade. The faces of the flap and body are covered by stylized flowers in shades of blue, red, yellow, and white connected with green stems, which are sometimes striped in two shades of green. Some bags feature a small slit pocket under one of the flaps. It may have been meant to hold a comb or mirror.
Iroquois beadwork remains a unique art form distinguished by several characteristics found only in work created by Haudenosaunee beadworkers. Iroquois beadwork features a design in glass beads that have been sewn on a fabric that is stretched over a backing of cardboard or cloth lining. The materials used in the beadwork are predominately small seed beads, cloth, cardboard, paper, and in pincushions, a stuffing. The beads are sewn onto the fabric in geometric or natural designs using waxed, doubled white thread.3 The beads are usually sewn over a paper pattern that remains in place under the beaded elements. Although not practiced at all times in the history of Iroquois beadwork, the most distinctive trait is that the beads are raised above the surface of the cloth face. Some pieces have raised beaded elements that are over an inch high. The beads are raised by putting more beads on the thread than is needed to span the pattern so that the beads form an arch above the pattern. The amount of extra beads determines how high the arches are, that is, how much the beadwork is raised. Various velvets were and still are the favored fabrics, but other fabrics such as wool, twills, silk, and satin are also used. Pincushions often have beaded velvet fronts and polished cotton backs. Polished cotton is a shiny stiff material that is also referred to as chintz or oilcloth. On the majority of late twentieth-century and contemporary twenty-first-century.
Preserving Tradition and Understanding the Past: Papers from the Conference on Iroquois Research, 2001–2005, Edited by Christine Sternberg Patrick, New York State Museum Record 1 © 2010, by The University of the State of New York, The State Education Department, Albany, New York 12230. All rights reserved.
Inventer Peter Vogel Has been taking orders to build a limited run of 100 30th anniversary editions, They should be coming out soon 2010.
I really hope there is enough demand for this rebirth to be viable and a success!
"The 30A will look like and perform like the original CMI, although the mainframe will be much lighter for portability. The look and feel of the user interface will also be similar to the original, with retro green on black graphics like the original. A replica of the original music keyboard will also be available as an option, or you can use your own MIDI keyboard.
NIKOLA TESLA-INVENTOR-PINTURA-ARTE-RETRATO-CIENCIA-INVENTOS-PERSONAJES-ELECTRICIDAD-MISTERIOS-PINTURAS-ARTISTA-PINTOR-ERNEST DESCALS-
En el Camino del Pintar y Estudiar previamente a los Personajes de la Ciencia que con sus Inventos e Investigaciones Científicas han entrado de lleno en la profundidad de los Misterios que se acercan a la Mística y a la Metafísica, he estado Pintando los Retratos del Misterioso NIKOLA TESLA, un Sabio del que sabemos poco y cuya extraña muerte aumentó el Misterio sobre su Vida. Pinturas del artista Pintor ERNEST DESCALS con los grandes protagonistas del Mundo Oculto, Pintura de Retrato con Técnicas Mixtas, Cretas y Acuarelas sobre papel de 65 x 50 centímetros.
En Chile...Un Libro vale más que 15 Borracheras
En mi Chile no hay televisión
No hay periódicos
No hay Radios
Ni Música
Que no este controlado por unos pocos patrones, que juegan a ser (antagonistas) usando los mismos trajes, si hasta el mismo lenguaje... Juntos, y a su servicio, tienen un ejército de Partidos sin bases , periodistas-terroristas , empresarios-mercenarios , incluso artistas sicarios , y todos muy sonrientes, trabajan para asfixiar la capacidad de inventar-imaginar-idear , una vida distinta de mi pueblo colonizado.
Así dejen de lamentarse... se cosecho lo que por años se viene sembrando
Andrea Zittel (born 1965) is an American artist based in Joshua Tree, CA whose practice encompasses spaces, objects and modes of living in an ongoing investigation that explores the questions "How to live?" and "What gives life meaning?"
