The National Gallery of Australia, designed by Colin Madigan, is a notable example of Brutalist architecture, characterized by its use of raw concrete and bold geometric forms. The building features sharp angles, flat surfaces, and imposing massing, emphasizing a sense of permanence and functionality. Its horizontal lines and large volumes create an austere yet striking visual impact, with a design that prioritizes form over decoration.

The gallery’s layout is focused on function, with open, spacious galleries and minimal ornamentation. The design is meant to serve the practical needs of displaying art, with a utilitarian approach that reflects the Brutalist ethos. The building's raw materials and geometric precision combine to create a functional and straightforward structure, aligning with the Brutalist emphasis on utility and simplicity.

+++ 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 CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

Featured here is a 2D vector graphic of the Volkswagen Golf Cabriolet. The UK has long held a special, if slightly ambitious, appetite for convertibles—perhaps driven by our perennial love for seizing those rare moments of British sunshine.

However, these days, finding a new soft-top on the market is becoming a challenge. As of 2026, new convertible models have dwindled to a 26-year low. It’s a bittersweet transition for enthusiasts; as brands prioritize SUVs and high-riding vehicles, the days of the accessible, mainstream cabriolet seem to be fading into the rearview mirror.

#VWGolf #Cabriolet #VectorArt #UKCarCulture #OpenTopDriving #CarPhotography

My building's laundry room has been closed for nearly a month, as they got new machines, waited for the card reader to be installed, repainted the floor, etc. Tonight they reopened it, complete with company rep to show us how to use the machines and give us a card loaded with $5.

But the best part? If you wanted to bring your laundry RIGHT THEN, the rep'd pay for it. So I did two ginormous loads--all my sheets, all my towels, a backlog of clothing that I'd not prioritized for *months*. There were socks in there. I don't know the last time I wore a pair of socks!

During the Capacity Development - Financial Sector Stability session at the 2019 IMF/World Bank Spring Meetings at IMF Headquarters April 10, 2019 in Washington, DC, Nico Valckx, Naoto Osawa, and Tumubweine Twinemanzi answe the questions : How can policymakers implement a strong reform agenda? Join us to learn how countries such as Uganda are using targeted tools like the Financial Sector Stability Review, so they can prioritize reforms and build a more resilient financial sector. IMF Photograph/Joshua Roberts

Components like stickies, index cards and the note sheets work best for my brain to keep on top of projects and actions. Plus, it's easier to sort and prioritize, then physically check these off by pitching in recycling or flipping over to re-purpose.

w00t! Pushing 2300 views!

Fatima-Zahra Ma-el-ainin, Advisory Council, Rabat Hub, Morocco, speaking in the Prioritizing Mental Health session at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 23 May. Congress Centre - Ignite. Copyright: World Economic Forum/ Valeriano de Domenico

+++ 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 CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

WASHINGTON – Secretary of Homeland Security John Kelly meets with King Abdullah II of Jordan to discuss the Department’s cooperation with Jordan on regional security issues and efforts to strengthen the U.S.-Jordanian relationship in Washington, D.C., Jan. 30, 2017. Secretary Kelly and King Abdullah II discussed the mutual prioritization of continued security cooperation, particularly as it relates to the pressure Jordan faces from regional threats and protecting Jordan’s northern border with Syria from foreign terrorist fighters. Secretary Kelly and King Abdullah II spoke about the importance of countering violent extremism, and Secretary Kelly pledged his support to work with Jordan to confront the Islamic State of Iraq and the Levant. Official DHS photo by Barry Bahler.

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

Schedule Management. It took getting back in school to really organize and prioritize my time. And ironically I got myself prioritized and ready for school, so I could take a class on time management. Brilliant.

I do keep this calendar in front of me most of the day. I also keep a desk calendar on my wall at home and on my desk at the office so I can see what is happening on the month level- not just the daily and weekly. It’s been actually motivating to keep this up. My personal opinion is that you can never be too organized!

Why wear a continuous glucose monitor?

Too much glucose in your bloodstream is toxic, too little is fatal. Our bodies prioritize by keeping us sick and alive (with obesity, high blood pressure, heart disease, diabetes) in the former condition, and manufacturing glucose in the latter. Because of this, too much blood glucose is common, too little blood glucose is rare.

A continuous glucose monitor is another - provides minute by minute information about how the body handles this tightly controlled metabolite. Currently, these are used for people with diabetes (unfortunately a greater % of the population), eventually, as is being discussed, this technology may be embedded in the Apple Watch.

In terms of the product, I am fascinated by the color combinations chosen - the blue and yellow are clearly a complementary pair, making the device itself a color harmony.

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our 100 year old stucco has needed paiting and repairs for 10 years and for past five Kris has waited as I said "oh I'll do it next summer" while prioritizing building a sauna, chicken coop and treehouse movie theater.

so now kris made it a priority to get someone else is painting the house which is probably for the best anyway :-)

now we’re under the gun to pick a color, have looked at dozens of samples on the house AND NOW IT’S THE VERY LAST DAY TO MAKE A DECISION!

decisions were decided but we went with a tricky blue and we're still not 100% sure it's the "right" blue!

This Museum of Modern Art exemplifies a minimalist, brutalist-inspired aesthetic that prioritizes raw materials and a seamless connection with the landscape. The structure is characterized by extensive use of exposed cast-in-place concrete, featuring visible tie-rod holes and a natural, textured finish on both interior and exterior surfaces. Large-scale floor-to-ceiling glazing serves as a primary architectural element, dissolving the boundaries between the gallery spaces and the surrounding lush greenery and water features. This transparency ensures that the natural environment acts as a living backdrop for the art, while the repetitive, rhythmic placement of slender mullions provides a sense of mathematical order and linear perspective.

The design utilizes bold, geometric forms and dramatic interplay between light and shadow to create a contemplative atmosphere. Long, narrow corridors function as transitional galleries, where natural light pours in through the glass walls to cast sharp, rhythmic shadows across the polished concrete floors. Externally, the museum experiments with textural contrasts, such as the juxtaposition of rigid concrete walls against soft, draped fabric installations that break the building's orthogonal lines. By integrating reflective water pools and expansive lawns, the architecture creates a serene, campus-like setting that encourages a slow, meditative progression through the various exhibition spaces.

