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Carte de visite by an unidentified photographer. Civil War history is filled with anecdotes of how the bonds of Masons were stronger than the political parties and military organizations that divided the Northern and Southern states. This portrait reminds me of the various stories I’ve read or researched that involve Confederate and Union soldiers coming to each others’ assistance once it was known they shared the Masonic connection.
This man, wearing a sash wrapped and knotted around his waist and a hat with plume and tassel, posed for this portrait in the studio of an unidentified photographer during the 1860s. Though his name is currently lost in time, his distinctive accouterments and a pencil inscriptions along the bottom of the card stock mount, “Knights of Virginia,” are clues to his identity. The Knights Templar of Virginia were a sect of the Masons, sharing the same moral and ethical teachings, an emphasis on brotherhood, and symbols and rituals rooted in medieval and religious traditions. But the Knights Templar required its members to be professed Christians, which was not required in the larger Masonic fraternity.
Was this man a soldier during the war? If so, did he ever have the need to call on his Masonic connection to help himself out of a tough spot on a battlefield? Or, did he hear the call of a fellow Mason on the other side and did a good deed for him?
Until he is unidentified, we cannot know.
However, in researching the Knights Templar of Virginia, I learned that the Masonic ties between brothers on opposite sides of the conflict were frayed between the national and state organizations that governed Templar Masons across the country.
Virginia is a case in point.
The middle of the 19th century was a period of strife for the Knights Templar of Virginia. From its earliest days in the first quarter of the century until the 1850s, Templar Masonry evolved into a national organization with member states as the nation expanded from coast to coast, and agricultural to industrial. In the late 1850s, a flurry of name changes and related actions further unified national and state organizations. They include the titles “Grand Master” for organization leaders and “Encampment” for the chapters.
When civil war divided the country, the separation between the states played out among the national and state Templars. On April 18, 1861, less than a week after the bombardment of Fort Sumter shocked the nation, Grand Master Benjamin Brown French, the head of the Knights Templar of the United States of America, distributed a circular reminding all Knights of their historic fidelity to each other. Nine days later, on April 27, a letter from Sir Knight Edward H. Gill, the leader of the Virginia Templars, announced Virginia’s secession from the national organization.
French’s circular and Gill’s letter parallel what was happening in the national conversation in the disunited states.
Here’s is French’s circular:
Office of the Grand Master of Knights Templar of the United States of America:
To all True and Patriotic Templars:
Brotherly Love, Peace, Honor.—An awful fratricidal conflict seems to be impending. He alone who rules the destinies of Nations can prevent it. He works through human instruments. I implore every Templar Knight on the Continent of America, after humbly seeking strength and aid from on High, to exert all the means at his command to avert the dread calamity, which, to human vision, seems inevitable.
Let each templar to whom this may come, remember how often we have stood at each other’s side, and raised our voices in prayer for the prosperity of a common country and a common cause. Let us call to mind how the Knights of Virginia, mingling in fraternal brotherhood with those of Massachusetts pledged themselves to each other, on Bunker Hill, only a few brief years ago; and when another hear had passed away, the same noble bands stood together in the city of Richmond, in the state of Virginia, the birth-place of Washington, and with mutual vows bound their souls in an everlasting covenant! Let them remember these things, and, with hearts on fire with love for each other, and for their countrymen, go forth among these countrymen and implore the arbitrament of peace, instead of that of the sword.
I ask no one to surrender a principle that has become dear to his heart, but I ask every one to labor and to pray that such counsels may take place between the contending parties who have for so many years acted with a common impulse, as to restore harmony and kind feeling, and avoid the course of having fraternal blood crying to Heaven from the ground, and bringing down its maledictions on our children’s children through all future time! Labor and pray that hostilities may be suspended until the mild counsels of peace can be appealed to, and that the appeal may not be in vain.
Casting aside every political feeling, every political aspiration, and asking every Templar to do the same, let us, as one man, unite in one grand effort to prevent the shedding of fraternal blood, and to inaugurate here that blessed result which our Lord and Master initiated: “Peace on earth and good will to men.”
Templars! you count in this land by tens of thousands. Each one has his influence in the circle about him. Never, no never was there an opportunity to exert that influence in a more holy cause, or to a more sublime purpose. Forward, then, to the rescue of your country from fratricidal war!