Her work has been described as an "expansive approach to art and space making, creating social sculptures that traverse boundaries between art, architecture, design and technology." Her installations, wearables and sculptures transform the necessities of daily living, such as eating, socializing, sleeping and bathing, "into artful experiments and scenarios for new ways of living.”
In the early 1990s, Zittel began making art in response to her own surroundings and daily routines, creating functional objects relating to shelter, furniture, and clothing "in an ongoing endeavor to better understand human nature and the social construction of needs." It was then she began working under the name "A-Z Administrative Services," which evolved into the A-Z Enterprise that continues to encompass all aspects of day-to-day living. Home furniture, clothing, food all become the sites of investigation in an ongoing endeavor to better understand human nature. Zittel reconsiders the significance of given social structures, revealing that what may seem fixed and rational is often arbitrary. "What I'm interested in," Zittel said, "is that each person examines his own goals, talents and options, and then based on these begins to invent new models or roles to fulfill his or her needs." From Zittel's 2005 manifesto:
"What makes us feel liberated is not total freedom, but rather living in a set of limitations that we have created and prescribed for ourselves."
(Wikipedia)
Con el correr del tiempo Emily logro despojarse de todo lo que pensaba que le hacia mal, la doble culpa, las verdades que se acercaban a ella como hombres mariposas o pajaros negros anunciando un mensaje intraducible. Se sentó y aulló a la luna, no era más que una puta desesperada buscando amor, o tal vez ya no era nada. Busco paz en el sueño, y durmió pensando en faros y pajaros, su sueño no era como su vida. Para nada, adentro del sueño había color y se propuso hacer un inventario....
www.imagekind.com/A-Machine-Was-Invented-out-of-the-Dust-... link to my website...
This is a drawing done in simple manically pencil, a red colored pencil and a china marker + some work with elements 8 after scanning it to my computer. it ended up with a bit of impurity and shading and such that I kept in. I really started to like its impurity, I think it gives it a old photographic look and or movie look. something old and decayed . A elegantly 1920s skull is fitted fashionably with a Top-hat, the skull is also fitted with electronics and a Rocket Engine. the skull fly's foreword shooting out its eyeball , below its hand fly's with it flying and shooting.I also tried to incorporate a elegance in the skull flying machine.
Samuel VAILE
Born in London
15th August 1828
Arrived in Auckland
23rd December 1843
Died 16th April 1913.
In 1882 he invented the
Stage or zone system of
Railway Administration
“Justus et tenax propositi vir” **
And
Annie VAILE
His wife
Died 11th January 1917
Aged 74 years
And to
Annie Blanche VAILE
Their daughter
Died 22nd June 1930
“Kind, kind and gentle was she”
And to
Hubert E. VAILE
Their son
Born at Auckland 9th July 1876
Died 17th May 1936
A GREAT CITIZEN
And a prominent supporter
Of the Auckland War Memorial Museum
**”Just and firm of purpose”
Samuel
The Cyclopedia of New Zealand [Auckland Provincial District] published 1902
Mr. Samuel Vaile, the present President of the Auckland Chamber of Commerce, is the second son of the late Mr. George Vaile, who, with his family, arrived in Auckland on the 23rd of December, 1843, in the barque “Bangalore,” the vessel that brought the second Governor, Captain Robert Fitzroy, R.N., to the colony. Like all the early settlers, Mr. Vaile in his boyhood, and early manhood, shared the hardships of life in a new settlement. In his youth he studied architecture under his father, but, in 1850, not seeing any opening in that profession, he decided to go to California, and accordingly left Auckland in the barque “Noble,” in February of that year. On the 23rd of March they made Pitcairn