Sponsored images from 
View allAll Photos Tagged Order
Gestalt is: "a system whose parts are dynamically connected in such a way that a change of one part results in a change of all other parts."
and structural order."
– Kurt Lewin (1936) "Principles of Topological Psychology".
"Chaos provides order. Chaotic agitation and motion are needed to create overall, repetitive order. This ‘order through fluctuations’ keeps dynamic markets stable and evolutionary processes robust. In essence, chaos is a phase transition that gives spontaneous energy the means to achieve repetitive and structural order."
– L.K. Samuels, "In Defense of Chaos: The Chaology of Politics, Economics and Human Action" (2013).
20205+20189 pass 60079 at Peak Forest with 6Z20 09.45 Chaddesden Sidings to Peak Forest conveying a rake of PNA 4-wheeled wagons on Saturday 7th February 2015.
This was 20205's loaded mainline test run after rebuilding from a almost derelict wreck after being withdrawn by British Rail in the summer of 1989. 26 years later all is fine with 20205!
A very welcome back after over a quarter of a century off the mainline!
The last weekend of the month, and the first after pay day, which means I could order some socks. And at Tesco I could replenish the wine stocks with a box of 3l of te cheapest red.
Being the end of January, it is now getting light when we set off for Tesco, the neon lights of the retail park at Whitfield as daylight grows stronger. Somehow we had used double the fuel as last week, with only an half hour's drive to Stodmarsh last week being the extra driving we did.
Tesco has Valentine's cards, presents and also Easter eggs and other stuff celebrating days in the forthcoming months.
We had a list of stuff to get, not just beer and wine, and lots of vegetables as we are having Jen, Mike and his new girlfriend over for lunch on Sunday.
If I remember to get the chicken out of the freezer, of course.
That all done, and somehow, ten quid cheaper than last week even with wine and Belgian beer, we headed home for first breakfast, coffee, then bacon butties and more brews once we had put the shopping away.
At ten we went out, only for a warning light to come on as the engine turned over. It seems a bulb in the headlight had gone, but the car knew which one it was. On the way to Lyminge, there is a Halfords, now that the one on Dover closed over the pandemic, so we tootled along the A20, over the top of Shakespeare Down and into town.
Jools found the bulb and a nice young lady fitted it for us, getting access from the wheelarch via a small panel. All done in ten minutes for fifteen quid.
And road legal again.
Back onto the motorway for the one junction before taking the turning for the back road to Hythe, though we headed inland through Etchinghill to Lyminge. And I realised it was years since we had driven this road, as we have been coming to the orchid fields through Barham usually, not from Folkestone.
The road climbs and turns round the foot of the downs before levelling out as it approaches Lyminge.
We go through the village, past the rows of the parked cars, and the small library in the building of the village railway station once the line from Folkestone to Canterbury closed at the end of the 50s.
The village of Lyminge stretches along the main road and around the former station, but the church is situated a short way along Church Street (of course), on a low mound, from under which the largest winterbourne, The Nailbourne, rises. It has been a site of worship since Roman times, maybe even before then.
We were here because in 2019, major excavations revealed the remains of the 7th century chapel of Queen Ethelburga. It was uncovered under the path that now leads under the single flying buttress to the porch, and since the dig ended, the path relaid, but with the outline of the chapel clearly showing in different colour tarmac.
I photographed the stained glass, as the ongoing plan to revisit churches already done, but with the big lens as I always seem to find something new to do in them. This time the glass through the big glass of the zoom lens.
Before leaving we walk down to the Well to revisit the source of the Nailbourne, some twenty feet below the road, the clear and cold waters of the bourne come bubbling out of the ground before meandering across the verdant meadow.
We set the sat nav for home, and it leads us down to the bottom of the valley and up the other side through Acris. The bed of the Nailbourne was already dry, despite it being just a mile from the source, because the water table isn't high enough, and the water seeps through the chalk bedrock instead.