But, if war must come — which dread calamity may God, in His infinite mercy, avert — then I call on every Knight Templar to perform that sacred duty which so well becomes our Order, of binding up the wounds of the afflicted, and comforting those who mourn.
Dated at the city of Washington. on this 18th day of April, in the year of our Lord, 1861 and in the year of our Order 743.
B. B. French, Grand Master.
Here is Gill’s reply:
Justice.
]office of the Grand Master of Knights Templar of Va.,
Lynchburg, Va., April 27, 1861.
Hon. B. B. French. Grand Master Grand Encampment Knights Templar of the United States.
M.E. Sir Knight:—Your Circular of the 18th instant., relative to the “awful fratricidal conflict which seems to be impending” between the citizens of the North and the South, has been received; and as the people of the South are merely acting on the defensive in this conflict, those of the North, regardless of that “Brotherly Love, Peace and Honor” alluded to in your circular, having trampled upon their constitutional rights, and being now about to invade their soil, their homes and their firesides, and desecrate their altars, I am at a loss to understand why you should send such a circular to the Knights Templar of Virginia.
Residing as you do, at Washington, you cannot be ignorant of the fact that Virginia has exhausted every honorable means to avert this conflict. “Casting aside every political feeling, every political aspiration,” she has plead to prevent the “shedding of fraternal blood;” she has plead for “Peace on earth and good will to men,” and she has plead that her constitutional rights, and those of her sister States of the South, should not be trampled upon; but her pleadings have been disregarded, and conscious of the justice of her cause, she now appeals to the “God of Battles,” confident that Heaven will smile approvingly upon her efforts in resisting unto the death this Cain-like and marauding attack of the vandals of the North; and I thank God that the valiant Knights Templar of Virginia unanimously participate in this feeling of resistance, and are prepared to welcome their invaders “with blood stained hands to hospitable graves,” designated by no “sprig of evergreen.”
For the reasons stated, I now, as the Grand Master of the Grand Encampment of Knights Templar of the State of Virginia, give you notice that that body is no longer under the jurisdiction of the Grand Encampment of the United States, and will no longer regard or obey any orders or edicts emanating from it or its officers.
E. H. Gill, Grand Master.
I encourage you to use this image for educational purposes only. However, please ask for permission.
Got organized last weekend. Instead of having the re-ment together in their sets, everything is grouped with similar items. It makes everything so much easier to find. I still have the boxes if there is something I want to sell.
The last weekend of August took place the yearly World Statues Festival in the city centre of Arnhem (Netherlands) with more then 250 participants and over 300.000 visitors.
The 5th anniversary of World Statues is on the 29th and 30th of August 2009.
Here the act "Edukans".
The Dutch organisation "Edukans Foundation" supports underprivileged children in developing countries to go to school, without distinguishing between ethnicity, creed or political conviction. Edukans supports small-scale educational projects by reliable private local organisations, in situations where local authorities fail to deliver.
Edukans chooses for projects which improve the accessibility, the flexibility and the relevance of education in general for underprivileged children.
Trust me, this does look different than it did. I got a new metal filing cabinet and the placement of one new thing promted a moving of a whole bunch of other stuff. And one can never have enough string...
Rubbermaid HomeFree series is a fully customizable closet system that offers the unique flexibility of telescoping clothing rods and expanding shelves to make the most of your space.
Today while I was out I got this bin to organize my revoltech toys so when I go out I will be able to carry them and their accessories. I just put Yotusba, Danbo, and the twins in there to see if they would fit. They are back out now and displayed on my desk. I also have room in there for when I get my Revoltech Woody :)
Hi there! This is my combined December holidays / birthday present, that my hubby helped me put together. My crafty space is just 1/4 of a space bedroom. See the before picture here. The system is from Best Scrapbook Shelf. Read more about it on my blog. :-)
Thanks for looking!
Updated photo of "crafting" side. Everything from the work surface up is elfa, the drawer organizers underneath are from Ikea. The storage bins are all different brands: Rubbermaid, Sterilite, etc.
Saeru in a Roxas-style pose! XD (I'm manning the right light here...oh, and I painted the keyblades, too.)
More examples, projects & info = orgxiii.org
Organization: Tim Engle
Photography and Editing: Dirk Dreyer.
Hi-Res pictures and prints available at galleries.dreyerpictures.com
Rubbermaid FastTrack garage organization system is easy to install - with 3 simple steps, your garage will be organized in no time.