Island, and with the captain, supercargo and four fellow passengers, Mr. Vaile went ashore. The captain gave the five passengers leave to remain ashore for the night, and, with the supercargo, he returned to the ship. In the night he sailed away, leaving the five passengers ashore, with just the clothes they stood in. Eight weeks later Mr. Vaile landed in Honolulu with a threepenny piece (which he still retains) in his pocket, and not a whole suit of clothes. That was his start in life. He remained in Honolulu for nearly two years, made some money, and returned to Auckland, where he and a younger brother, the late Mr J. R. Vaile, established the well-known business carried on under the style of S. and J. R. Vaile. This business rapidly prospered, and in 1861 Mr. Vaile left Auckland to buy in the English and Continental markets for his firm. He remained in England till the end of 1869, when he returned to Auckland. While in the Old Country, Mr Vaile was elected a member of some of the leading scientific societies, and devoted a good deal of time to working among the poor, and studying the poverty problem. In 1876 the partnership was dissolved, and Mr. Vaile started the land and estate agency business, which is now carried on by the widely-known firm of Samuel Vaile and Sons. Mr. Vaile is well-known as a writer on such topics as co-operation, federation, finance, general politics, and especially railway management, and on single tax, which he denounces as “the propaganda of deception, fraud, and robbery.” In 1882 he invented the stage system of railway administration, an adaptation of which, under the name of the zone system, was put in force in Hungary in 1889, with marked success; and in 1894, Russia followed. In 1886 a Parliamentary Committee was set up to investigate this matter. Mr. Vaile attended, and conducted his own case. This enquiry lasted for ten weeks, when the Committee reported that the stage system ought to be tried. (Parliamentary paper 1—9 1886.) Mr. Vaile has worked at it ever since, but the Government still refuse a trial. In 1887 Mr. Vaile contested the seat for Auckland North, Mr. Thomas Thompson being his opponent. Mr. Vaile was declared to have lost the election by thirty-five votes, thirty-six having been thrown out as informal. In 1893 Mr. Vaile again offered himself for one of the city seats, but owing to Sir George Grey afterwards coming out also for the city, he did not seriously enter into the contest. In 1896, at fourteen days' notice, Mr. Vaile, under considerable pressure, undertook to contest the Parnell seat, against the sitting member, Mr. F. Lawry, and Mr. Arthur Withy, the Prohibition candidate, but Mr. Vaile was again defeated. At the earnest request of a number of citizens, Mr. Vaile, much against his will, was again induced to contest one of the city seats in 1899. A committee undertook to do all the work, and pay all the expense, but again he had only fourteen days to work in, and, as he expected, lost the seat. In 1893 the citizens of New Zealand presented Mr. Vaile with a very handsome silver salver and tea and coffee service, and also a fire-proof safe to keep the records of his public work in. Sir George Grey made the presentation, and, with the other speakers, very warmly eulogised Mr. Vaile for the energy, ability, and patriotism he had displayed in carrying on his public work under many difficulties and much discouragement.
A photo 1908 by Hubert Vaile of Vaile & Son’s business premises
www.digitalnz.org/records/29953697?search%5Bpage%5D=2&...
A photo dated 1914 showing the business premises of S VAILE & SONS:
www.reinz.co.nz/shadomx/apps/fms/fmsdownload.cfm?file_uui...
Photo of “The Avenue” home of the Vailes – 1905
www.digitalnz.org/records/29955612?search%5Bpage%5D=5&...
Photo of drawing room interior of Vaile home “The Avenue” 1904-5
www.digitalnz.org/records/30071460?search%5Bpage%5D=2&...
A photo of an elderly man mending a chair..quite possibly Samuel Vaile…
www.digitalnz.org/records/29953730?search%5Bi%5D%5Btag%5D...
