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Jupiter appears in pastel colors in this photo because this Hubble Space Telescope observation was taken in near-infrared light. The photo shows sunlight reflected from Jupiter's clouds. In the near infrared, methane gas in Jupiter's atmosphere limits the penetration of sunlight, which causes clouds to appear in different colors depending on their altitude.
Studying clouds in near-infrared light is very useful for scientists studying the layers of clouds that make up Jupiter's atmosphere. Yellow colors indicate high clouds, red colors lower clouds, and blue colors even lower clouds in Jupiter's atmosphere. The green color near the poles comes from a thin haze very high in the atmosphere.
The black circles are cast by three of Jupiter's largest moons: Io, Ganymede, and Callisto. Io's shadow is located just above center and to the left, Ganymede's on the planet's left edge, and Callisto's near the right edge.
The blue color of Ganymede (upper right) comes from the absorption of water ice on the moon's surface at longer wavelengths. The white color of Io (center) is from light reflected off bright sulfur compounds on that moon's surface. Callisto is out of the image and to the right.
Seeing three shadows on Jupiter happens only about once or twice a decade. Why is this triple eclipse so unique? Io, Ganymede, and Callisto orbit Jupiter at different rates. Their shadows likewise cross Jupiter's face at different rates. For example, the outermost moon Callisto orbits the slowest of the three moons. Callisto's shadow moves across the planet once for every 20 shadow crossings of Io. Add the crossing rate of Ganymede's shadow and the possibility of a triple eclipse becomes even more rare. Viewing the triple shadows in this 2004 observation was even more special, because two of the moons were crossing Jupiter's face at the same time as the three shadows.
For more information, visit: hubblesite.org/news_release/news/2004-30
Credit: NASA, ESA, and E. Karkoschka (University of Arizona)
Olympus XZ-1
Best on Black (press L) www.fluidr.com/photos/bw3200/8742071085/in/photostream
Thanks for your comments, faves, and views. Much appreciated!
...into a hollyhock flower.
Garden bumblebee in hollyhock.
(Bombus hortorum in Alcea genus)
Gartenhummel in Stockrose.
Eindringen ...
in eine Blüte der Stockrose.
A sloping penetration in the west wall. It doesn't appear to have been for shooting through and was therefore probably a drain or garderobe chute. (Also note that the corner of the wall has been built without using quoin stones, they have just used small 'pinnings' to get the shape they wanted.)
'Caisteal Bhuirgh' was the property of Macdonalds of Clanranald, one of the pre-eminent west highland clans, the chiefs ("Captains") of which were descendants of the 12th century figure, Somerled 'King of the Isles'. Somerled is known to have had at least 5 sons and a daughter, but the ones that influenced history were Dugall, progenitor of the Clan MacDougal, Ranald ('Raghnall'), progenitor of the Lords of the Isles and Clan Donald, and Angus.
Following the death of Somerled and his eldest son GilleBride at the Battle of Renfrew in 1165, the kingdom that Somerled had built for himself was broken up between his 3 surviving sons. In 1192, Angus defeated and killed his brother Ranald, however in 1210, Ranald's sons defeated Angus (who must have been fairly ancient by then) and killed all his sons.
VL-700 Valefor
As part of the Lego Empire Strategic bombing triad, the VL-700 Valefor offers an intercontinental bombing ability together with a stealthy design and impressive firepower.
More images here; www.flickr.com/photos/einon/
The Valefor is the second largest bomber used by the Imperial Lego Air Force, (twice the size of the real world B-1B Lancer) and it’s among the heaviest combat aircrafts ever built. The VL-700 is designed for both high altitude (flying at over Mach 4,5) and low altitude penetration (at transonic speeds). The variable-geometry wings with their full-span leading-edge slats and trailing-edge double-slotted flaps, confer a useful combination benign low-speed handling and high supersonic speed. The VL-700 has a crew of 6, sitting side by side inside a small and special capsule. Both Pilot and Co-pilot are provided with fighter-type control columns since the Valefor is extremely manoeuvrable. The controls are fully digital and the “fly-by-wire” system is controlled by a Quantic computer, also used for electronic and ECW warfare. The crew is composed of one pilot, one co-pilot, two bombardiers/weapons officers, one navigator/Electronic Warfare operator and one defensive warfare officer. Valefor crews love the aircraft; it has a large compartment for the crew to rest, a galley and two toilets (for both male and female pilots).
In the front of the cockpit is the long, pointed radome for the terrain following and attack radar, with a fairing below it for the forward-looking TV camera used for visual weapon aiming. Intercontinental range is assured by the provision of a fully retractable in-flight refuelling probe.
Located in two nacelles under the inner wing section there are the eight V-5000 Ramjets engines of the Valefor, each delivering 150kN dry thrust and 350kN with afterburner each. So far, they are the most powerful jet engines used in the world, allowing the bomber to fly at the edge of space, almost immune to the enemy AA missiles. The bomber is so fast that no enemy fighter is able to catch it. However, Stealth is the most important asset for the survival of the VL-700.
The need to reduce RCS (radar cross-section) became increasingly important, achieved by paying the most careful attention to achieving a smooth unbroken external surface without cracks and by covering the exterior skin with RAM (radar-absorbent material).
Mounted under the tail is a battery of 250 chaff/flare dispensers. Built into the fuselage is also a defensive avionics, with receiver antennas and jammers located in the tail bullet fairing. The VL-700 also carries a 50mm Gatling radar controlled gun, used to fire both chaff/flares or real ammunition with proximity fuses. The Valefor also carries two defensive launchers for 60 short-range Viper-II air-to-air missiles.
The Valefor offensive warload is carried in two (sometimes three) tandem weapons bays in the belly, with a maximum load of 50 000kg of bombs internally. These can hold a very impressive array of weapons, from anti-ship guided cruise missiles to simple conventional bombs. The bomb bay doors are designed to reduce radar signature and are only opened for a few seconds while the bombs or missiles are dropped.
Six external hardpoints for 30 000 kg of ordnance are also carried, for a total maximum load of 80 000kg (although that rarely happens). These are very useful for tactical missions which do not require high speed penetration, although a Mach 4 evade speed can always be achieve, by ejecting the hardpoints. These are never carried on high-speed missions, which means that on long-range missions, the Valefor usually carries less than 50 000kg of ordnance.
The Naval Aviation version:
The Naval Aviation version of the Valefor, known as VL-700N is a long-range anti-ship version, which can also perform tactical/strategic bombing as well as anti-submarine warfare. For the Anti-ship mission, the naval version carries a forward firing 90mm automatic cannon, used against small ships. It can also carry the D.D.N. and D.D.B. anti-ships missiles as well as smaller missiles. This version carries the XF-3000 forward AESA radar, designed for tracking ships and guiding missiles against them.
For the anti-submarine role, the aircraft carries a MAD pod on the fin and a large launcher for sonobuoys. The XF-3000 radar can also detect submarines near or at the surface. Anti-submarine missiles like the Subkara Mk-1 (warhead: one 460mm torpedo) and Mk-2 (warhead: one 800mm torpedo) are carried inside the bomb bay, as well as 460mm and 800mm torpedos, mines and depth charges. Air-to-surface rockets can also be carried under the wings. The naval Valefor is also used for supporting naval landfelds and attacking convoys, together with the Ofnir, Gerifalte and Firestorm bombers.
Variants:
VL-700E: When designing the VL-700 Valefor, consideration was given to the problem of bomber survivability in a long, lonely flight across a zone of enemy fighter activity and air defence. Therefore the VL-700E was built, an escort plane designed to protect a group of bombers beyond the range of friendly fighters. In addition to a powerful set of electronic countermeasures, the aircraft also carried a larger number of Valkyria and Empire’s Spear Air-to-Air missiles.
Info: Valefor is the name of my favourite Aeon from Final Fantasy X.
More images here; www.flickr.com/photos/einon/
General Characteristics:
Type: Long-range Heavy bomber
Crew: 6
Length: 91,1 metros (mais do dobro do B-1BLancer);
Height: 18,09meters;
Wingspan:
Spread: 85meters;
Swept: 53,02 meters;
Empty Weight: 170 000kg
Loaded Weight: 302 000kg
Max. Takeoff weight: 341 000kg
Powerplant: Eight V-5000 Ramjets; 150kN dry thrust each; 350kN with afterburner, each;
Performance:
Maximum Speed: Mach 4,5 at 25 000m;
Cruise Speed: Mach 1,3 (Super-cruise);
Range: Classified
Service Ceiling: 25 000m;
Rate of Climb: 180 m/s;
Armament:
1 × 50 mm Gatling cannon in remotely controlled tail turret;
Two defensive launchers for 60 Viper II short rangers Air-to-Air missiles;
Six external hardpoints for 30 000 kg of ordnance and two or three internal bomb bays for 50,000 kg of ordnance; options include:
Air-to-air missiles:
8 AA-2020 Valkyria medium-short range missiles for self-defence.
8 AA-2040 “Empire’s Spear” medium-long range missiles;
Air-to-ground missiles:
24 D.D.N. heavy anti-ship missiles;
60 D.D.B. medium anti-ship missiles;
120 AT-2040 “Vulcan” air-to-ground tactical missiles;
12 AT-1500 “Titan” heavy air-to-ground tactical missiles;
8 Subkara Mk-2 anti-submarine missiles;
24 Subkara Mk-1 anti-submarine missiles;
Bombs:
48 “Excalibur” Anti-runway bombs;
12 Valhalla Television-guided glide bombs;
100 Conventional 500kg bombs;
4 Thermobaric 10 000kg bombs;
Various unguided and Cluster bombs, Laser-guided bombs, Napalm, as well as tactical termo-nuclear bombs.
Others:
ECM protection pod, Pave Spike Laser designator pod, Buddy refuelling pack or 5 Drop tanks for extended range/loitering time;
Hope you like it!
More images here; www.flickr.com/photos/einon/
Eínon
The Northrop (later Northrop Grumman) B-2 Spirit, also known as the Stealth Bomber, is an American heavy penetration strategic bomber, featuring low observable stealth technology designed for penetrating dense anti-aircraft defenses; it is a flying wing design with a crew of two.[1][4] The bomber can deploy both conventional and thermonuclear weapons, such as eighty 500 lb (230 kg)-class (Mk 82) JDAM Global Positioning System-guided bombs, or sixteen 2,400 lb (1,100 kg) B83 nuclear bombs. The B-2 is the only acknowledged aircraft that can carry large air-to-surface standoff weapons in a stealth configuration.