“We are hoping for transparency in the upcoming elections. We expect to elect a leader that will focus on the wellbeing of the Somali people, prioritize addressing the plight of the poor people as well as generating employment opportunities for the youth,” Shambow Khalif, a kiosk owner in Mogadishu, Somalia, on February 15, 2016. AMISOM Photo / Ilyas Ahmed

SUN VALLEY - LAFD responded to 9360 North Telfair Avenue at 1:02 AM on Wednesday, June 9, 2021 for an auto fire that spread into nearby vegetation. Firefighters prioritized the brush first, then extinguished the burning auto, without injury. The cause of the fire is yet to be determined.

© Photo by Ismael Miranda

LAFD Incident: 060921-0073

Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk

"The Jefferson Memorial is a presidential memorial built in Washington, D.C. between 1939 and 1943 in honor of Thomas Jefferson, the principal author of the United States Declaration of Independence, a central intellectual force behind the American Revolution, founder of the Democratic-Republican Party, and the nation's third president.

The Jefferson Memorial features multiple Jefferson quotes designed to capture Jefferson's ideology and philosophy, known as Jeffersonian democracy, which was staunchly supportive of American republicanism, individual rights, religious freedom, states' rights, and virtue and prioritized and valued what he saw as the undervalued independent yeoman. Jefferson was simultaneously deeply skeptical of cities and financiers and hostile to aristocracy, elitism, and corruption. He is widely considered among the most influential political minds of his age and one of the most consequential intellectual forces behind the American Revolution.

The Jefferson Memorial is built in neoclassical style and is situated in West Potomac Park on the shore of the Potomac River. It was designed by John Russell Pope, a New York City architect, and built by Philadelphia contractor John McShain. Construction on it began in 1939 and was completed in 1943, though the bronze statue of Jefferson was not completed and added until four years after its dedication and opening, in 1947. Pope made references to the Roman Pantheon, whose designer was Apollodorus of Damascus, and to Jefferson's own design for the rotunda at the University of Virginia as inspirations for the memorial's aesthetics.

The Jefferson Memorial and White House form a main anchor point to the National Mall in Washington, D.C. The Washington Monument, initially intended to be built at the intersection of the White House and the Jefferson Memorial's site, was ultimately built further east because the ground at that location was deemed too soft and swampy.

The Jefferson Memorial is a designated national memorial and is managed by the National Park Service of the U.S. Department of the Interior's National Mall and Memorial Parks division. In 1966, the Jefferson Memorial was named to the National Register of Historic Places. In 2007, it ranked fourth on the "list of America's favorite architecture", published by the American Institute of Architects.

The National Mall is a landscaped park near the downtown area of Washington, D.C., the capital city of the United States, and contains and borders a number of museums of the Smithsonian Institution, art galleries, cultural institutions, and various memorials, sculptures, and statues. It is administered by the National Park Service (NPS) of the United States Department of the Interior as part of the National Mall and Memorial Parks unit of the National Park System. The park receives approximately 24 million visitors each year.

The core area of the National Mall extends between the United States Capitol grounds to the east and the Washington Monument to the west and is lined to the north and south by several museums and a federal office building. The term National Mall may also include areas that are also officially part of neighboring West Potomac Park to the south and west and Constitution Gardens to the north, extending to the Lincoln Memorial on the west and Jefferson Memorial to the south.

Washington, D.C., formally the District of Columbia, also known as just Washington or simply D.C., is the capital city and federal district of the United States. It is located on the east bank of the Potomac River, which forms its southwestern and southern border with the U.S. state of Virginia, and it shares a land border with the U.S. state of Maryland on its other sides. The city was named for George Washington, a Founding Father and the first president of the United States, and the federal district is named after Columbia, the female personification of the nation. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. It is one of the most visited cities in the U.S. with over 20 million annual visitors as of 2016.

The U.S. Constitution provides for a federal district under the exclusive jurisdiction of Congress; the district is not a part of any U.S. state (nor is it one itself). The signing of the Residence Act on July 16, 1790, approved the creation of the capital district located along the Potomac River near the country's East Coast. The City of Washington was founded in 1791, and Congress held its first session there in 1800. In 1801, the territory, formerly part of Maryland and Virginia (including the settlements of Georgetown and Alexandria), officially became recognized as the federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria; in 1871, it created a single municipal government for the remaining portion of the district. There have been efforts to make the city into a state since the 1880s, a movement that has gained momentum in recent years, and a statehood bill passed the House of Representatives in 2021.

The city is divided into quadrants centered on the Capitol, and there are as many as 131 neighborhoods. According to the 2020 census, it has a population of 689,545, which makes it the 23rd most populous city in the U.S. as of 2020, the third most populous city in the Mid-Atlantic, and gives it a population larger than that of two U.S. states: Wyoming and Vermont. Commuters from the surrounding Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. Washington's metropolitan area, the country's sixth largest (including parts of Maryland, Virginia and West Virginia), had a 2020 estimated population of 6.3 million residents; and over 54 million people live within 250 mi (400 km) of the District.

The three branches of the U.S. federal government are centered in the district: Congress (legislative), the president (executive), and the Supreme Court (judicial). Washington is home to many national monuments and museums, primarily situated on or around the National Mall. The city hosts 177 foreign embassies as well as the headquarters of many international organizations, trade unions, non-profits, lobbying groups, and professional associations, including the World Bank Group, the International Monetary Fund, the Organization of American States, AARP, the National Geographic Society, the American Red Cross, and others.

A locally elected mayor and a 13-member council have governed the district since 1973. Congress maintains supreme authority over the city and may overturn local laws. The District of Columbia does not have representation in Congress, although D.C. residents elect a single at-large congressional delegate to the House of Representatives who has no vote. District voters choose three presidential electors in accordance with the Twenty-third Amendment to the United States Constitution, ratified in 1961." - info from Wikipedia.

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

Now on Instagram.

Become a patron to my photography on Patreon or donate.