In Bodhgaya we discovered an amazing organization that helps children who are in great difficulté.Cette association Shantindia eté has created there about 8 years 2 french.
Anuj Kumar is reponsable indian Shantindia, he opened the doors of the school that collects street children among the most pauvres.La mission of these schools is to provide a minimum of education (academic and support) to these children as well as clothes and poor roof and nourriture.Shantindia teaches battered women abandoned by their husbands profession seamstress.
The association provides prostheses and bikes equipped with disabilities, she dug wells for drinking water, and then they give a care animal care at the end of life.We have seen with our eyes all these achievements two photo albums that tell all actions Shantindia.Si you want to see pictures of this association you go on Shantindia.org
À Bodhgaya nous avons découvert une extraordinaire association qui aide les enfants qui sont en grande difficulté.Cette association, Shantindia a eté crée il y 8 ans environ par 2 francaises.
Anuj Kumar est le reponsable indian de Shantindia,il nous a ouvert les portes de l'école qui recueille les enfants des rues parmis les plus pauvres.La mission de ces écoles est de donner un minimum d'éducation (et soutien scolaire) a ces enfants ainsi que des vetements et aux plus pauvres,toit et nourriture.Shantindia apprend aux femmes battues ou abandonnées par leur mari le métier de couturiere.
L'association offre des protheses et des vélos aménagés aux handicapés,elle creuse des puits pour l'eau potable,et enfin elles s'occupe a donner des soins aux animaux en fin de vie.Nous avons vu de nos yeux toutes ces réalisations dans les deux albums photos qui relatent toutes les actions de Shantindia.Si vous voulez voir des images de cette association vous allez sur Shantindia.org
I've been trying to get myself organized for the coming craziness that starts next week. This is my new planner, it's my lifeline when life gets busy. I've bought the same planner every year since I started college, it's pretty much amazing, and it fits in my purse. I start my student teaching (still working too) next week, and from then on, I'll be crazy busy. I'm not sure how often I'll be able to be on flickr, or take self portraits. Try not to forget about me. <3
Library Project case from Container Store with 3M cord hooks inside. Now contains a DS cradle, the same iPod and the cradle for my new camera.
Hot glue a 1x2 plate onto those hard-to-see-into drawers and put a sample element on the front. Add a second "support plate" if you need a different attachment point. Low cost, easy to customize, easy to swap out things as needs shift.
This has made a big difference to my "where the heck did I put those" headache levels.
Sections for inbox/next action, projects, someday-maybe, calendar, lists and then some.
All pre-printed pages courtesy of DIYPlanner.
(for further information please go to the end of page and activate the corresponding link!)
TOPICS
The Vienna Opera Ball
Viennese Opera Ball
Just as already the operetta and the waltz had been imported from Paris to Vienna, comes also the model for the Vienna Opera Ball from the Seine metropolis. By a corresponding approval of Duke Philip of Orleans, on 2 January 1716 a "public ball" can be held for the first time, to which everyone has access who can pay the admission fee of five livres. First, the balls take place at the Comédie française, but already in 1717 was given the Académie de Musique, the Paris Opera House, the special right of the organization. Nevertheless, in the Comédie furthermore take place balls, with the audience far more popular than the 'opera balls'.
In 1861 the construction of an opera house begins at the Ringstrasse, on the explicit desire of Emperor Franz Joseph not solely intended for performances of operas and ballets, but also for the staging of the Opera Ball. With this, have been created both the spatial and the official conditions for a genuine Viennese Opera Ball according to Parisian model. It should, however, take another eight years before a dance event in the opera could be held for the first time after the completion of the house in 1869.
Initially, due to the increasing violence at the Paris balls but only Court Opera soirees take place. This includes elegant evening soirees with musical entertainment, but without dancing. On 11 December 1877 opened the court musical director Wilhelm Gericke the first Court Opera Soirée with the "Wedding March" by Felix Mendelssohn. After several concert pieces the baton is handed over to the Strauss family. First, Johann Strauss son conducts the Vienna Philharmonic with a waltz, followed by his brother Edward with a specially for this day composed "Opera Soirée Polka". After that, the dance-crazed Viennese are no longer stoppable: all chairs were put to the side, and the evening, which was thought without dance pleasure, ends like a ball. This is the hour of birth of the opera ball, even though for the time being still far away from being called so.