Development originally started under the "Advanced Technology Bomber" (ATB) project during the Carter administration; its expected performance was one of his reasons for the cancellation of the supersonic B-1A bomber. The ATB project continued during the Reagan administration, but worries about delays in its introduction led to the reinstatement of the B-1 program as well. Program costs rose throughout development. Designed and manufactured by Northrop, later Northrop Grumman, the cost of each aircraft averaged US$737 million (in 1997 dollars).[3] Total procurement costs averaged $929 million per aircraft, which includes spare parts, equipment, retrofitting, and software support.[3] The total program cost including development, engineering and testing, averaged $2.1 billion per aircraft in 1997.[3]
Because of its considerable capital and operating costs, the project was controversial in the U.S. Congress and among the Joint Chiefs of Staff. The winding-down of the Cold War in the latter portion of the 1980s dramatically reduced the need for the aircraft, which was designed with the intention of penetrating Soviet airspace and attacking high-value targets. During the late 1980s and 1990s, Congress slashed plans to purchase 132 bombers to 21. In 2008, a B-2 was destroyed in a crash shortly after takeoff, though the crew ejected safely.[5] A total of 20 B-2s remain in service with the United States Air Force, which plans to operate the B-2 until 2058.[6]
The B-2 is capable of all-altitude attack missions up to 50,000 feet (15,000 m), with a range of more than 6,000 nautical miles (6,900 mi; 11,000 km) on internal fuel and over 10,000 nautical miles (12,000 mi; 19,000 km) with one midair refueling. It entered service in 1997 as the second aircraft designed to have advanced stealth technology after the Lockheed F-117 Nighthawk attack aircraft. Though designed originally as primarily a nuclear bomber, the B-2 was first used in combat, dropping conventional, non-nuclear ordnance in the Kosovo War in 1999. It later served in Iraq, Afghanistan and Libya.[7]
WARM UP for COPENHAGEN ULTRACONTEMPORARY BIENNALE
-------
The COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done in 3 platforms
the parliament is platform 2
Artist have to express closer to decision makers . in time , in the NOW
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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile during Venice Biennale contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
Mobile subscriber penetration rate in Hong Kong is 229% (April 2013)
ALL Photos of "Smartphones in Hong Kong" :
Which it obviously is not. 3rd August 2015. A prosthetic I sculpted and made in 2015. I sold only one and it was very difficult to cast, so I dumped the mould.
Mobile subscriber penetration rate in Hong Kong is 229% (April 2013)
ALL Photos of "Smartphones in Hong Kong" :
The Northrop (later Northrop Grumman) B-2 Spirit, also known as the Stealth Bomber, is an American heavy penetration strategic bomber, featuring low observable stealth technology designed for penetrating dense anti-aircraft defences; it is a flying wing design with a crew of two.[1][4] The bomber can deploy both conventional and thermonuclear weapons, such as eighty 500 lb (230 kg)-class (Mk 82) JDAM Global Positioning System-guided bombs, or sixteen 2,400 lb (1,100 kg) B83 nuclear bombs. The B-2 is the only acknowledged aircraft that can carry large air-to-surface standoff weapons in a stealth configuration.
The B83 thermonuclear weapon is a variable-yield unguided bomb developed by the United States in the late 1970s, entering service in 1983. With a maximum yield of 1.2 megatonnes of TNT (5.0 PJ, 75 times the 16 kt yield of the atomic bomb "Little Boy" dropped on Hiroshima on 6 August 1945), it is the most powerful nuclear free-fall weapon in the United States arsenal.[1] It was designed at Lawrence Livermore National Laboratory, and the first underground test detonation of the production B83 took place on 15 December 1984
Development originally started under the "Advanced Technology Bomber" (ATB) project during the Carter administration; its expected performance was one of his reasons for the cancellation of the supersonic B-1A bomber. The ATB project continued during the Reagan administration, but worries about delays in its introduction led to the reinstatement of the B-1 program as well. Program costs rose throughout development. Designed and manufactured by Northrop, later Northrop Grumman, the cost of each aircraft averaged US$737 million (in 1997 dollars).[3] Total procurement costs averaged $929 million per aircraft, which includes spare parts, equipment, retrofitting, and software support.[3] The total program cost including development, engineering and testing, averaged $2.1 billion per aircraft in 1997.[3]
Because of its considerable capital and operating costs, the project was controversial in the U.S. Congress and among the Joint Chiefs of Staff. The winding-down of the Cold War in the latter portion of the 1980s dramatically reduced the need for the aircraft, which was designed with the intention of penetrating Soviet airspace and attacking high-value targets. During the late 1980s and 1990s, Congress slashed plans to purchase 132 bombers to 21. In 2008, a B-2 was destroyed in a crash shortly after takeoff, though the crew ejected safely.[5] A total of 20 B-2s remain in service with the United States Air Force, which plans to operate the B-2 until 2058.[6]
The B-2 is capable of all-altitude attack missions up to 50,000 feet (15,000 m), with a range of more than 6,000 nautical miles (6,900 mi; 11,000 km) on internal fuel and over 10,000 nautical miles (12,000 mi; 19,000 km) with one midair refueling. It entered service in 1997 as the second aircraft designed to have advanced stealth technology after the Lockheed F-117 Nighthawk attack aircraft. Though designed originally as primarily a nuclear bomber, the B-2 was first used in combat, dropping conventional, non-nuclear ordnance in the Kosovo War in 1999. It later served in Iraq, Afghanistan and Libya
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The "Entwicklung" tank series (= "development"), more commonly known as the E-Series, was a late-World War II attempt by Germany to produce a standardized series of tank designs. There were to be six standard designs in different weight classes, from which several specialized variants were to be developed. This intended to reverse the trend of extremely complex tank designs that had resulted in poor production rates and mechanical unreliability.
The E-series designs were simpler, cheaper to produce and more efficient than their predecessors; however, their design offered only modest improvements in armor and firepower over the designs they were intended to replace, such as the Jagdpanzer 38(t), Panther Ausf.G or Tiger II. However, the resulting high degree of standardization of German armored vehicles would also have made logistics and maintenance easier. Indeed, nearly all of the E-series vehicles — up through and including the E-75 — were intended to use what were essentially the Tiger II's 80 cm (31½ in) diameter, steel-rimmed road wheels for their suspension, meant to overlap each other (as on the later production Tiger I-E and Panther designs that also used them), even though in a much simplified fashion. For instance, while the E-50/75’s running gear resembled outwardly the Tiger II’s, the latter’s torsion bar suspension, which made a complex hull with many opening necessary, was replaced by very compact conical spring coil packages that each held a pair of interleaved road wheels – with the benefit that all suspension elements remained outside of the hull, which could be considerably simplified, saving production time and also scarce material.
Focus of initial chassis and combat vehicle development was the E-50/75 Standardpanzer, designed by Adler. Both were mostly identical and only differed in armor thickness, overall weight and running gear design to cope with the different weights.
While the E-50 was the standardized replacement for the medium PzKpfw. V “Panther” and the last operational PzKpfw. VI “Tiger”, the E-75 Standardpanzer was intended to become the standard heavy tank to be used as a replacement of the Tiger II and the Jagdtiger. The E-75 was built on the same production lines as the E-50 for ease of manufacture, and the two vehicles were to share many components, including the same Maybach HL 234 engine with up to 900 hp output. However, the E-75 had much thicker armor, max. 185 mm versus the E-50’s 120 mm, and, compared to the Tiger II, the E-75 had improved hull armor all round. As its name indicates, the resulting vehicle weighed in at over 75 tons, reducing its speed to around 40 km/h, while the lighter E-50’s top speed on roads was up to 60 km/h. To offset the increased weight, the E-75’s bogies were spaced differently than on the E-50, with an extra pair of wheels added on each side, giving the E-75 a slightly improved track to ground contact length, and with wider tracks to better distribute the higher overall weight on the ground.
Both E-50 and E-75 were to be equipped with the same turrets, the standard primary weapon was an 88mm L/71 gun, along with an optical rangefinder for increased long-range accuracy and an optional infra-red sight system that allowed nocturnal operations. For the heavy E-75, several turret options were available and accepted for service, what resulted in different operational variants (Ausführungen). Ausf. A used a turret that was very similar to the Tiger II turret (also called the “Henschel-Turm”), equipped with the 8.8 cm L/71 gun but with option to use a new, longer L/100 barrel, too. Ausf. B used the same welded turret, but it was adapted to accommodate the new and more powerful high velocity 10.5 cm KwK 45 L/68 gun or the large 12,8 cm KwK 44 L/55.
Ausf. C carried the so-called “Schmalturm”, introduced with the Panther Ausf. F/Panther II interim medium tank in early 1945 and originally reserved only for the lighter E-50 tank. However, due to supply shortages, several E-75 hulls were outfitted with this lighter turret, too, which remained exclusively outfitted with the 8.8 cm KwK 43 L/71 gun.
Finally, Ausf. D carried the so-called “Beuthen-Turm”, a cast, universal turret that had been designed to be accepted by a wide range of German medium and heavy battle tanks, including not only the E-50/75 tanks but also the older Panther and other, lighter vehicles with a wide hull. The “Beuthen-Turm”, baptized after its production site Oberschlesische Gusswerke Beuthen (today the city of Bytom in Poland), offered excellent ballistic protection, had a very low profile and featured a commander cupola with a full 360° view through periscopes as well as a 200cm width stereoscopic optical rangefinder for the gunner. A few vehicles were additionally equipped with FG1250/1251 infrared illuminators, allowing night operations in coordination with the SdKfz.251/20 „Uhu“ with long-range infrared illuminators and complemented by assault troops using Vampir-modified Sturmgewehr guns.
Like the Henschel-Turm, the Beuthen-Turm was designed to accept several heavy guns. Typically, the E-75 Ausf. D carried the standard 8.8 cm KwK 43, either with the original L/71 or the new, longer L/100 barrel for higher muzzle velocity and range. A total of 74 88mm shells were carried, typically a mix of 50% high explosive and 50% armor-piercing rounds, stored in the turret and in the hull, plus 4.800 rounds for the secondary 7,92 MG 34s on board (32 ammunition belts with 150 round each).
However, the new high velocity 10.5 cm KwK 45 gun could also be mounted without, but this potent weapon was in very short supply and only sporadically combined with the Beuthen-Turm. Most 10.5 cm KwK 45 guns went into the E-75 Ausf. B or were allocated to anti-tank SPGs based on the E-50/75 chassis, because these were easier and quicker to produce. With the 10.5 cm gun, the ammunition supply was reduced from 74 to 52 rounds. An AP round had a length of 1.124 mm, weighed 26,1 kg (57.5 lb), the APCBC warhead had a weight of 15,6 kg (34.3 lb) and a muzzle velocity of 990 m/sec. (3.248 ft/sec.). At a distance of 1.000 m, penetration was 248 mm of hardened steel (at an 0° angle), and at 2.000 m this still was 201 mm.