"The Jefferson Memorial is a presidential memorial built in Washington, D.C. between 1939 and 1943 in honor of Thomas Jefferson, the principal author of the United States Declaration of Independence, a central intellectual force behind the American Revolution, founder of the Democratic-Republican Party, and the nation's third president.

The Jefferson Memorial features multiple Jefferson quotes designed to capture Jefferson's ideology and philosophy, known as Jeffersonian democracy, which was staunchly supportive of American republicanism, individual rights, religious freedom, states' rights, and virtue and prioritized and valued what he saw as the undervalued independent yeoman. Jefferson was simultaneously deeply skeptical of cities and financiers and hostile to aristocracy, elitism, and corruption. He is widely considered among the most influential political minds of his age and one of the most consequential intellectual forces behind the American Revolution.

The Jefferson Memorial is built in neoclassical style and is situated in West Potomac Park on the shore of the Potomac River. It was designed by John Russell Pope, a New York City architect, and built by Philadelphia contractor John McShain. Construction on it began in 1939 and was completed in 1943, though the bronze statue of Jefferson was not completed and added until four years after its dedication and opening, in 1947. Pope made references to the Roman Pantheon, whose designer was Apollodorus of Damascus, and to Jefferson's own design for the rotunda at the University of Virginia as inspirations for the memorial's aesthetics.

The Jefferson Memorial and White House form a main anchor point to the National Mall in Washington, D.C. The Washington Monument, initially intended to be built at the intersection of the White House and the Jefferson Memorial's site, was ultimately built further east because the ground at that location was deemed too soft and swampy.

The Jefferson Memorial is a designated national memorial and is managed by the National Park Service of the U.S. Department of the Interior's National Mall and Memorial Parks division. In 1966, the Jefferson Memorial was named to the National Register of Historic Places. In 2007, it ranked fourth on the "list of America's favorite architecture", published by the American Institute of Architects.

The National Mall is a landscaped park near the downtown area of Washington, D.C., the capital city of the United States, and contains and borders a number of museums of the Smithsonian Institution, art galleries, cultural institutions, and various memorials, sculptures, and statues. It is administered by the National Park Service (NPS) of the United States Department of the Interior as part of the National Mall and Memorial Parks unit of the National Park System. The park receives approximately 24 million visitors each year.

The core area of the National Mall extends between the United States Capitol grounds to the east and the Washington Monument to the west and is lined to the north and south by several museums and a federal office building. The term National Mall may also include areas that are also officially part of neighboring West Potomac Park to the south and west and Constitution Gardens to the north, extending to the Lincoln Memorial on the west and Jefferson Memorial to the south.

Washington, D.C., formally the District of Columbia, also known as just Washington or simply D.C., is the capital city and federal district of the United States. It is located on the east bank of the Potomac River, which forms its southwestern and southern border with the U.S. state of Virginia, and it shares a land border with the U.S. state of Maryland on its other sides. The city was named for George Washington, a Founding Father and the first president of the United States, and the federal district is named after Columbia, the female personification of the nation. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. It is one of the most visited cities in the U.S. with over 20 million annual visitors as of 2016.

The U.S. Constitution provides for a federal district under the exclusive jurisdiction of Congress; the district is not a part of any U.S. state (nor is it one itself). The signing of the Residence Act on July 16, 1790, approved the creation of the capital district located along the Potomac River near the country's East Coast. The City of Washington was founded in 1791, and Congress held its first session there in 1800. In 1801, the territory, formerly part of Maryland and Virginia (including the settlements of Georgetown and Alexandria), officially became recognized as the federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria; in 1871, it created a single municipal government for the remaining portion of the district. There have been efforts to make the city into a state since the 1880s, a movement that has gained momentum in recent years, and a statehood bill passed the House of Representatives in 2021.

The city is divided into quadrants centered on the Capitol, and there are as many as 131 neighborhoods. According to the 2020 census, it has a population of 689,545, which makes it the 23rd most populous city in the U.S. as of 2020, the third most populous city in the Mid-Atlantic, and gives it a population larger than that of two U.S. states: Wyoming and Vermont. Commuters from the surrounding Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. Washington's metropolitan area, the country's sixth largest (including parts of Maryland, Virginia and West Virginia), had a 2020 estimated population of 6.3 million residents; and over 54 million people live within 250 mi (400 km) of the District.

The three branches of the U.S. federal government are centered in the district: Congress (legislative), the president (executive), and the Supreme Court (judicial). Washington is home to many national monuments and museums, primarily situated on or around the National Mall. The city hosts 177 foreign embassies as well as the headquarters of many international organizations, trade unions, non-profits, lobbying groups, and professional associations, including the World Bank Group, the International Monetary Fund, the Organization of American States, AARP, the National Geographic Society, the American Red Cross, and others.

A locally elected mayor and a 13-member council have governed the district since 1973. Congress maintains supreme authority over the city and may overturn local laws. The District of Columbia does not have representation in Congress, although D.C. residents elect a single at-large congressional delegate to the House of Representatives who has no vote. District voters choose three presidential electors in accordance with the Twenty-third Amendment to the United States Constitution, ratified in 1961." - info from Wikipedia.

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

Now on Instagram.

Become a patron to my photography on Patreon.

via Instagram ift.tt/2qklXLX

Participants in the Prioritizing Mental Health session at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 23 May. Congress Centre - Ignite. Copyright: World Economic Forum/ Valeriano de Domenico

Nice pool, bright sun, pretty girls, warm hot tub, cold drinks. Put down the phone.

deux [2] de trois six cinq.

okay, trying to figure out editing process still!

"she NEEDS to sort out her priorities." that would be Ron talking to Harry about how Hermione has poor prioritization (she said it would be worse to be expelled from Hogwarts than get eaten by Fluffy). i'm only blabbing about this because i should be working on my history presentation that's due tomorrow but instead drifted over to picture taking. meaning i have poor prioritization as well although not as school-oriented as that Hermione. oh well...

and sorry if prioritization is not a word, i just don't know.

Take care of yourself - tự chăm sóc bản thân. Bạn OK, thế giới OK. Cơ thể khoẻ, tâm trí khoẻ, thì chuyện gì cũng có cách giải quyết của vũ trụ. Đừng tự mang vào người cái ách nô lệ chẳng ai khen ngợi. Self-care là chăm sóc bản thân, không phải là selfish - ích kỷ. Take care cho bản thân trước đã, rồi mới có năng lượng take care cho người xung quanh. Như đi máy bay thôi, trong trường hợp emergency, đeo mặt nạ dưỡng khí cho mình, rồi mới lo cho người khác. Đừng tự cảm thấy có lỗi, vì mình chăm sóc chưa được cho người khác. Con người sinh ra, mỗi người đều có trách nhiệm tự chăm sóc cho bản thân mình. Tại mỗi giai đoạn cuộc đời, ta prioritize - sắp xếp thứ tự ưu tiên khác nhau. Khi gia đình nằm trên, khi công việc nằm trên, khi xã hội nằm trên. Thiên thời thế nào, ta biến hoá không lường thế ấy. Đâu có công thức chung là ta phải theo thứ tự nào đâu. Take care of yourself, chăm sóc mình trước đã. Don't die starting up. Don't work yourself to death. Đừng ngã gục, chỉ vì mục tiêu công danh phía trước. You define your own balance - thế thăng bằng của mỗi người, là do ta quyết định.

www.youtube.com/watch?v=rzRm4K7NZm0&feature=related

Troubled Mind - Sister Rosetta Tharpe

( Strongly adivsed to watch this outstanding and unique video )

The architect is ...

Quite possibly

Suffering from ...

A troubled mind

or

Is a Tim Leary disciple !

:-)

g

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

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وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

She is in charge of the ballet in Cotacachi a very kind woman who prioritize her family always.

Cotacachi, Ecuador

030819 - WASHINGTON DC., Managing Director and Chairwoman of the IMF Christine Lagarde and Interim WBG President Kristalina Georgieva engage in a conversation on their pioneering leadership and challenges they and other women have faced, the economic issues they’re dealing with and how they prioritize gender both through operations and in walking the talk within the IMF and WBG.

Photo: World Bank / Simone D. McCourtie

Families from Munshigong keep together as they seek refuge in the Caritas Bangladesh cyclone shelter, attempting as much safe distancing as possible, while prioritizing safety from the deadly storms.

Tropical cyclone Amphan intensified rapidly in the Bay of Bengal to become a “Super Cyclonic Storm” – the equivalent of a strong Category 4/weak Category 5 on the Saffir Simpson scale. It weakened ahead of landfall on Wednesday, May 20, 2020 as a very severe cyclonic storm (strong Category 2 equivalent), bringing dangerous winds, storm surge and flooding to coastal areas of West Bengal in India and Bangladesh. At least 658,000 people were evacuated in West Bengal and Odisha before the cyclone struck. Amphan impacted densely populated areas, including the Indian city of Kolkata (Calcutta) at a time when restrictions due to the COVID-19 pandemic have been in force, thereby complicating disaster. The strong winds and the pounding rains have left the city inundated making the city’s already vulnerable urban poor more vulnerable. CRS and Caritas will implement a joint response to Cyclone Amphan. A joint emergency response team has been established to support response efforts including immediate needs such as temporary shelter, access to safe drinking water, sanitation and hygiene.

21 May 2020 Day 2

Photo by Amit Rudro for CRS/Caritas Bangladesh

PORTSMOUTH, Va. (Dec. 23, 2020) – Hospitalman Jamesetta Karnwie, assigned to the aircraft carrier USS John C. Stennis (CVN 74) Medical Department, receives the COVID-19 vaccine from Hospitalman Kelly Wilson, assigned to Naval Medical Center Portsmouth (NMCP) Immunizations Clinic, Dec. 23. NMCP is supporting the fleet by providing the voluntary vaccination within the DoD phased approach to prioritizing mission-essential healthcare personnel in receiving the vaccine. The John C. Stennis is partnering with Newport News Shipbuilding to complete Refueling Complex Overhaul on schedule with a trained, resilient and cohesive crew. (U.S. Navy photo by Mass Communication Specialist 2nd Class Kris R. Lindstrom/Released)

This is when she lost her balance and slipped off her perch. Had to use her wings to stop her tumble. Never dropped the skink. Always prioritize your food.

Female American Kestrel (Falco sparverius)

Skink (Plestiodon sp.)

My photos can also be found at kapturedbykala.com

DEL RIO, Texas – U.S. Border Patrol agents assigned to the Eagle Pass Station Marine Unit rescued 13 individuals who attempted to cross the Rio Grande River, Sept. 3. At approximately 10:20 a.m., Border Patrol agents spotted a group of suspected illegal aliens attempting to cross the Rio Grande River near the Eagle Pass Port of Entry. Due to the river’s depth and swift current, responding agents assisted the group, including several small children on board their vessel. “Del Rio Sector agents continue to remain vigilant and prioritize safety for all people encountered,” said Del Rio Sector Chief Patrol Agent Raul L. Ortiz. “The river can be extremely dangerous for those who attempt to traverse it. Smugglers continue to put other lives in danger for their own financial gain.” Agents rescued a total of 13, including six children, all Honduran nationals. All 13 were offered medical assistance, however, no injuries were reported. The group was transported to the Eagle Pass South Station and processed per CBP guidelines. Border Patrol agents in the Del Rio Sector have already rescued over 470 individuals in fiscal year 2019, after only 125 total rescues for fiscal year 2018. Nationally, the Border Patrol has over 4,200 rescues in fiscal year 2019, compared to 3,661 in fiscal year 2018.

Photo provided by: U.S. Customs and Border Protection

DEL RIO, Texas – U.S. Border Patrol agents assigned to the Eagle Pass Station Marine Unit rescued 13 individuals who attempted to cross the Rio Grande River, Sept. 3. At approximately 10:20 a.m., Border Patrol agents spotted a group of suspected illegal aliens attempting to cross the Rio Grande River near the Eagle Pass Port of Entry. Due to the river’s depth and swift current, responding agents assisted the group, including several small children on board their vessel. “Del Rio Sector agents continue to remain vigilant and prioritize safety for all people encountered,” said Del Rio Sector Chief Patrol Agent Raul L. Ortiz. “The river can be extremely dangerous for those who attempt to traverse it. Smugglers continue to put other lives in danger for their own financial gain.” Agents rescued a total of 13, including six children, all Honduran nationals. All 13 were offered medical assistance, however, no injuries were reported. The group was transported to the Eagle Pass South Station and processed per CBP guidelines. Border Patrol agents in the Del Rio Sector have already rescued over 470 individuals in fiscal year 2019, after only 125 total rescues for fiscal year 2018. Nationally, the Border Patrol has over 4,200 rescues in fiscal year 2019, compared to 3,661 in fiscal year 2018.

Photo provided by: U.S. Customs and Border Protection

Everyone has a right to access our public lands, but few of Glacier's trails were created with accessibility in mind.

A first step to addressing limits to accessibility is to identify them.

Glacier and the National Park Service are using tools—like the orange, one-wheeled device pictured here alongside two rangers and a measuring tape—to evaluate trails in the park using the High Efficiency Trail Assessment Process (HETAP).

HETAP identifies trail variables: grade, cross-slope, trail width, surface material, and more.

This data allows park managers to prioritize future trail improvements, and allow visitors in the future to make more informed decisions.

Secretary-General António Guterres attends the unveiling of the installation ‘Pandemic Classroom’ at United Nations Headquarters to call attention to the need for governments to prioritize the reopening of schools. Schools have been completely closed for more than 168 million children globally during almost an entire year due to COVID-19 lockdowns.

UN Photo/Eskinder Debebe

2 March 2021

New York, United States of America

Photo # UN7886080

In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Small stretches of Brooklyn in early 2021 display the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.

via Instagram ift.tt/2aG0xka

15 February 2016, Rome, Italy - FAO International Symposium on “The Role of Agricultural Biotechnologies in Sustainable Food Systems and Nutrition”. Parallel Session 3.1. Social and economic impacts of agricultural biotechnologies for smallholders: Taking stock of the evidence and prioritizing future assessments. FAO headquarters (Green room).

Photo credit must be given: ©FAO/Pier Paolo Cito. Editorial use only. Copyright ©FAO.

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In project management, a timebox is a period of time in which to accomplish some task. The end date is set in stone and may not be changed. If the team exceeds the date, the work is considered a failure and is cancelled or rescheduled. Some timeboxes allow the team to adjust the scope of the task in order to meet the deadline.

Timeboxes are used as a form of risk management for tasks that easily run over their deadlines. Timeboxes are commonly used in agile software development to manage software development risk. In agile development, the team is repeatedly tasked with producing a releasable improvement to software, timeboxed to a specific number of weeks.

When considering the traditional triple constraints of Project management (time, cost and scope) the time and cost constraints are fixed in this type of project contracting, but the scope (requirements) constraint is not. Therefore, timeboxing is the favorable type of contracting for projects in which the deadline is the most critical aspect and when not all requirements are completely specified upfront. A lack of detailed specifications typically is the result of a lack of time, or the lack of knowledge of the desired end result (solution). In many types of projects, and especially in software engineering, analyzing and defining all requirements and specifications before the start of the realization phase is impossible.

The advantages of timeboxing over working with more traditional methods - in which there is a need to specify all details and features upfront - are that work can be started on the actual solution, or product, sooner, because less requirements and specifications gathering is necessary upfront. There is also a better structure for allowing for new insights that are developed during the project to be reflected in the end result.

This goes hand-in-hand with MoSCoW prioritization of deliverables. Time Boxing is a core element of the rapid application development software development process and of DSDM.

Time boxing and agile software development techniques go hand-in-hand: With time boxing regular delivery of working software is ensured, and agile software development ensures the delivery of the highest priority value as defined by the stakeholders.

en.wikipedia.org/wiki/Timebox

en.wikipedia.org/wiki/Time_boxing

Prioritize quality over quantity and invest in timeless pieces that reflect your personal style.

alexvinash.com/

This series of images delves into the enigmatic beauty and layered history of Venice, Italy, through an abstract lens, employing the scumbling and dry brush oil painting techniques. Each piece is a study in contrasts and textures, evoking the city's unique spirit and its constant dance with the elements. The use of cold, detached atmospheres alongside distressed and weathered surfaces speaks to the resilience and survival of Venice amidst its challenges. The incorporation of "havencore" and "warmcore" elements, along with a palette that prioritizes white and saturated blues, adds depth and emotion, inviting viewers to experience the city's dual nature of refuge and exposure.

The artworks move beyond traditional representations, infusing each scene with dramatic intensity and hyperbolic expressions to capture the essence of Venice's struggle and splendor. Labor is depicted not just as a physical act but as a poignant part of the city's soul, rendered through rough gesturalism that strips away the gloss to reveal raw, compelling truths. The dazzling chiaroscuro and striking contrasts of light and dark masterfully highlight the city's architectural marvels and the ephemeral beauty of its everyday moments, creating a harmonious chaos that is both unsettling and captivating.

This series aims to transport viewers to a Venice reimagined, where the interplay of light and shadow, the richness of saturated pigment pools, and the tactile quality of the painting techniques combine to offer a new perspective on the familiar. Through these images, Venice is seen as a living, breathing entity, marked by centuries of wear but standing resilient, its beauty undimmed by the passage of time. The absence of heavy paint strokes emphasizes the subtlety and complexity of the city's narrative, inviting a closer look and deeper reflection on its enduring allure and the stories etched into its very stones.

Poem: The Quiet Hours

In the quiet hours of the fading night,

Where shadows dance in the moon's soft light,

And the world whispers in tones so slight,

There lies a beauty unseen, out of sight.

Beneath the velvet cloak of the starry sky,

Where dreams take wing, and thoughts fly high,

The silent streets hold secrets, by and by,

As the gentle breeze sings a lullaby.

In the heart of the forest, where ancient trees stand,

Their leaves tell tales of a distant land,

A place where time holds still its sand,

In the quiet hours, so grand and so bland.

By the murmuring streams, under the watchful moon,

Where flowers bloom in the light of June,

The night unfolds its hidden boon,

In whispers of the dark, a silent tune.

In the quiet hours, there's a deep connection,

A moment of peace, in introspection,

A journey within, in quiet reflection,

Finding solace in nature's perfection.

As dawn breaks, and the night fades away,

The quiet hours gently sway,

Leaving behind the tales of the grey,

In the warmth of the coming day.

Haiku: Twilight's Whisper

Twilight's soft whisper,

Day and night's fleeting kiss,

Silent beauty speaks.

Mastering Layout, Mike Stevens on the Art of Eye Appeal. Copyright 1986. Approx. 8" x 10.75". I had followed Mike's career and untimely death through the pages of SignCraft magazine. Even though many sign artists featured in the magazine credit this book as having opened their eyes to proper sign design and layout, I was reluctant to purchase it, feeling I already knew how to prioritize copy on a sign. Recently, however, I decided I should at least investigate and read his design principles for myself. The book is still in print as a paperback, but of course that wouldn't do for me. I found an out of print first edition hardbound copy on ebay that stayed week after week with no one bidding on it. It couldn't compete with the new paperback copies of the same book for less than half the price. Finally the price was dropped to a level I felt I could justify and I purchased it. I am reading it now for the second time and attempting to slowly implement its design principles in my own work. I am so glad I sprung for the hardbound copy. Its true condition as seen in the picture above is much better than that reflected in the poor quality pic used to advertise it on ebay.

LOS ANGELES, CALIFORNIA - MAY 20: (L-R) VP of Science & Technology at Pharmavite Dr. Susan Mitmesser and VP of Video at SHE Media Reshma Gopaldas speak onstage during the Women's Wellness Prioritized session at BlogHer 22 Health on May 20, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for BlogHer)

Rashida Jones

President, MSNBC

Greg Shell

Head of Inclusive Growth Strategy, Goldman Sachs

//dedicated to the spirit of 'being a woman'//

Woman & Earth... they share a lots of traits of life...

we can learn many a things which is not taught in schools/colleges..

both are creative, nurturing & powerful..

yet so sensitive & fragile... so needs our respect n care,

& not at all an entity to be taken granted for...

well, its peak-time to prioritize our way thinking as a whole human society...

as a human race... or else we will eventually reach that brink of total destruction of our only home...

& soon the inevitable will follow... the total wipe-out; extinction!!

Anyway, I love this song & its soul inspiring poetic lyrics...

hope i could explore more of the music world eventually...

with music in your heart, you are being content, happy & strong...

& thats what all matters, at the end of the day!

"mmmmm... mmmmm...

mmmmmmmmmmmm

i get wings to fly

oh, oh... i'm alive... yeah

when you call on me, when i hear you, breathe..

i get wings to fly, i feel that i'm alive.

when you look at me, i can touch the sky

i know that i'm alive, mmmmm ohhhhh ahhhhhh

when you bless, the day, i just drift away, all my worries die.

i'm glad that i'm.. alive

you've set my heart, on fire

filled me with love, made me a woman on, clouds above

i couldn't get, much higher

my spirit takes flight, cause i am alive, ohhhhh

when you call on me, when i hear you breathe

i get wings to fly (fly)

i feel that i'm alive (i'm alive)

when you reach for me, raising spirits high

god knows that, that i'll be the one, standing by

through good and, through, trying times

and it's only begun, i can't wait for the, rest of my life

when you call on me, when you reach for me

i get wings to fly, i feel that i'm alive, yeah

when you bless the day, i just drift away

all my worries die, i know that i'm alive

i get, wings to fly, god knows that i'm alive."

Singer: Celine Dion

Songwriters: Carlsson, Andreas / Lundin, Kristian

hmmm... so as this journey continues... hour to hour... day to day... year to year..

the small things... its those small small things...

which makes it meaningful 'n' beautiful all the time...

Wish you a great weekend..

Hope you enjoy this life, when you are.... Alive!

So come on.. ;-)

Note:

This is RAW straight out of camera processed with default settings in Sigma Pro Photo 4.1 software.

The result seems a little warm, but I like it.

---

Every year, I go to Burma/Myanmar and I only take a carry on and a hand bag. Taking a large camera like the 5DMk2 (even a T2i size camera) with a lens or two is not an option for me since I like to go travel light (especially to Myanmar). I wanted a small camera that could produce great quality images, good bokeh when needed, and good colors; l knew not to prioritize it based on high ISO quality. I'll have to give that up for a small camera.

I bought/sold/tried shooting with several cameras--from small, point and shoot size sensor to micro-four thirds. Among the ones I tried, my favorite was the E-PL1 with Panasonic 20/1.7. I wanted to see if I could find something even SMALLER than the Oly/Panny combo without giving up too much on image quality.

I debated between the Samsung TL500 / EX1 and the Leica Dlux4. I was impressed with the quality of Samsung's images I saw on the web (and also the cheaper price). But, I ended up getting the Dlux4 because it had been around longer (RAW files supported by most software), and knew I could get good quality images out of it.

By the time I got the Dlux4, I was already inflicted with Gear Acquisition Syndrome (GAS)--I wanted another camera of that size that could produce images with even BETTER image quality. Since I couldn't afford a Leica X1, I wanted to try out the Sigma DP2s.

---SIGMA DP2s---

It's "different."

The user interface isn't bad, but not as intuitive as others I have tried. I got used it in a couple of days and I find no issues.

LCD screen is so-so. I can still view images on the LCD under a bright sun--better than E-P2. Image quality could be better, but with low-res screen, it's hard to see whether I've nailed the focus point. I also have the external optical viewfinder. It's small, with nice bright frame lines, but it's not really that accurate. If the camera could auto focus well, it'd be more useful.

The build seems fine. It's similar in size to the DLux4 but a little thicker but lighter. The battery life is average for small cameras (not great but not bad).

Performance-wise, it's a hit or miss. In good light, focus is quick but not instant-quick. In lower light, it takes its time locking focus--I'd say average of about a second or sometimes even two. As a range finder camera user, I don't mind taking a little time to shoot since I'm just looking for a good composition and good image quality. This is perfectly fine for stills but not the best for fast paced kids in action. These days, I shoot mostly my kids but I still find DP2s more than usable. I accept and forgive all the quirkiness of the camera since I know I'll get a few really good shots with it. Maybe it's a personal thing--I prefer it over the Oly E-PL1 because it's a little more "challenging" to use and the reward is much more satisfying.

The software that came with it works amazingly well. In fact, if I try to process the DP2s RAW files in Lightroom, my results won't be as good--or at least, it would take me a lot of time to get it right like SIGMA Pro Photo 4.1 software. Simga Pro Photo processing speed is fast--about 3-4 seconds on my 17" Macbook Pro 2.8Ghz Core 2 Duo, 4GB RAM laptop. I can see why many people go goo goo over the FOVEON sensor. The colors are, indeed, rich and the POP of the focused subject is quite similar to what I would get with a Leica Summicron 50/2 lens.

All in all, I'm glad I found the DP2s.

Tombstone of artist Paraskeva Clark (October 28, 1898 - August 10, 1986) and family. Mount Pleasant Cemetery, Toronto, Canada. Summer morning, 2021. Pentax K1 II.

From en.wikipedia.org/wiki/Paraskeva_Clark

Paraskeva Clark RCA (October 28, 1898 – August 10, 1986) was a Canadian painter. Her work is often political as she believed that “an artist must act as a witness to class struggle and other societal issues.”

She was a member of the Canadian Group of Painters, the Canadian Society of Painters in Water Colour, Canadian Society of Graphic Art, the Ontario Society of Artists, and the Royal Canadian Academy (1966). Much of her art now is in the National Gallery of Canada and the Art Gallery of Ontario

Early life

Clark was born Paraskeva Avdeyevna Plistik in St. Petersburg, Russia, the first daughter of Avdey Plistik and Olga Fedorevna. She was the eldest of the couple's three children and was given four years more schooling than most girls of the time. Her extended education can be attributed to both her father who instilled in her his enjoyment of books and learning and to her mother who made artificial flowers to supplement the family's income.After graduating school in 1914, Clark worked as a clerk in a shoe factory where her father had been previously employed before owning his own grocery store. Clark's mother died of pneumonia in when Clark was 17, a year after her youngest child had graduated.

Enjoying the theatre as a young woman, Clark was initially interested in acting but deterred by the financial expense of training. After encouragement from her coworker Elza Brahmin, Clark attended evening classes at the Petrograd Academy of Fine Arts from 1916 into 1918, at which time the school was closed while changes were made in the art-education program after the October 1917 revolution. The school was reopened as the tuition-free Free Art Studios, and Clark was admitted and given a stipend. She left in 1921 and was recruited among other students to paint sets for theatres. It was in this work that she met Oreste Allegri Jr., an Italian scene painter whom she would marry in 1922. In March of the following year they had a son, Benedict, and they made plans to emigrate to France. Unfortunately Oreste drowned in the summer of 1923 before their plans could be carried out, and Clark and her son Benedict left for the Allegri family home in Paris by themselves in the fall. The Allegris were well connected in the art world, and Clark met many artists through them – including Pablo Picasso. She had little opportunity for her own art, while caring for her son and doing domestic work for her in-laws; despite this she created Memories of Leningrad in 1923: Mother and Child in 1924, and a self-portrait in 1925.

In 1929, six-year-old Benedict was sent to a boarding school during week days and Clark took a job outside of her in-laws home, in an interior design shop. Here, she met her second husband, the Canadian accountant Philip Clark. Clark was visiting Europe for three months at the time, and the two kept in touch until he visited her again in 1931, at which point they decided to marry – and did so in London on the 9th of June 1931. After the wedding, Clark and Benedict travelled with Philip to their new home in Toronto where the family welcomed a new son, Clive, in June 1933.

Artistic influences

In 1916, Clark discovered that the landscape painter Savely Seidenberg’s studio was on the same streetcar line as the shoe factory where she worked; she began to take art night classes there. Seidenberg taught figure drawing as well as still life and for months, Clark, as a beginning student, drew in charcoal from plaster heads, while the advanced students worked from a model. She immersed herself in conversations with her peers about art styles, including impressionism, post impressionism, cubism and the artists who were central to those movements.

Vasily Shukhayev was a relatively unknown painter and set designer whose students practiced life drawing and painting. The fallout from the Revolution brought about a great upheaval in all the arts. Clark was familiar with the many prominent artists of the time, including Vladimir Tatlin, who believed that they were creating a revolutionary art — Cubism and Futurism — for the new regime.

Kuzma Petrov-Vodkin was a humanist painter who integrated the European influences of Matisse and Cézanne, with his personal Russian experience. He was a thinker, an intellectual, and from him Clark gained some sense of depth of an intellectual, thoughtful life. Clark was interested in colour and still life, to which Petrov-Vodkin brought his theories of space, and studied his way of depicting a visual perspective that was not an artificial architectural construction. It was from Petrov-Vodkin that Clark learned the technique of spherical perspective in which figures and objects are distorted from their perpendicular axis to produce dynamic moment.

In years to come, Clark drew on her teacher's concept of tilting the usual verticals and horizontals, she employs this technique in her 1947 painting Essentials of Life. Petrov-Vodkin passed on to Clarke his knowledge of Cézanne's techniques in utilizing the shifting axes in a picture.

In three self-portrait studies dated 1918, 1919, and 1921 and works that date to these years, Petrov-Vodkin began to use rectangular framing elements— doors, windows, mirrors — set at variance to the horizontal and vertical axes of the paper or canvas to structure his subjects.[8] These framing elements give the effect of space that is altered by the life of the subject. Petrov-Vodkin prioritized the overall composition, rather than committing to the exact detail and proportions of these doors, windows and mirrors. This gave his paintings a structural quality while intensifying the psychological reality of the subject.

For her Self Portrait of 1933, Clark borrows from Petrov-Vodkin's compositional methods, but made the decision to built her self-portrait around the colour black, creating her own aesthetic and moving away from the style of her teacher, who discouraged his students from using black. The painting is unified by the tilt of the figure and the slanted architectural elements, reflecting Petrov-Vodkin's influence. Also in Self Portrait, Clark employs the techniques she learned from her teacher—and utilized framing elements like doors, to structure her paintings; she is shown smiling confidently while leaning against a door, and her strong facial features are accentuated by the employment of minimal colour and by the understated elegance of her dress.

In Clark's work, critics have noted two influences: Cézanne and to a lesser extent Picasso; Cézanne because Clark used colour to define form; Picasso, for the way she organized her portraits and still life. The tilt of the surfaces and the placement of the objects show she understood Picasso as she put him together with Petrov-Vodkin to turn out her own Paraskeva Clark still-lifes. Her painting Pink Cloud, 1937 in the National Gallery of Canada collection was cited as an example of her delicate sense of colour. Cézanne's influence is especially clear in her 1939 painting In the Woods. The painting's Cézannesque treatment of the forest floor shows the artist's awareness of European trends as well as her Russian training under Petrov-Vodkin.

Clark's 1933 paintings Self Portrait and Portrait of Philip are her first major works that deal with the composition of the artwork, in which the subject is integrated in time, space and architecture. In terms of configuration she takes inspiration from Cézanne – the balancing of form, his structured and measured employment of the paint on the canvas. In Portrait of Philip for example, the artist creates a complex but very balanced pattern of parallel and perpendicular lines within the stable square of the canvas, containing and supporting the cool, appraising, sartorial figure of her husband. Space is constructed in such a way that the spectator looks down into the picture, and down at the figure of Philip in the deep, perspectively distorted chair, yet meets the glance of the man eyes to eye.

Petroushka

In Petroushka, Clark creates a seemingly innocent scene of street entertainers; it was painted as an outraged response to newspaper reports of the killing of five striking steelworkers by Chicago police in the summer of 1937. She chose to adapt the story of Petrushka (the Peter puppet and symbol of suffering humanity within Russian tradition) to a North American context.

Clark spoke out about the role and responsibility of the artist; she declared:

"Those who give their lives, their knowledge and their time to social struggle have the right to expect great help from the artist. And I cannot imagine a more inspiring role than that which the artist is asked to play for the defence and advancement of civilization".

Political influences

Clark's early financial challenges in her pursuit of the arts, because of her working class Russian parents and the revolution in her home country, contributed to her belief in the responsibility of artists to depict class struggle and other social issues in their work. She criticized the work of those such as the Group of Seven which lacked reference to real world issues; she showed more reverence for her peers who were dedicated to creating “socially conscious Canadian art,” including Pegi Nicol MacLeod, editor of the Canadian Forum from 1935-1936, who introduced Clark to the noted anti-fascist Dr. Norman Bethune in 1936. Bethune and Clark had a brief affair; the relationship had an influence on the latter's politics. A socialist, a self-identified “red Russian” communist, and one of the few artists producing political art in Canada at the time, Clark at this point became active in the Committee to Aid Spanish Democracy. The Second World War left the artist concerned for her homeland, and she was quite active in support of Russia against the Nazi threat. In 1942, she sold some pieces of her art to donate the proceeds to the Canadian Aid to Russia Fund. She was also appointed by the National Gallery of Canada to record the activities of the Women's Divisions of the Armed Forces during World War II. Her art from these times reflected her strong political attitude, Petroushka (1937) being the most widely recognised, though the political significance of the work is seen in other works, as in Pavlichenko and Her Comrades at the Toronto City Hall (1943), on which she affirmed her sympathies with the inscription naming the “heroic red army.” Her work was to become one of the few politically influenced pieces to survive the era.

Later life

Paraskeva Clark's eldest son Benedict was hospitalized and diagnosed with schizophrenia after a nervous episode in 1943, and she put her artistic career on hold temporarily; though even when she resumed painting a year later she struggled to balance the responsibilities of her family life with her artistic ambitions. From 1951 to 1956, Clark gave several large solo shows which were favourably received. Her son Clive was married in 1959 and gave her three grandchildren, which were “a source of great delight” for the artist. In a poor turn of events Benedict was again hospitalised because of his mental health 1957, and this impacted Clarks's production of art in a predictable manner. In 1965, after multiple rejections of her work, Clark resigned from the Ontario Society of Artists. Then in 1974, mother and son shared a show together during which the National Gallery of Canada purchased her piece Myself (1933). Many exhibitions of her work and new projects featuring her art came about in these later years of her life, including a 1982 film by the National Film Board of Canada, Portrait of the Artist as an Old Lady. Speaking of her art in 1974, Clark said “I cannot complain, I have had a very good career, considering a great deal of my time has been spent on being a wife and a mother.” Philip Clark died in 1980, and after living for a time in a nursing home Paraskeva Clark suffered a stroke and passed away on August 10, 1986, at the age of 87.

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008

McKinsey Global Infrastructure Initiative Summit

Tokyo, Japan

Wednesday, October 19th, 2022

15:10–15:30

PRIORITIZING THE PATHWAY TO SUSTAINABLE INFRASTRUCTURE

The combined impacts of COVID-19 and net-zero commitments have resulted in an unprecedented disruption of the $11.6 trillion global infrastructure industry. Meeting net-zero targets will require the industry to transform project development and delivery to deliver a global portfolio of projects at an unprecedented scale and pace. What are the pivotal actions we need to take now to enable sustainable infrastructure for the decades to come?

Facilitators:

Tip Huizenga, Senior Partner, McKinsey & Company; Co-chair, GII

Detlev Mohr, Senior Partner, McKinsey & Company; Co-chair, GII

In this interactive session, Detlev and Tip will briefly frame the topic with a few slides to set the context. This will be followed by them asking the question to the audience, “What are the pivotal actions we need to take now to enable sustainable infrastructure for the decades to come?” The audience will be requested to discuss the question for ~7 minutes in their pods, submitting their ideas through the GII app to form a Word Cloud on the screen.

Photograph by McKinsey Global Infrastructure/Stuart Isett

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