Already the second event on 15 January 1878 is announced officially as "Second Hofopernsoirée (Ball)". The third, for 12 February 1878 scheduled Soirée, is canceled for reasons of piety, since Pope Pius IX. a few days earlier had died. After the uncomplicated election of Leo XIII. to new head of the Church the ball is on 23 February rescheduled.
After these three opera soirees from March of the same year take place redoutes in the Court Opera, continuing the tradition of masked balls and linked with strict dress code: "in the hall, with the exception of the lodges, the ladies the stay is only permitted in an elegant mask, short costumes are not allowed. The gentlemen of civil appear in evening dress with white cravat, cylinder or Claquehut (opera hat - chapeau claque). "During the next twenty years during the carnival time each year should be organized two, in some seasons even three redoutes. However, at these festivals the Viennese society is not as boundless as once united in the common ball pleasure, because in the meantime the guests are spread across three different levels, not only differing in space but also in the appearance of guests from each other. Are the boxes the aristocratic guests in elaborate ball gowns reserved, so gather in the stalls the bourgeois guests, for which there is no mask constraint. In addition, there are the galleries that are accessible to every viewer without special admission ticket.
1899 the popular balls for the time being come to an abrupt end, as is discovered that the opera for such festivals does not comply with the safety regulations. Since an appropriate conversion proves to be too costly, the redoutes are discontinued for an unforeseen period of time. A certain compensation for those festivals offers in the following years the in the new town hall held "Ball der Stadt Wien".
Only in 1921, the tradition of the redoutes in the Court Opera has been resumed, but without being able to follow on the success of previous years. After several breaks followed in 1924, 1928 and 1929 again opera redoutes, neither musically nor stylistically corresponding with the level of the defunct imperial monarchy-time and they are not characterized by the former wit, charm and temperament. The twenties are not only politically, but also culturally a very different time in which with the progressive emancipation of women the meaning of a redoute became obsolete.
And so 1935 is launched the first as such referred to Opera Ball. In a time of political uncertainty, it complied in addition to social also with diplomatic and official representative purposes. Therefore, it takes no wonder that the guest list has many personalities from politics. The last opera ball before the outbreak of the Second World War should be organized in 1939, when Austria was already 'connected' by Adolf Hitler to the German Reich. Therefore respectively stiff and artificial resulted according to that this night on which no happiness will raise, previously the rule.
Image
Reopening of the Vienna State Opera, 1955
© wissenmedia
Shortly before the end of World War II, the Vienna Opera House on 12 March 1945 almost completely was destroyed by a bomb. It should take ten years until the house was rebuilt and with Ludwig van Beethoven's opera "Fidelio" at the 5th November 1955 ceremoniously could be opened. In the following carnival season with this also the first opera ball of the post-war period can be celebrated, but which has changed its face much: "Actually, the Opera Ball is not a Viennese event anymore, but already a pan-European one. A ball night for which the world envies us".
This new image has remained to this day, with the only difference that the Opera Ball is now no longer considered only as a pan-European, but as an international event. A highlight of the evening is the annual opening of the ball by about 180 debutantes who on the arm of the to them for this evening assigned Cavaliers in a Polonaise move in. After the Vienna Philharmonic for many years had taken over the musical interpretation of the evening, there is since 1982 a Vienna Opera Ball Orchestra grounded specifically for this purpose. In addition, since 1984, there is also a Viennese Opera Ball Ladies Ensemble, made up of 15 musicians and beyond the ball unfolding a very busy concert schedule.
Today on the Opera Ball there is not exclusively danced just waltz anymore. Up to ten orchestras or soloists play at the same time in different places of the house, and as a concession to modern times there is since some years even a nightclub. And yet, the waltz enjoys as the king of dances to this day unbroken popularity, without which for many no Viennese Opera Ball is thinkable. Another innovation is also the since 1981 in the Schwind Foyer installed Viennese Opera Ball Casino, which is a special attraction especially for the younger guests. Collectors will also appreciate the annually by the casino issued special Opera Ball chips.
How to become a debutante?
Proposals are now mostly send in by the dance schools of the country. The first condition is the perfect mastery of the links waltz, which is checked at a Vortanztermin (dance audition date - don't worry, the Lipizzans are doing the same!). Has the potential debutante overcome this hurdle with flying colors, it is about to find a suitable partner for the big night. The criteria for this choice are less situated in personal relationships than in pure dance qualities. After finally the couples have found each other, for five days under the expert guidance of several ballet master not only the links waltz, but also the choreography of the marching in is practiced until everything is perfectly rehearsed. The question of clothes is strictly regulated for the couples: the ladies in white dresses with a little crown on the head and the gentlemen in evening dress. To underline the internationality of the ball, every year also Debütantinnen and Debütanten from around the world are invited.