Due to the ever-worsening situation, less than 80 E-75 hulls were completed and probably less than 50 combat-worthy vehicles arrived at front line units and were involved in battle until the end of hostilities. In service the vehicle received the inventory ordnance number "SdKfZ. 305" and was officially called "Einheitspanzer 75" (Standard tank), retaining its project abbreviation, but the short “E-75” designation from the development phase remained very common, too.
Specifications:
Crew: Five (commander, gunner, loader, radio operator, driver)
Weight: 72 tonnes (80 short tons)
Length: 7.27 metres (23 ft 10¾ in) (hull only)
9.43 metres (30 ft 8 in) with gun forward
Width: 3.88 metres (12 ft 9 in)
Height 3.46 metres (11¾ ft)
Ground clearance: 495 to 510 mm (1 ft 7.5 in to 1 ft 8.1 in)
Suspension: Conical spring
Fuel capacity: 720 litres (160 imp gal; 190 US gal)
Armor:
30–185 mm (1.2 – 7.2 in)
Performance:
Speed
- Maximum, road: 44 km/h (27.3 mph)
- Sustained, road: 38 km/h (24 mph)
- Cross country: 15 to 20 km/h (9.3 to 12.4 mph)
Operational range: 160 km (99 miles)
Power/weight: 12,5 PS/tonne (11.25 hp/ton)
Engine:
V-12 Maybach HL 234 gasoline engine with 900 PS (885 hp/650 kW)
Transmission:
ZF AK 7-200 with 7 forward 1 reverse gears
Armament:
1× 10,5 cm KwK 45 L/68 cannon with 52 rounds
2× 7.92 mm Maschinengewehr 34 with a total of 5.200 rounds;
one mounted co-axially with the main gun and an optional AA gun on the commander's cupola
The kit and its assembly:
After a while, another of the many 1:72 Modelcollect Heer ’46 models, even though with a turret swap. The model is actually the E-75 SPAAG kit with twin 55 mm guns, but the turret was replaced by a resin conversion piece from Silesian Models that depicts a fictional German cast steel turret.
The E-75 hull went together well, without any PSR (but there were other pitfalls, see below). In this case I used the optional PE grates for the engine bay covers. Being an early boxing of this kit, it came with vinyl tracks (instead of IP segments, which are a PITA to assemble…), even though these turned out to be pretty thick and stiff and were molded in a bright, sandish-yellow vinyl. WHY?
The so-called “Beuthen” turret could be easily integrated in-/onto the E-75 hull through the transplantation of the SPAAG turret’s adapter ring. One problem arose in the form of the resin barrel for the set’s 8.8cm KwK 43: it turned out to be (considerably) warped, and the muzzle brake came with bubbles that did not make fixing both flaws worthwhile. Thanks to a generous stack of spare parts I came up with an alternative: a leftover plastic barrel from a 122 mm cannon from an IS-2 tank. Being a bit more massive but having a suitable length, I mounted this alternative and turned it into a fictional 10.5 mm cannon, which had been – nevertheless – actually planned, e. g. for the Königstiger/Tiger II.
The mudguards were slightly dented and spare track links added to the turret flanks and the front of the hull. However, when trying to mount the vinyl tracks the kit revealed its major flaw: the running gear. It is so delicate that it cannot bear the pressure from the flexible tracks – in fact even the model’s own weight seems to affect it. The reason is that each of the sixteen road wheels is attached to the hull with a small, separate wing arm, which has to be aligned with the rest of the seven arms per side, and the inner wheels’ swing arms have no locator pin to hold and stabilize the wheel attached to it. The result is a very wobbly and flimsy affair – if I build an E-75 again, I will glue all eight wheels per side together, so that they stabilize each other.
Painting and markings:
The paint scheme is another variation of the German late WWII "Hinterhalt" camouflage, consisting of Dark Yellow, Olive Green and Red Brown. However, the way these colors were used and arranged differed widely, and one of the more creative application I have found in literature (actually on a small Jagdpanzer 38(t) “Hetzer”) was adapted for this model.
In this case, brown, almost fractal blotches were enframed by dark yellow and the voids in between filled with olive green. In order to lighten the camouflage up a little and blur the outlines further, dark yellow mottles were added to the green areas, and on some of the wider dark yellow frames, small green mottles were added, creating a kind of counter-effect. Quite complex, but IMHO very effective through the complex shapes and contrast effects. As a match for the upper hull’s scheme the wheels were painted uniformly in the same standard colors – but without any pattern, because this would be very obvious and eye-catching when the tank would move.
The classic Hinterhalt scheme colors are RAL 6003 “Olivgrün”, 7028 "Dunkelgelb" and RAL 8017 “Schokolade”. I used the respective Humbrol equivalents 86, 83 and 160, applied with brushes for rather sharp edges. Since the E-75 would be a pretty new vehicle I did not apply drastic weathering stunts with red primer showing through, just the standard effects (washing with dark brown acrylic paint, dry-brushing).
The horribly colored tracks were painted with dark grey acrylic artist paint, and this worked surprisingly well. Unlike model paint, the artist paint from the collapsible turned out to be much more adhesive and flexible when dry, only small touch-ups were necessary once the track had been mounted and stuck into place with some super glue.
Decals/marking came next, the crosses came from the OOB sheet, the tactical code from a TL Modellbau sheet. Finally, another light dry brushing treatment with beige and light grey followed, highlighting surface details and edges, and after painting some details and adding some rust marks came a coat of matt varnish. The vinyl tracks were rigged into place and the tank’s lower areas received a treatment with a greyish-brown pigment mix, simulating dust and mud residue.
A simple and straightforward project, finished in the course of just a few days and only delayed by the search for an alternative gun barrel. The result looks pretty convincing, with the (fictional) Beuthen Turm the E-75 looks like a Panther on steroids? I really like the complex Hinterhalt scheme variant on this one, because it hides the E-75’s bulk well and effectively blurs its outlines. The round and organic turret looks a bit odd on the boxy hull, though, but it provides the otherwise simple battle tank with a special touch and some Heer '46 futurism. After all, it’s a what-if model.
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, 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
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
---
I wrote this over a year ago, but it should be new to just about all of you with the exception of a couple folks. I've always wanted to put a picture with it. This is by far the longest piece I've written. I couldn't sleep until I got it out.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Candlelight & Honey...
Where are you at? I want you and I need to be felt.
I need you to unbutton my shirt and unbuckle my belt.
Undo my pants and partially unzip my zipper as well.
I want to be teased tonight, before our bodies gel.
Can you do that? And please not just a quick tease.
I want you to get me to the point where I'm down on my knees.
Begging for another touch, begging for your lips
Begging for your special place, and begging for those hips.
Is that too much to ask, are you up for what it takes?
Are you down to get me to the point that I start to shake...
Like a fiend, to be honest you've turned me into an addict.
After we shower and its my turn...tonight you'll get your........
You get the picture, tonight its no games, we're both very grown.
Nibbles, bites, scratches, and a chorus of moans...
Is all I want to hear, no television...I want candles this evening
The combination of the light and our rhythmic heavy breathing...
Is enough to make the prudent of the prudes take notice.
Of the pure pleasure and sheer delight as we get lost in the moment
I couldn't take it anymore, I was almost at the point of no return.
Before I let that happen, I'll pull your waist with a firm...
Grasp, letting you feel my masculine domination.
The candlelight flickers off your body as I pick the first location.
That I want to stimulate, in the same manner in which you did to me.
I want you to get everything you give to me.
The pleasure, the goosebumps, the tingling sensation...
And all the other feelings that come with impending penetration.
But not yet, it's my turn to subtlely tease your lovely physique.
My fingertips, my tongue, and eye contact please your inner freak.
Your nipples are sensitive to my touch, as I go from left to right.
With squeezes that range from hard and rough, over to soft and light.
I make sure that my lips are moist, as I continue to explore.
Sending you into a frenzy, desperately craving more.
But no, soft kisses and gentle licks are all you'll get.
As I move closer to all the spots that make you all wet.
Your ears, your neck, the middle of your spine...
And I'm just getting started, there are many other spots to find.
A gentle touch of your upper lip never fails to give you the shivers.
You think I don't pay attention? I know exactly what delivers.
The small of your back, the inside of your thighs
The back of your calves, they never fail to hypnotize.
Now you've gotten all worked up, with your honey on your fingertip.
You allow me to clean it off, I taste it all and savor every last bit of it.
I ask you if there's more and you tell me "of course"
But I don't want a fingertip, I'm going straight to the source...
Of this nectar, the sweetest thing a man could ever taste.
I need to come up for air, as your juices glisten my face.
you rotate my head in a direction that pleasurable to you.
You push and pull, back and forth, and gyrate a little bit too.
By now, we're both on edge, and we both know that its time...
For us to share ourselves and let our bodies intertwine.
You give me the look , and I know just what it means.
As you part your luscious thighs farther and I crawl up in between.
This is exactly what I wanted, exactly what I needed to find.
And now that I've found it, I must remember to take my time.
And make this last, lift your legs a bit more for me.
I've worked too hard for this to be the end of the story.
Legs are now pinned back, my thrusts now have more power.
The temperature is getting hotter and the sounds are getting louder.
You want to switch things up, time for me to take a short rest.
You proceed to get on top and gently nibble on my chest.
I do the same to you, with alternating bites.
Once again, right to left, and back to left to right.
You start to get into a groove, I feel your muscle contractions.
That lets me know that you're on your way to achieving satisfaction.
I know what kind of girl you are, sometimes you like it rough.
Before we were making love, but now we're about to fuck.
Time to dirty talk and tell each other how it's feeling.
The yelps, moans, and growls all elevate to the ceiling.
A few positions later and we're approaching culmination.
A last few thrusts from me and I release all my frustration.
You follow up with some heaving breathing of your own making.
A bit of moaning ecstasy and a bit of body shaking.
Who's turn is it to clean up the mess, we seem to have lost track.
I don't know, but I'll do it...you just rest and lay back
Warm moist washcloths are so comfortable when applied to the skin
And even better when it's from your best friend.
Now, back to the bed and the scene is hardly neat
That was great, but I'm tired now...lets go to sleep.
Good night.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The McDonnell F-101 Voodoo was a supersonic jet fighter which primarily served the United States Air Force (USAF). Initially designed by McDonnell Aircraft as a long-range bomber escort (known as a penetration fighter) for the Strategic Air Command (SAC), the Voodoo was instead developed as a nuclear-armed fighter-bomber for the Tactical Air Command (TAC) and later evolved into an all-weather interceptor as well as into a reconnaissance platform.