We travel down lanes that got ever narrower, with grass growing between the wheeltracks. The road much less travelled for sure.
At Swingfield, we were greeted by the sweep of a hedge made of native dogwood, its new shoots showing starkly red in the sunshine against the clear blue sky. We stop to take shots.
We get home in time for a brew and a chocolate bar before the football was going to start. But I had other plans, as I made tagine for our early dinner. Which, we ate before four as it smelled so darned good bubbling away in the oven.
Some flavoured couscous to go with it, and a glass of red vin out of the box.
Lovely.
Scully and I sit on the sofa until half seven in the evening, either listening to the reports of the three o'clock games, or watching the evening kick off.
---------------------------------------------------
In the churchyard, west of the present building, are the foundations of the seventh-century church founded by St Ethelburga, daughter of King Ethelbert and Queen Bertha (see Canterbury). The present church is also Saxon and stands north of the original building so that the old north wall is now the south wall of today's church. When the church was founded there was no village, which explains why the present village stands a little removed from this restricted plateau site. The first thing the visitor sees is an enormous flying buttress holding up the south-east corner of the church - the pathway actually runs beneath it! The north aisle was added in the fifteenth century and is separated from the nave by a three-bay arcade with most unusual piers. The chancel arch is also out of the ordinary and is probably the result of fifteenth-century rebuilding of the Saxon original. A great deal of nineteenth-century work survives, including a good east window and reredos, but none of this detracts from the antiquity and atmosphere of this interesting building.
www.kentchurches.info/church.asp?p=Lyminge
------------------------------------------
LIMINGE
IS the next parish eastward, both to Stowting and Elmsted. It is written in the book of Domesday, Leminges, and in other records, Lymege. There are three boroughs in it, those of Liminge, Siberton, and Eatchend.
THE PARISH lies on the northern or opposite side of the down hills from Stanford, at no great distance from the summit of them. It is a large parish, being about six miles in length, and about three in breadth, from east to west, and the rents of it about 2000l. per annum. It lies the greatest part of it on high ground, on the east side of the Stone-street way, where it is a dreary and barren country of rough grounds, covered with woods, scrubby coppice, broom, and the like, the soil being and unfertile red earth, with quantities of hard and sharp stint stones among it. In that part adjoining to the Stone-street way, is Westwood, near two miles in length; and not far from it, two long commons or heaths, the one called Rhode, the other Stelling Minnis; of the latter, a small part only being within this parish, there are numbers of houses and cottages built promiscuously on and about them, the inhabitants of which are as wild, and in as rough a state as the country they dwell in. Near the southern boundary of the parish is the estate and manor of Liminge park, which, as well as Westwood, belongs to Mr. Sawbridge, of Ollantigh, who has near 700 acres of woodland in this parish, the whole of his estate here having been formerly appurtenant to the manor of Liminge, and together with it, exchanged by archbishop Cranmer as before-mentioned, with king Henry VIII. in his 31st year. On the east part of these hills, towards the declivity of them, the soil changes to chalk, and not far from the foot of them are the houses of Longage and Siberton, the former of which belonged to the Sawkins's, and then to the Scotts, a younger branch of those of Scotts-hall; afterwards by marriage to William Turner, of the White Friars, in Canterbury, and then again in like manner to David Papillon, esq. whose grandson Thomas Papillon, esq. of Acrise, now owns it. Below these hills is the great Nailbourn valley, which is very spacious and wide here, on each side of which the hills are high and very frequent, and the lands poor, but in the vale near the stream there is a tract of fertilelands and meadows, and the country becoming far from unpleasant, is as well as the rest of the parish exceedingly healthy. The valley extends quite through the parish from north to south; just above it, on the side of the hill, is the village of Liminge, in which is the parsonage-house, a handsome modern dwelling, and above it, still higher, the church. More southward in the valley is a house, called Broadstreet, the property and residence of the Sloddens for many generations; still further in the valley, near the boundary of the parish, and adjoining to the Hangres, being a part of the down or chalk hills, which continue on to Caldham, near Folkestone, a space of near six miles, is the hamlet of Echinghill, or Eachand, corruptly so called for Ikenild, close under the hill of which name it lies, the principal house in which formerly belonged to the Spicers, of Stanford; hence the road leads to Beechborough, and so on to Hythe.
A fair is held in the village of Liminge yearly, on July 5, for toys, pedlary, &c.
Near Eching street, a little to the southward of it, is a spring or well, called Lint-well, which runs from thence southward below Newington towards the sea; and on the opposite or north side of that street rises another spring, which takes a direct contrary course from the former, one running through the valley northward towards North Liminge, where it is joined by two springs, which rise in Liminge village, at a small distance north-east from the church, gushing out of the rock at a very small space from each other, the lowermost of which called St. Eadburg's well, never fails in its water. These united springs, in summer time in general, flow no further than Ottinge, about one mile from their rise, at which time the space from thence to Barham is dry there; but whenever their waters burst forth and form the stream usually called the Nailbourn, which the country people call the Nailbourne's coming down, then, though in the midst of summer, they become a considerable stream, and with a great gush and rapidity of waters, flow on to a place called Brompton's Pot, which is a large deep pond, a little above Wigmore, having a spring likewise of its own, which hardly ever overflows its bounds, excepting at these times, when, congenial with the others, it bursts forth with a rapidity of water, about three miles and an half northward from Liminge, and having jointly with those springs overfilled its bounds, takes its course on by Barham into the head of the Little Stour, at Bishopsborne, making a little river of its own size. These Nailbourns, or temporary land springs, are not unusaual in the parts of this country eastward of Sittingborne, for I know of but one, at Addington near Maidstone, which is on the other side of it. (fn. 1) Their time of breaking forth or continuance of running, is very uncertain; but whenever they do break forth, it is held by the common people as the forerunner of scarcity and dearness of corn and victuals. Sometimes they break out for one or perhaps two successive years, and at others with two, three, or more years intervention, and their running continues sometimes only for a few months, and at others for three or four years, as their springs afford a supply. (fn. 2)
Dr. Gale, in his Comment on Antorinus's Itinerary, conjectures that at this village of Leming two Roman ways, one from Lenham to Saltwood castle, and the other from Canterbury to Stutfal castle, intersected each other; as indeed they do at no great distance from it, nearer to Limne; and that the word Lemen, now by modern use written Leming, was by our early ancestors used to denote a public way. Hence that military way leading from Isurium to Cataractouium, is called Leming-lane, and the town near it Le- ming. So in the county of Gloucester, on the sosseway, there is a town called Lemington. Hence, he adds, that Durolevum, in this county, changed its name into Lenham, to signify its being situated on the public way or road; and perhaps the name of Ikenhill, very probably so called corruptly for Ickneld, in this parish before-mentioned, has still further strengthened this conjecture; there being said to have been two Roman ways of the name of Icknild-street, in this kingdom, though no one yet has determined precisely where they were.