also
www.digitalnz.org/records/29953731?search%5Btext%5D=vaile
Photos taken by Hubert Earle Vaile
Annie
New Zealand Herald, Volume LIV, Issue 16436, 12 January 1917, Page 7
MRS. SAMUEL VAILE. The death occurred yesterday, at her late residence, Arney Road, Remuera, of Mrs. Annie Vaile, widow of the late Mr. Samuel Vaile. The deceased lady, who was in her 75th year, was born in London, where she married her late husband in 1866. She arrived at Auckland in 1869, and had lived in the city since that date. The late Mr. Vaile died about four years ago. Mr. E. E. Vaile, of Broadlands, Waiotapu, and Mr. H. E. Vaile, of Auckland, are sons of the late Mrs. Vaile, and there are two unmarried daughters. [2]
Hubert
New Zealand Herald, Volume XL, Issue 12274, 19 May 1903, Page 1
VAILE-MAHON On April 22 1903, at St Mark’s Church, Remuera, by Rev. W. Beatty, Hubert Earle, son of Samuel VAILE, Auckland, to Ethel Rose, daughter of Owen Mahon.[1]
New Zealand Herald, Volume LII, Issue 15810, 6 January 1915, Page 7
COLONIAL INSTITUTE
Aucklanders Honoured
Colonel Hazard and Mr. Hubert Vaile both of Auckland have ben elected Fellows of the royal Colonial Institute.[3]
MISSING AUCKLANDER
Mr. Hubert E. Vaile
Anxiety is felt by the relatives and friends of Mr. Hubert E. Vaile, of Gillies Avenue, as to his whereabouts. Mr. Vaile left his home on Sunday afternoon and has not since returned. Fullest inquiries are being made and any person able to give any helpful information is requested to communicate with his residence, 33 Gillies Avenue (telephone 20-397). [4]
Evening Post , Issue 118, 20 May 1936, Page 10
BODY IN HARBOUR
MR, HUBERT E. VAILE
WELL-KNOWN AUCKLAND MAN
(By Telegraph—Press Association.) AUCKLAND, This Day. The body of Mr. Hubert E. Vaile, one of Auckland's most progressive business men, was found in the harbour near the Orakei Wharf shortly before midday today. Mr. Vaile left home on Sunday, afternoon and his relatives became concerned. A boy aged fifteen was fishing for sprats from the Orakei Wharf on Monday forenoon when he hauled up a silver wristlet watch. The watch was still going, and he took it home. When the family read in yesterday's "Star" that Mr. Vaile was missing they noticed that the watch was engraved with Mr. Vaile's initials, and reported to the police, who dragged the vicinity of the wharf this morning. Within a few minutes they brought the body to the surface. Mr. Vaile was managing director of Samuel Vaile and Sons, leading real estate agents. He was born at Auckland and educated at the Grammar School. He was always active in social and civic affairs and took a large part in the establishment of the Auckland War Memorial Museum and the scenic reserve in the Waitakere Ranges. Mr. Vaile was formerly a member of the Epsom Road Board and was president of the Society of Arts for four years. He was associated with the Jubilee Institute for the Blind and the Auckland Savings Bank, president of the Auckland Institute and Museum for five years, and a member of the institute council till his death. In 1929 he unsuccessfully contested the Mayoral election against Mr. George Baildon, then the sitting Mayor. [6]
Auckland Star, Volume LXVII, Issue 119, 21 May 1936, Page 8
DEATH OF MR. H. E. VAILE.
VERDICT AT THE INQUEST.
A verdict of suicide by drowning was returned by the coroner, Mr. Wyvern Wilson, S.M., this afternoon at the inquest concerning the death of Hubert F. Vaile, whose body was recovered from the harbour near the wharf at Orakei yesterday forenoon. Detective-Sergeant Meiklejohn conducted the inquest, and Mr. J. B. Johnston represented the relatives. Evidence was given by Detective- Sergeant Meiklejohn, Herbert Benjamin Harper, secretary and a director of the firm of Samuel Vaile and Sons, Ltd., and Dr. W. Gilmour, pathologist at the Auckland Hospital. After returning his verdict, the coroner read the messages written on paper on the inside of a cigarette tin which was found on the body. One message was: "10.30 p.m. Good-bye, Jock. Fill my place better than I did." Another message stated that Mr. Harper should be managing director of the firm of Samuel Vaile and Sons, Ltd. [5]
New Zealand Herald, Volume LXXIII, Issue 22425, 22 May 1936, Page 12
EVIDENCE AT INQUEST VERDICT OF SUICIDE A verdict of suicide by drowning was returned by Mr. Wyvern Wilson, S.M., coroner, after hearing evidence yesterday concerning the death of Mr. Hubert Earle Vaile, estate agent, whose body was recovered from the harbour, near Orakei Wharf, by the police on Wednesday morning. Detective-Sergeant Meiklejohn represented tho police at tho inquest and Mr. J. B. Johnston attended on behalf of relatives. Evidence of identification was given by Herbert Benjamin Harper, secretary and a director of Samuel Vaile and Sons, Limited. He said he last saw deceased alive between 11 and 11.30 o'clock last Saturday morning. Witness said deceased wrote him a letter on May 17, which he received on the afternoon of May 18. This letter was handed by witness to the coroner. Witness then identified certain handwriting as being that of the deceased.