The Voodoo's career as a fighter-bomber (F-101A and C) was relatively brief, but the reconnaissance fighter versions served for some time. Along with the US Air Force's Lockheed U-2 and US Navy's Vought RF-8 Crusaders, the RF-101 reconnaissance variant of the Voodoo was instrumental during the Cuban Missile Crisis and saw extensive service during the Vietnam War. Beyond original RF-101 single seaters, a number of former F-101A and Cs were, after the Vietnam era, converted into photo reconnaissance aircraft (as RF-101G and H) for the US Air National Guards.
Delays in the 1954 interceptor project (also known as WS-201A, which spawned to the troubled F-102 Delta Dagger) led to demands for an interim interceptor aircraft design, a role that was eventually won by the Voodoo’s B model. This new role required extensive modifications to add a large radar to the nose of the aircraft, a second crewmember to operate it, and a new weapons bay using a unique rotating door that kept its four AIM-4 Falcon missiles (two of them alternatively replaced by unguided AIR-2 Genie nuclear warhead rockets with 1.5 Kt warheads) semi-recessed under the airframe.
The F-101B was first deployed into service on 5 January 1959, and this interceptor variant was produced in greater numbers than the original F-101A and C fighter bombers, with a total of 479 being delivered by the end of production in 1961. Most of these were delivered to the Air Defense Command (ADC), the only foreign customer was Canada from 1961 onwards (as CF-101B), after the cancellation of the CF-105 Arrow program in February 1959. From 1963–66, USAF F-101Bs were upgraded under the Interceptor Improvement Program (IIP; also known as "Project Bold Journey") with a fire control system enhancement against hostile ECM and an infrared sighting and tracking (IRST) system in the nose in place of the Voodoo’s original hose-and drogue in-flight refueling probe.
The F-101B interceptor later became the basis of further Voodoo versions which were intended to improve the tactical reconnaissance equipment of the US Air National Guards. In the early 1970s, a batch of 22 former Canadian CF-101Bs were returned to the US Air Force and, together with some USAF Voodoos, converted into dedicated reconnaissance aircraft, similar to the former RF-101G/H conversion program for the single-seat F-101A/C fighter bombers.
These modified interceptors were the RF-101B and J variants. Both had their radar replaced with a set of three KS-87B cameras (one looking forward and two as a split vertical left/right unit) and a panoramic KA-56 camera, while the former missile bay carried different sensor and avionics packages.
The RF-101Bs were exclusively built from returned Canadian Voodoos. Beyond the photo camera equipment, they featured upgraded navigational equipment in the former weapon bay and a set of two AXQ-2 TV cameras, an innovative technology of the era. A TV viewfinder was fitted to the cockpit and the system was operated effectively from altitudes of 250 ft at 600 knots.
The other re-built reconnaissance version, the RF-101J, was created from twelve former USAF F-101Bs, all of them from the final production year 1961 and with relatively few flying hours. Beyond the KS-87B/KA-56 camera set in the nose, the RF-101J featured a Goodyear AN/APQ-102 SLAR (Side-looking airborne radar) that occupied most of the interceptor’s former rotating internal weapon bay, which also carried a fairing for a heat exchanger. The radar’s conformal antenna array was placed on either side of the lower nose aft of the cameras and allowed to record radar maps from view to each side of the aircraft and pinpoint moving targets like trucks in a swath channel approximately 10 nautical miles (11.5 miles/18 km) wide. To identify potential targets along the flight path for the SLAR and to classify them, the RF-101J furthermore received an AN/AAS-18 Infrared Detecting Set (IRDS). It replaced the F-101B’s IRST in front of the cockpit and was outwardly the most obvious distinguishing detail from the RF-1010B, which lacked this hump in front of the windscreen. The IRDS’ range was almost six miles (9.5 km) and covered the hemisphere in front of the aircraft. With the help of this cryogenically-cooled device the crewman in the rear cockpit could identify through a monitor small heat signatures like hot engines, firing weapons or campfires, even in rough terrain and hidden under trees.
Both new Voodoo recce versions were unarmed and received AN/APR-36 radar homing and warning sensors to nose and tail. They also had an in-flight refueling receptacle re-fitted, even though this was now only compatible with the USAF’s high-speed refueling boom system and was therefore placed in a dorsal position behind the cockpit. Furthermore, both versions received a pair of unplumbed underwing pylons for light loads, e. g. for AN/ALQ-101,-119 or -184 ECM pods, photoflash ejectors for night photography or SUU-42A/A Flares/Infrared decoys and chaff dispenser pods.
The RF-101Bs were delivered in 1971 and allocated to the 192d Tactical Reconnaissance Squadron of the Nevada Air National Guard, where they served only through 1975 because their advanced TV camera system turned out to be costly to operate and prone to failures. Their operational value was very limited and most RF-101Bs were therefore rather used as proficiency trainers than for recce missions. As a consequence, they were already phased out from January 1975 on.
The RF-101Js entered service in 1972 and were allocated to the 147th Reconnaissance Wing of the Texas Air National Guard. Unlike the RF-101Bs’ TV cameras, the AN/APQ-102 SLAR turned out to be reliable and more effective. These machines were so valuable that they even underwent some upgrades: By 1977 the front-view camera under the nose had been replaced with an AN/ASQ-145 Low Light Level TV (LLLTV) camera, sensitive to wavelengths above the visible (0.4 to 0.7 micrometer) wavelengths and ranging into the short-wave Infrared (usually to about 1.0 to 1.1 micrometer). The AN/ASQ-145 complemented the IRDS with visual input and was able to amplify the existing light 60,000 times to produce television images as clearly as if it were noon. In 1980, the RF-101Js were furthermore enabled to carry a centerline pod for the gigantic HIAC-1 LOROP (Long Range Oblique Photography) camera, capable of taking high-resolution images of objects 100 miles (160 km) away.
USAF F-101B interceptors were, as more modern and effective interceptors became available (esp. the F-4 Phantom II), handed off to the Air National Guard, where they served in the fighter role until 1982. Canadian CF-101B interceptors remained in service until 1984 and were replaced by the CF-18 Hornet. The last operational Canadian Voodoo, a single EF-101B (nicknamed the “Electric Voodoo”, a CF-101B outfitted with the jamming system of the EB-57E Canberra and painted all-black) was returned to the United States on 7 April 1987. However, the RF-101Js served with the Texas ANG until 1988, effectively being the last operational Voodoos in the world. They were replaced with RF-4Cs.
General characteristics:
Crew: Two
Length: 67 ft 5 in (20.55 m)
Wingspan: 39 ft 8 in (12.09 m)
Height: 18 ft 0 in (5.49 m)
Wing area: 368 ft² (34.20 m²)
Airfoil: NACA 65A007 mod root, 65A006 mod tip
Empty weight: 28,495 lb (12,925 kg)
Loaded weight: 45,665 lb (20,715 kg)
Max. takeoff weight: 52,400 lb (23,770 kg)
Powerplant:
2× Pratt & Whitney J57-P-55 afterburning turbojets
with 11,990 lbf (53.3 kN) dry thrust and 16,900 lbf (75.2 kN) thrust with afterburner each
Performance:
Maximum speed: Mach 1.72, 1,134 mph (1,825 km/h) at 35,000 ft (10,500 m)
Range: 1,520 mi (2,450 km)
Service ceiling: 54,800 ft (17,800 m)
Rate of climb: 36,500 ft/min (185 m/s)
Wing loading: 124 lb/ft² (607 kg/m²)
Thrust/weight: 0.74
Armament:
None, but two 450 US gal (370 imp gal; 1,700 l) drop-tanks were frequently carried on ventral
hardpoints; alternatively, a central hardpoint could take single, large loads like the HIAC-1 LOROP
camera pod.
A pair of retrofitted underwing hardpoints could carry light loads like ECM jammer pods,
flare/chaff dispensers or photoflash ejectors
The kit and its assembly:
This is another project that I had on my agenda for a long while. It originally started with pictures of an RF-101H gate guard in Louisville at Standiford Field International from around 1987-1991:
imgproc.airliners.net/photos/airliners/6/2/9/1351926.jpg?...
www.aerialvisuals.ca/Airframe/Gallery/0/41/0000041339.jpg
This preserved machine wore a rather unusual (for a Voodoo) ‘Hill’ low-viz scheme with toned-down markings, quite similar to the late USAF F-4 Phantom IIs of the early Eighties. The big aircraft looked quite good in this simple livery, and I kept the idea of a Hill scheme Voodoo in the back of my mind for some years until I recently had the opportunity to buy a cheap Matchbox Voodoo w/o box and decals. With its optional (and unique) RF-101B parts I decided to take the Hill Voodoo idea to the hardware stage and create another submission to the “Reconnaissance and Surveillance” group build at whatifmodellers.com around July 2021: an ANG recce conversion of a former two-seat interceptor, using the RF-101B as benchmark but with a different suite of sensors.
However, the Matchbox Voodoo kit is rather mediocre, and in a rather ambitious mood I decided to “upgrade” the project with a Revell F-101B as the model’s basis. This kit is from 1991 and a MUCH better and finely detailed model than the rather simple Matchbox kit from the early Eighties. In fact, the Revell F-101B is actually a scaled-down version of Monogram’s 1:48 F-101B model kit from 1985, with many delicate details. But while this downscaling practice has produced some very nice 1:72 models like the F-105D or the F-4D, the scaling effect caused IMHO in this case a couple of problems. Revell's assembly instructions for the 1:72 kit are not good, either. While the step-by-step documentation is basically good, some sketches are so cluttered that you cannot tell where parts in the cockpit or on the landing gear are actually intended to be placed and how. This is made worse by the fact that there are no suitable markings on the parts – you are left to guessing.
Worse, there is a massive construction error: the way the wings section is to be assembled and mounted to the hull is impossible! The upper wing halves have locator pins for the fuselage, but they are supposed to be glued to the lower wing half (which also encompasses the aircraft's belly) and the mounted to the hull. The locator pins make this impossible, unless you bend the lower wing section to a point where it might warp or break, or you just cut the pins off - and live with some instability. Technically the upper wing halves have to be mounted to the fuselage before you glue the lower wing section to them, but I am not certain if this would work well because you also have to assemble the air intakes at the same time “from behind”, which is only feasible when the wings have already been completed but still left away from the fuselage. It’s a nonsense construction! I cannot remember when I came across a kit the last time with such an inherent design flaw?
Except for the transplanted RF-101B nose section, which did not fit well because the Matchbox Voodoo apparently has a more slender nose, the Revell kit was built mostly OOB. However, this is already a challenge in itself because of the kit’s inherent flaws (see above), its complex construction and an unorthodox assembly sequence, due to many separate internal modules including the cockpit tub, a separate (fully detailed) front landing gear well, a rotating weapon bay, air intakes with complete ducts, and the wing section. A fiddly affair.