¶The Manor of Liminge was part of the antient possessions of the monastery of Christ-church, in Canterbury, to which it had been given in the year 964, on the supperssion of the monastery founded in this parish by Ethelburga, called by some Eadburga, daughter of king Ethelbert, who by the favour of her brother king Eadbald, built this monastery to the honor of the blessed Virgin Mary, and of her own niece St. Mildred. Ethelburga, the founder, was buried in it, as was St. Mildred, whose bodies were afterwards removed by archbishop Lanfrance to St. Gregories church, in Canterbury. This monastery was at first said to consist of nuns, but afterwards came under the government of an abbot, and continued so, till suffering much by the continual ravages of the Danes, it was suppressed and granted to the monastery of Christ-church as before-mentioned. (fn. 3) The possessions of it here were given at different times during the Saxon heptarchy; some of them were given to this church of Liminge, in the time of archbishop Cuthbert, who had been abbot of it. After which this manor remained part of the possessions of the monastery of Christ-church, till archbishop Lanfranc dividing the revenues of his church between himself and his monks, this manor was allotted to the archbishop; in which state it continued at the time of taking the survey of Domesday, in which it is thus entered:
In Moniberge hundred, the archbishop himself holds Leminges, in demesne. It was taxed at seven sulings. The arable land is sixty carucates. In demesne there are four, and one hundred and one villeins, with sixteen borderers having fifty-five carucates. There is a church and ten servants, and one mill of thirty pence, and one fishery of forty eels, and thirty acres of pasture. Wood for the pannage of one hundred hogs.
There belong to it six burgesses in Hede. In the time of king Edward the Confessor it was worth twenty four pounds, and afterwards forty pounds, and now the like, and yet it yields sixty pounds.
Of this manor three tenants of the archbishop hold two sulings and an half, and half a yoke, and they have there five carucates in demesne, and twenty villeins, with sixteen borderers having five carucates and an half, and one servant, and two mills of seven shillings and six-pence, and forty acres of meadow. Wood for the pannage of eleven hogs. There are two churches. In the whole it was worth eleven pounds.
Thomas Bedingfield gave by will in 1691, a house and lands in the parish of St. Mary, Romney Marsh, this parish, and Woodchurch, towards the education and maintenance of poor children of the parishes of Smeeth, Liminge, and Dimchurch; and 10s. unto two poor women of each of the said parishes yearly. They are of the annual value of 54l. 10s. and are vested in trustees.
David Spycer, of this parish, by will in 1558, devised to the poor of it 20l. to be paid them yearly at 20s. a year.
There is an unendowed school here, for the teaching of boys and girls reading, writing, and accounts; and an alms-house, consisting of two dwellings, the donor of it to the parish unknown.
The poor constantly maintained are about fifty, casually 30.
Liminge is within the Eccelstical Jurisdiction of the diocese of Canterbury, and deanry of Elham.
¶The church, which is dedicated to St. Mary and St. Eadburgh, consists of two isles and a chancel, having a square tower steeple, with a low pointed turret on it, at the west end, in which are five bells. This church is handsome, being built of quarry stone. The arches and pillars on the north side of the south isle are elegant. In the chancel is a monument for William Hollway, esq. chief justice of Gibraltar, obt. 1767, who with his mother and wife, lie buried in a vault underneath, arms, Sable, two swords in saltier, argent. and memorials in it, as well as in the south isle, for the family of Sawkins. In the north isle a memorial for John Lyndon, A. M. vicar, obt. 1756. In the east window are the arms of the see of Canterbury impaling Bourchier; and in one of the south windows a bishop's head and mitre. On the outside of the steeple, are the arms of the see of Canterbury impaling Warham, that on the south side having a cardinal's hat over it. At the south-east corner of the chancel is a very remarkable buttress to it, the abutment being at some feet distance from the chancel, and joined to it by the half of a circular arch, seemingly very antient. In the church-yard are two tombs for the Scotts, of Longage. Henry Brockman, of Liminge, appears by his will in 1527, to have been buried in this church, and devised to the making of the steeple five pounds, as the work went forward; and David Spycer, of this parish, by will in 1558, devised to this church a chalice, of the price of five pounds. (fn. 10) This church, with the chapels of Stanford and Padlesworth annexed, was always accounted an appendage to the manor, and continued so till the 31st year of king Henry VIII. when the archbishop conveyed the manor to the king, but reserved the patronage and advowson of this church out of the grant to himself, by which means it became separated from the manor, and became an advowson in gross; and though the archbishop afterwards, by his deed anno 38 Henry VIII. conveyed it to the king and his heirs, and the king that same year granted it, with the manor and its appurtenances in fee, to Sir Anthony Aucher as before-mentioned, and it was possessed by the same owners as the manor from time to time, yet having been once separated, it could never be appendant to it again. Through which chain of ownership it afterwards came at length to lord Loughborough, and from him again to the Rev. Mr. Ralph Price, the present proprietor and patron of it.
The church of Liminge is exempt from the jurisdiction of the archdeacon. There is both a rectory and vicarage endorsed belonging to this church, which appears to have been before the 8th of king Richard II.
The rectory is a sinecure, and the vicar performs the whole service of the cure, but they both receive institution and induction, and although some years ago this establishment of it was attempted by the ordinary to be set aside as separate benefices, it was without effect, and the Rev. Mr. Ralph Price, the patron, continues to present to both rectory and vicarage.
The rectory, with the two chapels above-mentioned, is valued in the king's books at 21l. 10s. and the yearly tenths at 2l. 3s. Procurations 1l. 10s. The vicarage at 10l. 18s. 9d. and the yearly tenths at 1l. 1s. 10½d.
In 1588 here were communicants two hundred and eighty-three. In 1640 there were two hundred and fifty-five, and the vicarage was valued at eighty pounds.
The tithes and profits of this parish, and the glebeland, about forty acres, are now worth upwards of four hundred pounds per annum, exclusive of the chapels annexed to it. Mr. Sawbridge's estates in this parish, formerly park land, pay by custom only half a crown composition yearly, in lieu of tithes, but Westwood pays full tithes.
It appears by the register of Horton priory, that Liminge was once the head of a rural deanry, Sir Hugh, dean of Liminge, being mentioned as a witness to a dateless deed of Stephen de Heringod, of a gift of land to that priory, of about the reign of king Henry III. (fn. 11)
Origami Star Wars - available soon - hachetteheroes.com/origami-star-wars-9782012638587
©Lucasfilm ©Hachette Heroes
Two Old Order Mennonite girls with their braids hanging out from their bonnets at the Amish School fund raising sale in July, held in Wellesley Township this year. There is a mixture of Old Order Mennonite and Amish men in the background. The Amish men are in the light coloured straw hats, and the Mennonite men are in the black straw hats.
The Great Patriotic War (Russian: Вели́кая Оте́чественная война́, romanized: Velikaja Otečestvennaja vojna) is a term used in Russia and some other former republics of the Soviet Union to describe the conflict fought during the period from 22 June 1941 to 9 May 1945 along the many fronts of the Eastern Front of World War II, primarily between the Soviet Union and Nazi Germany. For some legal purposes, this period may be extended to 11 May 1945 to include the end of the Prague offensive.
History
The term Patriotic War refers to the Russian resistance to the French invasion of Russia under Napoleon I, which became known as the Patriotic War of 1812. In Russian, the term отечественная война originally referred to a war on one's own territory (otechestvo means "the fatherland"), as opposed to a campaign abroad (заграничная война), and later was reinterpreted as a war for the fatherland, i.e. a defensive war for one's homeland. Sometimes the Patriotic War of 1812 was also referred to as the Great Patriotic War (Великая отечественная война); the phrase first appeared in 1844 and became popular on the eve of the centenary of the Patriotic War of 1812.
After 1914, the phrase was applied to World War I. It was the name of a special war-time appendix to the magazine Theater and Life (Театр и жизнь) in Saint Petersburg, and referred to the Eastern Front of World War I, where Russia fought against the German Empire and the Austro-Hungarian Empire. The phrases Second Patriotic War (Вторая отечественная война) and Great World Patriotic War (Великая всемирная отечественная война) were also used during World War I in Russia.
The term Great Patriotic War re-appeared in the official newspaper of the CPSU, Pravda, on 23 June 1941, just a day after Germany invaded the Soviet Union. It was found in the title of "The Great Patriotic War of the Soviet People" (Velikaya Otechestvennaya Voyna Sovetskogo Naroda), a long article by Yemelyan Yaroslavsky, a member of Pravda editors' collegium. The phrase was intended to motivate the population to defend the Soviet fatherland and to expel the invader, and a reference to the Patriotic War of 1812 was seen as a great morale booster. During the Soviet period, historians engaged in huge distortions to make history fit with Communist ideology, with Marshal Mikhail Kutuzov and Prince Pyotr Bagration transformed into peasant generals, Alexander I alternatively ignored or vilified, and the war becoming a massive "People's War" fought by the ordinary people of Russia with almost no involvement on the part of the government. The invasion by Germany was called the Great Patriotic War by the Soviet government to evoke comparisons with the victory by Tsar Alexander I over Napoleon's invading army.
The term Отечественная война (Patriotic War or Fatherland War) was officially recognized by establishment of the Order of the Patriotic War on 20 May 1942, awarded for heroic deeds.
The term is not generally used outside the former Soviet Union, and the closest term is the Eastern Front of World War II (1941–1945). Neither term covers the initial phase of World War II in Eastern Europe, during which the USSR, then still in a non-aggression pact with Germany, invaded eastern Poland (1939), the Baltic states (1940), Bessarabia and Northern Bukovina (1940) and Finland (1939–1940). The term also does not cover the Soviet–Japanese War (1945) nor the Battles of Khalkhin Gol (1939).
In Russia and some other post-Soviet countries, the term is given great significance; it is accepted as a representation of the most important part of World War II. Until 2014, Uzbekistan was the only nation in the Commonwealth of Independent States that had not recognized the term, referring to it as World War II on the state holiday - the Day of Remembrance and Honour.
London Museum of the order of St John. St John's Gate Clerkenwell a 16th-century Gatehouse Early Morning
My first Bricklink order! Got this from Scooter's Bricks
Originally for another upcoming Victorian house build, but it just turned out to be random.
Should be working on some building, but instead I've just been admiring this....
'Scotch Whisky'
In order to be classed as a ‘Scotch’ Whisky, the spirit, made from a mash of cereals, must have been matured in an oak cask in Scotland for a minimum of three years. It must also be bottled at a minimum strength of 40% alcohol by volume.
'Single' Malt Scotch Whisky
'Single' Malt Scotch Whisky is Scotch Whisky distilled at a single distillery entirely from malted barley. ~ www.themacallan.com/the-single-malt/scotch-whisky.aspx
EF 85mm f/1.8 on a 1Ds
[ 0.013 sec (1/80) | f/2.8 | FLen 85 mm | ISO 100 | Manual exposure | Off-camera strobe ]
Strobist info: 1 diffused 420EX Speedlite behind the bottle, triggered by an ST-E2.
New CA Health Order Shuts Down Outdoor Dining In Pasadena. Governor Newsom orders outdoor dining to shut down for three weeks after Thanksgiving. This order comes after COVID-19 cases spike with ICU capacity expected to reach 15%. Los Angeles banned outdoor dining on Thanksgiving until Christmas. On the other hand, Pasadena city council voted unanimously to keep outdoor dining permitted. A week later, Governor Newsom put an end to outdoor dining in all counties with high coronavirus case counts.
Photography: Shiro Ang
Photo Assistant: Poka
Rin: Chihiro
Camera: Sony A7Rii
Lens: Sigma 85mm f/1.4 ART
Flash: Godox AD200
---
Instagram: @shiroangphotography
Twitter: @shiroangphoto
Facebook: @shiroangphotography
Jefferson Park---Weird that this is still open- it's an old Swedish lodge. Google it if you're interested. When I had my summer home up north, we had the Sons of Norway, and it was equally tedious, except for their annual fair, or whatever you want to call it, which drew all types if you know what I'm sayin. Guys dressed as Vikings, that sort of thing. Young people don't want to be part of these things, particularly if it's a bunch of conservatives. I have no idea what the IOS Svithiod people are like; I'm sure they're nice. I hope this doesn't become a vape shop. I think this is the ward where the alderman is a real a-hole, by the way.
Lalala..so today the earth is crying, like, a lot! It rained all day long! plus the wind, for sure!
I did not shot anything today. I slept during the day, and awoke when everybody's sleeping. LOL.
Yeah, insomniac I am!
So this photo was taken in the same day along with this shot. I think tomorrow I will upload an other more of this. And I think the skirt I was wearing in the photo is my favorite one! You will see I wore this in some of my photos. Even my imaginary friend liked it! LOL.
Excuse my bad habit, but I kinda like to use textures a lot now. hahaha..
Anyway, Easter is coming! woohoo..just can't wait! I want to eat some boiled eggs on that day! Haha..
-Texture is from here
-Cloud brush is from here
How Much Does Arabescato White Marble Cost Per Square Foot? Here At Our XRJ Stone Suppliers, You Can Order Marble Countertop With Competitive Price, High-quality Products, Prompt Delivery!
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.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
East Coast mainline services have now been largely taken over by the new Class 800/801 Azuma units since their introduction in 2019.
Heading south through the classic location at Burnmouth is Class 801 unit no. 801205 with 1E25 17:30 Edinburgh to London Kings Cross.
The target shot had been 56105 returning from Millerhill to Doncaster with engineers wagons. Frustratingly, it returned light engine!
Order: Unassigned
Family: Virgaviridae
Genus: Tobamovirus
(+)ssRNA
***
English: Tobacco mosaic disease
Deutsch: Tabakosaikkrankheit
Magyar: Dohánymozaik betegség
Français: Maladie de la mosaïque du tabac
Español: Enfermedad del mosaico del tabaco
St Mary's Abbey, Melrose is a partly ruined monastery of the Cistercian order in Melrose, Roxburghshire, in the Scottish Borders. It was founded in 1136 by Cistercian monks on the request of King David I of Scotland, and was the chief house of that order in the country until the Reformation. It was headed by the Abbot or Commendator of Melrose. Today the abbey is maintained by Historic Scotland.
The east end of the abbey was completed in 1146. Other buildings in the complex were added over the next 50 years. The abbey was built in the Gothic manner, and in the form of a St. John's cross. A considerable portion of the abbey is now in ruins. A structure dating from 1590 is maintained as a museum open to the public.
Alexander II and other Scottish kings and nobles are buried at the abbey. A lead container believed to hold the embalmed heart of Robert the Bruce was found in 1921 below the Chapter House site; it was found again in a 1998 excavation. This was documented in records of his death. The rest of his body is buried in Dunfermline Abbey.
The abbey is known for its many carved decorative details, including likenesses of saints, dragons, gargoyles and plants. On one of the abbey's stairways is an inscription by John Morow, a master mason, which says, Be halde to ye hende ("Keep in mind, the end, your salvation"). This has become the motto of the town of Melrose.
Amsterdam light festival 2019.
ORDER/DISORDER
Lambert Kamps
Movement is key to Lambert Kamp’s 7-metre-high installation. Nine luminous circles continuously rotate in and out of each other, the largest of them having a diameter of 4 metres and the smallest just 70 centimetres.
Curves, sharpening in CS3
Nikon D300
18-200mm VR Nikkor
18mm, 1/500sec @ F/5.6
ISO 250
In Australia people cross the road when ever the hell they want, I assume that it's like this in the US and Europe also, and unfortunately on occasion people get knocked down, injured and sometime killed, in Japan, you'd be lucky to see 1 in 100 make a dash, everyone waits until the little green man pops up, initially when I saw it I thought wow, how conformed and in-line are these people, but over time I realised that they just have a higher level of care and concern for the well-being of themselves and they're fellow man, and that translated into everything, not just the traffic crossings.