The Coroner: Did he ever express any intention he was about to take his own life? —None whatever. And you know of no reason whatever why he should have done so? No, I do not.
Mr. Meiklejohn described the recovery of the body from the water near Orakei Wharf on Wednesday morning. It was fully clothed, except for no hat. The pockets of the overcoat and the side pockets of the trousers were filled with stones. The legs were bound at the ankles with clothes-line rope, and the wrists were bound loosely with binder-twine. A cigarette tin which was found contained a tram-ticket with writing on it, and there was also writing on paper inside the tin. Dr. Walter Gilmour gave evidence that in his opinion death was due to drowning, and a verdict of suicide by drowning was returned. Questioned regarding the contents of the letter referred to by Mr. Harper, and the writing on other exhibits produced, the coroner said they were messages to deceased's wife and grandchildren and members of his staff. There were nothing but personal messages and the statement that his body would be found at the Orakei Wharf. One note read: "10.30 p.m. Good-bye, Jock; fill my place better than 1 did. —H.E.V." Another directed that Mr. Harper should be managing director of the firm.
RESOLUTIONS OF SYMPATHY CHAMBER OF COMMERCE
Reference to the death of Mr. H. E. Vaile was made, by the president of the Auckland Chamber of Commerce, Mr. A. A. Ross, at a meeting of the council of the chamber yesterday. Mr. Ross referred to Mr. Vaile’s association with public bodies, and said there was no doubt that by the death of Mr. Vaile the city had lost a valuable citizen. The following resolution was passed, members standing in silence as a mark of respect —"That this council places on record its high appreciation of the many and valuable public services rendered by the late Mr. Vaile. It deplores his untimely death, and extends its deepest sympathy to his bereaved family." Reference to the death of Mr. Vaile was made by the chairman, Mr. George Graham, at the annual meeting of tho Anthropological and Maori, Race Section, of the Auckland institute and Museum on Wednesday night. Mr. Graham said Mr. Vaile, when chairman of the Museum Council, had done much to bring about the erection of tho present museum building. [7]
Photographs by Hubert Vaile
Vaile[?] family group 1910
www.digitalnz.org/records/29956339?search%5Btext%5D=huber...
Dolly Vaile
www.digitalnz.org/records/29956336?search%5Btext%5D=vaile
Possibly Hubert and his daughter
www.digitalnz.org/records/29953811?search%5Bpage%5D=2&...
Photo of 2 girls 1914 possibly Hubert’s daughters.
www.digitalnz.org/records/29953815?search%5Btext%5D=vaile
Photos of 4 girls 1914
www.digitalnz.org/records/29953816?search%5Btext%5D=vaile
Other searches under Vaile on that site return more family photos
Annie Blanche
Auckland Star, Volume LXI, Issue 146, 23 June 1930, Page 1
…at her late residence, 9, Arney Road, Remuera, Annie Blanche, dearly beloved sister of E.E., H.E., and E.C. Vaile, and daughter of the late Samuel Vaile. Interred this day at Purewa Cemetery. [8]
****************************************************************
A son of Samuel and brother of Hubert, Edward Earle VAILE was a great benefactor of the Auckland Institute and Museum also
www.teara.govt.nz/en/1966/vaile-edward-earle
SOURCES:
[1]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[2]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[3]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[4]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[5]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[6]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[7]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[8]