Only a few further changes beyond the characteristic camera fairing under the radome were made. The rotating weapon bay was faired-over with the original weapon pallet, just fixing it into place and using putty to blend it into the belly. The small underwing pylons (an upgrade that actually happened to some late Voodoos) were taken from a vintage Revell F-16. The SLAR antenna fairings along the cockpit flanks were created with 0.5mm styrene sheet and some PSR. They are a little too obvious/protruding, but for a retrofitted solution I find the result acceptable. The drop tanks came from the Revell kit, the underwing ordnance consists of an ALQ-119 ECM pod from a Hasegawa aftermarket set and a SUU-42 dispenser, scratched from a Starfighter ventral drop tank, bomb fins and the back of a Soviet unguided missile launcher.
Painting and markings:
Very simple and basic. While I originally wanted to adopt the simple two-tone ‘Hill’ scheme from the gate guard for my fictional Voodoo, I eventually settled for the very similar but slightly more sophisticated ‘Egypt One’ scheme that was introduced with the first F-16s – it just works better on the F-101’s surfaces. This scheme uses three grey tones: FS 36118 (Gunship Gray, ModelMaster 1723) for the upper wing surfaces, the “saddle” on the fuselage and the canopy area with an anti-glare panel, FS 36270 (Medium Grey, Humbrol 126) on the fin and the fuselage area in front of the wing roots, and FS 36375 (Light Ghost Grey, Humbrol 127) for all lower surfaces, all blended into each other with straight but slightly blurred edges (created with a soft, flat brush). The radome and the conformal antennae on the flanks became Revell 47 for a consistent grey-in-grey look, but with a slightly different shade. The model received an overall black ink washing and some post panel shading, so that the large grey areas would not look too uniform.
As an updated USAF aircraft I changed the color of the landing gear wells’ interior from green zinc chromate primer to more modern, uniform white, even though the red inside of the covers was retained. The interior of the flaps (a nice OOB option of Revell’s kit) and the air brakes became bright red, too.
The cockpit retained its standard medium grey (Humbrol 140, Dark Gull Grey) interior and I used the instrument decals from the kit – even though these did not fit well onto the 3D dashboards and side consoles. WTF? Decal softener came to the rescue. The exhaust area was painted with Revell 91 (Iron) and Humbrol’s Steel Metallizer (27003), later treated with graphite for a dirty, metallic shine.
Markings/decals primarily come from a 1:72 Hi-Decal F-4D sheet that contains (among others) several Texas ANG Phantoms from the mid-Eighties. Some stencils were taken over from the original Voodoo sheet, the yellow formation lights had to be procured from a Hasegawa F-4E/J sheet (the Matchbox sheet was lost and the Revell sheet lacks them completely!). The characteristic deep yellow canopy sealant stripes came from a CF-101 sheet from Winter Valley Decals (today part of Canuck Models as CAD 72008). I was lucky to have them left over from another what-if build MANY moons ago, my fictional CF-151 kitbashing.
Everything went on smoothly, but the walkway markings above the air intakes became a problem. I initially used those from the Revell sheet, which are only the outlines so that the camouflage would still be visible. But the decal film, which is an open square, turned out to be so thin that it wrinkled on the curved surface whatever I tried, and what looked like a crisp black outline on the white decal paper turned out to be a translucent dark blue with blurry edges on the kit. I scrapped them while still wet… Enter plan B: Next came the walkway markings from the aforementioned Winter Valley sheet, which were MUCH better, sharper and opaque, but they included the grey walking areas. While the tone looked O.K. on the sheet it turned out to be much too light for the all-grey Voodoo, standing out and totally ruining the low-viz look. With a bleeding heart I eventually ripped them off of the model with the help of adhesive tape, what left light grey residues. Instead of messing even more with the model I finally decided to embrace this accident and manually added a new black frame to the walkway areas with generic 2mm decal stripe material from TL Modellbau The area now looks rather worn, as if the camouflage had peeled off and light grey primer shows through. An unintentional result, but it looks quite “natural”.
The “Rhino Express” nose art was created with Corel Draw and produced with a simple inkjet printer on clear decal sheet. It was inspired by the “toenail” decoration on the main landing gear covers, a subtle detail I saw IIRC on a late CF-101B and painted onto the model by hand. With its all-grey livery, the rhino theme appeared so appropriate, and the tag on the nose appeared like a natural addition. It’s all not obvious but adds a personal touch to the aircraft.
Finally, after some more exhaust stains had been added to various air outlets around the hull, the model was sealed with matt acrylic varnish, position lights were added with clear paint and the camera windows, which had been created with black decal material, received glossy covers. The IRST sensor was painted with translucent black over a gold base.
Well, while the all-grey USAF livery in itself is quite dull and boring, but I must say that it suits the huge and slender Voodoo well. It emphasizes the aircraft's sleek lines and the Texas ANG fin flash as a colorful counterpoint, as well as the many red interior sections that only show from certain angles, nicely break the adapted low-viz Egypt One livery up. The whole thing looks surprisingly convincing, and the subtle rhino markings add a certain tongue-in-cheek touch.
VL-700 Valefor
As part of the Lego Empire Strategic bombing triad, the VL-700 Valefor offers an intercontinental bombing ability together with a stealthy design and impressive firepower.
More images here; www.flickr.com/photos/einon/
The Valefor is the second largest bomber used by the Imperial Lego Air Force, (twice the size of the real world B-1B Lancer) and it’s among the heaviest combat aircrafts ever built. The VL-700 is designed for both high altitude (flying at over Mach 4,5) and low altitude penetration (at transonic speeds). The variable-geometry wings with their full-span leading-edge slats and trailing-edge double-slotted flaps, confer a useful combination benign low-speed handling and high supersonic speed. The VL-700 has a crew of 6, sitting side by side inside a small and special capsule. Both Pilot and Co-pilot are provided with fighter-type control columns since the Valefor is extremely manoeuvrable. The controls are fully digital and the “fly-by-wire” system is controlled by a Quantic computer, also used for electronic and ECW warfare. The crew is composed of one pilot, one co-pilot, two bombardiers/weapons officers, one navigator/Electronic Warfare operator and one defensive warfare officer. Valefor crews love the aircraft; it has a large compartment for the crew to rest, a galley and two toilets (for both male and female pilots).
In the front of the cockpit is the long, pointed radome for the terrain following and attack radar, with a fairing below it for the forward-looking TV camera used for visual weapon aiming. Intercontinental range is assured by the provision of a fully retractable in-flight refuelling probe.
Located in two nacelles under the inner wing section there are the eight V-5000 Ramjets engines of the Valefor, each delivering 150kN dry thrust and 350kN with afterburner each. So far, they are the most powerful jet engines used in the world, allowing the bomber to fly at the edge of space, almost immune to the enemy AA missiles. The bomber is so fast that no enemy fighter is able to catch it. However, Stealth is the most important asset for the survival of the VL-700.
The need to reduce RCS (radar cross-section) became increasingly important, achieved by paying the most careful attention to achieving a smooth unbroken external surface without cracks and by covering the exterior skin with RAM (radar-absorbent material).
Mounted under the tail is a battery of 250 chaff/flare dispensers. Built into the fuselage is also a defensive avionics, with receiver antennas and jammers located in the tail bullet fairing. The VL-700 also carries a 50mm Gatling radar controlled gun, used to fire both chaff/flares or real ammunition with proximity fuses. The Valefor also carries two defensive launchers for 60 short-range Viper-II air-to-air missiles.
The Valefor offensive warload is carried in two (sometimes three) tandem weapons bays in the belly, with a maximum load of 50 000kg of bombs internally. These can hold a very impressive array of weapons, from anti-ship guided cruise missiles to simple conventional bombs. The bomb bay doors are designed to reduce radar signature and are only opened for a few seconds while the bombs or missiles are dropped.
Six external hardpoints for 30 000 kg of ordnance are also carried, for a total maximum load of 80 000kg (although that rarely happens). These are very useful for tactical missions which do not require high speed penetration, although a Mach 4 evade speed can always be achieve, by ejecting the hardpoints. These are never carried on high-speed missions, which means that on long-range missions, the Valefor usually carries less than 50 000kg of ordnance.
The Naval Aviation version:
The Naval Aviation version of the Valefor, known as VL-700N is a long-range anti-ship version, which can also perform tactical/strategic bombing as well as anti-submarine warfare. For the Anti-ship mission, the naval version carries a forward firing 90mm automatic cannon, used against small ships. It can also carry the D.D.N. and D.D.B. anti-ships missiles as well as smaller missiles. This version carries the XF-3000 forward AESA radar, designed for tracking ships and guiding missiles against them.
For the anti-submarine role, the aircraft carries a MAD pod on the fin and a large launcher for sonobuoys. The XF-3000 radar can also detect submarines near or at the surface. Anti-submarine missiles like the Subkara Mk-1 (warhead: one 460mm torpedo) and Mk-2 (warhead: one 800mm torpedo) are carried inside the bomb bay, as well as 460mm and 800mm torpedos, mines and depth charges. Air-to-surface rockets can also be carried under the wings. The naval Valefor is also used for supporting naval landfelds and attacking convoys, together with the Ofnir, Gerifalte and Firestorm bombers.
Variants:
VL-700E: When designing the VL-700 Valefor, consideration was given to the problem of bomber survivability in a long, lonely flight across a zone of enemy fighter activity and air defence. Therefore the VL-700E was built, an escort plane designed to protect a group of bombers beyond the range of friendly fighters. In addition to a powerful set of electronic countermeasures, the aircraft also carried a larger number of Valkyria and Empire’s Spear Air-to-Air missiles.
Info: Valefor is the name of my favourite Aeon from Final Fantasy X.
More images here; www.flickr.com/photos/einon/
General Characteristics:
Type: Long-range Heavy bomber
Crew: 6
Length: 91,1 metros (mais do dobro do B-1BLancer);
Height: 18,09meters;
Wingspan:
Spread: 85meters;
Swept: 53,02 meters;
Empty Weight: 170 000kg
Loaded Weight: 302 000kg
Max. Takeoff weight: 341 000kg
Powerplant: Eight V-5000 Ramjets; 150kN dry thrust each; 350kN with afterburner, each;
Performance:
Maximum Speed: Mach 4,5 at 25 000m;
Cruise Speed: Mach 1,3 (Super-cruise);
Range: Classified
Service Ceiling: 25 000m;
Rate of Climb: 180 m/s;
Armament:
1 × 50 mm Gatling cannon in remotely controlled tail turret;
Two defensive launchers for 60 Viper II short rangers Air-to-Air missiles;
Six external hardpoints for 30 000 kg of ordnance and two or three internal bomb bays for 50,000 kg of ordnance; options include:
Air-to-air missiles:
8 AA-2020 Valkyria medium-short range missiles for self-defence.
8 AA-2040 “Empire’s Spear” medium-long range missiles;
Air-to-ground missiles:
24 D.D.N. heavy anti-ship missiles;
60 D.D.B. medium anti-ship missiles;
120 AT-2040 “Vulcan” air-to-ground tactical missiles;
12 AT-1500 “Titan” heavy air-to-ground tactical missiles;
8 Subkara Mk-2 anti-submarine missiles;
24 Subkara Mk-1 anti-submarine missiles;
Bombs:
48 “Excalibur” Anti-runway bombs;
12 Valhalla Television-guided glide bombs;
100 Conventional 500kg bombs;
4 Thermobaric 10 000kg bombs;
Various unguided and Cluster bombs, Laser-guided bombs, Napalm, as well as tactical termo-nuclear bombs.