Guests
Artists from the world of the theater and the music, film and television can be found on the Vienna Opera Ball as well as well-known athletes and fashion designers. Diplomats and politicians from home and abroad appreciate the special atmosphere, and every now and then you meet also members of the European nobility. The Opera Ball today is no longer just a lavish celebration in which together a whole evening and a full night is celebrated, but increasingly also a social forum that connects professional and political contacts in a pleasant way with a social event.
Scandals
In recent decades, the Vienna Opera Ball, however, has not only found unanimous support, but has been increasingly criticized. In the 80s made fights between angry citizens that characterized the event as a "festival of the political and monetary bigwigs" and the police the headlines. Unforgettable is also the demonstration against the reprocessing plant Wackersdorf when in 1987 the Bavarian Prime Minister Franz-Josef Strauss participated in the Opera Ball. In addition, now almost every year during the opera ball take place demonstrations against these seemingly senseless waste of funds in the face of hardship and misery, hunger and wars, social and health problems in the world.
Nevertheless, the Opera Ball has lost none of its fascination and all over the world - from Bangkok via Kuala Lumpur and Korea to Tokyo, Singapore, Seoul and Dubai, Ankara, Istanbul, Kiev, Prague and Budapest to Rome, New York, Los Angeles and Washington - it found imitation, without being able to ever really come close to the Viennese model. Even if the question of the contemporaneity of the Vienna Opera Ball ever and again was controversially discussed, at the latest in 2005 has been shown that even this traditional event cannot stop short before general social changes: for the first time a smoking ban for the Opera Ball was pronounced.
www.wissen.de/thema/der-wiener-opernball?chunk=wiener-ope...
3 areas of influence : Me (user profile, blog, tools), Us (KM, calendar, community, docs), Them (News, Events)
...so, I took the next step in life and wound up in college. Yessir!
Been chillin' here for over two weeks now. Somehow, I've taken nearly no pictures (except for the one above) and have barely managed to take my camera out of its box.
'Tis sad. 'Tis something I plan to resolve.
Until then...
A month or so ago I finally put together this contraption, which we got from Kate & Conrad when they moved to London. It sticks out a few inches farther than our sink, but the organization that it brings to our kitchen is so wonderful.
Distressed Wooden Picture Frame Jewelry Scarf Headband Organizer
www.etsy.com/listing/261253610/distressed-wooden-picture-...
In the Katfoura village on the Tristao Islands in Guinea, the civil society organization Partenariat Recherches Environnement Medias (PREM) is providing rural women with new opportunities to generate income and improve community life.
Through a grant from UN Women’s Fund for Gender Equality, PREM has helped rural women form several cooperatives and taught its members how to plant a vitamin-rich tree called Moringa and how to clean, dry and sell its leaves. Used as medicine or a dietary supplement by societies around the world, Moringa also supports biodiversity and prevents soil erosion.
The cooperatives are made up of local women who come together to share ideas, and they give women an opportunity to build leadership skills, strengthen community bonds, and participate in economic decisions that affect the community.
PREM is one of over 120 civil society organizations that has been awarded a grant by UN Women’s Fund for Gender Equality since 2009. In the last six years, the Fund for Gender Equality has successfully awarded USD $64 million to grantee programmes in 80 countries. To date, such programmes have reached over 10 million women, girls and boys as direct beneficiaries.
Photo: UN Women/Joe Saade
Read more about the Fund for Gender Equality: www.unwomen.org/en/trust-funds/fund-for-gender-equality
DIY Bedroom Organization from newest inspiration Bedroom Decorating Ideas. #homedecor #homedesign #decoration Check more details here bit.ly/2bEHa1g
Address by H.E. Mr Abiodun Richards ADEJOLA (Nigeria), elected Chairperson of the International Labour Organization’s Governing Body for the period 2023-2024, Nigeria’s Permanent Representative to the United Nations in Geneva.
348th session of the International Labour Organization’s Governing Body. Geneva, Saturday, 17 June 2023. Photo Marcel Crozet / ILO.
This shows my current scrapbook room and the embellishment board, my ink storage, my ribbon storage, and other what nots.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi