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CEDARTOWN, Ga., April 3, 2016 - Brigadier General Tom Carden, commander of the Georgia Army National Guard congratulates Spc. Christopher Adams, Pfc. Noah Alonso and Pvt. Christopher Adams during a promotion ceremony at the Cedartown, Ga. Armory of Troop A, 108th Cavalry.
Georgia National Guard photo by Capt. William Carraway | Released
As nurses, we shall go beyond what is expected of us in order to cater to all people who are in need of our services.
©ILO/J. Palabay as entry to the ILO-EU Decent Work across Borders Photo Contest
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
The ILO Decent Work across Borders, a project funded by the European Union on migrant health workers and skilled professionals, launched a photo contest in 2013. The photo contest, in partnership with the Alliance of Young Nurse Leaders and Advocates (AYNLA) captured images related to migration from the perspective of young health professionals.
www.ilo.org/manila/whatwedo/projects/WCMS_173607/lang--en...
I saw them standing on Yonge St. in Toronto next to an impromptu stage for the Buskerfest. How could I not notice them with his white shades, black hat promoting epilepsy awareness, and beard (or is it a “soul patch”) and her huge black flower adorning her hair? I asked if I could photograph them and found out they were preparing to perform the next act on the street stage. Meet Heather and Vince.
Both were kind enough to oblige my project request even though they were about to set up for their show. They are Toronto based and perform Irish-inspired music on guitar (Vince) and penny-whistle and accordion (Heather). Heather writes her own lyrics but this performance was to be instrumental with a 20 minute collection of jigs and reels. You can find out more about their music here: www.heatherchappell.ca/pb/wp_d4ec6a70/wp_d4ec6a70.html
I photographed them individually and as a couple with the Buskerfest crowd in the background. I stuck around for their performance which was delightful and lively and even included an east-coast dance performed by Heather. They were a lot of fun and joked about how unique it is to be accompanied by the sounds of the subway beneath their feet and car horns and ambulance sirens. Performing music on the street in a busy city must be a challenge but Heather and Vince didn’t seem the least bit flapped by it. The concluded by encouraging the crowd to remember to be generous in donations to the epilepsy non-profit who are receiving the funds from this great festival.
Thank you Heather and Vince for participating in 100 Strangers. Together you are Stranger #583 in round 6 of my project. You make beautiful music.
Find out more about the project and see pictures taken by the other photographers in our group at the 100 Strangers Flickr Group page.
Panorama 3 rows, Promote control Used Mid point 1s, -2/0/+2 EV, Three exposures enfused and then stitched for pano.
Astral projection (or astral travel), is a term used in esotericism to describe an intentional out-of-body experience (OBE) that assumes the existence of a subtle body called an "astral body" through which consciousness can function separately from the physical body and travel throughout the astral plane. The idea of astral travel is ancient and occurs in multiple cultures. The modern terminology of "astral projection" was coined and promoted by 19th-century Theosophists. It is sometimes reported in association with dreams and forms of meditation.Some individuals have reported perceptions similar to descriptions of astral projection that were induced through various hallucinogenic and hypnotic means (including self-hypnosis). There is no scientific evidence that there is a consciousness whose embodied functions are separate from normal neural activity or that one can consciously leave the body and make observations of the physical universe, and astral projection has been characterized as a pseudoscience.
According to the classical, medieval, renaissance Hermeticism, Neoplatonism, and later Theosophist and Rosicrucian thought, the astral body is an intermediate body of light linking the rational soul to the physical body while the astral plane is an intermediate world of light between Heaven and Earth, composed of the spheres of the planets and stars. These astral spheres were held to be populated by angels, demons, and spirits. The subtle bodies, and their associated planes of existence, form an essential part of the esoteric systems that deal with astral phenomena. In the neo-platonism of Plotinus, for example, the individual is a microcosm ("small world") of the universe (the macrocosm or "great world"). "The rational soul...is akin to the great Soul of the World" while "the material universe, like the body, is made as a faded image of the Intelligible". Each succeeding plane of manifestation is causal to the next, a world-view known as emanationism; "from the One proceeds Intellect, from Intellect Soul, and from Soul - in its lower phase, or that of Nature - the material universe". Often these bodies and their planes of existence are depicted as a series of concentric circles or nested spheres, with a separate body traversing each realm. The idea of the astral figured prominently in the work of the nineteenth-century French occultist Eliphas Levi, whence it was adopted and developed further by Theosophy, and used afterwards by other esoteric movements.
Biblical/Mythical
Carrington, Muldoon, Peterson, and Williams claim that the subtle body is attached to the physical body by means of a psychic silver cord. The final chapter of the Book of Ecclesiastes is often cited in this respect: "Before the silver cord be loosed, or the golden bowl be broken, or the pitcher be shattered at the fountain, or the wheel be broken at the cistern." Scherman, however, contends that the context points to this being merely a metaphor, comparing the body to a machine, with the silver cord referring to the spine. Paul's Second Epistle to the Corinthians is more generally agreed to refer to the astral planes: "I know a man in Christ who fourteen years ago was caught up to the third heaven. Whether it was in the body or out of the body I do not know—God knows." This statement gave rise to the Visio Pauli, a tract that offers a vision of heaven and hell, a forerunner of visions attributed to Adomnan and Tnugdalus as well as of Dante's Divine Comedy.
Ancient Egypt
The ba hovering above the body. This image is based on an original found in The Book of the Dead.
Similar concepts of soul travel appear in various other religious traditions. For example, ancient Egyptian teachings present the soul (ba) as having the ability to hover outside the physical body via the ka, or subtle body.
Taoist
Taoist alchemical practice involves creation of an energy body by breathing meditations, drawing energy into a 'pearl' that is then "circulated". "Xiangzi ... with a drum as his pillow fell fast asleep, snoring and motionless. His primordial spirit, however, went straight into the banquet room and said, "My lords, here I am again." When Tuizhi walked with the officials to take a look, there really was a Taoist sleeping on the ground and snoring like thunder. Yet inside, in the side room, there was another Taoist beating a fisher drum and singing Taoist songs. The officials all said, "Although there are two different people, their faces and clothes are exactly alike. Clearly he is a divine immortal who can divide his body and appear in several places at once. ..." At that moment, the Taoist in the side room came walking out, and the Taoist sleeping on the ground woke up. The two merged into one."
Hinduism
Similar ideas such as the Liṅga Śarīra are found in ancient Hindu scriptures such as, the YogaVashishta-Maharamayana of Valmiki. Modern Indians who have vouched for astral projection include Paramahansa Yogananda who witnessed Swami Pranabananda doing a miracle through a possible astral projection. The Indian spiritual teacher Meher Baba described one's use of astral projection: In the advancing stages leading to the beginning of the path, the aspirant becomes spiritually prepared for being entrusted with free use of the forces of the inner world of the astral bodies. He may then undertake astral journeys in his astral body, leaving the physical body in sleep or wakefulness. The astral journeys that are taken unconsciously are much less important than those undertaken with full consciousness and as a result of deliberate volition. This implies conscious use of the astral body. Conscious separation of the astral body from the outer vehicle of the gross body has its own value in making the soul feel its distinction from the gross body and in arriving at fuller control of the gross body. One can, at will, put on and take off the external gross body as if it were a cloak, and use the astral body for experiencing the inner world of the astral and for undertaking journeys through it, if and when necessary....The ability to undertake astral journeys therefore involves considerable expansion of one's scope for experience. It brings opportunities for promoting one's own spiritual advancement, which begins with the involution of consciousness. Astral projection is one of the Siddhis considered achievable by yoga practitioners through self-disciplined practice. In the epic The Mahabharata, Drona leaves his physical body to see if his son is alive.
Japan
The ikiryō as illustrated by Toriyama Sekien.
In Japanese mythology, an ikiryō (生霊, also read as shōryō, seirei, or ikisudama) is a manifestation of the soul of a living person separately from their body.[30] Traditionally, if someone holds a sufficient grudge against another person, it is believed that a part or the whole of their soul can temporarily leave their body and appear before the target of their hate in order to curse or otherwise harm them, similar to an evil eye. Souls are also believed to leave a living body when the body is extremely sick or comatose; such ikiryō are not malevolent.
Inuit
In some Inuit groups, people with special capabilities, known as angakkuq, are said to travel to (mythological) remote places, and report their experiences and things important to their fellows or the entire community; how to stop bad luck in hunting, cure a sick person etc. things unavailable to people with normal capabilities.
Amazon
The yaskomo of the Waiwai is believed to be able to perform a "soul flight" that can serve several functions such as healing, flying to the sky to consult cosmological beings (the moon or the brother of the moon) to get a name for a new-born baby, flying to the cave of peccaries' mountains to ask the father of peccaries for abundance of game or flying deep down in a river to get the help of other beings.
"Astral" and "etheric"
The expression "astral projection" came to be used in two different ways. For the Golden Dawn and some Theosophists it retained the classical and medieval philosophers' meaning of journeying to other worlds, heavens, hells, the astrological spheres and other imaginal landscapes, but outside these circles the term was increasingly applied to non-physical travel around the physical world. Though this usage continues to be widespread, the term, "etheric travel", used by some later Theosophists, offers a useful distinction. Some experients say they visit different times and/or places: "etheric", then, is used to represent the sense of being "out of the body" in the physical world, whereas "astral" may connote some alteration in time-perception. Robert Monroe describes the former type of projection as "Locale I" or the "Here-Now", involving people and places that actually exist: Robert Bruce calls it the "Real Time Zone" (RTZ) and describes it as the non-physical dimension-level closest to the physical. This etheric body is usually, though not always, invisible but is often perceived by the experient as connected to the physical body during separation by a "silver cord". Some link "falling" dreams with projection. According to Max Heindel, the etheric "double" serves as a medium between the astral and physical realms. In his system the ether, also called prana, is the "vital force" that empowers the physical forms to change. From his descriptions it can be inferred that, to him, when one views the physical during an out-of-body experience, one is not technically "in" the astral realm at all. Other experiments may describe a domain that has no parallel to any known physical setting. Environments may be populated or unpopulated, artificial, natural or abstract, and the experience may be beatific, horrific or neutral. A common Theosophical belief is that one may access a compendium of mystical knowledge called the Akashic records. In many accounts the experiencer correlates the astral world with the world of dreams. Some even report seeing other dreamers enacting dream scenarios unaware of their wider environment. The astral environment may also be divided into levels or sub-planes by theorists, but there are many different views in various traditions concerning the overall structure of the astral planes: they may include heavens and hells and other after-death spheres, transcendent environments, or other less-easily characterized states.
Notable practitioners
Astral projection according to Carrington and Muldoon, 1929
Emanuel Swedenborg was one of the first practitioners to write extensively about the out-of-body experience, in his Spiritual Diary (1747–65). French philosopher and novelist Honoré de Balzac's fictional work "Louis Lambert" suggests he may have had some astral or out-of-body experiences. There are many twentieth-century publications on astral projection, although only a few authors remain widely cited. These include Robert Monroe, Oliver Fox, Sylvan Muldoon, and Hereward Carrington, and Yram.
Robert Monroe's accounts of journeys to other realms (1971–1994) popularized the term "OBE" and were translated into a large number of languages. Though his books themselves only placed secondary importance on descriptions of method, Monroe also founded an institute dedicated to research, exploration and non-profit dissemination of auditory technology for assisting others in achieving projection and related altered states of consciousness.
Robert Bruce, William Buhlman, Marilynn Hughes, and Albert Taylor have discussed their theories and findings on the syndicated show Coast to Coast AM several times. Michael Crichton gives lengthy and detailed explanations and experience of astral projection in his non-fiction book Travels.
In her book, My Religion, Helen Keller tells of her beliefs in Swedenborgianism and how she once "traveled" to Athens:
"I have been far away all this time, and I haven't left the room...It was clear to me that it was because I was a spirit that I had so vividly 'seen' and felt a place a thousand miles away. Space was nothing to spirit!"
The soul's ability to leave the body at will or while sleeping and visit the various planes of heaven is also known as "soul travel". The practice is taught in Surat Shabd Yoga, where the experience is achieved mostly by meditation techniques and mantra repetition. All Sant Mat Gurus widely spoke about this kind of out of body experience, such as Kirpal Singh.
Eckankar describes Soul Travel broadly as movement of the true, spiritual self (Soul) closer to the heart of God. While the contemplative may perceive the experience as travel, Soul itself is said not to move but to "come into an agreement with fixed states and conditions that already exist in some world of time and space". American Harold Klemp, the current Spiritual Leader of Eckankar practices and teaches Soul Travel, as did his predecessors, through contemplative techniques known as the Spiritual Exercises of ECK (Divine Spirit). Edgar Cayce from the US, was popularly known as the “Sleeping Prophet”. He had been practicing astral travel at Washington DC for many years.
In occult traditions, practices range from inducing trance states to the mental construction of a second body, called the Body of Light in Aleister Crowley's writings, through visualization and controlled breathing, followed by the transfer of consciousness to the secondary body by a mental act of will.
Scientific reception
There is no known scientific evidence that astral projection as an objective phenomenon exists.
There are cases of patients having experiences suggestive of astral projection from brain stimulation treatments and hallucinogenic drugs, such as ketamine, phencyclidine, and DMT.
Robert Todd Carroll writes that the main evidence to support claims of astral travel is anecdotal and comes "in the form of testimonials of those who claim to have experienced being out of their bodies when they may have been out of their minds." Subjects in parapsychological experiments have attempted to project their astral bodies to distant rooms and see what was happening. However, such experiments haven't produced clear results.
According to Bob Bruce of the Queensland Skeptics Association, astral projection is "just imagining", or "a dream state". Bruce writes that the existence of an astral plane is contrary to the limits of science. "We know how many possibilities there are for dimensions and we know what the dimensions do. None of it correlates with things like astral projection." Bruce attributes astral experiences such as "meetings" alleged by practitioners to confirmation bias and coincidences.
Psychologist Donovan Rawcliffe has written that astral projection can be explained by delusion, hallucination and vivid dreams. Arthur W. Wiggins, writing in Quantum Leaps in the Wrong Direction: Where Real Science Ends...and Pseudoscience Begins, said that purported evidence of the ability to astral travel great distances and give descriptions of places visited is predominantly anecdotal. In 1978, Ingo Swann provided a test of his alleged ability to astral travel to Jupiter and observe details of the planet. Actual findings and information were later compared to Swann's claimed observations; according to an evaluation by James Randi, Swann's accuracy was "unconvincing and unimpressive" with an overall score of 37 percent. Wiggins considers astral travel an illusion, and looks to neuroanatomy, human belief, imagination and prior knowledge to provide prosaic explanations for those claiming to experience it.
en.wikipedia.org/wiki/Astral_projection
An out-of-body experience (OBE or sometimes OOBE) is a phenomenon in which a person perceives the world from a location outside their physical body. An OBE is a form of autoscopy (literally "seeing self"), although this term is more commonly used to refer to the pathological condition of seeing a second self, or doppelgänger. The term out-of-body experience was introduced in 1943 by G. N. M. Tyrrell in his book Apparitions,[1] and was adopted by researchers such as Celia Green, and Robert Monroe, as an alternative to belief-centric labels such as "astral projection" or "spirit walking". OBEs can be induced by traumatic brain injuries, sensory deprivation, near-death experiences, dissociative and psychedelic drugs, dehydration, sleep disorders, dreaming, and electrical stimulation of the brain, among other causes. It can also be deliberately induced by some.One in ten people has an OBE once, or more commonly, several times in their life. Psychologists and neuroscientists regard OBEs as dissociative experiences occurring along different psychological and neurological factors.Those experiencing OBEs sometimes report (among other types of immediate and spontaneous experience) a preceding and initiating lucid-dream state. In many cases, people who claim to have had an OBE report being on the verge of sleep, or being already asleep shortly before the experience. A large percentage of these cases refer to situations where the sleep was not particularly deep (due to illness, noises in other rooms, emotional stress, exhaustion from overworking, frequent re-awakening, etc.). In most of these cases subjects perceive themselves as being awake; about half of them note a feeling of sleep paralysis. Another form of spontaneous OBE is the near-death experience (NDE). Some subjects report having had an OBE at times of severe physical trauma such as near-drownings or major surgery. Near-death experiences may include subjective impressions of being outside the physical body, sometimes visions of deceased relatives and religious figures, and transcendence of ego and spatiotemporal boundaries. Typically the experience includes such factors as: a sense of being dead; a feeling of peace and painlessness; hearing of various non-physical sounds, an out-of-body experience; a tunnel experience (the sense of moving up or through a narrow passageway); encountering "beings of light" and a God-like figure or similar entities; being given a "life review", and a reluctance to return to life. Writers in the fields of parapsychology and occultism have written that OBEs are not psychological, and that a soul, spirit or subtle body can detach itself out of the body and visit distant locations. Out-of-the-body experiences were known during the Victorian period in spiritualist literature as "travelling clairvoyance". In old Indian scriptures, such a state of consciousness is also referred to as Turiya, which can be achieved by deep yogic and meditative activities, during which a yogi may be liberated from the duality of mind and body, allowing them to intentionally leave the body and then return to it. The body carrying out this journey is called "Vigyan dehi" ("Scientific body"). The psychical researcher Frederic Myers referred to the OBE as a "psychical excursion". An early study that described alleged cases of OBE was the two-volume Phantasms of the Living, published in 1886 by the psychical researchers Edmund Gurney, Myers, and Frank Podmore. The book was largely criticized by the scientific community because the anecdotal reports in almost every case lacked evidential substantiation.
A 19th-century illustration of Robert Blair's poem The Grave, depicting the soul leaving the body
The theosophist Arthur Powell (1927) was an early author to advocate the subtle body theory of OBEs. Sylvan Muldoon (1936) embraced the concept of an etheric body to explain the OBE experience. The psychical researcher Ernesto Bozzano (1938) had also supported a similar view describing the phenomena of the OBE experience in terms of bilocation in which an "etheric body" can release itself from the physical body in rare circumstances. The subtle body theory was also supported by occult writers such as Ralph Shirley (1938), Benjamin Walker (1977), and Douglas Baker (1979). James Baker (1954) wrote that a mental body enters an "intercosmic region" during the OBE.Robert Crookall supported the subtle body theory of OBEs in several publications. The paranormal interpretation of OBEs has not been supported by all researchers within the study of parapsychology. Gardner Murphy (1961) wrote that OBEs are "not very far from the known terrain of general psychology, which we are beginning to understand more and more without recourse to the paranormal". In the 1970s, Karlis Osis conducted many OBE experiments with the psychic Alex Tanous. In one series of these experiments, he was asked whilst in an OBE state whether he could identify coloured targets that were placed in remote locations. Osis reported that there were 114 hits in 197 trials. However, the controls for the experiments have been criticized and, according to Susan Blackmore, the final result was not particularly significant since 108 hits would have been expected by chance alone. Blackmore noted that the results provide "no evidence for accurate perception in the OBE". In April 1977, a patient from Harborview Medical Center known as Maria claimed to have experienced an out-of-body experience. During her OBE she claimed to have floated outside her body and outside the hospital. Maria later told her social worker Kimberly Clark that during the OBE she had observed a tennis shoe on the third floor window ledge to the north side of the building. Clark then went to the north wing of the building and by looking out of the window could see a tennis shoe on one of the ledges. Clark published the account in 1984. The story has since been used in many paranormal books as evidence that a spirit can leave the body. In 1996, Hayden Ebbern, Sean Mulligan and Barry Beyerstein visited the Medical Center to investigate Clark's story. They placed a tennis shoe on the same ledge and found that it was visible from within the building and could easily have been observed by a patient lying in bed. They also discovered that the tennis shoe was easy to observe from outside the building and suggested that Maria may have overheard a comment about it during her three days in the hospital and then incorporated it into her OBE. They concluded "Maria's story merely reveals the naiveté and the power of wishful thinking" from OBE researchers seeking a paranormal explanation. Clark did not publish the description of the case until seven years after it happened, casting doubt on the story. Richard Wiseman has said that although the story is not evidence for anything paranormal it has been "endlessly repeated by writers who either couldn't be bothered to check the facts, or were unwilling to present their readers with the more skeptical side of the story." Clark responded to the accusations made in a separate paper. In 1999, at the 1st International Forum of Consciousness Research in Barcelona, research-practitioners Wagner Alegretti and Nanci Trivellato presented preliminary findings of an online survey on the out-of-body experience answered by internet users interested in the subject; therefore, not a sample representative of the general population.