Others:
ECM protection pod, Pave Spike Laser designator pod, Buddy refuelling pack or 5 Drop tanks for extended range/loitering time;
Hope you like it!
More images here; www.flickr.com/photos/einon/
Eínon
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The McDonnell F-101 Voodoo was a supersonic jet fighter which primarily served the United States Air Force (USAF). Initially designed by McDonnell Aircraft as a long-range bomber escort (known as a penetration fighter) for the Strategic Air Command (SAC), the Voodoo was instead developed as a nuclear-armed fighter-bomber for the Tactical Air Command (TAC) and later evolved into an all-weather interceptor as well as into a reconnaissance platform.
The Voodoo's career as a fighter-bomber (F-101A and C) was relatively brief, but the reconnaissance fighter versions served for some time. Along with the US Air Force's Lockheed U-2 and US Navy's Vought RF-8 Crusaders, the RF-101 reconnaissance variant of the Voodoo was instrumental during the Cuban Missile Crisis and saw extensive service during the Vietnam War. Beyond original RF-101 single seaters, a number of former F-101A and Cs were, after the Vietnam era, converted into photo reconnaissance aircraft (as RF-101G and H) for the US Air National Guards.
Delays in the 1954 interceptor project (also known as WS-201A, which spawned to the troubled F-102 Delta Dagger) led to demands for an interim interceptor aircraft design, a role that was eventually won by the Voodoo’s B model. This new role required extensive modifications to add a large radar to the nose of the aircraft, a second crewmember to operate it, and a new weapons bay using a unique rotating door that kept its four AIM-4 Falcon missiles (two of them alternatively replaced by unguided AIR-2 Genie nuclear warhead rockets with 1.5 Kt warheads) semi-recessed under the airframe.
The F-101B was first deployed into service on 5 January 1959, and this interceptor variant was produced in greater numbers than the original F-101A and C fighter bombers, with a total of 479 being delivered by the end of production in 1961. Most of these were delivered to the Air Defense Command (ADC), the only foreign customer was Canada from 1961 onwards (as CF-101B), after the cancellation of the CF-105 Arrow program in February 1959. From 1963–66, USAF F-101Bs were upgraded under the Interceptor Improvement Program (IIP; also known as "Project Bold Journey") with a fire control system enhancement against hostile ECM and an infrared sighting and tracking (IRST) system in the nose in place of the Voodoo’s original hose-and drogue in-flight refueling probe.
The F-101B interceptor later became the basis of further Voodoo versions which were intended to improve the tactical reconnaissance equipment of the US Air National Guards. In the early 1970s, a batch of 22 former Canadian CF-101Bs were returned to the US Air Force and, together with some USAF Voodoos, converted into dedicated reconnaissance aircraft, similar to the former RF-101G/H conversion program for the single-seat F-101A/C fighter bombers.
These modified interceptors were the RF-101B and J variants. Both had their radar replaced with a set of three KS-87B cameras (one looking forward and two as a split vertical left/right unit) and a panoramic KA-56 camera, while the former missile bay carried different sensor and avionics packages.
The RF-101Bs were exclusively built from returned Canadian Voodoos. Beyond the photo camera equipment, they featured upgraded navigational equipment in the former weapon bay and a set of two AXQ-2 TV cameras, an innovative technology of the era. A TV viewfinder was fitted to the cockpit and the system was operated effectively from altitudes of 250 ft at 600 knots.
The other re-built reconnaissance version, the RF-101J, was created from twelve former USAF F-101Bs, all of them from the final production year 1961 and with relatively few flying hours. Beyond the KS-87B/KA-56 camera set in the nose, the RF-101J featured a Goodyear AN/APQ-102 SLAR (Side-looking airborne radar) that occupied most of the interceptor’s former rotating internal weapon bay, which also carried a fairing for a heat exchanger. The radar’s conformal antenna array was placed on either side of the lower nose aft of the cameras and allowed to record radar maps from view to each side of the aircraft and pinpoint moving targets like trucks in a swath channel approximately 10 nautical miles (11.5 miles/18 km) wide. To identify potential targets along the flight path for the SLAR and to classify them, the RF-101J furthermore received an AN/AAS-18 Infrared Detecting Set (IRDS). It replaced the F-101B’s IRST in front of the cockpit and was outwardly the most obvious distinguishing detail from the RF-1010B, which lacked this hump in front of the windscreen. The IRDS’ range was almost six miles (9.5 km) and covered the hemisphere in front of the aircraft. With the help of this cryogenically-cooled device the crewman in the rear cockpit could identify through a monitor small heat signatures like hot engines, firing weapons or campfires, even in rough terrain and hidden under trees.
Both new Voodoo recce versions were unarmed and received AN/APR-36 radar homing and warning sensors to nose and tail. They also had an in-flight refueling receptacle re-fitted, even though this was now only compatible with the USAF’s high-speed refueling boom system and was therefore placed in a dorsal position behind the cockpit. Furthermore, both versions received a pair of unplumbed underwing pylons for light loads, e. g. for AN/ALQ-101,-119 or -184 ECM pods, photoflash ejectors for night photography or SUU-42A/A Flares/Infrared decoys and chaff dispenser pods.
The RF-101Bs were delivered in 1971 and allocated to the 192d Tactical Reconnaissance Squadron of the Nevada Air National Guard, where they served only through 1975 because their advanced TV camera system turned out to be costly to operate and prone to failures. Their operational value was very limited and most RF-101Bs were therefore rather used as proficiency trainers than for recce missions. As a consequence, they were already phased out from January 1975 on.
The RF-101Js entered service in 1972 and were allocated to the 147th Reconnaissance Wing of the Texas Air National Guard. Unlike the RF-101Bs’ TV cameras, the AN/APQ-102 SLAR turned out to be reliable and more effective. These machines were so valuable that they even underwent some upgrades: By 1977 the front-view camera under the nose had been replaced with an AN/ASQ-145 Low Light Level TV (LLLTV) camera, sensitive to wavelengths above the visible (0.4 to 0.7 micrometer) wavelengths and ranging into the short-wave Infrared (usually to about 1.0 to 1.1 micrometer). The AN/ASQ-145 complemented the IRDS with visual input and was able to amplify the existing light 60,000 times to produce television images as clearly as if it were noon. In 1980, the RF-101Js were furthermore enabled to carry a centerline pod for the gigantic HIAC-1 LOROP (Long Range Oblique Photography) camera, capable of taking high-resolution images of objects 100 miles (160 km) away.
USAF F-101B interceptors were, as more modern and effective interceptors became available (esp. the F-4 Phantom II), handed off to the Air National Guard, where they served in the fighter role until 1982. Canadian CF-101B interceptors remained in service until 1984 and were replaced by the CF-18 Hornet. The last operational Canadian Voodoo, a single EF-101B (nicknamed the “Electric Voodoo”, a CF-101B outfitted with the jamming system of the EB-57E Canberra and painted all-black) was returned to the United States on 7 April 1987. However, the RF-101Js served with the Texas ANG until 1988, effectively being the last operational Voodoos in the world. They were replaced with RF-4Cs.
General characteristics:
Crew: Two
Length: 67 ft 5 in (20.55 m)
Wingspan: 39 ft 8 in (12.09 m)
Height: 18 ft 0 in (5.49 m)
Wing area: 368 ft² (34.20 m²)
Airfoil: NACA 65A007 mod root, 65A006 mod tip
Empty weight: 28,495 lb (12,925 kg)
Loaded weight: 45,665 lb (20,715 kg)
Max. takeoff weight: 52,400 lb (23,770 kg)
Powerplant:
2× Pratt & Whitney J57-P-55 afterburning turbojets
with 11,990 lbf (53.3 kN) dry thrust and 16,900 lbf (75.2 kN) thrust with afterburner each
Performance:
Maximum speed: Mach 1.72, 1,134 mph (1,825 km/h) at 35,000 ft (10,500 m)
Range: 1,520 mi (2,450 km)
Service ceiling: 54,800 ft (17,800 m)
Rate of climb: 36,500 ft/min (185 m/s)
Wing loading: 124 lb/ft² (607 kg/m²)
Thrust/weight: 0.74
Armament:
None, but two 450 US gal (370 imp gal; 1,700 l) drop-tanks were frequently carried on ventral
hardpoints; alternatively, a central hardpoint could take single, large loads like the HIAC-1 LOROP
camera pod.
A pair of retrofitted underwing hardpoints could carry light loads like ECM jammer pods,
flare/chaff dispensers or photoflash ejectors
The kit and its assembly:
This is another project that I had on my agenda for a long while. It originally started with pictures of an RF-101H gate guard in Louisville at Standiford Field International from around 1987-1991:
imgproc.airliners.net/photos/airliners/6/2/9/1351926.jpg?...
www.aerialvisuals.ca/Airframe/Gallery/0/41/0000041339.jpg
This preserved machine wore a rather unusual (for a Voodoo) ‘Hill’ low-viz scheme with toned-down markings, quite similar to the late USAF F-4 Phantom IIs of the early Eighties. The big aircraft looked quite good in this simple livery, and I kept the idea of a Hill scheme Voodoo in the back of my mind for some years until I recently had the opportunity to buy a cheap Matchbox Voodoo w/o box and decals. With its optional (and unique) RF-101B parts I decided to take the Hill Voodoo idea to the hardware stage and create another submission to the “Reconnaissance and Surveillance” group build at whatifmodellers.com around July 2021: an ANG recce conversion of a former two-seat interceptor, using the RF-101B as benchmark but with a different suite of sensors.
However, the Matchbox Voodoo kit is rather mediocre, and in a rather ambitious mood I decided to “upgrade” the project with a Revell F-101B as the model’s basis. This kit is from 1991 and a MUCH better and finely detailed model than the rather simple Matchbox kit from the early Eighties. In fact, the Revell F-101B is actually a scaled-down version of Monogram’s 1:48 F-101B model kit from 1985, with many delicate details. But while this downscaling practice has produced some very nice 1:72 models like the F-105D or the F-4D, the scaling effect caused IMHO in this case a couple of problems. Revell's assembly instructions for the 1:72 kit are not good, either. While the step-by-step documentation is basically good, some sketches are so cluttered that you cannot tell where parts in the cockpit or on the landing gear are actually intended to be placed and how. This is made worse by the fact that there are no suitable markings on the parts – you are left to guessing.
Worse, there is a massive construction error: the way the wings section is to be assembled and mounted to the hull is impossible! The upper wing halves have locator pins for the fuselage, but they are supposed to be glued to the lower wing half (which also encompasses the aircraft's belly) and the mounted to the hull. The locator pins make this impossible, unless you bend the lower wing section to a point where it might warp or break, or you just cut the pins off - and live with some instability. Technically the upper wing halves have to be mounted to the fuselage before you glue the lower wing section to them, but I am not certain if this would work well because you also have to assemble the air intakes at the same time “from behind”, which is only feasible when the wings have already been completed but still left away from the fuselage. It’s a nonsense construction! I cannot remember when I came across a kit the last time with such an inherent design flaw?
Except for the transplanted RF-101B nose section, which did not fit well because the Matchbox Voodoo apparently has a more slender nose, the Revell kit was built mostly OOB. However, this is already a challenge in itself because of the kit’s inherent flaws (see above), its complex construction and an unorthodox assembly sequence, due to many separate internal modules including the cockpit tub, a separate (fully detailed) front landing gear well, a rotating weapon bay, air intakes with complete ducts, and the wing section. A fiddly affair.
Only a few further changes beyond the characteristic camera fairing under the radome were made. The rotating weapon bay was faired-over with the original weapon pallet, just fixing it into place and using putty to blend it into the belly. The small underwing pylons (an upgrade that actually happened to some late Voodoos) were taken from a vintage Revell F-16. The SLAR antenna fairings along the cockpit flanks were created with 0.5mm styrene sheet and some PSR. They are a little too obvious/protruding, but for a retrofitted solution I find the result acceptable. The drop tanks came from the Revell kit, the underwing ordnance consists of an ALQ-119 ECM pod from a Hasegawa aftermarket set and a SUU-42 dispenser, scratched from a Starfighter ventral drop tank, bomb fins and the back of a Soviet unguided missile launcher.
Painting and markings:
Very simple and basic. While I originally wanted to adopt the simple two-tone ‘Hill’ scheme from the gate guard for my fictional Voodoo, I eventually settled for the very similar but slightly more sophisticated ‘Egypt One’ scheme that was introduced with the first F-16s – it just works better on the F-101’s surfaces. This scheme uses three grey tones: FS 36118 (Gunship Gray, ModelMaster 1723) for the upper wing surfaces, the “saddle” on the fuselage and the canopy area with an anti-glare panel, FS 36270 (Medium Grey, Humbrol 126) on the fin and the fuselage area in front of the wing roots, and FS 36375 (Light Ghost Grey, Humbrol 127) for all lower surfaces, all blended into each other with straight but slightly blurred edges (created with a soft, flat brush). The radome and the conformal antennae on the flanks became Revell 47 for a consistent grey-in-grey look, but with a slightly different shade. The model received an overall black ink washing and some post panel shading, so that the large grey areas would not look too uniform.
As an updated USAF aircraft I changed the color of the landing gear wells’ interior from green zinc chromate primer to more modern, uniform white, even though the red inside of the covers was retained. The interior of the flaps (a nice OOB option of Revell’s kit) and the air brakes became bright red, too.
The cockpit retained its standard medium grey (Humbrol 140, Dark Gull Grey) interior and I used the instrument decals from the kit – even though these did not fit well onto the 3D dashboards and side consoles. WTF? Decal softener came to the rescue. The exhaust area was painted with Revell 91 (Iron) and Humbrol’s Steel Metallizer (27003), later treated with graphite for a dirty, metallic shine.
Markings/decals primarily come from a 1:72 Hi-Decal F-4D sheet that contains (among others) several Texas ANG Phantoms from the mid-Eighties. Some stencils were taken over from the original Voodoo sheet, the yellow formation lights had to be procured from a Hasegawa F-4E/J sheet (the Matchbox sheet was lost and the Revell sheet lacks them completely!). The characteristic deep yellow canopy sealant stripes came from a CF-101 sheet from Winter Valley Decals (today part of Canuck Models as CAD 72008). I was lucky to have them left over from another what-if build MANY moons ago, my fictional CF-151 kitbashing.
Everything went on smoothly, but the walkway markings above the air intakes became a problem. I initially used those from the Revell sheet, which are only the outlines so that the camouflage would still be visible. But the decal film, which is an open square, turned out to be so thin that it wrinkled on the curved surface whatever I tried, and what looked like a crisp black outline on the white decal paper turned out to be a translucent dark blue with blurry edges on the kit. I scrapped them while still wet… Enter plan B: Next came the walkway markings from the aforementioned Winter Valley sheet, which were MUCH better, sharper and opaque, but they included the grey walking areas. While the tone looked O.K. on the sheet it turned out to be much too light for the all-grey Voodoo, standing out and totally ruining the low-viz look. With a bleeding heart I eventually ripped them off of the model with the help of adhesive tape, what left light grey residues. Instead of messing even more with the model I finally decided to embrace this accident and manually added a new black frame to the walkway areas with generic 2mm decal stripe material from TL Modellbau The area now looks rather worn, as if the camouflage had peeled off and light grey primer shows through. An unintentional result, but it looks quite “natural”.
The “Rhino Express” nose art was created with Corel Draw and produced with a simple inkjet printer on clear decal sheet. It was inspired by the “toenail” decoration on the main landing gear covers, a subtle detail I saw IIRC on a late CF-101B and painted onto the model by hand. With its all-grey livery, the rhino theme appeared so appropriate, and the tag on the nose appeared like a natural addition. It’s all not obvious but adds a personal touch to the aircraft.
Finally, after some more exhaust stains had been added to various air outlets around the hull, the model was sealed with matt acrylic varnish, position lights were added with clear paint and the camera windows, which had been created with black decal material, received glossy covers. The IRST sensor was painted with translucent black over a gold base.
Well, while the all-grey USAF livery in itself is quite dull and boring, but I must say that it suits the huge and slender Voodoo well. It emphasizes the aircraft's sleek lines and the Texas ANG fin flash as a colorful counterpoint, as well as the many red interior sections that only show from certain angles, nicely break the adapted low-viz Egypt One livery up. The whole thing looks surprisingly convincing, and the subtle rhino markings add a certain tongue-in-cheek touch.
Toa of Sapphire
New lost Toa Hagah
Name: Kyrehx
Element: Crystal (Earth)
Mask: Mahō/Mahou
(Mahou Sentai Magiranger)
Powers: grants creative and different effects to his weapon and crystal projectiles
Abilities: Crystals grow on the lances blades for extra damage, deep penetration and explode after a short time and can be launched at rapid speed directed at an opponent, these crystals are far stronger & more durable then naturally grown crystals and even ice. To limit himself from being over powered, he choices three unique skills and abilities out of the many possibilities to better manage his powers.
this means he may know many ways to defend himself & fight back with his Crystal element & weapon, but picks three of his favorite offensives and defensive's, even traps, healing and anything that could become useful later. Kyrehx also has a one percent chance of creating a Toa Stone met, a higher chance for one to spawn is when requirements are met, however, the Makuta are aware and so are the Piraka, keeping an eye out for them and standing by in the shadows, waiting to steal it for themselves.
Secondary Kanohi: Mangai Mirukama
(Miru x Kakama)
the upgraded mask of speed allows the user to launch at high speed that rivals a comets fury and acceleration, Toa Kyrehx is covered in crystal armor for extra defense and damage, impacting the target at full force. The increased speed allows the user to perform the Nova Strike, a powerful tackle that rockets at rapid speeds that breaks the sound barrier, a trail of bright light follows behind the boosted sprinter and leaves a large creator from the assault. This special ability takes some time to charge & alot of energy. it also lets the user soar while dashing at mach speed. The user can still run with great agility while the nova strike charges up again, this experimental mask also keeps the user safe in his own speed force. max speed rivals Samus's speed boost
Toa Kyrehx comes from another universe similar to the canon/main time line, his home was also like Metru-Nui and part island Mata Nui, it too was conquered by the Makuta, but it was Miserix who was ruling with a proto-iron claw fist, he was far more successful than Terridax, who in this universe, Miserix's and Terridax's roles are reversed, Miserix as the main villain, while Terridax is completely left out, Miserix is above even the shadowed one as well, leading an army of Kanohi Dragons, even with far more aggressive, stronger and horrifying Rahi. lower ranked Makuta & Piraka raided villages and work sites, searching for Toa Stones and matoran with Potential, slaying all the Toa and capture every last matoran to later reprogram to serve Miserex, it would be later be reported of a Toa who can make Toa Stones, Miserix would make sure to take the advantage of this stone for himself to create his own Shadow Toa, ordering some lower rank Makuta & Piraka to keep watch for this mysterious Toa, following a lead to where Toa Kyrehx last was, with very few survivors left, he would have no choice to leave to another world, gather more toa and come back, moments before Kyrehx could depart, the piraka attack, the explosion blasted Kyrehx into a portal created by the Kanohi Olmak as it was warming up, Kyrehx flew through Time & Space, taking a similar Journey as Takanuva, even passing by him in a hurry as they both had a important mission to do, briefly stopping in Karda-Nui and even the Canon Timeline, but the Makuta had already awakened in the largest Robot body, would Kyrehx find more warriors and take back his home?
4. Anal Toys to Fuck the Ass:
Anal play and the anal trainer is usually not used to "fuck the ass". By that, I mean that those analsex toys are designed to be inserted and are to remain inserted for a period of time. "Anal fucking" toys are...
The broken blue line above is the partly surmised final path of the British Whippet Tank "The Musical Box", in what would prove to be a 10km penetration behind enemy lines on 8 August 1918. This approximate route is based on the personal account included below, in combination with an analysis of the Australian War Memorial's photographic evidence and googlemaps. That account below is part of an excerpt of The Tank Corps, by Major Clough Williams-Ellis and A. Williams-Ellis, which covers "The Musical Box's" escapade, as recalled by its commander, Lt Clem Arnold, some 5 months after the event.
Note that a "large aerodrome" is mentioned by Lt. Arnold, however, the nearest one is Cappy, which was about 9 km N-E of Harbonnières (just over three months earlier this was the airfield von Richthofen took off from for his last fatal flight, crashing about 13km N-W of Harbonnières).