1,007 (85%) of the first 1,185 respondents reported having had an OBE. 37% claimed to have had between two and ten OBEs. 5.5% claimed more than 100 such experiences. 45% of those who reported an OBE said they successfully induced at least one OBE by using a specific technique. 62% of participants claiming to have had an OBE also reported having enjoyed nonphysical flight; 40% reported experiencing the phenomenon of self-bilocation (i.e. seeing one's own physical body whilst outside the body); and 38% claimed having experienced self-permeability (passing through physical objects such as walls). The most commonly reported sensations experienced in connection with the OBE were falling, floating, repercussions e.g. myoclonia (the jerking of limbs, jerking awake), sinking, torpidity (numbness), intracranial sounds, tingling, clairvoyance, oscillation and serenity.
Another reported common sensation related to OBE was temporary or projective catalepsy, a more common feature of sleep paralysis. The sleep paralysis and OBE correlation was later corroborated by the Out-of-Body Experience and Arousal study published in Neurology by Kevin Nelson and his colleagues from the University of Kentucky in 2007.[98] The study discovered that people who have out-of-body experiences are more likely to suffer from sleep paralysis.
Also noteworthy, is the Waterloo Unusual Sleep Experiences Questionnaire that further illustrates the correlation.
A "Re-Visioned" Poster....
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This socially-conscious poster promotes foster care of children by older adults whose own children who've already left home (empty-nesters). It's displayed on the side of a working phone booth near my house.
It was shortly after sundown, during what Brazilians call "lusco-fusco" and we call "twilight," when the sky was still bright blue. I was going to crop away the 'Titan' at the top of the poster, but didn't want to lose the gorgeous sky.
Even though the sky wasn't dark, the city's night lights had already begun to appear--on either side of the frame. Suddenly, a wonderful, warm b&w photo becomes a reflective surface for the neighborhood's jewel-like lights. The woman now appears to be wearing a lovely, glowing jewel on her right lapel. The lights do interfere a bit with the word "AMAZING," but the message is clear. In fact, the couple appears all the more AMAZING with their luminous jewels!
Washington Heights, Upper Manhattan
New York, NY USA
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Title created for the group Six Word Story.
To promote and gather public comments about variations to the already approved Environmental Impact Statement for the final phase of Metro Sydney - City & Southwest a series of public consultations have been held. Each is supported by a booklet explaining the variation and/or progress of the project.
These graphics show the covers of the booklets issued to date. Project Update booklet dated February 2017 shown. Proposed Campsie metro station featured on the cover.
Bookets: Sydney Metro.
Yesterday, Sunday 10 July, saw people of all ages and backgrounds take part in the annual Walking Rainbow event in Bury.
The walk - organized by local young people - aims to celebrate diversity, promote equality, inclusion and say ‘no’ to homophobia and all forms of discrimination.
The young people were joined by The Mayor of Bury, Cllr Mike Connolly; Tony Lloyd, Police and Crime Commissioner for Greater Manchester; Cllr Rishi Shori, leader of Bury Council; Mike Owen, the council’s chief executive and Liaqat Ali from the Qadria Jilania Islamic Centre and Cultural Association in Bury.
Greater Manchester Police’s Superintendent Rick Jackson represented the Force along with members of the local policing team.
The walk began at Bury Town Hall before making its way around the town and ending with speeches in Kay Gardens.
The event was organised by Bury’s Lesbian, Gay, Bisexual, Transgender and Questioning (LGBTQ) Youth Group and supported by Bury Youth Cabinet, Bury Council, Greater Manchester Police, Greater Manchester Fire & Rescue, Foundation Events, The Lesbian and Gay Foundation, Manchester Pride, Gaydio, Streetwise, Unison and others.
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
“Your daughter gave 25 years to this city. She was aware of the danger when she signed up, she was aware of the danger when she was promoted, she was aware of the danger on 9/11 when we saw outside enemies attack our soil. She was a hero. She was a hero then; she was a hero now,” said Mayor Eric Adams at today’s Celebration of Life for Captain Alison Russo.
“She was a woman who would answer over 25,000 911 calls over the course of her career and still find time to mentor, teach, train and help members of service across the entire city, and her hometown. Alison so clearly embodied the mission, the intent, the essence of being a member of FDNY EMS. That is why it is my distinct privilege today to honor Lieutenant Russo for her service, her sacrifice and her leadership, by posthumously promoting her to the rank of Captain, “ said Acting Fire Commissioner Laura Kavanagh who posthumously promoted Lieutenant Alison Russo to the rank of Captain at today’s Celebration of life for Captain Alison Russo.
Chief of EMS Lillian Bonsignore said, “To the members of Station 49, and our brothers and sisters gathered here today, we are here for you. We will find our strength in each other. I know you are hurting, I know you’re in pain, I know you are angry and there is nothing I can do to take that away or change that nor would I even try. But what I can say is you were given a gift, a special gift that will last a lifetime, you stood in the presence of greatness and Captain Russo cared deeply for all of you. Let her words guide you, let the sounds of your emergency response serve as a sign of our remembrance for Captain Alison Russo. Our sirens will continue to sing, a reminder to all, the best just like Alison are on their way.”
On Thursday, September 29th, Captain Alison Russo was stabbed and killed while working at FDNY EMS Station 49 in Queens. Lieutenant Russo is the 1,158th member of the FDNY to die in the line-of-duty. View the full Celebration of Life at: bit.ly/CaptRussoCelebrationofLife
During the high water mark sign unveiling ceremony on June 23, 2016, these cookies were available to promote the RVAH20.com website, an initiative of the City of Richmond's Department of Public Utilities to educate the community about ways to keep waterways pollution-free, and the importance of integrating drinking water, wastewater and stormwater under one watershed management program to achieve cleaner water faster.
Promoting the 2013 Zombie (and Halloween!) walk on Queen street West; an unfortunate discovery was made.
Promoting their days out and holidays throughout the year sees a golden opportunity for a shot of their Plaxton Elite.
The St. Clement's Island Museum offers transportation to St. Clement's Island on the weekends during the summer.
The History of the Blackistone Lighthouse
1851 -1956
The second to the last lighthouse constructed by Master Lighthouse builder John Donahoo, the original brick lighthouse was commissioned in November 1851.
The structure was a two story brick dwelling, with a light tower rising from the ground through the center of the building. The keepers house had six rooms, a basement, and a roof of slate. A large covered front porch stretched from one side of the house to the other. The outside dimensions of the building were 38' x 20’ feet.
Nineteenth century documents describe the Blackistone lighthouse as a dwelling built around the tower. In the first 8 years of operation the lighthouse had 3 keepers. In 1859 Jerome McWilliams, son of the island’s owner, Joseph L. McWilliams, was appointed keeper and remainded until 1875. Though official keeper, McWilliams apparently encouraged other family members to take case of his lighthouse duties. McWilliams was followed by his daughter, Josephine McWilliams Freeman, whose tenure as lighthouse keeper lasted until 1911.
Lighthouse keepers from that time
1851 Isaac Wood
1853 George Goddard
1855 George Hackett
1859 Jerome L. McWilliams
1868 Dr. Joseph L. McWilliams
1875 Mrs. Josephine McWilliams Freeman
1912 William M. Freeman, Jr.
1913 Leonard H. Staubly
1917 Francis E. Butterfield. Jr.
1918 William Simpson
1919 William Yeatman
1920-1932 Leonard H. Staubly
The lighthouse was fully automated in 1932, a time when automation was overtaking many Chesapeake lights. Thereafter, the structure began to deteriorate until, on July 16, 1956 a fire gutted the building and raged across the island. Residents reported seeing smoke coming from-the island as early as 8:00 am, but the fire department was not called until 6 o'clock in the evening. By the time fire fighters could be ferried to the island with portable equipment, the lighthouse was beyond repair, and deeming the structure a danger, the navy dynamited the remains. The scattered bricks, catwalk, and twisted railing still lay along the shoreline.
There are several stories as to how the fire was started. Many believe that the building burned because it was struck by lighting. A local newspaper article suggested that ordinance from the nearby Navel Proving Ground started the fires. Some residents reported seeing a shell burst near the island. Another story told by a local fisherman is that the cause of the fires was arson. He tells that he and his crew were hauling seine near the island when he noticed three men land near the lighthouse in a rowboat. A short time later three men left and smoke and flames were seen billowing up under the wooden porch of the lighthouse. The fishing crew then went to the building and tried to put out the fire but they only had one bucket in which to carry water from the river, and it was too slow. After realizing that their efforts were to no avail, the fisherman thought it best to leave because he was afraid someone would think he had set it on fire.
On May 19th 1864, the lighthouse was almost destroyed. This time it was due to the war between the states, or as many in Southern Maryland called it the war of Northern Invasion. In a report made by commander Foxhall Parker of the Potomac Flotilla to the secretary of the Navy in Washington: " I have to report to the Department that on the night of the 19th instant twelve rebel's headed by a man named Goldsmith landed in a small boat at Blackistone's Island and destroyed the lens and lamp, and carried off fifteen gallons of oil belonging to the light house... I am of the opinion that while there are so many rebel sympathizers in Maryland and on the Eastern Shore of Virginia, none of the lighthouses there located are safe without a guard to protect them."
The Union officer's report differs with Captain Goldsmith's account of the raid he conducted. Goldsmith, a St. Mary's Countian, who lived not far from the island at Enfield his family’s house on St. Patrick's Creek. He said that he had only four men with him: Lieutenant Tom Parker, Lieutenant James Parker, J. Spalding and a blackman negro named Louis. The thirty foot boat they used was named The Swan, which Goldsmith used for similar missions throughout the war. He said that they eluded a Union gunboat that night, landed on the island, wrecked the lamp and took 200 gallons of oil, all of the fixtures, and the tender (small boat). They had planned to dynamite the lighthouse, but the keeper, Jerome McWilliams persuaded them to spare it because it was his home, and his wife was with child.
Some say that McWilliams and Captain Goldsmith knew each other and that is why the lighthouse was not destroyed. This is probably true due to the closeness of Goldsmith's house to the island. And the fact that Captain Goldsmith purchased the island in 1836 then later sold it to Benjamin Gwinn Harris, who then sold it to Dr. Joseph L. McWilliams in 1845.
At any rate, after the skirmish, it was not Mr. McWillliams but rather his pregnant wife and her sister-in-law who tended the light until Federal forces arrived from nearby Point Lookout. Solders remained at the site and a Federal gunboat cruised nearby until the war ended.
In recognition of their outstanding service to Delaware, Governor John Carney honored 13 young people and five groups with the Governor’s Youth Volunteer Service Awards during a ceremony May 24 at the Polytech Adult Education Conference Center in Woodside.
“Across the state, I am impressed by the level of commitment our young people have to serving others,” Governor Carney said. “I am proud to honor their energy, spirit and willingness as they help us to build stronger and healthier communities. Without question, they demonstrate that one person can make a difference in the lives of others.”
More than 200 people, including Renee Beaman, director of DHSS' Division of State Service Centers, which oversees the awards, and Georgeanna Windley, Chair of the Governor’s Commission on Community and Volunteer Service, joined the Governor in honoring the young volunteers for their outstanding service, community impact and inspiration to others.
The Governor’s Youth Volunteer Service Awards are sponsored by the Office of the Governor and are coordinated by the State Office of Volunteerism and the Governor’s Commission on Community and Volunteer Service.
2017 GOVERNOR’S YOUTH VOLUNTEER SERVICE AWARD WINNERS
INDIVIDUALS
Wei-Ling Moloy
Arts & Culture
Nominator: Angela Williamson
Wei-Ling Moloy is an active volunteer at Hagley Museum & Library, serving as a youth leader in its Youth Leadership Program (YLP) and as a camp counselor. As a youth leader, Wei-Ling facilitates and designs programs and activities related to Hagley’s stories of technology, science, and innovation. As a camp counselor, she supported the adult camp instructors by interacting with campers, assisting with activities, and maintaining the enjoyment and safety of campers. Beginning in 2014, as a shy, quiet volunteer, Wei-Ling has grown into a strong leader who is respected both by her fellow youth leaders and the adult mentors in the Hagley Museum & Library volunteer program.
Suprit Bodla
Community Service
Nominator: Jim Power
Since 2013, Suprit Bodla has volunteered with the Boy Scouts of America, Christiana Care Health System and the Leukemia and Lymphoma Society (LLS). He has organized a variety of fundraisers to benefit LLS and also to raise public awareness of the fight against blood cancer. Suprit is also a student mentor for the Science Ambassadors Program at the Charter School of Wilmington, where he, along with his peers, helped to organize a STEM tutoring program at Marbrook Elementary School and work with the Delaware Children’s Museum to provide science and match activities for Engineering Week.
Nadeem D. Boggerty
Community Service
Nominators: Adrienne Gomez
Dover High School honor student Nadeem D. Boggerty has been volunteering in his community for the past six years with his church, his school and through social organizations. One of the many organizations at which Nadeem volunteers is the Calvary Church in Dover, where he and his family help pack boxes and assist with dinner on Thanksgiving each year. Nadeem also participates in several social service organizations (the Omega Gents, a program steered by Omega Psi Phi Fraternity, Inc.; EMBODI, hosted by Delta Sigma Theta Sorority, Inc.; and BeB.O.L.D., a nonprofit youth mentoring organization in Dover) where he has helped feed the homeless, staff information tables at Back-to-School Fairs, toy drives, First State Community Day, and other activities that support the local community.
Sarah Davis
Education
Nominator: Michelle Neef
Fourteen-year-old Sarah Davis been volunteering with Faithful Friends Animal Society for four years. Sarah passionately promotes, educates and supports her community and has become a true leader and advocate for her generation. Furthermore, she displays great compassion while taking the initiative to ensure the safety of animals. Her tenacity has saved the lives of many dogs and cats, and improved the lives of neighbors who care for them. Sarah has provided long-term foster care to neonate kittens and delivered food from Faithful Friends Animal Society Pet Food Bank to pet owners with low incomes or those struggling in other ways to assist them in keeping their family pets in their home. She also rescued dogs and cats from perilous environments and has been instrumental for the Trap-Neuter-Return program, which works to reduce and improve the community cat population.
Cheyenne McGowan
Environment
Nominator: Emily Krueger
Cheyenne McGowan started with the Brandywine Zoo as a summer teen intern with its Zoo Camps during the summer of 2016. After the summer, she continued her volunteer efforts by signing up to help with various educational events at the zoo, including International Red Panda Day, Vulture Weekend, and Noon Year’s Eve. Her role for these events was educating the public at learning stations using animal artifacts, activities, or crafts. In addition, Cheyenne frequently came in to interpret the zoo’s animal exhibits to the public as a docent. Since she started volunteering a year ago, Cheyenne has helped educate hundreds of people at the zoo, which serves the greater Wilmington area, on different environmental topics, including climate change, animal adaptations, and specific animal facts.
Michael Robinette
Health & Special Needs
Nominator: Margaret Jenkins
Since 2013, Michael Robinette has volunteered with the Mary Campbell Center’s Children & Youth program. Mike works with more than 100 children each summer, in a variety of age groups with unique physical or intellectual disabilities. His responsibilities include assisting children in different activities throughout the day such as arts and crafts, games, swimming and cooking. Mike also supports staff with talent show planning and production. Additionally, he provides supervision and companionship for campers on field trips during the summer camp program. Mike gets to know the campers on a one-on-one level and is quick to learn their likes and dislikes, and when they need or want help.
Santiago Vizcaino
Health & Special Needs
Nominator: Richard Huber
Santiago Vizcaino began volunteering with the Delaware Division for the Visually Impaired in the summer of 2016. During his time with the agency, Santiago has provided assistance in producing resource material for students with visual impairments, assisting staff with departmental projects and developing training procedures for the organization. Beginning at the Instruction Resource Material Center, Santiago produced large-print reading material for students, which were provided to 247 students. He developed a process that allowed books to be converted to PDF format, which allows a student with a visual impairment to use an iPad or other electronic device to review the document via voice narration or zoom text option, depending on the individual student’s needs. In addition, Santiago helped to develop training procedures for other volunteers.
Joy Baker
Human Needs
Nominator: Joyce Sessoms
In 2016 alone, Joy Baker volunteered an estimated 200+ hours in a variety of capacities in the Delmar and Laurel communities. She serves on the Youth Board of Directors of The ARK Education Resource Center, volunteers at her church as an assistant to the program coordinator responsible for youth activities, and is a member of the National Honor Society. For ARK, Joy acts as a recruiter and fundraiser, and is also an active participant in ARK-sponsored events like the Back-to-School Extravaganza held in Janosik Park.
Katelyn Craft
Human Needs
Nominator: Emily Holcombe
In July 2016, Katelyn Craft began volunteering at Exceptional Care for Children (ECC), Delaware’s first and only nonprofit pediatric skilled nursing facility for children who are medically fragile. Through the Resident Playdate volunteer program, ECC is able to provide the residents the chance to interact with individuals who can offer something other than medical care. At age 14, Katy knew she wanted to bring smiles and joy to children who have extensive medical needs. She has spent more than 100 hours reading, playing games, watching movies, assisting with arts and crafts projects, or just spending quality time with children who have little family involvement. In addition, Katy volunteered her time assisting with special events and fundraisers, like the Gala Fundraiser and Visits with Santa.
Daevean DeShields
Human Needs
Nominator: Aaron Tyson
Following the inspiration of his grandfather, Daevean DeShields created Project HOOP, which stands for Helping Out Other People. The goal of Project HOOP was to fill 1,000 bags with supplies to be distributed to people who are homeless through Faith United Methodist Church’s Open Hands Sound & Clothing Ministry. After recruiting from his local and school community (including his school principal), Daevean was able to meet and surpass his goal with a remarkable 1,015 bags assembled.
Jakob Ryan Thomas
Public Safety
Nominator: Shirin Skovronski
For almost two years, Jakob Ryan Thomas has volunteered as a junior firefighter with the Mill Creek Fire Company. In 2016 alone, he responded to 488 calls of emergency responses to structure fires, motor vehicle crashes, medical assistance, and other miscellaneous calls, amassing more than 500 volunteer hours. Jakob’s actions assisted the community in multiple emergencies, which were often quite serious and dangerous in nature.
Richard Thomas
Public Safety
Nominator: Robert Bassett, Jr.
Richard Thomas has been a volunteer firefighter with Camden-Wyoming Fire Company for two years, assisting in more than 300 emergency situations such as car accidents and house fires. Richard also assists with teaching fire prevention to children. Despite his youth, Richard is well-respected at the fire company and is seen as a mentor for new firefighters.
Ananya Singh
Social Justice/Advocacy
Nominator: Meghan Pasricha
For the past nine years, Ananya Singh has been a member of the Global Youth H.E.L.P. Inc. (GYH), a Delaware nonprofit whose mission is to train and support young people to become leaders by serving their communities through community service projects. Ananya served first as president of the middle school chapter and is currently chair of the high school chapter. Her time and efforts have been vital for many different community service projects, including the Annual Backpack Donation for the YWCA Home-Life Center, the Christmas Hygiene Product Donation, the Annual Ice Cream Party for the YWCA Home-Life Center and the Premier Charities Feeding the Homeless. She also has taught English and karate to younger children.
GROUPS
Greater Milford Boys & Girls Club
Arts & Culture
Nominator: Kenny Monroe
Following the devastation of Hurricane Matthew (Sept. 28-Oct. 10, 2016) in the Caribbean, the Teen TITAN program members of the Greater Milford Boys & Girls Club developed the “Hope for Haiti Donation Drive.” In a relatively short time, the Team Titan program members spent 400 hours collecting clothing, toiletries, bottled water, educational material and other items. More than 300 items filled more than 10 boxes and were sent to the people in Haiti to be used as they began to rebuild and recover from the effects of Hurricane Matthew.
Cape Henlopen High School Army Junior Reserve Officers Training Program
Community Service
Nominator: Angela Thompson
For 10 continuous years, the participants of the Army Junior Reserve Officers Training Program (JROTC) at Cape Henlopen High School have learned that everyone belongs to a community and therefore has a responsibility to that community. The 45 young men and women who comprise the current JROTC roster continue that legacy of service by devoting an average of 2,000 man-hours to community service activities benefiting a number of organizations, including the Delaware Seashore State Park, Beebe Medical Center, American Red Cross Blood Drive, the Salvation Army, Brandywine Senior Citizens Center and the National Kidney Foundation.
A.I. du Pont Middle School – Walk in the Kings Footsteps
Education
Nominator: Michele Fidance
When posed with the question “What will I do to walk in the footsteps of Reverend Dr. Martin Luther King, Jr.?” the student body of A.I. du Pont Middle School in Wilmington decided to answer the question literally. A small group of students, led by Jobs for Delaware Graduates (JDG) instructors, were given the project of researching the speeches of Dr. King in order to choose quotes that meant something to them. The students then inscribed their selected quote on a cut-out of a footprint, which was then affixed to the wall in the cafeteria as a means to inspire their fellow students. Once students beyond the JDG classes saw the footprints, they wanted to participate as well. The project helped to raise awareness among students of Dr. King’s life, teaching and legacy, and how it translates into community action and service.
P.S. duPont Middle School Student Council – Adopt a Family
Health and Special Needs
Nominator: Mallory Stratton
Each year, the student council of P.S. duPont Middle School in Wilmington spearheads its annual Adopt-A-Family Drive. The drive involves the school community at-large adopting the families of 15 to 20 P.S. duPont students who are need assistance to make the holiday season a little brighter. The donations of clothing, books and toys generated by the student council benefited upwards of 50 fellow students and their siblings in 2016.
Delmar High School - Wildcat Wellness Pantry
Human Needs
Nominator: Michele Fidance
The Wildcat Wellness Pantry is a food pantry at the Delmar American Legion, which provides nonperishable food and household items for individuals in need. The pantry is staffed by as many as eight Jobs for Delaware Graduate (JDG) volunteers. The JDG volunteers come in on Saturdays to assist families in need and taking inventory to ensure the pantry can reach even more people. An additional group of more than 60 volunteers collect the proceeds from canned food drives that occur during the school year to continually stock the pantry.
What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.
So there.
And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored
So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?
It was, and inside it was a box, nay a treasure chest of delights.
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St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]
St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]
St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]
Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.
The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).
he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921
A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.
Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]
The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]
In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.
Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.
Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.
The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.
In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".
An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.
In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]
Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]
Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.
n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]
St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]
In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]
Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.
Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.
Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]
The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]
The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]
On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.
St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.
Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]
Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]
During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"
Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]
The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.
The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]
The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.
Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).
Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]
The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]
The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.
Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]
A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.
As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"
Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]
By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]
The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]
In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.
In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.
Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.
Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.
By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]
The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.
A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]
St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.
During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]
In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]
The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]
In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.
Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".
A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]
The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.
The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]
Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."
In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]
Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.
At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.
St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]
In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"
A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.
Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.
Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]
Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.
In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.
The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]
David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]
In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]
The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.
Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.
The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]
On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.
The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]
The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]
The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.
In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.
Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]
A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.
The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.
A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.
The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.
The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.
The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.
Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]
St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.
The Commanding Officer, Major Whitley, shakes my hand after promoting me to the rank of Gunnery Sergeant today.
Designer: Ji Meihun (吉梅魂)
1956, September
Promote rural collectivization
Cujin nongye hezuohua (促进农业合作化)
Call nr. : BG D25/318 (Landsberger collection)
More? See: chineseposters.net
I use this for greater control over bracketing exposures on my camera (whose default is 9 exposures). This also has the ability to do timelapse. Small, lightweight and pretty weather resistant.
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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U.S. Army Cadet Command (USACC) welcomes Col. Promotable Amanda Azubuike as the Deputy Commanding Officer of USACC, Fort Knox, Ky., July 28, 2022. Azubuike received the Cadet Command patch during the ceremony and shared remarks about joining the Army ROTC command team. | Photo by Kyle Crawford, U.S. Army Cadet Command Public Affairs
This is how you celebrate a goal that's going to get you and your club promoted for top-flight football next season. The goal-scorer, Ilari Mettälä, even got his jaw stuck wide open after this celebration, but luckily the medical staff got it fixed quickly and he was able to continue playing. :) Congrats Ilari and FC TPS!
The family and friends rented a beautiful cabin in Murphy, NC. It was a wonderful and relaxing weekend.
The Tariff Reform League (TRL) was a British trade protectionist movement founded in July 1903 to advocate protection for British jobs and promote tighter trade cooperation within the British Empire. In doing so, the TRL sought to impose preferential tariffs against the import of foreign goods, especially from newly industrial countries such as Germany and the USA. At the same time the TRL promoted preferential trading with countries of the British Empire who would be excluded from the import tariffs and developed as an Empire-wide trading bloc.
Against the backdrop of trade recession, high unemployment and the rising economic powers of Germany and the USA, the TRL movement was organised by a breakaway faction within the Conservative Party under the leadership of Joseph Chamberlain. There was much popular support for the TRL and it remained at the centre of Edwardian politics in Britain. However, the TRL was strongly opposed by the Liberals and the opposing faction within the Conservative party who were in favour of open free trade with all countries. The main argument against TRL’s policies was based on the premise that import tariffs would lead to higher food prices, especially with regards to imported grain and emotionally labelling them as a ‘bread tax’. The issue had also split the Conservatives who set up the Unionist Free Food League as a counterweight to the TRL.
The TRL was staunchly supportive of protectionism and free trade within the British Empire but to succeed, it needed more national appeal. Arguments were put forward at rallies to convince the working classes of it’s merits and how it would contribute to their greater prosperity. At the same time the trade unions would need to be convinced and taken on board. Henry Page-Croft was instrumental in driving this and in giving the TRL a much broader class appeal that contributed to it’s success as a political movement.
The Liberals won a landslide electoral victory over the Conservatives in 1906 but despite this, Chamberlain and Croft continued to advocate for tariff reform. After 1910, the TRL suffered continual decline as funding decreased and the political will to drive the movement no longer had popular support. A general trade recovery made the issue seem less relevant to the public and interest waned as employment improved. Other political events had overtaken tariff reform as the burning issue, such as Home Rule for Ireland that proved politically divisive at the time. By the outbreak of WW1 in 1914, the significance of the TRL movement had ceased to be an important political issue and other reforms were affected too (eg; Home Rule shelved). The work of hundreds of TRL local branches throughout the UK was diverted away from tariff reform to helping the war effort by patriotic fund raising and moral-raising amongst the troops. Tariff reform became a dead letter and the TRL quickly dissolved as a political force once the war was over.
In the context of the time, the TRL was one of many tariff reform leagues and in addition, there were other political groups established to oppose them. The progress of WW1 lead to such profound social and political change that the circumstances within which the TRL developed were lost in the past. Despite this, the Conservative continued to cherish the policy of tariff reforms into the 1920’s, but events had overtaken them.
This very rare badge depicts a finely engraved image of the Rt. Hon. Jospeh Chamberlain (1836-1914) and it’s text states TO PROMOTE THE FUTURE SUCCESS OF THE EMPIRE – PROTECTION – RETALIATION being the aims and methods of the TRL. This badge may date to the early years of the TRL, before 1910.
References:
Henry Page-Croft and the crises of British Conservatism by Larry L. Witherell
For Party or Country – Nationalism and the dilemmas of popular Conservatism in Edwardian England by Frans Coetzee
en.wikipedia.org/wiki/Joseph_Chamberlain#Tariff_reform:_C...
en.wikipedia.org/wiki/Joseph_Chamberlain (Joseph Chamberlain
Enamels: 3 (red, white & blue).
Finish: Gilt.
Material: Brass.
Fixer: Clip.
Size: 1 1/8” x 1 ¼” (28mm x 32mm).
Process: Die stamped.
Imprint: No maker’s name or mark but text states REG APPL FOR.
Photo reproduced with kind permission of the seller (diggerlee - Lee Burgess)).
Currently for sale on eBay as from 5th August 2015.
Item number 141737345872.
£300 buy it now or make offer.
An historic church located at Chaptico, St. Mary's County, Maryland, United States. It was constructed in 1736 of Flemish bond brick construction with glazed headers, 60 feet long and 40 feet wide, with an original semicircular brick apse. Significant interior features include a semi-circular chancel, arched ceiling, crowned columns, and boxed pews. In 1916, a three-story brick tower with octagonal belfry and spire was added to the west end of the church. The building was constructed under the supervision of Philip Key, vestryman, who was the grandfather of Francis Scott Key. The building was heavily damaged on July 30, 1814, during the War of 1812, when an admiral of the British fleet, sailed up the Potomac River, came ashore and took possession of the village of Chaptico, vandalized the village, dug up graves, and stabled their horses inside the church.
Surrounding the church is a cemetery with 18th, 19th, and 20th century markers, including a vault for the Key family. Christ Church Parish was one of the original 30 Anglican parishes in the Province of Maryland.
Several members of the Francis Scott Key family are buried in the Key Family vault.
Christ Episcopal Church was listed on the National Register of Historic Places in 1994.
VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
Designer: Gan Jiawei (甘家玮)
1983, August
Promote the Five Do's and Four Beauties, study Lei Feng's spirit
Tichang Wu Jiang Si Mei xuexi Lei Feng jingshen (提倡五讲四美学习雷锋精神)
Call nr.: BG E18/62 (Landsberger collection)
More? See: chineseposters.net
First Day Cover - Halifax Public Gardens - Date of Issue - May 22, 1991
About the Stamp - Prominent Canadian gardens are the subject of five stamps issued on May, 1991. Initiated in 1836 by the Nova Scotia Horticultural Society, whose aim was to promote public interest in botany and horticulture, the Halifax Public Gardens is Canada's oldest surviving public garden. It began with a 5.5 acre portion if the Commons, originally a pasture land provided by the Commons Commissioners. It quickly became a popular attraction but also a financial burden for the Horticultural Society. But an expansion in 1847 saved the day. Encircled by a wrought iron fence, the 20 acres of walkways are all reminiscent of another era. Designer David Wyman and illustrator Gerard Gauci combined their talents to produce the designs. LINK - postagestampguide.com/canada/stamps/16599/halifax-public-...
654744 (Victoria - RPO / Oak Bay) / - opened in 1990
MAI / MAY 22 1991
VICTORIA
BC - POCON cancel in black ink
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First Day Cover - Willow Ptarmigan / John James Audubon's Birds - Date of Issue - March 23, 2005
About the Stamp - Every year, tiny Piping Plovers migrate thousands of kilometres from Atlantic coastal beaches, as far north as Newfoundland, to tropical climes as distant as the Bahamas and West Indies. Although commonplace during much of the 19th century, studies suggest less than 1,400 pairs exist today. The Piping Plover serves as a gentle reminder of the fragile state of our environment and is one of five shorebirds immortalized in Canada Post's third and final set in a three-year series commemorating wildlife artist and conservationist, John James Audubon. In addition to the Piping Plover, this set includes the Horned Lark, the Stilt Sandpiper and the Willow Ptarmigan at the domestic rate (50¢), available in a se tenant pane of sixteen gummed stamps, and the gregarious Double-Crested Cormorant at the U.S. rate (85¢) in a booklet of six self-adhesive stamps.
From the outset, the design of the stamps posed a special challenge: it was decided that out of respect for Audubon and to preserve the integrity of the original paintings, only minor adjustments should be made to their original format. This was achieved by developing stamp formats that were as close as possible to the proportions of the originals - which are housed and made generously accessible to Canada Post by the New-York Historical Society. "Because the originals are wider than they are tall, the images in this final series are horizontal," explains Bill Danard, Manager, Design and Production at Canada Post, adding that the shape of the stamps was adapted so that each bird image occupied the same proportion of the stamp as in previous years.
Another challenge for designer Rolf Harder involved introducing colours that would add a slight, delicate balance between the images and accompanying text. "Most of the bird images in this third series are in neutral tones," says Harder. "My aim was to establish a typographic framework that would discreetly support the fine work of Audubon. The colour bars containing the word 'Canada' on the right, are screened values of the solid colours used for the denominations on the left. At the same time, the colour bars subtly link with the colours in the illustrations, enhancing the images without overpowering them."
When Audubon first began documenting the birds he saw, he likely never expected his works would move from the collections of art aficionados into the halls of scientific study and wildlife conservation. As a pioneering ornithologist and avid hunter, Audubon expressed in his early writings that a day was not really a good one unless one hundred birds had fallen to his gun. Like numerous sportsmen, Audubon gradually developed a conservation conscience. He was one of the first witnesses to sound the alarm, noticing that prairie chickens, wild turkey, and Carolina parakeets, among many other birds, were no longer as numerous as he once knew them to be. Indeed many of the birds he captured on his canvases are dwindling in numbers today, making his work more valued than ever. LINK - postagestampguide.com/canada/stamps/17590/willow-ptarmiga...
CANADA POSTES
POST CANADA
654744 (Victoria - Oak Bay)
2005 -03- 23
POST OFFICE / BUREAU DE POSTE
VICTORIA B.C.
V8R 1G0 - POCON cancel in black ink
POCON cancels started to be used approximately in April 1973 (?) - replacing the MOON system. Older (1970's & 1980's) POCON did not usually have a Postal Code included. P.O.C.O.N. (acronym for - Post Office Computer Organization Number) cancellation are in the shape of an arch, circle, graphic, rectangle, or a square, with a 6-digit number, a town or office name, a Postal Code (if shown) and a date.
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OAK BAY is a municipality incorporated in 1906 that is located on the southern tip of Vancouver Island, in the Canadian province of British Columbia, Canada. It is one of thirteen member municipalities of the Capital Regional District, and is bordered to the east by the city of Victoria and to the north by the district of Saanich. Oak Bay takes its name from the Garry oak tree, which are found throughout the region, and also the name of the large bay on the eastern shore of the municipality, fronting onto Willows Beach. Originally developed as a middle class streetcar suburb of Victoria, Oak Bay was incorporated as a municipality in 1906. In 1912 the former farm lands of the Hudson's Bay Company were subdivided to create the Uplands area, but development was hampered by World War I. After the war, development of expensive homes in the Uplands was accompanied by the construction of many more modest dwellings in the Estevan, Willows and South Oak Bay neighbourhoods.
Canada Post Pharmasave (#152) Post Office - Address: 2200 Oak Bay Avenue, British Columbia, Victoria V8R 1G0. The store available services are - stamps and shipping services, Post Office Boxes, Money Orders, Revenue Canada forms and guides and Passport application forms. LINK - www.google.ca/maps/uv?pb=!1s0x548f744175415f31%3A0xf8d4ad...
The Pharmasave Drugs & VICTORIA OAK BAY Post Office is located at 2200 Oak Bay Avenue, Victoria, B.C. - this building opened around 1988 - the Post Office opened in 1990.
Promoting the autumnal delights of the Yorkshire Dales
West Riding - 724 - EHL 335 -
Leyland Tiger PS2/13A -
Roe C35F -
new 11/52 -
Hudson & Lawson, Bradford
RVPT Running Day, Morecambe
To Promote the next big exhibition at the end of the year in Autoworld with the fabulous theme "American Dream Cars" we proudly present to you the Plymouth Road Runner Superbird. This car is restored in it's rare, original, and wonderful period color of Limelight Green, wit a Black Vinyl Top, 440 Commando, 4-barrel engine and the heavy duty "Hemi Type" 4 speed transmission. With just 68.000 miles, the car runs and drives great and one can cruise the highway listing to both AM and the factory optional 8 Track stereo.
Featuring the wonderful Warner Bros. cartoon character the Road Runner, and being featured in Petty Blue in the hit 2006 Pixar film "Cars" as "The King" sponsored by "Dinoco", the Super Bird is a car that is loved by children from age 3 and up.
This particular 1970 Plymouth Road Runner Superbird is one of just approx. 1.980, that left the Chrysler's Lynch Road facility. The Superbird was produced, only in 1970. In stock form, with the 440 or 426 Hemi engine, the street car hit over 160 mph off the showroom floor. As you can imagine seeing something like this on the American roads in 1970, caused a sensation wherever they went and they still do today.
Expo : Dream Cars 2017
Auto / Moto / Van : 95° European Motor Show Brussels
Autosalon Brussel
Salon de l'Auto Bruxelles
Brussels - Belgium
January 2017
Promotes healthy heart and circulation
Shahnawaz Group is a leading industrial group of Pakistan with turnover in billions of rupees. This success has been achieved through honesty, professionalism, commitment and hard work spanning a period of 63 years. For example, Shezan International Ltd last year paid 110% cash dividend and its share was quoted as high as Rs. 290 for a Rs. 10 par value share on the Karachi Stock Exchange; Shahtaj Textile Mills Ltd is the record setter in Karachi Stock Exchange whose share at the time of IPO was oversubscribed by 2200%!
The name SHAHNAWAZ stands for a successful group of companies in Pakistan both in public and private sector. The network of Shahnawaz Group covers the whole country with full-fledged offices in all the main cities of Pakistan including Karachi, Hyderabad, Lahore, Rawalpindi, Hattar, Peshawar and Quetta with manufacturing facilities in all major cities.
Over 10,000 employees are working in a professionally managed environment and contribute to the progress of Shahnawaz Group and further enhance the technical advancement of Pakistan.
We operate in the fields of Pharmaceuticals, Fruit Processing, Beverages, Textiles, Sugar, Automobiles, Computers, Software, Real Estate Development, Satellite Communication, Restaurants, Business Process Outsourcing, Agriculture and Engineering.
Some of Shahnawaz Group companies:
Shahnawaz (Pvt) Ltd.
Shezan International Ltd.
Shahtaj Sugar Mills Ltd.
Shahtaj Textile Mills Ltd.
Shahnawaz Textiles Ltd.
Nawazabad Farms.
Shezan Services (Pvt) Ltd.
Information Systems Associates Ltd.
Shezan (Pvt) Ltd.
Shahtaj Services (Pvt) Ltd.
Shahnawaz Engineering (Pvt) Ltd.
First Global Sourcing.
Trigen Pharma International (Pvt) Ltd.
Brief Introduction of Shahnawaz Group of Companies
Shahnawaz (Pvt) Ltd: SPL represents, exclusively; a large number of the worlds reputed manufacturers. It is one of the first trading houses in Pakistan. SPL is proud to be the exclusive/sole distributor for DaimlerChrysler AG/Mercedes-Benz in Pakistan for the past 45 years and is authorized to deal in the entire range of Mercedes-Benz products. We have dealerships/workshops/showrooms all over Pakistan to cover the entire country.
We have an extensive network of offices throughout Pakistan having their own workshops, spare parts departments and other allied service & support facilities for the complete range.
SPL also undertakes installation of Industrial projects and is well known in a wide spectrum of diverse activities ranging from implementing turnkey computer based solutions to air-conditioning multistoried buildings.
Website: www.shahnawazltd.com
Shezan International Ltd: SIL was incorporated in 1964 with the main objective to set up an industrial undertaking for manufacturing of juices, squashes, sherbets, jams, pickles and preserves from fruits and vegetables. SIL was conceived as a joint venture by the Shahnawaz Group of Pakistan and Alliance Industrial Development Corporation of U.S.A. in 1964.
The agricultural background of Shahnawaz Group induced them to establish this agro-based industry. Taking advantage of the abundance of fruits available in Pakistan and the advanced technology provided by the American partners, Shezan became a pioneer in the field of converting fruits into pulps, concentrates and juices. It is the first company in Pakistan to specialize in this process.
Today Shezan is the largest fruit processing unit having developed and installed the capacity to meet the country's local as well as export needs. Over the decades, the company has shown sustained growth in both domestic and export fields. SIL has been steadily expanding its production capacity over the years with factories in Karachi, Lahore, Hattar and a 4th factory is expected to start production in 2007.
All SIL factories produce the entire range of Shezan products. Today Shezan is one of the most recognized brand names in Pakistan synonymous with quality products and available in more than 90% of the households. Shezan’s product range is over 80 products and growing.
Today, Shezan having most suitable location for export, with outstanding quality, flavors and packaging is exporting its products to Afghanistan, Central Asian States, UK, USA, Europe, Southeast Asia and Japan.
Website: www.shezan.com
Shahtaj Sugar Mills Ltd: SSML is a Public Limited Company, which is spread over an area of 1.5 Million square yards at a prime industrial zone of Mandi Bahauddin, Gujrat (Pakistan) and its Head Office is at Karachi. It is the second largest sugar mill in Pakistan according to crushing capacity. Its daily crushing capacity is over 10,000 tons.
Shahtaj Sugar Mills is one of the flagship companies of Shahnawaz Group. It has consistently won major awards as one of the best performing companies in Pakistan and has paid attractive dividends to investors and shareholders.
Shahtaj Textile Mills Ltd: STML is a hi-tech weaving unit and is equipped with 150 Air-jet looms and located in the Chunian Industrial Estate near Lahore and is spread over 100,000 square yards area of land.
STML was established by Shahnawaz Group in 1991 for the purpose of manufacturing and producing greige fabric. The mill is situated in the textile hub near Lahore and employs around 500 people.
The company has installed air-jet looms ranging from 190cm to 340cm. It has the most advanced high speed 4 color Picanol and 2 color Toyoda air jet looms of Belgium and Japanese origin to ensure versatility and production volume. The mill has established itself as a supplier to major Pakistani processors and exporters as well as marketing its own product to major US and European Textile manufacturers. It exports to UK, Holland, Belgium, Turkey, USA, Brazil, Australia, New Zealand, Malaysia, South Korea, Singapore, Hong Kong and Mauritius among others.
Website: www.shahtaj.com
Shahnawaz Textiles Ltd: This spinning unit of Shahnawaz Group produces high quality yarn with higher counts and has 22,560 spindles. It is spread over 85,000 square yards area and is located on Manga-Raiwind Road, near Lahore. It has over 600 employees working to make it a quality oriented spinning mill.
STL is a premium quality ring-spinning unit consisting of 22,560 spindles, producing 7800 tons of yarn per annum. The company commenced production in 1993 with the vision to be at the forefront of providing value to customers. The company produces 100% cotton combed and carded yarn. Our valued customers are from the air jet weaving, knitting and denim sectors. We also produce yarn for the sewing thread industry. Our quality speaks for itself.
The company is equipped with the most modern Japanese, European and Chinese equipment and the mill is being continuously upgraded with the latest machinery so that our customers get the highest quality standards.
This emphasis on quality is reflected in raw material selection. We aspire to use the highest quality of Pakistani, as well as imported cotton. Special effort is made to procure the highest grade of cotton from the best stations in Pakistan. Great effort is put to make our yarn contamination free. We also use imported cotton as well as specialized manufactured fibers like Lyocell to make high value added yarns for the apparel and home textile sectors.
Nawazabad Farms: Nawazabad Farms, the agriculture division of Shahnawaz Group is located around 150 miles from the port city of Karachi in Sind Province Pakistan. This is a fully developed fruit plantation and agricultural farm; spread over 12 Million square yards in Tando Allah Yaar, near Hyderabad. It is one of the largest Mango producers in Pakistan and is well renowned as having the best mango orchards in the entire country.
The farm is one of the most advanced and largest fruit farms in the country. The principal fruits grown at the farm are Mangoes, Lychees, Dates, Grapefruit, Pears, Oranges, Guavas, Chikoo, Banana, Avocado, Berries and Papaya. At the farms we grow more than 62 varieties of mangoes including Sindhri, Chaunsa, Sonera, Fajri and Neelum. The fruit orchards division of Nawazabad Farms alone has over 100,000 fruit trees where no chemical fertilizers and no chemical insecticides are used. Nawazabad Farms grows a variety of vegetables including carrots, cabbage, okra, green chilies and spices including red chilies and turmeric.
The water distribution system at our farms consists of over 100 km long water courses including 17 km long concrete main water course, which minimizes the water loss.
The farm has recently converted all its land into Organic under the supervision of the Soil Association UK. No pesticides, fungicides, insecticides have been used in the area and all the strict standards of the Soil Association have been adhered to. To avoid the use of harmful pesticide and insecticides EM Technology is used.
This highly successful farm has consistently won first prize in Horticultural Exhibitions. Most of our fruit produce is of export quality and is being exported to the Middle East and Europe.
Shezan Services (Pvt) Ltd.: Shezan Services owns the brand name "SHEZAN", which is one of the most recognized consumer brands in the country. This company also owns property in prime locations in Karachi, Lahore and other cities of Pakistan. We are in the process of building one of the highest buildings in Lahore to house the Shahnawaz Group companies and will be called "Shahnawaz Towers" .
Another prime real estate is being developed in Karachi to house the Mercedes-Benz showroom, a restaurant and another office for our group companies due to the expansion in the group’s portfolio.
Information Systems Associates Ltd: Comstar ISA Ltd. is primarily a Wide Area Network Provider. Licensed by the Pakistan Telecommunication Authority to establish and operate data networks throughout Pakistan.
Operating under the legal name of "Information Systems Associates" Comstar has been in business since 1996 – this year we celebrated our first decade of operations.
With Head Quarters in Karachi and regional offices in Lahore, Islamabad and Multan Comstar covers the entire length and breadth of the country ensuring error free services to its customers.
Comstar has been the service provider of choice for mission critical networks including Banks and Oil & Gas Companies, our customer list boasts many well known International and Local Organizations many of which have been with us for several years.
Our main focus has been on Wireless Communications – Satellite and Terrestrial Broadband.
This year we achieved yet another milestone by signing an agreement with Infosat Communications to jointly offer Infosat Satellite Services in Pakistan. Infosat is the largest VSAT Operator in Canada and is the largest I-Direct Service Provider in the World. Infosat has made a substantial equity investment in Comstar which is the first of its kind in Pakistan by a major Satellite Service Provider.
Website: www.comstar.com.pk
Shezan (Pvt) Ltd.: SPL as part of Shahnawaz Group operates popular restaurants all over the country. Shezan restaurants are the pioneers in Pakistan in setting up a network of restaurants all over the country and in England (London) and the US (New York and Washington D.C.). These restaurants have exclusively developed recipes that have been fine tuned over a period of decades to cater to the domestic as well as the international clientele covering Oriental, Pakistani, Chinese, Italian and Continental.
For over three decades Shezan has served the finest quality cuisine, being the only Indian or Pakistani restaurant in Great Britain to receive a "Star" rating by the Egon Ronay Good Food Guide also winning the Gold Plate Award and the Restaurant of The Year Award. The focus is mainly on the "Punjabi" style although Shezan boasts varied and delightful offerings from all regions suiting all tastes with the finest quality foods and ingredients. Served in one of the most pleasant and friendly atmospheres available in London just opposite the prestigious Harrods departmental store.
Shahtaj Services (Pvt) Ltd: Shahtaj Services is involved in exporting fruits to the Middle East and South East Asia including Malaysia, Dubai and Japan. It has also installed several satellite tracking systems at railway stations all over Pakistan to update passengers of arriving and departing trains. This is a pioneering project that is done in collaboration with Comstar, which is another Shahnawaz Group company. This company is further involved with indigenously developing advertising billboards to post at railway stations across Pakistan.
Shahnawaz Engineering (Pvt) Ltd.: Its client base includes some of the most illustrious organizations of the country. Shahnawaz Engineering has been instrumental in working on large scale projects of National and International importance.
SEPL is engaged in providing Engineering Services, including Air Conditioning design, Supply, Execution, Operation and Maintenance of large projects. It has a team of highly qualified and experienced professional engineers who are dedicatedly performing their services at various projects throughout Pakistan. Our Project Managers are acquainted with the latest professional techniques and tools, and are foreign trained in respective fields.
We are working for the last ten years at FINANCE & TRADE CENTER Karachi, under close monitoring of FTC Management Company. Shahnawaz Engineering is committed to providing a service of quality acceptable under international standards and as required for ISO 9001:2000 Certification.
First Global Sourcing: FGS is a sourcing organization backed by manufacturing alliances. FGS provides buyers with a cost effective sourcing base from major textile hubs. The FGS customer service and sales offices in markets such as North America, Europe, and the Middle East provide our customers with local language support backed by a sourcing team.
Our offices are staffed with experienced textile experts who understand the changing market requirements. Our goal is to provide buyers with a platform through which they source at the best quality/price ratio.
At FGS the Quality Assurance (QA) team provides quality control services to further strengthen our buying partners trust in our abilities.
Evan, dabbing his way through kindergarten promotion. I believe his friend Eric did it first... Evan was also wearing two jackets at this point, since he had apparently found the windbreaker he had left in his classroom the day before and added it to the winter coat that he had worn to school in the morning.
City Managers, planners, the Fort Hood Garrison Commander, and environmental professionals met together in September 2009 for a two day pre-planning meeting to develop an approach to promote sustainable development, growth, and living in Central Texas. Each of the communities shared their goals and green initiatives. This regional planning effort will establish long term goals that respect the cultural heritage of the region and its residents while offering services to provide a high quality of life; insuring material resources (natural, agricultural, and man-made) now and into the future; promoting sustainable development and land use; creating efficient transportation systems; and enhancing economic development that fuels a thriving, desirable community now and into the future.
On July 29th, Veterans for Peace-111 and the Whatcom Peace and Justice Center brought anti-war activist Cindy Sheehan to Bellingham. I attended her talk, and sat down for a private interview with her a few days later.
I wrote the following article on the talk and our interview. It appeared in abridged form in the August 12th, 2009 issue of Bellingham's 'Cascadia Weekly.'
Read the full article below or check out Cascadia's version here:
www.cascadiaweekly.com/cw?/content/articles/cindy_sheehan...
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Cindy Sheehan Wages A War on War
By Alexander Kelly
Cindy Sheehan knows the sufferings of a mother.
For more than two centuries, millions of mothers have watched their children leave home to serve in the United States military. Like Casey, Sheehan’s son, they were recruited, trained and shipped in the thousands near and abroad to serve some known or obscured U.S. interest.
In our culture, we expect the mothers of these soldiers to feel proud of their children’s service and show unwavering support for the fulfillment of their duty. While a large number of them do, pride is hardly alone among the emotions dominating their hearts. Fear, anxiety and helplessness also grip them. For Cindy Sheehan, it was enough to keep her up at night.
Cindy is the mother of Spc. Casey Sheehan, an American soldier who served in the Iraq War. On April 4th, 2004, Cindy’s worst nightmare came true. While watching television that evening, CNN reported that Casey and seven others had been killed during an effort to rescue American troops. Casey’s death led his mother on a mission to understand what motives brought us to the war in Iraq, what is keeping us there, and a realization of the deep meaning of her son’s service and sacrifice. She became a warrior against war and an advocate for a peaceful U.S. foreign policy.
Five years and three months later, American forces still occupy Iraq, and Cindy Sheehan still hasn’t given up. Late last month, Veterans for Peace Chapter 111 and the Whatcom Peace and Justice Center’s Executive Director, Marie Marchand, brought Sheehan to Bellingham. On a hot July day, 200 people came to hear her speak at Christ the Servant Lutheran Church.
The evening marked the final stop of a four-month tour. Last April, Cindy set off to promote the message of her latest book, Myth America: 10 Greatest Myths of the Robber Class and the Case for Revolution. The result of four years of tireless activism, Myth America represents Cindy’s effort to identify and plainly convey ten established premises that allow American imperialism to persist unchallenged. Our culture’s blind acceptance of these myths killed her son, Sheehan says, and if we fail to expose and do away with them, untold more American youths will be lost to an early and unnecessary death.
Prior to the loss of her son, Sheehan was not an anti-war activist. After Casey was killed, she began speaking out against the war, but didn’t become the focus of national media attention until she sought to confront George Bush himself. Sheehan recalls the exact moment.
Unable to sleep, she was sitting at her computer at three in the morning on August 3rd, 2005. While sharing her grief via email to a list of 300 supporters, the voice of the man who killed her son came over the radio. “I want to tell you his exact words,” Sheehan told the Bellingham audience. “’The families of the fallen can rest assured their loved ones died for a noble cause.’”
Bush’s statement came three months after the Downing Street Memo was leaked to the British media. Practically ignored by mainstream American press, the document contained the details of a discussion between senior officials of the British government. Included was a statement made by Richard Dearlove, then the head of Britain’s Secret Intelligence Service. Dearlove related Bush’s intent to justify an American invasion of Iraq on the basis of unconfirmed intelligence regarding possession of nuclear weapons and ties to terrorist groups. Foreign Secretary Jack Straw confirmed the president had already decided to take military action, but making a legal case for the invasion was difficult.
With full knowledge of the memo, Bush’s comment devastated Sheehan. “Not only were they [Casey and the others] tragically killed, but George Bush came on and said they died for a noble cause,” she typed to her readers.
When the press failed to inquire exactly what the soldiers died for, Cindy decided it was her turn to ask questions. “The press didn’t ask him what was the noble cause,” she continued typing. “What’s wrong with me? I have a voice.” Three days and 1800 miles later, Sheehan found herself setting up camp along with six others in Crawford, TX, three miles away from George Bush’s vacation ranch.
Sheehan’s modest protest exploded into the most publicized anti-war demonstration the country had seen since the beginning of the Iraq war. Cindy admits she didn’t expect Camp Casey to become so significant. The protest drew international media attention, attracting 15,000 Americans during its 26 days, and for a brief moment, succeeded in uniting America’s anti-war movement.
Though Bush brought his vacation in Crawford to an early end without answering her questions, Cindy knows why her son was sacrificed in Iraq. In an interview with Veterans for Peace, she asked, “Was it freedom and democracy? Bullshit! He died for oil. He died to make your friends richer. He died to expand American imperialism in the Middle East.”
Sheehan was pleased with the national discussion Camp Casey stirred up, but it did not bring peace in Iraq. It also failed to move in the direction Sheehan began to hope for. Cindy intended to rally the country to bring an end to the Iraq war. Instead, she felt the movement was taken advantage of by political opportunists.
“Unfortunately, I believe that the energy of the movement, the Camp Casey and the anti-war movement, was co-opted and misused by democrats and organizations that support democrats,” she declared.
Before Camp Casey, Sheehan worked with Progressive Democrats of America. Over time, she began to sense they were using the anti-war movement for their own benefit. After Casey’s death, when John Kerry ran for president in 2004, Sheehan held her nose while she gave him her vote, knowing well enough that he was not an anti-war candidate.
Her faith in the Democratic Party suffered another blow when Kerry conceded to the suspicious voting outcome in Ohio. She recalls the hopeless situation of the Green and Libertarian candidates demanding a recount themselves. “They had no hope of coming out on top, but they thought that with a democracy, every vote should count,” she explains.
Eventually, Sheehan began speaking out against Democrats who did not support a platform focused on ending the Iraq war.
After countless beatings from the left in the media and on liberal blogs, in 2007, Cindy left the Democratic Party. When the results of the 2008 Presidential election were in, Cindy was surprised at the flood of congratulatory emails and phone calls she received. The show of support made her feel misunderstood.
Cindy lamented, “I never did this to get democrats elected. I did it to end the occupations and now those haven’t ended, and the fact that they’re getting worse is very frustrating to me. Many people have fallen back to sleep thinking that a regime change means anything different is going to happen.”
The realization that a Democratic candidate does not equal an anti-war candidate occurred slowly in Sheehan over the last few years. In her newest book she argues against the conventional lines that divide our society. The divisions between race, religion, geography and two-party politics, are illusions, Sheehan writes. They serve the elite by having the convenient effect of distracting us from the only division that really matters.
“The only relevant division in this country is the class division. All other divisions are artificial and imposed upon us by the robber class to divide and conquer,” Cindy says. “We in the robbed class have way more in common with each other than we do that separates us.”
“It’s not about the person in charge,” Sheehan says. “It’s not about Republicans, its not about Democrats, it’s not about George Bush, it’s not about Barack Obama. It’s the system that we battle against. So if we change regimes, it doesn’t mean that we stop.”
Wall Street, the corporate media, the current form of U.S. Government. Sheehan tells the audience that all of these are part of the robber class. They exist to make a profit, Sheehan says, no matter the cost to the rest of us. Whether they admit it or not, they would sooner send the rest of us to our deaths than give up an opportunity for profit. “After Casey was killed, I used to think that profit was a consequence of war,” Cindy confesses. “But now I know it’s a reason for war. It doesn’t really matter if Goldman Sachs candidate A wins or Goldman Sachs candidate B wins.”
Sheehan’s revolution is not a violent one. She wants to free us from the oppressive grip of the Robber Class. She asks people to focus on their local communities. “That’s where we have the greatest success,” she pleads. With half-closed fists, she invokes the old adage, ‘Think Globally. Act Locally.” Major positive change never occurs from the top down in this country, she says. “It only happens in a grass roots movement that pulls the Robber Class to us.”
Before the talk began, Cindy announced that the following day, she would return home to exercise and devote herself to her children and grandchildren. She will also continue to produce her radio show, Cindy Sheehan’s Soapbox, and focus her efforts on a new set of myths, tentatively titled Myth America 2. Apparently, Cindy Sheehan does not surrender.
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Epilogue
The talk began shortly after 7 P.M. I arrived at 6:15 with my friend Chris Crow, who photographed the event. For thirty minutes, we canvassed the church, guessing at the light and looking for the best angles for photographs of the talk. At around 6:30, Katelyn showed up, followed by three good activist friends of mine.
A few minutes before Cindy was introduced, I fiddled in my chair, joining a discussion of nonsense and commenting on the crowd of ‘usual suspects’ that regularly gathers for ‘peace’ events. After a few moments, Cindy appeared.
She is a blonde woman, of slightly taller-than-average height and is smiling as she enters the room. The crowd applauds and smiles back. She walks not with airs of importance or distinction, but as a simple woman ready to tell the story about the death of her son; the moment that changed her life.
As she speaks, she doesn’t bother with note cards, and she is unafraid to embark on the occasional meandering tangent. Though she has done this numerous times, there is something authentic, seemingly unrehearsed about this. She has acquired more than her share of anecdotes over her last four years of dealing with media, politicians and groups like ours.
As the talk comes to a close, the audience rises for applause. At that moment, there is a sense of adoration among the crowd. It was as if we were all waiting for her to finish talking in order to shower her with our support. Seated in the front row, I risk a glance behind me, and for a moment, even in the July heat, I feel a brief chill. Quickly, I count the number of people in the crowd under the age of 30.
Ten or so, it seems.
In a community of 75,000, known nationwide for its progressive politics, literally a handful of young adults came to hear a peace activist speak. As I recall Casey Sheehan’s final age, just weeks away from 25, I become terrified by what I see. Or what I do not see.
In a culture where powerful forces, in all media, work to seduce our sons and daughters into believing it is honorable to fight and die for whatever reasons our leaders allege, how can we hope to reach the audience who needs it most? If my generation is not available to hear the message, how may we hope to save our country from the devastating consequences of the decisions made by its unscrupulous leaders?
I cannot help but wonder – did Casey Sheehan ever hear someone with his mother’s conviction speak?
I did.
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This wonderfully crafted space age 'rocket' badge promotes the V8 Oldsmobile Rocket automobile (1949-1953, first generation). The tapering of the Oldsmobile lettering towards the nose of the badge is subtle, bearing in mind that the length of the badge is no longer than 3cm and the width, at its widest, just 3.5mm
The V8 was a quintessentially American car and very much 'of the period' reflecting society's fascination with speed and the space age.
The rocket insignia became part of the chrome detailing on the wings and tails of the automobile; the sales brochures invariably showed the 'Olds', juxtaposed with a powerful soaring rocket.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a variety of print sizes
e.g. A4, A3, A2 and A1. The current uploaded format is for screen based viewing only: 72pi)