Also, Lt Arnold mentions seeing "a burning train" before seeing the aerodrome. This correlates with the capture of the train towing a 28,cm SK L/40 "Bruno" Eisenbahnkannone (aka the "Amiens Gun"), by the British 1st Cavalry Brigade & Australian 8th Infantry Brigade just to the N-E of Harbonnières - a carriage of which had caught fire.
It would seem for Lt. Arnold to have any opportunity of clearly seeing Cappy airfield and train, the Whippet would have had to have ventured up into the area N-E of Harbonnières. How far N-E the tank ventured is not clear. What is clear is the Whippet's final resting spot, which is the S-E of the village. As the montage shows, this can be definitively established by comparing the AWM photographs with googlemaps. Note that location is also consistent with the closing statement in the excerpt below:
"THE BATTLE OF AMIENS 303
Zero hour had been postponed three hours, but this was not known till later.
Being unable to obtain touch with the cavalry, assistance was rendered about noon to Canadian infantry attacking Beaufort and Warvillers. This attack was successful and Whippets rendered great assistance.
Far happier was the lot of certain Whippets which played an independent part. The following is a firsthand account of the adventures of one such machine, the ever-to-be-remembered Whippet, “ Musical Box.”
As the story will show, for many months no news was obtained of the fate of the machine or of her crew of one
officer, Lieutenant C. B. Arnold, and two men, Gunner Ribbans and Driver Carney, and it was not till January 1919 that the following amazing tale appeared in Weekly Tank Notes : —
“ On August 8, 1918, I commanded Whippet ‘ Musical Box ’ in ‘ B ’ Company, 6th Battalion. We left the lying-up point at zero (4.20 p.m.) and proceeded across country to the south side of the railway at Villers-Bretonneux. We crossed the railway, in column of sections, by the bridge on the eastern outskirts of the town. I reached the British front line and passed through the Australian infantry and some of our heavy Tanks ( Mark V.), in company with the remainder of the Whippets of 1 B ’ Company. Four sections of ‘ B ’ Company proceeded parallel with the railway (Amiens-Ham) across country due east.
After proceeding about 2000 yards in this direction I found myself to be the leading machine, owing to the others having become ditched, etc. To my immediate front I could see more Mark V. Tanks being followed very closely by Australian infantry. About this time we came under direct shellfire from a 4-gun field battery, of which I could see the flashes, between Abancourt and Bayonvillers.
Two Mark V. Tanks, on my right, were knocked out. I saw clouds of smoke coming out of these machines and the crews evacuate them. The infantry following the heavy machines were suffering casualties from this battery. I turned half-left and ran diagonally across the front of the battery, at a distance of about GOO yards. Both my guns were able to fire on the battery, in spite of which they got off about eight rounds at me without damage, but sufficiently close to be audible inside the cab, and I could see the flash of each gun as it fired.
By this time I had passed behind a belt of trees running along a roadside. I ran along this belt until level with the battery, when I turned full-right and engaged the battery in rear. On observing our appearance from the belt of trees, the gunners, some thirty in number, abandoned their guns and tried to get away. Gunner Ribbans and I accounted for the whole lot.
I cruised forward, making a detour to the left, and shot a number of the enemy, who appeared to be demoralised, and were moving about the country in all directions. This detour brought me back to the railway siding N.N.W. of Guillaucourt. I could now see other Whippets coming up and a few Mark V.’s also.
The Australian infantry, who followed magnificently, had now passed through the battery position which we had accounted for and were lying in a sunken road about 400 yards past the battery and slightly to the left of it. I got out of my machine and went to an Australian full Lieutenant and asked if he wanted any help. Whilst talking to him, he received a bullet which struck the metal shoulder title, a piece of the bullet-casing entering his shoulder.
While he was being dressed, Major Rycroft (horse) and Lieutenant Waterhouse (Tanks) and Captain Strachan of ‘B’ Company, 6th Battalion, arrived and received confirmation from the Australian officer of our having knocked out the field battery. I told Major Rycroft what we had done, and then moved off again at once, as it appeared to be unwise for four machines (Lieutenant Watkins had also arrived) to remain stationary at one spot.
I proceeded parallel with the railway embankment in an easterly direction, passing through two cavalry patrols of about twelve men each. The first patrol was receiving casualties from a party of enemy in a field of corn. I dealt with this, killing three or four, the remainder escaping out of sight into the corn.
Proceeding further east, I saw the second patrol pursuing six enemy. The leading horse was so tired that he was not gaining appreciably on the rearmost Hun. Some of the leading fugitives turned about and fired at the cavalryman when his sword was stretched out and practically touching the back of the last Hun. Horse and rider were brought down on the left of the road. The remainder of the cavalrymen deployed to right, coming in close under the railway embankment, where they dismounted and came under fire from the enemy, who had now taken up a position on the railway bridge, and were firing over the parapet, inflicting one or two casualties.
I ran the machine up until we had a clear view of the bridge, and killed four of the enemy with one long burst, the other two running across the bridge and on down the opposite slope out of sight. On our left I could see, about three- quarters of a mile away, a train on fire being towed by an engine. I proceeded further east, still parallel to the railway, and approached carefully a small valley marked on my map as containing Boche hutments.
As I entered the valley (between Bayonvillers and Harbonnieres) at right angles, many enemy were visible packing kits and others retiring. On our opening fire on the nearest, many others appeared from huts, making for the end of the valley, their object being to get over the embankment and so out of our sight. We accounted for many of these. I cruised round, Ribbans went into one of the huts and returned, and we counted about sixty dead and wounded. There were evidences of shell-fire amongst the huts, but we certainly accounted for most of the casualties counted there.
I turned left from the railway and cruised across country, as lines of enemy infantry could be seen retiring. We fired at these many times at ranges of 200 yards to 600 yards. These targets were fleeting, owing to the enemy getting down into the corn when fired on. In spite of this, many casualties must have been inflicted, as we cruised up and down for at least an hour. I did not see any more of our troops or machines after leaving the cavalry patrols already referred to.
During the cruising, being the only machine to get through, we invariably received intense rifle and machine-gun fire. I would here beg to suggest that no petrol be carried on the outside of the machine, as under orders we were carrying nine tins of petrol on the roof, for refilling purposes when well into the enemy lines (should opportunity occur). The perforated tins allowed the petrol to run all over the cab. These fumes, combined with the intense bullet splash and the great heat after being in action (by this time) nine to ten hours, made it necessary at this point to breathe through the mouthpiece of the box respirator, without actually wearing the mask.
At 2 p.m. or thereabouts I again proceeded east, parallel to the railway and about 100 yards north of it. I could see a large aerodrome and also an observation balloon at a height of about 200 ft. I could also see great quantities of motor and horse transport moving in all directions. Over the top of another ridge on my left I could see the cover of a lorry coming in my direction ; I moved up out of sight and waited until he topped the bridge, when I shot the driver. The lorry ran into a right-hand ditch.
The railway had now come out of the cutting in which it had rested all the while, and I could see both sides of it. I could see a long line of men retiring on both sides of the railway, and fired at these at ranges of 400 to 500 yards, inflicting heavy casualties. I passed through these and also accounted for one horse and the driver of a two-horse canvas-covered wagon on the far side of the railway.
We now crossed a small road which crossed the main railway, and came in view of large horse and wagon lines — which ran across the railway and close to it. Gunner Ribbans (R.H. gun) here had a view of south side of railway and fired continuously into motor and horse transport moving on three roads (one north and south, one almost parallel to the railway, and one diagonally between these two). I fired many bursts at 600 to 800 yards at transport blocking roads on my left, causing great confusion. Rifle and machine-gun fire was not heavy at this time, owing to our sudden appearance, as the roads were all banked up in order to cross the railway. There were about twelve men in the middle aisle of these lines. I fired a long burst at these. Some went down and others got in amongst the wheels and undergrowth.
I turned quarter-left towards a small copse, where there were more horses and men, about 200 yards away. On the way across we met the most intense rifle and machine- gun fire imaginable from all sides. When at all possible, we returned the fire, until the L.H. revolver port cover was shot away. I withdrew the forward gun, locked the mounting and held the body of the gun against the hole. Petrol was still running down the inside of the back door. Fumes and heat combined were very bad. We were still moving forward and I was shouting to Driver Carney to turn about, as it was impossible to continue the action, when two heavy concussions closely followed one another and the cab burst into flames.
Carney and Ribbans got to the door and collapsed. I was almost overcome, but managed to get the door open and fell out on to the ground, and was able to drag out the other two men. Burning petrol was running on to the ground where we were lying. The fresh air revived us, and we all got up and made a short rush to get away from the burning petrol. We were all on fire. In this rush Carney was shot in the stomach and killed. We rolled over and over to try to extinguish the fumes.
I saw numbers of the enemy approaching from all round. The first arrival came for me with a rifle and bayonet. I got hold of this, and the point of the bayonet entered my right forearm. The second man struck at my head with the butt end of his rifle, hit my shoulder and neck, and knocked me down. When I came to, there were dozens all round me, and any one who could reach me did so and I was well kicked. They were furious. Ribbans and I were taken away and stood by ourselves about twenty yards clear of the crowd. An argument ensued, and we were eventually marched to a dug-out where paper bandages were put on our hands. Our faces were left as they were.
We were then marched down the road to the main railway. There we joined a party of about eight enemy, and marched past a field kitchen, where I made signs for food. We had had nothing since 8.30 p.m. on the night previous to the action, and it was 3.30 p.m. when we were set on fire. We went on to a village where, on my intelligence map, a Divisional Headquarters had been marked. An elderly stout officer interrogated me, asking if I was an officer. I said ‘ Yes.’ He then asked various other questions, to which I replied, ‘ I do not know.’ He said, i Do you mean you do not know or you will not tell me? ’ I said, ‘ You can take it whichever way you wish.’ He then struck me in the face, and went away.
We went on to Cliaulone to a canvas hospital, on the right side of the railway, where I was injected with anti-tetanus. Later I was again interrogated, with the same result as above, except that instead of being struck,I received five days’ solitary confinement in a room with no window, and only a small piece of bread and a bowl of soup each day. On the fifth day I was again interrogated, and said the same as before. I said that he had no right to give me solitary confinement, and that unless I were released, I should, at first opportunity, report him to the highest possible authority.
The next day I was sent away, and eventually reached the camp at Freiburg, when I found my brother, Captain A. E. Arnold, M.C., Tank Corps. The conduct of Gunner Ribbans and Driver Carney was beyond all praise throughout. Driver Carney drove from Villers-Bretonneux onwards.
“ (Signed) C. B. Arnold, Lieut.,
“ 6th Tank Battalion.
“January 1, 1919.”
The Tank w T as found close to the small railway on the eastern side of the Harbonnieres-Rosieres Road. "
Source: